College-Conservatory of Music
university of CinCinnati College-Conservatory of MusiC
College-Conservatory of MusiC
ABout the College
administrative officers — 2010–2011
Frank Weinstock, MM, Interim Dean Terrell Finney, MFA, Interim Associate Dean for Academic Affairs Steven Cahn, PhD, Interim Director of Graduate Studies Paul R. Hillner, MM, Assistant Dean for Admissions and Student Services Andrea Fitzgerald, Assistant Director, Undergraduate Admissions and Scholarships Mark Palkovic, MLS, MA, Music Librarian Karen Tully, Interim Director of External Relations Karen Tully, Associate Director of External Relations Jane Whipple, Administrative Secretary to the Dean
College Mission statement
The University of Cincinnati College-Conservatory of Music (CCM) is an educational institution for the performing arts, electronic media arts, composition, scholarship, and pedagogy within a comprehensive public university. The synergy between the conservatory and the university gives the college its unique character and defines its mission: • To inspire and enable students to attain the highest artistic levels and mastery in their respective fields; • To prepare professionals in the areas of performance, composition, research, music teacher education, electronic media/broadcasting, theater design and production, and arts administration for careers in the 21st century; • To foster artistic, creative, and intellectual exchange within CCM and throughout the university through interdisciplinary collaboration, study, research, and public forums; • To provide appropriate opportunities for the general university student to participate in and appreciate the performing and electronic media arts; • To maintain and further develop a national and international reputation while serving the people of the State of Ohio and functioning as an integral part of a city with strong traditions in the arts and broadcasting.
Both of the College-Conservatory of Music’s founding schools (the Cincinnati Conservatory of Music and the College of Music of Cincinnati) were charter members of the National Association of Schools of Music (NASM). All theater programs are accredited by the National Association of Schools of Theater (NAST), and the University/Resident Theater Association. The dance program is accredited by the National Association of Schools of Dance (NASD). The requirements for entrance and graduation in all music programs, arts administration, dance and theater programs as set forth in this Bulletin are in accordance with the published regulations of those accrediting agencies. The Preparatory Department holds nondegree granting accreditation by NASM. Refer to CCM Web site for more current information: www.ccm. uc.edu.
September 1999 marked the conclusion of a five-year building and renovation project that now provides CCM faculty and students state-of-the-art teaching, rehearsal and performance facilities. The new “CCM Village” comprises four buildings ringing a central plaza: • Dieterle Vocal Arts Center, a result of the gift of Louis and Louise Nippert, opened in January 1995 and is home to the Voice, Opera, Choral, and Accompanying departments. It boasts 19 faculty studios, three private coaching rooms, a
university of CinCinnati College-Conservatory of MusiC 120-seat choral rehearsal room and the Nippert Rehearsal Studio, a grand opera scale rehearsal space that also serves as a performance venue for workshops and concerts. The center is also the location of the Italo Tajo Archives, which are open by appointment to students, scholars and others interested in the musical life of this noted artist who served on the faculty of CCM. • Memorial Hall, which served as one of the first dormitories on the UC campus, was completely renovated in 1996 and now houses teaching studios for piano, harpsichord, strings and winds, plus practice rooms, chamber music rehearsal rooms and electronic music studios. The building retains its original charm with its sloping ceilings, fireplaces (nonworking) in many of the studios, and gargoyles, towers and turreted balconies on the exterior. Memorial is connected to the Corbett Center for the Performing Arts by a first- and second-floor walkway. • Corbett Center for the Performing Arts is the heart of the performance activities of CCM. The history of CCM facilities has long been tied to the generosity of Patricia and J. Ralph Corbett, and the Corbett name is much in evidence throughout the facility. The complex includes Corbett Auditorium, Patricia Corbett Theater, Watson Recital Hall, a studio theater and the Theater Production Wing, as well as faculty offices and studios of the drama and Musical Theatre departments and the Dance Division. • Corbett Auditorium — a $5 million renovation has trans-formed the 740-seat hall into a luxurious theater. This proscenium theater, fully equipped with complete stage and lighting facilities for the presentation of choral, orchestral, and various wind ensemble concerts, ballet, opera, Musical Theatre, and recitals, also contains a three-manual Harrison and Harrison organ of 60 ranks. Fiber optic connections to the new Electronic Media Division central control room make possible audio and video recordings and broadcasts of the live performances. Patricia Corbett Theater — this 400-seat modified thrust theater is the primary venue for opera, drama, and Musical Theatre and dance performances. It contains a large Casavant Tracker organ. Watson Recital Hall — also recently renovated, this 140-seat recital hall contains a Balcolm and Vaughan organ of 44 ranks, a gift of John and Joan Strader of Cincinnati. Cohen Family Studio Theater — one of two additions to CCM’s performance venues, this flexible-use space will allow for innovative and nontraditional presentations of dramatic workshops, dance, small music ensembles and multimedia collaborations through a system of movable balconies, floor levels and audience seating areas. Theater Production Wing — this addition to the CCM complex includes an 8,500 sq. ft. scene shop, a 3,000 sq. ft. costume shop, wig, make-up and prosthetics studios as well as a design and drafting studio, lighting lab, CAD drafting stations and sound design studios. The wing also houses the jazz department’s teaching studios, rehearsal rooms, MIDI lab and library. • Mary Emery Hall — completely rebuilt but remains the college’s primary teaching and administrative center. The CCM Admissions Office and the college office are located in Mary Emery Hall, as well as faculty offices and classrooms. In the north wing of the building is located the Electronic Media Division with state-of-the-art audio, video and computer studios and labs. Werner Recital Hall — with its soaring height and superb acoustics seats 300 in an intimate arrangement designed especially for solo recitals and small chamber music performances. A 450-car garage located under Mary Emery Hall serves the entire CCM Village. The Gorno Memorial Music Library, located in Blegen Library immediately adjacent to the CCM Village, contains more than 185,000 volumes, including books, music scores, periodicals, microforms, and audio and video recordings. In addition, the library provides access to a wide variety of music research databases. The acquisitions policy of the library is ambitious, wideranging, and dedicated to the support of all programs offered. In addition to an excellent reference collection and impressive holdings in scholarly editions, the library is also proud of its collection of performance materials. The collection includes solo song literature; vocal scores of operas, oratorios, and musicals; chamber music; and solo instrumental works. The library’s special collections include the Helm Collection of rare books and music, the Anatole Chujoy Dance Collection, the Wurlitzer collection of rare 18th- and 19th-century chamber music, and the Leigh Harline Collection of film and television music. A computer laboratory offers ear training and music notation software. The library subscribes to six major online music services, providing 24/7 access to over 700,000 tracks of digital audio and over 50,000 digitized music scores.
DIvISIonS oF the College
Composition, Musicology and theory
Joel Hoffman, Division Head
The Division of Composition, Theory, History and Literature provides students with a knowledge of music both past and present. In addition, students study the various analytical and compositional procedures of music. The division serves as a resource for all music students, and especially serves its own majors, enriching the already active musical atmosphere of the college. The CCM Center for Computer Music contains UNIX (Silicon Graphics and Linux) workstations, MacIntosh computers and MIDI hardware running a variety of public domain and commercial applications. Three smaller studios are for recording, sampling, composition and programming applications for composition and improvisation. Two larger studios are class-
classical guitar ensemble. DVCPro and BetaCam SP feeder and mastering decks. advertising and public relations. work with performance and live processing.university of CinCinnati College-Conservatory of MusiC rooms and labs for composition. Leser Newsroom features the Comprompter PC-based news production and automation system. orchestral.
Roberta Gary. the Electronic Media Division (EMD) acknowledges the many facets of a most diverse media field. Division Head
In both the choral and instrumental areas. Its graduates find employment in radio. Dance majors have many performance opportunities. separate practice rooms for keyboard majors and three tradi-
. two jazz ensembles. multiple Panasonic S-VHS camcorders and multiple S-VHS online and offline analog editing bays. lighting and grip equipment for field production. a satellite and recording system to receive feeds from CNN and other outside sources and multimedia computers for the production of news Web sites. Choral opportunities include Chamber Choir. The Jack and Joan Strader Radio Center. Ralph Corbett Audio Production Center offers digital and analog tape multitrack studios as well as computer-based hard-disk digital recording formats. the EMD maintains The Walter and Marilyn Bartlett Television Production Center consisting of a full multi-camera television studio and control room. which includes a main-stage performance each quarter. organ. TV4. Three control rooms surround a 1400 sq. Helene V. eight harpsichords. A support staff for ongoing operations assures the execution of successful day-to-day activities in the E-Media Division. a clavichord. image scanners and graphic tablets. television. Ballet Ensemble features works by dance faculty and guest choreographers. and sound and animation composition with Softimage Creative Environment. Division Head
The Division of Electronic Media was founded in 1936 as the Radio Extension of the College of Music of Cincinnati. the Keyboard Studies Division has degree programs in piano. and Men’s and Women’s Choruses for the general university population. The Choreographers’ Showcase. harpsichord and collaborative piano. woodwind ensemble. percussion ensemble. audio recording facilities incorporate the super CD standard (24 bit/96kHz) and up to 56 tracks of digital multitrack capabilities. Chorale. such as Dayton Ballet and Kentucky Ballet Theater. and numerous chamber groups for both string and wind instruments. in multimedia.
Shellie Cash. brass choir.
Marjorie Fox. and wind programs also have excellent opportunities for training and developing rehearsal and performance skills through a variety of ensembles. a fortepiano. Instrumental ensembles include two full orchestras. fully equipped electronic news room. The J. Student conductors in choral. which is held in the spring. dedicated field production equipment. or presented on the Internet. a teleconferencing facility. The division’s regularly scheduled news feature program. the cable industry. two wind ensembles. The CCM Ensembles and Conducting Division provides live orchestral accompaniment for selected concerts. The Dance Division continues to be a professional ballet school offering a bachelor of fine arts degree. formerly the Conservatory of Music. Under the patronage of Mrs. The Judy and Jim Van Cleave Multimedia Laboratory consists of 11 networked Macintosh workstations equipped with DV camcorders. two S-VHS editing bays. eight pipe organs. To support such a dynamic educational environment. a CD or DVD. the burgeoning telecommunications sector.
The EMD’s news facilities include a dedicated studio and control room with an adjacent. The workstations feature software capable of creating and manipulating digital audio and video materials that can be presented on a workstation. ft. Cincinnati Ballet and other professional dance companies in the region. studio with two isolation booths. A complete complement of professional digital and tube outboard equipment support a wide array of studio quality microphones. The program is designed for the developing dance professional who seeks technical training and artistic stimulation through a rigorous academic and studio curriculum. all provide for the necessary distribution of recorded material. provides choreographic experimentation and additional performing opportunities. Uptown. a closed-circuit cable radio station. The Lawrence A. was the first music school in the nation to offer courses in classical ballet. In facilities that include 200 pianos. 18th-century music ensemble. Panasonic DVCPro camcorders. The digital
ensembles and Conducting
Earl Rivers. the division was designed to give music students an insight into the ever-expanding field of radio broadcasting. contemporary music ensemble. Wurlitzer. Qualified dance majors may also have opportunities to perform in CCM Opera. is produced here and aired over the closed-circuit cable channel. Division Head
Offering students a variety of performing opportunities and study with a renowned faculty. 10 jazz combos. Avid non-linear editing suites configured with Adobe Photoshop and After Effects and S-VHS. the Division of Ensembles and Conducting offers a variety of performance experiences for all majors. and the TV cable channel 4. master control facilities that tie in closed-circuit cable channel and remote camera setup positions from all CCM performance venues. Division Head
Italy. Musical Theatre performers. Utilizing a superb faculty of professional artist-teachers. out-of-state $8. classes.
Lizabeth Wing. students will find an environment conducive to improving their musical and performing skills and to preparing themselves for professional careers.435 $800/cr. The University of Cincinnati is a member of the National Association of Schools of Theatre (NAST) and the University/ Resident Theatre Association (U/RTA). CCM’s programs in opera. These classes and lessons are open to university students on a noncredit. the division produces a summer opera festival in Spoleto.
noncredit Music Lessons
Students may take private music lessons for no credit for a fee through the CCM preparatory department. $4. workshop productions.” Today. hr. classes and ensembles in music. These lessons may be in piano.edu/housing)
Undergraduate in residence hall Meal Plan $5. drama. Students in the OMDA Division have the opportunity to participate in a wide-ranging scope of degree programs. The division. then use their photo ID to purchase a wide variety of goods and services on campus. offering private lessons. Division Head
Music education programs at the University of Cincinnati’s College-Conservatory of Music grew out of the rich musical and educational traditions of the “Queen City of the West. but also through interaction with other divisions at CCM. Musical Theatre. Students deposit money into their Bearcat Card account. In addition to the opportunities listed above. organ. voice and all orchestral instruments.038 $683/cr. hr.
College RelAteD expenSeS
undergraduate/Graduate tuition & fees (2010–2011)
in-state Full-time quarterly tuition rate — Baccalaureate Full-time yearly tuition rate — Baccalaureate part-time tuition rate — Baccalaureate Full-time quarterly tuition rate — graduate Full-time yearly tuition rate — graduate part-time tuition rate — graduate $3.505 $10. directors. All performance majors receive weekly lessons as well as support classes in the pedagogy and repertoire of their instruments. drawing upon widely varied institutional and community resources. The performance major culminates in the senior year with the presentation of a recital.515 $280/cr. arts administration and theater design and production attract remarkably talented students from around the world. actors. students pursuing degrees in music education are provided with an incomparable program of professional preparation. designers. hr. thanks not only to the sharing of resources among all the programs within the division. fee basis. please contact the preparatory department at 513-556-2595. technicians and arts managers than does the College-Conservatory of Music. $8.
David Adams. dance and theater for students of all ages and levels. All performance majors must participate in appropriate ensembles which provide valuable learning experiences in addition to the private studio work. Department Head
The preparatory department has been a part of the CollegeConservatory of Music since its founding.
Amy Dennison. superb ensembles and excellent facilities. offers bachelor’s. Board examinations before a panel of area faculty
room and Board (www. guitar. harpsichord.4
university of CinCinnati College-Conservatory of MusiC
tional performance halls plus several other performing spaces. the Music Education Division continues the traditions begun well over a century ago. all orchestral instruments and voice. the Performance Studies Division includes degree programs in classical guitar.145 $24.799–$7.346 $25.903 per year* *Includes $100 on your Bearcat Campus Card. Interim Division Head
Few schools offer more comprehensive training programs for opera singers. required of all performance majors. master’s and doctoral degrees. Division Head
Offering students a variety of performing opportunities and study with a renowned faculty.278 per year $3. summer projects and professional internships. Through an outstanding artist-faculty. Students are exposed to a wealth of learning opportunities. challenging curriculum.562 $13. Noncredit dance lessons are also available. hr. theory. master classes.686 $442/cr.711–$3.
opera/Musical theatre/Drama/arts administration (oMDa)
Alan Yaffe. major productions. For further information and a brochure describing complete offerings.
occur annually or semi-annually. which is a debit card feature of the university ID card.uc. composition.
uc.0 scale by the completion of the first year of study. please contact your local insurance agent.0 on a 4. 3. refundable at the completion of the quarter or academic year.html. Scholarships from various endowments designated for specific areas of study are awarded each year. Maintenance of a cumulative grade point average of 3. academic record. students who are pursuing a double major or a double degree program or who have had a change of major after the sophomore year will be considered for fifth-year awards.0 on a 4. development and ability in that area. Current CCM students who wish to be considered for aid on the basis of financial need must apply to the University Student Financial Aid Office. If there are questions. Be sure that your instrument(s).edu/costs. New applications and new financial aid forms must be filed each year by March 1 for need based aid. others are awarded by committee action on the basis of talent and merit. Transfers and returning students: must maintain a cumulative grade point average of 3. which range from partial to full instructional fees. Freshmen: must maintain a cumulative grade point average of 3. organ practice rooms. The registration and completion of at least 12 credit hours each quarter of the academic year. visit the Student Financial Aid Web site at www. other forms of financial aid.university of CinCinnati College-Conservatory of MusiC
student Health insurance (www.financialaid.449 per year All rates are subject to change by the Board of Trustees.med.0 scale at the completion of each quarter. Satisfactory performance for the faculty through board appearances in the student’s area. a transfer applicant who is currently receiving financial assistance cannot be considered for a CCM scholarship without permission from the head of the department from which the transfer is being made. Student loans and federal College Work-Study
Scholarships are awarded for one year and are renewable subject to the following conditions: 1.
FInAnCIAl AID AnD SCholARShIpS
General University Financial Aid (Need Based)
All applicants for financial aid based on need MUST apply to the University Student Financial Aid Office. piano major/concentration practice rooms.
While assistantships and scholarships are awarded to qualified CCM students. Applicants must complete all university and CCM admissions procedures for awards.0 on a 4.. the acceptance of financial aid or scholarship by a candidate is considered a declaration of intent to attend the institution. For general university scholarships the application deadline is December 1. Similarly. are covered for loss or damage by personal or family insurance. General information concerning scholarships.
University insurance does not cover personally owned property. CCM scholarships are not awarded to students whose enrollment exceeds four years. For more information. and procedures for filing applications may be found in the university’s viewbook distributed by the University Office of Admissions.edu/uhs)
Student Only $1. music.
CCM Scholarships (Talent/Merit Based)
All applicants to the College-Conservatory of Music are automatically considered for a scholarship based on ability as demonstrated at the admissions audition/interview and academic review.0 scale. etc. However. and each candidate will be so informed.
Participants in choral ensembles must obtain a “CCM Choral Folder” with a $10 deposit.
Students currently are required to pay a deposit of $20 for the use of keys to certain locked areas in CCM buildings.uc. 2. contributing reasonable time and service. there are other sources of aid which should be investigated. Some of these scholarships are determined by competition each spring. Normally. and service. and evidence of continued progress. It is also expected that students demonstrate desirable citizenship in the academic community of CCM. In accordance with the Code of Ethics of the National Association of Schools of Music. Areas include: large-instrument storage rooms. The code further declares that such a student may not consider any other offer from an institutional member of the NASM/NASD/NAST except with the expressed consent of the music executive of the first institution. Students who do not receive College-Conservatory of Music scholarships as freshmen will continue to be eligible and may be recommended for scholarship at any time while pursuing a degree at CCM. and certain classroom areas for graduate teaching assistants.
Dandois Memorial Prize in Oboe David Davidson Choral Conducting Scholarship Fund Madam Karin Dayas Memorial Scholarship Fund Elena DeMarco Memorial Scholarship Fund Emilie M. P. Applicants are urged to apply for loans and workstudy at the same time they are seeking scholarships or assistantships.E. The scholarships are then awarded by the CCM Graduate Admissions and Awards Committee. Applications and information must be obtained directly from the University Financial Aid Office. and Jane D. The graduate assistantships are then awarded by the CCM Graduate Admissions and Awards Committee. Dumler Scholarship Fund in Violin Electronic Media Scholarship Fund Engel-Lehman Scholarship for Musical Theatre Mary Epperson Scholarship Fund Mary R. and Mollie Drake Scholarship Fund Martin G.280–$9. Wayne Ferguson Performance Award for Drama May Estel Forbes Scholarship Fund Friends of CCM Alumni Scholarship Jane Froman Scholarship Fund Eugenia Funch-Conrad Scholarship Fund
University Graduate Scholarships. Baker. University Graduate Assistantships.6
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programs are awarded by the University of Cincinnati’s Student Financial Aid Office and are based solely on financial need. These university-sponsored scholarships provide for partial to full instructional fee and nonresident surcharge of the student and are usually awarded for three quarters plus the subsequent summer quarter on the basis of scholarly achievement and performing ability.
recommendation for an assignment. awards and Prizes
Sam Adams Award in Opera Performance Jamey Aebersold Scholarship in Jazz Dorothy B. Artman and Margaret Straub Scholarship in Theatre Design and Production Arts Marathon Scholarship Virginia M. Cope Family Scholarship Fund Martha Moore Crabtree Alumni Scholarship Fund Carl H. A personal interview in Cincinnati is generally required for consideration. Dumler Scholarship Fund in Composition Martin H. and Pearl E. applicants must be admitted unconditionally (minimum 3. Bartlett Scholarship Award Jane M. Case Scholarship Fund Cincinnati Woman’s Club Awards Clef Music Club Award Rildia Bee O’Bryan Cliburn Scholarships CNN/Time Warner Cable Intern Award P.
scholarships. brass. Dieterle Memorial Scholarship George A. Battaglia Scholarship Fund Clara and Bertha Baur Memorial Scholarships Laurie Beechman Memorial Scholarship Ben Bernstein Merit Scholarship William D.100 depending on the level of study. Dieterle Memorial Scholarship Marion Lacour Dowd Scholarship in Dance Downey Memorial Music Scholarship Fund Donald D. Albers Memorial Fund William H. Sr. The graduate assistantship also includes payment for the quarterly general fee. applicants must be admitted unconditionally and receive a specific
. Evans Scholarship Fund H. Dahlgren Endowment Fund Marcel J. [Students holding university graduate scholarships also must pay the general fee each quarter and any other fees assessed by the university. These awards cover full tuition plus a maximum stipend of $8. Albers Memorial Fund John Alexander Scholarship Award Mary Elizabeth Andrews Scholarship Award Mae Hagner Armstrong Scholarship Neil R. Music Scholarship Walter E. Graduate assistantships may be available in the following areas: Theory (teaching) Composition (teaching) Music History (teaching) Choral Conducting Orchestral Conducting Wind Conducting Jazz Studies Music Education (teaching) Instrumental Techniques (teaching) string. March 1 is the priority deadline.0 GPA) and receive positive recommendation from the faculty in the major program of study. Artman and Margaret Straub Scholarship in Voice Neil R. and Henry G. It is highly recommended that all CCM applicants apply for need-based aid as soon as possible. woodwinds Arts Administration Theater Performance Theater Design and Production Opera Coaching and Accompanying Studio Accompanying (vocal and instrumental) Musical Theatre Accompanying Piano Organ Classical Guitar Opera Production Administrative Assistants All Orchestral Instruments In order to be considered for a graduate assistantship.] In order to be considered for a scholarship. Black Memorial Prize in Piano Bob Bodley Memorial Scholarship Fund Ethel Ward Boeckh Scholarship in Voice Arthur and Beatrice Bowen Cello Scholarship Frank Brown Memorial Scholarship Fund Mildred Schaefer Brown Scholarship Rose H.
university of CinCinnati College-Conservatory of MusiC Irma Steinle Gartelman Memorial Fund for the Education of the Handicapped Geraldine B. Gee Scholarship Fund Katherine Bauman Geis Memorial Fund Oscar Ghiglia Scholarship Award in Classical Guitar Ernest N. Glover Memorial Scholarship Adelene P. Gorno Memorial Scholarship Gorno Memorial Scholarship/Competition in Voice and Piano Romeo Gorno Memorial Scholarship in Piano Mae C. Grannis Scholarship Fund Catherine Guthrie Scholarship Fund Nita Gwyn Memorial Award in Broadcasting Alma M. Hall Scholarships David N. Hall Scholarship Mildred W. and Joseph B. Hall Scholarship Loan Vaughan R. Hedrick Performance Award Michael J. and Katherine Baum Hilberg Scholarship Hugh Hoffman CCM Scholarship Fund Scott Huston Memorial Scholarship Fund Mary Ann Hydell Scholarship Erik Kahlson Memorial Scholarship Fund William A. Kaiser Memorial Scholarship Fund Frank Katzenberg Memorial Scholarship Fund Lucille Kehoe Memorial Scholarship Fund Dorothy Kemp Scholarship Fund Dean Paul Kenty Memorial Scholarship Theodore and Talitha Kluver Scholarship William and Dorothy Kneup Scholarship Fund William H. Koch Bassoon Scholarship Fund William H. Koch Scholarship Fund Robert Korst Scholarship in Voice Bertha Krehbiel Scholarship in Piano Frank H. Kunkel Scholarship W. Harold Laster Outstanding Academic Achievement Award Corinne Moore Lawson Scholarship Fund Charles Locke Scholarship Fund Otto Luedeking Scholarship Fund Mattioli Scholarship Fund Amanda May Memorial Scholarship Jessie Strass Mayer Memorial Scholarship in Violin Camilla Fry McElroy Music Scholarship Fund Stanley and Agnes McKie Scholarship Fund David McLain Memorial Scholarship Fund Ruby Mercer Endowed Fund for Opera Awards John L. & Mary P. Meretta Piano Scholarship Fund Carl Meyer Memorial Scholarship in Piano Harold and Rose Mittlestat Scholarship Mu Phi Epsilon Achievement Award Mu Phi Epsilon Alumnae Chapter Award Mu Phi Epsilon Senior Achievement Award Multimedia Production Scholarship Award Emylou Joseph Newburger Scholarship Fund Donald H. Nieman Memorial Fund J. Brett Offenberger and Douglas E. Duckett Scholarship in Musical Theatre Ohio Federation of Music Clubs Award Dale P. Osborne Memorial Scholarship
Paramount Picture Production Intern Award Phi Mu Alpha Student of the Year Prize Robert Fulton Powell Memorial Fund Presser Foundation Scholarship Awards Procter & Gamble Production Award Procter & Gamble Programming Student Exchange Award Rader Family Dance Scholarship Redna Production Award Clarence R. Reeves Scholarship Fund Jean S. Reis Scholarship in Piano Dorothy Anne Riddinger Scholarship Mae Rinehart Scholarship Fund Helen Rosenthal Scholarship Fund Marie Runkle Scholarship for Voice Nellie Saltsman CCM Alumni Loan Fund Dino Santangelo Memorial Scholarship Eric Schiff Scholarship in Honor of John Eric Anderson Hobart A. and Mary Edith Schoch Memorial Scholarship Fund Andres Segovia Scholarship Award in Classical Guitar Jennie Klose Seybold Memorial Scholarship Fund Freda K. Shocket Memorial Scholarship Fund Sigma Alpha Iota Alumnae Chapter Awards Sigma Alpha Iota Scholarship Fund Herbert Silbersack Scholarship Fund Frank Simon Scholarship Fund Gayle Ingraham Smith Scholarship for Strings Sara B. and Frederick A. Smith Scholarship Endowment Fenton D. Snodgrass Memorial Fund Dorothy Richard Starling Scholarships Selma M. and Max W. Stecker Scholarship Fund Frederick and Betty Wald Stix Scholarship Fund Allen Stout Memorial Fund Strader Awards in Broadcasting Strader Organ Scholarships Italo Tajo Memorial Opera Scholarship Fund Corwin H. Taylor Fund in Music Education Elizabeth Medert Taylor Scholarship Fund Laura Mae Titus Memorial Fund Margaret H. Topie Scholarship Fund Norman Treigle Memorial Scholarship in Opera James Truitte and Lester Horton Scholarship Fund Thirtieth Anniversary Award in Classical Guitar Jack Watson Award in Music Administration Jack M. and Corinne R. Watson Scholarship James Leslie Watson Memorial Award in Broadcasting Maxie McLaurin Watson Memorial Fund Robert Weede Scholarship Prize Joseph and Helen Weinberger Scholarship Fund Bertha Langhorst Werner Scholarship Fund Dell Kendall Werthner Memorial Fund Marian L. Westerfield Memorial Scholarship Andrew White Endowed Scholarship Fund Stephen H. Wilder Fund Louise S. Wilshire Fund Earl Wrightson Award in Musical Theatre Helena Billings Wurlitzer Scholarship in Collaborative Piano Frances Perin Wyman Memorial Scholarship
university of CinCinnati College-Conservatory of MusiC 1988 but the foundation has continued to generously support programs in CCM. The Patricia A. Corbett Distinguished Chair in Musical Theatre. Believed to be the first endowed professorship in Musical Theatre in the nation, this chair was established in 1991 through the generosity of The Corbett Foundation. The chair provides assistance in the areas of student scholarships, guest professional directors, choreographers, casting directors who will participate in master classes, support of student trips for auditions, and Musical Theatre workshop productions. The Patricia A. Corbett Distinguished Chair demonstrates Mrs. Corbett’s lifetime devotion to the arts and specifically her love of Musical Theatre. Geraldine B. Gee Chair in Viola. Geraldine B. Gee was a student in the Cincinnati Conservatory of Music where she earned her bachelor of music degree in violin in 1945 and her master of music in viola in 1946, studying with violists Peter Froelich and Paul Katz. She went on to a career as principal violist with several major orchestras. Realizing that she would have been unable to afford her musical education without assistance, it is notable that the scholarships provided by the Geraldine B. Gee endowment carry on this tradition of support. The Eminent Scholar Chair in Chamber Music. Established under the auspices of the State of Ohio Eminent Scholar Program, which seeks to bring to selective graduate programs in the state persons of national and international prominence, the Eminent Scholar Chair in Chamber Music serves as a catalyst among the various performance disciplines, inspiring collaboration in the coaching and performance of chamber music, providing leadership in teaching, and performing with student and faculty chamber ensembles both within the state and nationally. The Jean S. Reis Endowment for Theater Design and Production. The trustees of the Corbett Foundation have provided a generous endowment to honor their late vice president and her long commitment to CCM. It is intended to provide assistance for students in stage design, technical production, costuming, makeup, lighting, sound design and stage management in support of the national recognition enjoyed by these programs. The Corbett-McLain Distinguished Chair in Dance. The Corbett Foundation in 1997 provided an endowment to fund this chair honoring Patricia Corbett’s commitment to supporting CCM’s dance program and the memory of David McLain, former head of the dance division and artistic director of the Cincinnati Ballet. The chair provides support for scholarships, guest artists, productions, and a health and wellness initiative. A.B., Dolly, Ralph and Julia Cohen Chair in Drama. Established in 2002 through the generosity of the A.B., Dolly and Ralph Cohen Foundation, this chair provides training opportunities for students in the drama department through
The Wyoming Music Club Award Frederick and Sylvia M. Yeiser Scholarship Fund Noreen Zimmerman Scholarship Award
enDoweD ChAIRS AnD SpeCIAl enDowmentS
The University of Cincinnati College-Conservatory of Music is fortunate to have the following endowed chairs supporting its artistic programs of excellence: The Thomas James Kelly Distinguished Professorship. Through the generous gift of Mr. and Mrs. Louis Nippert, the college-conservatory’s first endowed chair was established. The late Thomas James Kelly (1870–1960) was a longtime member of the voice faculty of the Cincinnati Conservatory of Music with a distinguished record of service to that institution and an impressive roster of former students. Mr. Kelly’s talents and interests extended beyond the walls of the conservatory and led to an equally distinguished record of community service. He was also the director of Cincinnati’s Orpheus Club from 1929 until 1951. His public lectures for the symphony concerts and his lectures on music at the University of Cincinnati were a prominent part of Cincinnati’s musical life for many years. The Dieterle Chair of Music in Memory of George Andreas and Elsa Fischer Dieterle. This chair has been established in the College-Conservatory of Music through the generosity of Mr. and Mrs. Louis Nippert, in memory of Mrs. Nippert’s father and mother. Throughout their lifetime, Mr. and Mrs. Dieterle were deeply interested in all of the city’s musical activities. Mr. Dieterle was an accomplished singer and prominent member of the Orpheus Club for many years. Mrs. Dieterle was a graduate of the University of Cincinnati, class of 1905. The Vocal Arts Center is named for them and their family. Dorothy Richard Starling Distinguished Chair in Classical Violin. Frank M. Starling honored his wife by establishing this endowed chair from the Dorothy Richard Starling Foundation. Dorothy Richard Starling studied the violin as a child and received a teacher’s certificate in violin. In 1920 she was awarded a scholarship by the Cincinnati Conservatory to study with Eugene Ysaye. The following year she received the school’s diploma, cum laude. While studying with Leopold Auer during the years 1922-1925, she played as soloist with many leading symphony orchestras. The J. Ralph Corbett Distinguished Chair in Opera. Through the generosity of Mr. and Mrs. J. Ralph Corbett, this chair is funded from an endowment established by The Corbett Foundation in 1982. Revenues from the endowment also support related activities in opera, such as the Corbett Opera Scholarship program, student audition travel, and the development of an archive for the chair. Mr. Corbett passed away in
university of CinCinnati College-Conservatory of MusiC scholarships, master classes and visits by prominent guest artists. The Cohen family has been associated with UC since the 1960s, when Mrs. Dolly Cohen created an annual Award for Teaching Excellence that today remains a significant UC tradition. One of Cincinnati’s great philanthropists, Dolly Cohen received an honorary doctorate from CCM in 1967. Annual disbursements from the Cohen chair will fund scholarships and awards of excellence in honor of A.B., Dolly, Ralph and Julia Winter Cohen and CCM alumnus and Cohen family friend Danny Scholl. Joseph Weinberger Chair of Acting. Helen Weinberger provided for the funding of this chair, named in memory of her husband Joseph, in her estate. Established in 2002, the Weinberger chair provides instruction in dramatic skills for students in the opera and Musical Theatre programs of CCM. Cross-disciplinary training among drama, Musical Theatre and opera, as well as the direction of these different media, will be a focus of the chair’s activities. The Weinberger name has long been associated with UC through the Helen Weinberger Center for Drama and Playwriting, housed in the College of Arts and Sciences with collaboration from CCM drama.
In addition to the undergraduate summer orientation program of the university, the College-Conservatory of Music requires new students to meet one week prior to the official opening of the academic year. Tests used later in academic and professional counseling are administered to new music students prior to initial registration. Although dedicated to the development of talent in the highly specialized and competitive fields of the performing arts and electronic media, the college-conservatory is genuinely concerned with the complete personality and academic achievement of its students. To this end, special guidance is offered through the college’s advisory system. Each student is assigned a faculty adviser who gives professional, academic and practical counsel and guidance. In addition, students are encouraged to participate in student government as well as the many activities of campus organizations.
Percussion Group Cincinnati
Over the past three decades, Percussion Group Cincinnati has become one of the premiere musical ensembles of its generation. This trio of virtuoso musicians has sparked the imagination of audiences and composers alike with concerts described as “aural and visual delights.” In addition to their daily rehearsal schedule, Percussion Group Cincinnati is committed to a strong teaching tradition — many of their students have gone on to careers in teaching and with major symphony orchestras. Also, a special relationship over the years with numerous contemporary composers has brought about a large body of new and often experimental percussion music which has been written for, dedicated to, or first performed by Percussion Group Cincinnati.
The Undergraduate Tribunal and the Graduate Student Association are the university’s student governing bodies which coordinate campus activities, interpret student opinion, and foster closer cooperation and understanding among students, faculty and administration. The college-conservatory is actively represented with both organizations.
student activities and organizations
Professional Fraternities: The College-Conservatory of Music has chapters of national professional music sororities: Alpha Chapter of Delta Omicron, Alpha-Alpha Chapter of Mu Phi Epsilon, Delta Chapter of Phi Beta, and Eta-Iota Chapter of Sigma Alpha Iota. In addition, the national honorary sorority for college band members is represented by Theta Chapter of Tau Beta Sigma. The national music fraternity for men, Phi Mu Alpha Sinfonia, is represented by Eta-Omicron Chapter, and the national honorary fraternity for college band members is represented by the Upsilon Chapter of Kappa Kappa Psi. NBS/Alpha Epsilon Rho, The National Broadcasting Society; AES, The audio Engineering Society; and AWC, The Association for Women in Communications, are professional student organizations designed to enrich the electronic media curriculum. Electronic media majors are encouraged to meet and talk with industry professionals, take part in product demonstrations, engage in professional recording opportunities, and/or participate in local, regional and national conventions. These professional student organizations are encouraging career development, and they provide for leadership opportunities for electronic media majors. All organizations are open to electronic media majors.
Cincinnati Children’s Choir
The Cincinnati Children’s Choir has performed with the Cincinnati Symphony Orchestra, the Cincinnati Pops, the Vocal Arts Ensemble and the Kentucky Symphony Orchestra. The choir regularly performs in Cincinnati’s May Festival and has recorded with the Pops on the Telarc label. CCC has toured Germany, Austria, the Czech Republic, England, Canada and the United States, maintains its own concert series, and has performed at state, regional and national conventions for music educators. The nationally respected ensemble regularly performs with CCM choirs and orchestras and offers a lab opportunity to aspiring conductors.
at a scheduled board examination. Their grade point average for any quarter falls below 3. The student bringing the appeal and the college itself are each asked to nominate an individual to sit on the Appeals Committee. Their major applied area average falls below the grade of B for any quarter.
The records of students on probation will be reviewed each quarter by the director of graduate studies and representatives of the graduate faculty. The following conditions will render students subject to suspension or dismissal: 1. Students’ nonacademic activities may be restricted and their course load reduced as a result of this action. Because of the time consumed in the appeal process. 5.edu/sas.0. 3. Failure to achieve a 2. will review the basis for the student’s appeal and. the library. a student’s status will remain as indicated in the original decision until the Appeals Committee renders its decision and forwards it to the associate dean for academic affairs for appropriate action. The latter consists of two annual appointments from the faculty at large.0 grade point average during the quarter that students have been on academic or performance probation.
suspension and Dismissal
The records of students on probation will be reviewed at the end of each quarter by the college’s Performance Evaluation Board (probation committee). and the Office of Student Affairs and online at www. 4.
The College-Conservatory of Music believes that students’ rights of “due process” should be assured. 3. 2. Any student has the right to appeal any academic decision adversely affecting his or her status in the university. CCM students are expected to be familiar with and to observe the code. as well as student representatives from the CCM Tribunal and the Graduate Student Association. 3. Failure to achieve a 3. 2. When their performance does not meet the minimum standards following evaluation by a majority of their faculty in the major area at a scheduled applied board examination.0 average for the quarter in which they are on probation. at a scheduled board examination. The chair.10
university of CinCinnati College-Conservatory of MusiC 1. A negative recommendation from the combined faculty within the major area. Failure to raise cumulative quality point average to 2. The determination by the faculty that the students’ grade point averages in any given quarter are so low that their continuation would be detrimental to their best interests and/or the university.
student Code of Conduct
The University of Cincinnati Student Code of Conduct defines behavior expected of all University of Cincinnati students. Students shall be placed on performance probation when a majority of the faculty in the major area. Students considering an appeal should contact the chair of the Appeals Committee immediately through the associate dean for academic affairs. or when the cumulative grade point average.
Graduate students in the college-conservatory will be placed on academic probation when: 1. The code helps assure protection for the rights of the entire campus community while promoting an academic environment conducive to learning. Failure to achieve a 2.uc. Failure to achieve a 3. the student has two weeks in which to file a written appeal with the chair of the Appeals Committee. determine that the students’ performance does not meet the minimum standards for which they are being examined. a faculty member appointed by the associate dean for academic affairs. determine that the students’ performance does not meet the minimum standards for which they are being examined. 2.
Students shall be placed on academic probation when their grade point average for any single quarter falls below 2.0. A student dismissed or suspended is not eligible to reenroll for the quarter in which the appeal is pending. Copies are available in the college office.0 grade point average for any three quarters of graduate work in either the performance area or cumulatively. if appropriate. The determination by the faculty that students should be on performance probation at two successive board examinations. After such a decision. The following conditions will render students subject to suspension or dismissal:
. Students shall be placed on performance probation when a majority of the faculty in the major area. Violations of the Student Code of Conduct may lead to disciplinary procedures and sanctions up to and including dismissal.0. at the end of any given quarter. call a meeting of the Appeals Committee.0 average for any three quarters of undergraduate work. Formal notice of this action will be given to the student and appropriate persons. falls below 2.0.
or family emergencies. 72 12 12 48* 144 * Suggestions for electives: English as a Second Language. an application for readmission must be filed.) Forms are available through the Office of the Associate Dean for Academic Affairs. with one. viola. electronic media recording.
undergraduate Performer’s Certificate in violin. All students completing bachelor of music degree programs except those in music theory. These requirements are embedded in each of the curricula listed under each major. but we are not responsible for providing rehearsal stands. medical. A regular leave of absence of one full quarter.
Class attendance is the responsibility of the individual student.
Students must perform at the annual performance evaluation boards according to departmental guidelines. highly gifted students with exceptional professional promise. it is their responsibility to notify the instructor immediately.
Leaves of absence
Students within the college occasionally receive opportunities for professional employment which necessitate their absence from school responsibilities for varying periods of time. and the instructor is free to penalize excessive absence. In applied music.uc. All baccalaureate students must have a minimum grade point average of 2. may also be granted. If approved. The minimum residency requirement for undergraduate students is three quarters with a minimum of 15 quarter credit hours each quarter. who do not easily fit into our existing undergraduate programs. possibly two recitals dedicated to chamber music as discussed with the major teacher and advisor. additional chamber music. Requests must be submitted in writing to the Office of the Associate Dean for Academic Affairs. students are not entitled to make-up lessons. No unexcused absences will be permitted for private lessons. CCM will be responsible for providing black stands for all concerts. music history or music theory courses. Cello and Double Bass
This certificate is designed only for very few. music history or music education. the student should contact the Office of the Associate Dean for Academic Affairs immediately. with a maximum of one calendar year.edu/ gened. In the case of personal. Minimum Requirements Applied Study in major instrument Ensembles Chamber Music Electives Qtr. of course. All undergraduate students must fulfill the general education requirements as established at this Web site: www. the student must obtain permission to accept such employment and be granted a short-term leave of absence. due to outside engagements or competitions or a desire to achieve a certificate and not an undergraduate degree. (Short term is defined as an extended period of time within a quarter and less than a full quarter in duration. always has the option to cancel the registration or to withdraw from school in order to accept professional employment. Unexcused absence from such a regular examination may therefore result in an F for that examination. If this notice is not given. An instructor is under no obligation to provide a substitute or make-up examination for an unexcused absence from a regularly scheduled examination. other languages. ensembles and student teaching. If students have a valid excuse. Unexcused absence from a final examination will result in an F for the course.0 in order to graduate. performance management. Four recitals (one per year). shall present an acceptable senior recital in public to be graded by members of the faculty. it may not reflect some subsequent revisions in the programs.
At the time this Bulletin is published. Hrs. and the student wants to maintain status as a currently registered student.university of CinCinnati College-Conservatory of MusiC
Music stand Policy
Each music student is required to bring his/her own folding stand and be responsible for providing his/her own stand for any rehearsal. and an audition or interview may be required In those cases where employment is temporary and shortterm. It is the students’ responsibility to meet with their private instructor at the beginning of each period of enrollment to arrange for lesson times. A student. Students should always check with their advisers for up-to-date changes which have been approved by the CCM Academic Council. Students with a valid reason for nonattendance at a scheduled lesson are required to give the instructor 24-hour notice except in emergencies. regular attendance is required. as partial fulfillment of degree requirements.
An official high school transcript must be submitted. 4. PO Box 210627 Cincinnati. Princeton NJ 08540. music theory.
4. After you are accepted. If you submit a PTE (Pearson) score for this requirement. 2. Former students returning to CCM must submit the CCM application for readmission and the university application for admission.0 scale) if from a four-year institution. Music and dance applicants are required to re-audition after an absence of one year or more. music history. Scores from either the Scholastic Aptitude Test (SAT) of the College Entrance Examination Board.
. The transcripts must be translated into English and be officially certified with a seal that it is an accurate and true translation. All international students are required to submit school transcripts that show subjects studied and grades for each of the four years of study prior to high school graduation. including one unit of theory. Music. In order to be considered for a place in the following year’s class.5 minimum score on the IELTS test. students are also required to provide a high school diploma. send official verification of available funding (at least $37. Because of differing school systems. Must satisfy freshman requirements noted above.
requirements for admission
Applicants for entrance to a degree program must meet the following requirements. 3.0 scale) if from a two-year institution. using the recommendation form or professional letters. applicants must follow the deadlines as indicated for new students. If these instructions are not followed.uc. drama or dance audition to determine satisfactory potential for these programs. or from the American College Testing Program (ACT).
1. etc. please contact the CCM Admissions Office for details. Intra-university transfer applicants must file a CCM application and satisfy all freshman and transfer requirements as outlined below. Application deadline is December 1. In addition. Box 877. This must indicate the amount of money which the student will have to spend while attending the University of Cincinnati.248 subject to change). An audition and an interview are required of music education applicants. and must be from a bank official.12
university of CinCinnati College-Conservatory of MusiC
ADmISSIon to the College
When to apply
Admission to the College-Conservatory of Music is competitive. if only three years were completed in a high school and the fourth year in a middle school. (if required) 5. 2.5 GPA (on a 4. Graduation from an accredited high school.
In addition to the requirements mentioned earlier. leaving certificate. theater design and production applicants is required. An interview for composition. See Application Handbook for current fee. except for the Musical Theatre program which is November 1.edu/admissions/ application. and will complete a college change application.0 or better grade point average. the transcript will be returned to the student. Forward proof of English proficiency through the Test of English as a Foreign Language (TOEFL).html First time applicants are required to submit an application fee. 3. Proof of English Proficiency can also be provided by a 5. or a 2.
To view the current Application Handbook and additional admission materials. along with the application for admission. Should have a minimum of a 2.8 GPA (on a 4. Must submit complete official transcripts of all college work. 2. Recommendation. TOEFL applications can be obtained from TOEFL. generally in the top one-third of the graduating class. * Students deficient in no more than two of these areas may still be admitted but will be expected to complete these requirements at UC. Sixteen units are required including:* College Prep English 4 units College Prep Mathematics 3 units Science 2 units Social Studies 2 units Foreign Language 2 units Fine Arts 1 unit Additional college preparatory subjects 2 units 3 units of music ensembles or courses are highly recommended. please go to http://ccm. The University of Cincinnati has strict requirements in this area and a minimum score of 66 (internet-based). Submit a taped audition by following the procedures stated in “Requirements for a Taped Audition.” 5. preferably during the first year. transcripts of subjects and grades for all four years are required. international students must also adhere to the following instructions. Apply BEFORE December 1 for the following fall enrollment date. directly to the Office of International Services. 515 (paper test) or 187 (computer- based test) on the TOEFL is essential. 1. Selection will be made generally from those with a 3. 3. University of Cincinnati. The admissions process begins after September 1 for entrance in the following fall quarter. Ohio 452210627.
All music performance areas require a senior recital. the recital is considered a failed recital. National Association of Schools of Music. uc. each new and transfer student pursuing a program that requires a primary performance medium must appear before the appropriate Performance Evaluation Board during the opening days of the academic year. international students must make every attempt to obtain financial assistance from their own governments to support studies in the United States.
Students Who Have Left Full-Time Status:
Board and Recital Policy
Bachelor of music students must satisfactorily complete degree-required recitals and boards within one calendar year after leaving full-time status. the faculty requires evidence of growth and accomplishment in performance. At the board. Program faculty have the option of granting the student another opportunity if they deem appropriate. Such auditions are required before a student can be considered to have progressed from one level to a higher level. drama and Musical Theatre majors are heard twice each year at board appearances. If a recital is cancelled after the three-week deadline. CCM does not issue these forms. only extenuating circumstances (e. The studio teacher may not intervene.
geneRAl pRogRAm RequIRementS FoR unDeRgRADuAte peRFoRmAnCe mAjoRS
Initial Diagnostic Board
In addition to the admission requirements listed previously. Periodic examinations for all major. After the three-week deadline. Go online to www. or other properly accredited institutions. credits previously earned with a grade of C or better in liberal arts courses paralleling those in the college-conservatory curriculum generally will be accepted. Transcript evaluation takes place after acceptance and prior to registration. injury. Placement of students initially is accomplished at the beginning of the academic year (see Initial Diagnostic Boards). to be performed in public and evaluated by a faculty committee. To demonstrate the level of development.
. whichever comes later. students should perform the same works as performed at their original admission audition. sudden unavailability of a collaborative artist) are legitimate cause for cancellation. A student is allowed to cancel a degree-required recital up to three weeks before the scheduled recital date.
This diagnostic board permits the faculty to review the students’ performance proficiency at the beginning of their period of study at the college-conservatory. Two failed recitals within a degree program constitute grounds for dismissal from that program. The final decision in such matters rests with the division head.students@uc. Voice concentration students are generally heard twice a year while other concentration and secondary students are heard at least once annually. Some areas may have a junior recital requirement. click on “Apply Now” or contact CCM Admissions at firstname.lastname@example.org. Normally all undergraduate music. Official notification of all funding (from private or government sources) must be forwarded to this university’s Office of International Services. Once the deadline has passed. If they choose new material.
special audition/interview requirements
Please refer to the CCM Application Handbook for all current audition and interview requirements.university of CinCinnati College-Conservatory of MusiC NOTE: Because there are no foreign student loans. or by the end of the first full week of the fall and winter quarters.edu. the student is responsible for performing the recital. All questions regarding the I-20 must be addressed to the Office of International Services (international. it should be at least the same level of technical difficulty as the original repertoire. illness. the I-20 form will be issued only by the Office of International Services.
In the case of transfer students from member schools of the National Association of Schools of Dance. usually during the summer preceding initial matriculation.edu). unless it is to demonstrate extenuating circumstances. After all information has been received and acceptance has been made by the College-Conservatory of Music. and extenuating circumstances cannot be demonstrated. Acceptance of transfer credit in those major music courses specifically required for the respective degree programs will be determined by an appropriate audition or examination. concentration and secondary performance students before members of the appropriate faculty provide regular evaluation of the student’s progress. the National Association of Schools of Theater.
Examination in Performance Study
(Subsequent Board Appearances)
All undergraduate performance degrees conferred by the College-Conservatory of Music signify the development of a level of performance competency.g.edu to receive a printed copy.
Men: black tuxedo. Each faculty member who teaches applied music has implemented a policy that reflects this attitude and has established guidelines for the number of recitals required and the effect on the applied music grade.11. winds. black socks. 6. The student should enroll for applied lessons during the quarter leading up to the recital. All BM students with a major or concentration in wind. 3. register for Freshman Intermediate Piano. Likewise. If you have over six years of piano.14
university of CinCinnati College-Conservatory of MusiC
Any extension beyond these limits is by departmental permission only. black bow tie. as assigned: Philharmonia Orchestra Concert Orchestra
secondary Piano requirements
Secondary Piano is a requirement of the core curriculum for music majors. register for Freshman Elementary Piano. it is expected that students will attend recitals at CCM as part of their overall study at this institution.. Performance of idiomatic jazz piano voicings in six formats in tempo through common harmonic progressions around the cycle of fifths. Harmonization—creation of idiomatic chord progressions and creative harmonic substitutions to accompany a given melody. in case of an overload (excess of 18 hours) ensembles may be taken for zero credit.g. Application of above voicings to assigned tunes utilizing appropriate rhythmic comping patterns. They then must enroll (usually in the sophomore year) in Jazz Keyboard Skills and pass the following requirements: 1. b. as assigned. Performance of a prepared piano arrangement of a tune in the standard jazz repertoire. students with majors or concentrations in strings. If you are a transfer student. white shirt.13) in all keys. Students may audition for any of the ensembles in CCM. the music faculty of the College-Conservatory of Music supports the concept that attending concerts is an essential ingredient of a professional musician’s training. band). register for Freshman Honors Piano. choral.
Concert Dress Code
All students must have the required attire for concert performance (e. and requirements vary with the particular degree or major. Any degree recital given by a student after leaving full-time status must be under the supervision of a CCM faculty member. or should work with the supervising faculty member on a private basis. orchestra. If you have had three to five years of piano. All BM students with a major or concentration in strings must participate in orchestra during each quarter in residence (nine quarters for BA students). set up an audition with the coordinator of secondary piano. black shoes Jazz Studies majors wear jacket and tie for big band concerts and are only required to have a tuxedo if participating in one of the non-jazz ensembles listed below. brass or percussion instruments must be in one of the following ensembles during each quarter in residence (nine quarters for BA students). 2. students must successfully complete each quarter of Secondary Piano. If you have had one to two years of piano. Therefore. Basic undergraduate ensemble requirements may be satisfied by participation in any ensemble listed below: Instrumental Ensembles: Philharmonia Orchestra (16ENSM579) Concert Orchestra (16ENSM575) Wind Symphony (16ENSM582) Wind Ensemble (16ENSM581) Brass Choir (16ENSM571) Jazz Lab Band (16ENSM572) Jazz Ensemble (16ENSM573) Classical Guitar Ensemble (16GTAR670) Percussion Ensemble (16PERC670) Double Bass Ensemble (16DBBS670) Chamber Music Ensemble (16COAC673) Chamber Winds (16ENSM585) Vocal Ensembles: Chamber Choir (16ENSM671) Chorale (16ENSM673) Chamber Singers (16ENSM672) 1. In addition to the minimum ensemble requirements for all undergraduate music degrees. All ensembles carry one hour credit. The course of study is consecutive. Students must enroll in Secondary Piano in their freshman and sophomore years without interruption until all required examinations have been passed.
. 5. plain black dress with sleeves. Students will be given a placement examination during their first week of fall quarter during class time. Students may not enter in the winter or spring quarters.
Jazz Studies Major Requirements
Freshman jazz studies majors must enroll in Secondary Piano and complete the freshman minimum requirements (see previous description). and will be assigned to an ensemble by the faculty. The assignment will be based upon the musical abilities of the student and the musical needs of the college ensembles. 4. Sight reading—application of above voicings to various progressions and compositions.
recital attendance Policy
Philosophically. Performance of all forms of seventh chords with extensions (9.
Ensemble participation is required of most music students of the college. brass or percussion instruments must meet the following requirements: a. black shoes Women: long.
3) Major Performance Study Secondary Piano Study* (16PIAN120) Ensemble Introduction to Conducting (16COND171) Freshman English (15ENGL101. above.edu/ commencement.uc. (For a list of major instrumental ensembles. brass. 2. All BM students with a major in music education must participate in a major ensemble as assigned during each quarter in residence (with the exception of the student teaching quarter). refer to 1b. 2. Ensemble credit will be given to any student participating as an accompanist. All BM students with a major in jazz studies.
Freshman Year Theory I (16MTHC111. d. 3) Language Orientation (16VOIC101. 2. A minimum of one year in residence as a full-time student is required of all students wishing to apply for any degree awarded by the College-Conservatory of Music. Upperclass Years Additional Requirements Voice Major Performance Study Secondary Piano Study (16PIAN220) Vocal Repertoire (16VOIC331. 3) Elementary French (15FREN111. 6 6 6 6 3 27
Each candidate for a degree must apply online at www. 49 27
BACheloR oF muSIC pRogRAmS
All students admitted to bachelor of music degree programs (except for Jazz Studies majors)follow a basic core curriculum during their freshman year. 6 6 6 9 3 3 1 6 9 49
* Class and/or private piano study determined by a secondary piano audition during orientation weeks. Special requirements: All required music courses must be completed with a grade of C.or better. 2. Hrs. 3) Elementary Italian (15ITAL121. Hrs. 2) Academic Elective(s) Qtr. A maximum of three hours of ensemble credit will be granted to undergraduate music education students for participation in either men’s or women’s chorus at the discretion of the Music Education Division. 2. The core curriculum enables the faculty to evaluate the potential of each student for a career in music. all students will be reviewed to determine eligibility for continuance in the declared major. 12) Music History and Literature II (16HILT211. Each student is required to successfully complete 12 credit hours per quarter to be considered a full-time stu-
. If a student fails to make this application. During the spring quarter of the first year of study. 3) Vocal Pedagogy (16VOIC531. 2. the university will not be responsible for the student’s graduation.
36 3 6 8 6 9 9 9 6 4 9 6 9 2 198
Further requirements: 1. 7) Theory III(16MTHC311. 2. 6. all wind. 3) Intermediate Composition (15ENGL289) Qtr. Hrs. 2. b. junior and senior years. Please refer to the specific major requirements. 3) Oratorio (16VOIC541. 2.) 3. 2) Music Electives Ensembles (16ENSMxxx) Academic Electives Electives (any area) Qtr. 7) Music History and Literature I (16HILT111.university of CinCinnati College-Conservatory of MusiC Wind Symphony Wind Ensemble Jazz Lab Band Jazz Ensemble c. 2. Freshman Year Core Curriculum. In addition. Some BM programs require a second ensemble during each quarter of residence. string and percussion concentrations must perform for two quarters in a choral ensemble as assigned.
Core Requirements Core Curriculum. 3) Musicianship II (16MTHC215. 6. see note under jazz studies curriculum. 3) Musicianship I (16MTHC115. The following ensembles are available to CCM students for elective credit only: University of Cincinnati Men’s Chorus University of Cincinnati Women’s Chorus CCM Horn Ensembles CCM Trumpet Ensembles CCM Trombone Choir Exceptions: a. 3) Introduction to Opera (16VOIC431. 2. all bachelor of music students must complete the following courses: Upperclass Years Theory II (16MTHC211. During the sophomore. 2. 3) Elementary German (15GERM111.
A class is taken as “Audit” does not count toward the 12 credits required to remain at full-time status. 2) Figured Bass Playing and Improvisation (16MTHC515. 2. 2. 49 3
Further requirements: In addition to the senior recital. Successful completion of a course is defined as having earned a grade of C. 3) Accompanying/Chamber Music II (16PIAN321.16
university of CinCinnati College-Conservatory of MusiC Eighteenth-Century Counterpoint (16MTHC505.or above in a required class. 2. Hrs. 4. 5. Upperclass Years Core Curriculum Additional Requirements Organ Major Performance Study Liturgical Organ Playing (16ORGN521. 2. 2. 2. 3) Accompanying/Chamber Music I (16PIAN221. 11†. 7) Secondary Performance Study Music Electives Ensemble Academic Electives Electives (any area) 6 4 6 3 8 6 36 9 199
dent. 3) Organ Pedagogy (16ORGN535. 6) Orchestration (16MTHC351. 2) Orchestra Second Ensemble* String Pedagogy** String Repertoire (not required for harp) Harp Seminar (for harp majors only) Orchestra Repertoire (not required for harp) Music Electives 8. 2.
Freshman Year Qtr. he or she is subject to dismissal from the program. 2. If by the end of the sophomore year a voice major has not successfully completed the required freshman courses. 3) Music Electives Ensemble (16ENSMxxx) Chamber Music (16COAC673 or 674) Academic Electives Electives (any area) Introduction to the Organ (16ORGN570) Piano Technology for Pianists (16PIAN621)
36 6 3 3 6 14 3 6 27 9 1 2 192
36 6 9 6 6 6 6 3 6 27 9 6 202
Freshman Year Core Curriculum Second Ensemble Upperclass Years Core Curriculum Additional Requirements Major Performance Study Secondary Piano Study (16PIAN220) Orchestration (16MTHC351. Hrs. Anyone who does not successfully complete 12 hours in two consecutive quarters is subject to dismissal from the program by the voice faculty. the undergraduate piano major must perform a public junior recital. Every voice major is expected to be a full-time student. 3) Organ Repertoire (16ORGN531. Core Curriculum 49 Secondary Applied Study for organ majors may be piano or harpsichord. Upperclass Years Core Curriculum Additional Requirements Piano Major Performance Study Piano Repertoire (16PIAN331. the student is subject to dismissal from the program. 3) Sixteenth-Century Counterpoint (16MTHC501. 2. 3) Keyboard Harmony for Organists (16ORGN511. 3) Introduction to Piano Pedagogy (16PIAN431. 2. 7) Secondary Piano or Harpsichord Study Ensemble Academic Electives Music Electives Electives (any area)
Freshman Year Qtr. Hrs. 6. 3.
Freshman Year Qtr. Core Curriculum 49 Secondary Applied Study for harpsichord majors may be in any applied area. 2. Core Curriculum 49 Piano majors receive 12 credits for applied music during their freshman year and do not study secondary instruments. If a “Withdrawal” from a class takes a student below the required 12 hours for two consecutive quarters. 3) Choral Conducting (16COND521. 14*** Qtr. 2)
36 3 6
36 3 4 9 9 6 6 12 3
. Upperclass Years Core Curriculum Additional Requirements Harpsichord Major Performance Study Keyboard Skills (16PIAN211. Hrs. 6. 3) Organ Repertoire (16ORGN541.
Hrs. 3) 6 Musicianship I (16MTHC115. Classical Guitar Ensemble required. 111. *** For double bass only.
. Core Curriculum 49 Classical guitar majors receive 12 credits each year for performance study and do not study secondary instruments during their freshman year. ** Not required for double bass or harp. 2. 211. 49
* Jazz piano majors do not take Secondary Piano Study or Jazz Keyboard Skills but take six additional hours of music electives instead. 2. and Percussion Curriculum
Freshman Year Core Curriculum Upperclass Years Core Curriculum Additional Requirements Major Performance Study Secondary Piano Study (16PIAN220) Orchestration (16MTHC351. Hrs. the needs of the performing groups. A lack of progress toward fulfilling course requirements or board requirements will result in dismissal from the program. 2. 7) 6 Theory II (16MTHC221. Consult the Classical Guitar Handbook for specific information on the chamber music requirement. 2. and the amount of rehearsal and performance time involved in each group. 3) Classical Guitar Pedagogy (16GTAR551. 2. Hrs. Continuation in the program is subject to annual review by the department faculty. ** Woodwinds & brass take 15 hrs. 2. Recording and Technology Electives 6 The Business of Music (16JZST551) 3 Jazz History (16HILT544. 3) 6 Musicianship II (16MTHC215. 2. 2. Major Applied Study (16XXX100) 9 Major Applied Study (16XXX200) 12 Major Applied Study (16XXX300) 12 Major Applied Study (16XXX400) 12 Secondary Piano Study (16PIAN120) 3* Jazz Keyboard Skills (16JZST511. 3. 6) 24
36 6 9 3 3 2 2 2 6 6 6 33 9 199
Further Requirements: In addition to the senior recital. † For harp only 27 5 195 Freshman English (15ENGL101. Brass. 2.II (16JZST521. 2) Music Electives Major Ensemble Instrumental Ensemble Academic Electives Electives (any area) Qtr. 6.university of CinCinnati College-Conservatory of MusiC Academic Electives Electives (any area) * To include six credit string quartet requirement.
Jazz studies Curriculum
Required Courses Qtr. Hrs. Upperclass Years Core Curriculum Additional Requirements Guitar Major Performance Study Secondary Piano Study (16PIAN120. 27
* Percussion majors take Percussion Ensemble for 12 hrs. 6. 6) 6 Ensembles (16ENSMXXX) with Jazz Combos (16JZST525. 3) Music Electives Academic Electives Electives (any area) Qtr.
36 3 4 17 9 6–12* 36 9–15** 202
Classical Guitar Curriculum
Freshman Year Qtr. the undergraduate classical guitar major must present a public junior recital. 5. 7) 6 Music History and Literature (16HILT. 2) 6 Electronic Music. 3) 12 Jazz Improvisation (16JZST501. 3) 6 Jazz Theory I (16JZST514) 2 Jazz Theory II (16JZST515) 2 Jazz Arranging for Small Ensemble (16JZST516) 2 Jazz Composition/Arranging for Large Ensemble I. Students are assigned by the faculty to performing groups (large ensembles and/or combos) each quarter depending on the abilities of the student. 2) Intermediate Composition (15ENGL289) Introduction to Conducting (16COND171) Academic Electives Music Electives Electives (any area) 6 3 1 27 18* 3 202
Woodwinds. Further Requirements: 1. 3) 3* Theory I (16MTHC111.220) Classical Guitar Ensemble (16GTAR670) Choral Ensemble Classical Guitar Chamber Music (16GTAR550) Managing a Professional Career (16INTR610) Rhythm and Eurythmics (16MTHC650) Introduction to Alexander Technique Classical Guitar Repertoire (16GTAR531.
Freshman Year Qtr. or Composition Electives Theory or Composition Electives (16MTHCxxx) Ensemble (16ENSMxxx) Foreign Language Academic Electives Electives (any area) Qtr. Music History curriculum
Majors in theory. Hrs.3) Score Reading (16MTHC521. A lack of progress toward fulfilling the requirements of a degree or a lack of demonstrated potential will warrant dismissal from a particular degree program. Core Curriculum 49 Composition Major Study is considered synonymous with Major Performance Study.2) Senior Research (16MTHC431. Upperclass Years Core Curriculum Additional Requirements Secondary Performance Study (three years) Secondary Piano Study (16PIANxxx) 16th-Century Counterpoint (16MTHC501.6) Orchestration (16MTHC351. Theory. Hrs. Hrs. 3. It is recommended that 27 of the academic elective credits to be taken in the fields of history. 2.3) Physics of Sound and Music (Acoustics) (15PHYS133) Secondary Piano Study (16PIANxxx) Composition Concentration (16MTHCxxx) Music History and Literature Electives (16HILTxxx) Ensemble (16ENSMXXX) Foreign Language Academic Electives Electives (any area) (see note below)
27 Qtr. 2.3) Post-1890 Analysis (16MTHC611. However. Core Curriculum 42 Music history majors are not required to take Introduction to Conducting.Hrs. Core Curriculum 43 Theory majors are not required to take Major Performance Study. 1.2) OR 18th-Century Counterpoint (16MTHC505.
Freshman Year Qtr. four years of performance secondary are taken in lieu of the applied major. Prior to the beginning of the junior year each music education major will select an area of specialization and take specific courses relating to that specialization (choral/general music or instrumental music) during the junior and senior years. 2.5 after the freshman year.2. 3) Choral or Instrumental Conducting (16CONDxxx) Secondary Piano Study (16PIANxxx) Ensemble (16ENSMxxx) Academic Electives Electives (any area) Qtr. or a performance music major. and art history. 2) Music History Electives (16HILTxxx) History. and music history are subject to the following stipulations: 1. Continuation in the program is subject to the above criteria as well as annual review of each student by the divisional faculty. 2) OR 18th-Century Counterpoint (16MTHC505. composition. Upperclass Years Core Curriculum
Music education curriculum
During the freshman and sophomore years all music education majors take a common curriculum. 2. If piano is the performance secondary. 27
Freshman Year Qtr.2. Upperclass Years Core Curriculum Additional Requirements 16th-Century Counterpoint (16MTHC501. 2) OR 18th-Century Counterpoint (16MTHC505. 6) Senior Research (16HILT480. 3) Post-1890 Analysis (16MTHC611.18
university of cincinnati College-Conservatory of MusiC Additional Requirements Composition Major Study Orchestration (16MTHC351. The student must maintain a B average in all courses in his/her major. The student must maintain an overall grade point average of 2.
. a Secondary Performance Study is required in the freshman year. 2) 16th-Century Counterpoint (16MTHC501. 6 4 6 3 9 3 9 6 9 6 27 18 24 200
9 3 6 6 24 6 6 6 27 27 12 201
Note: Up to six credits of free electives may be taken in Secondary Performance Study. composition. Hrs 36 4 6 9 3 9 9 9 6 27 12 206
theory. Hrs. the student will not take Secondary Piano Study and the six credits (three from the core curriculum and three from additional requirements) allotted for that study are then to be taken as electives (any area). 6) Introduction to Electronic Music (16MTH571.2. 3) Score Reading (16MTHC521.
course selection for each quarter must be made in consultation with the student’s assigned faculty adviser. In addition.) A student who is approved by the faculty of the CollegeConservatory of Music for the major in performance may complete the requirements in both the areas of music education and performance study. Student teaching. Passing scores from the Praxis I must be on file in the Music Education Division and CCM college offices prior to admission to upper division status. string and percussion concentrations must perform for two quarters in a choral ensemble as assigned. A minimum of 11 terms of applied study are required with at least two of these terms at the 400 level. and will require the equivalent of one additional year of study. Music education majors must pass the secondary piano examination which must be taken by the end of the sophomore year. Satisfy the retention criteria listed above. the student is given an invaluable opportunity for observation and participation in a typical public school situation. music education majors are required to participate at the opening of school at one of the cooperating Greater Cincinnati area elementary or secondary schools. Students should register to take this test as early as possible after entering CCM. disciplinary or musical probation. F. Have completed all required course work in the professional education and musicianship areas.00. failed to demonstrate acceptable characteristics and competencies. professional education. To be eligible for a student teaching assignment. brass. etc. Music education students transferring into CCM must sit for Praxis I at the first opportunity. in the opinion of the music education faculty. (It is recommended that students complete approximately three fourths of their course work before taking the exam. All music education students must complete and pass — according to current Ohio licensure standards — Praxis II during or before the academic year in which they student teach.
State Required Testing
All music education students with ACT composite scores below 22 or SAT math and verbal total scores below 1000 must complete and pass — according to current Ohio licensure standards — Praxis I.university of CinCinnati College-Conservatory of MusiC Students must participate in a major ensemble as assigned (according to performance concentration) during each quarter in residence. This program is a composite of both programs of study. under the guidance of a cooperating teacher and a university supervisor. and musicianship studies. 4. A student will not be recommended for graduation who has. Students will participate at the beginning of their senior year unless otherwise approved by the music education faculty. 2. Minimum cumulative GPA for graduation is 3. Hrs. During the year in which they will be completing their student teaching. The continuous evaluation of student progress throughout the program is made possible by the quarterly audit and advising system in the Music Education Division. (Refer to the secondary piano requirements section. free from academic. 3. general education. The program is carefully sequenced. Maintain the following quality point averages: a.
General Education Freshman English (15ENGL101. Freshmen register as major. In addition. students are eligible for K–12 music licensure in Ohio and many other states. In this September Experience. Failure to pass this sophomore music teaching board will result in dismissal from the program. Have successfully passed the secondary piano music education examination. The music education faculty expects music education students to exhibit those characteristics appropriate for effective teaching throughout the program and to make satisfactory progress toward the degree. Be in good standing. The music education program consists of core courses in three areas. U. Upon successful completion of the music education program. subsequent registrations are as concentrations. all woodwind. 2) Intermediate Composition (15ENGL289) Electives: Science Mathematics Social Science Humanities Additional credits in any of the above areas Qtr. 6 3 6 6 6 6 9
. the progress of all students is reviewed at the completion of the sophomore year by the entire music education faculty in order to determine admission to upper division status. b. Additional courses are defined according to the teaching specialization which the student elects at the conclusion of the sophomore year. All required courses must be completed with a grade of C or better. N. 2. Have removed all unsatisfactory grades from their records (I. students must meet the following requirements:
1. Other specific retention criteria are as follows: 1.) Praxis II scores as currently required by the Ohio Department of Education must be on file before a student will be permitted to student teach and recommended for graduation and an Ohio teaching license.). is the climax of this program.
Hrs. 3) Jazz Keyboard Skills (16JZST511. 2) Music Student Teaching Seminar (16MUED450) Musicianship Studies Applied Study Ensemble Secondary Piano (16PIAN120. 2. not performance. The required letter of recommendation should focus on academics. 2—4 cr. 7) Qtr. 3. 2 2 2 2 2 2 2 4 4 3 3 3 3 12 1 Jazz Arranging for Small Ensemble (16JZST516) Jazz Ensemble* (two years) * In addition to existing ensemble requirements.). The student must maintain an overall grade point average of 2. Hrs. 2) in the summer or in the senior year. 211. 220) Theory (16MTHC111.20
university of CinCinnati College-Conservatory of MusiC Qtr. 2. 2 6
Professional Education Introduction to Music Education (16MUED241) Introduction to Music Teaching (16MUED242) Voice Class I (16MUED243) String Class I (16MUED245) Brass Class (16MUED272) Woodwind Class (16MUED273) Percussion Class (16MUED274) Elementary General Music Methods (16MUED341) Secondary General Music Methods (16MUED373) Human Development (18EDST302) Human Learning (18EDST275) Schooling and Teaching in America (18EDST201) Challenged Learners in Society (18SPED600) Student Teaching (16MUED451. Hrs. any area 5 202 Instrumental Track Orchestration (16MTHC351. Minimum Requirements Jazz Improvisation (16JZST501. A lack of progress toward fulfilling the requirements of a degree or a lack of demonstrated potential will warrant dismissal from a particular degree program. BA applicants should demonstrate a strong academic record (a minimum unweighted GPA of 3. 2. Students electing this specialization may eliminate Orchestration (16MTHC351. 3) Musicianship I (16MTHC115. Continuation in the program is subject to the above criteria as well as annual review of each student by the divisional faculty. The student must maintain a B average in all courses in his/her major. 3) Theory III (16MTHC311. Hrs. During this consultation. Total credits required for the degree with a specialization in jazz are 226 quarter credit hours. Choral Literature & Arranging (16MUED351) 2 Choral Methods (16MUED372) 4 Choral Conducting (16COND521. 2. 2. 13) Jazz History (16HILT544. 3) Electives. 6. They will take Theory III (16MTHC341. 2. Bachelor of Arts-Music Majors (Academic Track and Performance Track) are subject to the following stipulations: 1.0 and ACT of 24 or SAT of 1140 is recommended) and submit a 500-word personal essay. Hrs. students will receive information about concentration (Performance Track) or secondary (Academic Track) audition requirements for the specific instrument. Applicants must consult with the CCM Admissions Office to decide whether they are interested in the Performance Track or the Academic Track prior to applying. 12. 3. 7) Music History & Literature (16HILT111. 12) Introduction to Conducting (16COND171)
BACheloR oF ARtS pRogRAm
The degree of bachelor of arts with a major in music combines the breadth of a traditional liberal arts curriculum with a focus on both the academic and applied aspects of music. 6. 5) Jazz Theory I (16JZST514) Jazz Theory II (16JZST515) Qtr. 3) 9 Elementary General Music Methods II (16MUED342) 4 Music and the Humanities (16MUED575) 3 Electives. 2. 3) Musicianship (16MTHC115. 12 6 6
. 2) String Class II (16MUED246) Instrumental Teaching Lab (16MUED271) Instrumental Methods (16MUED371) Instrumental Conducting (16COND511.
25 11–13 6 18 6 12 6 1
Choral/General Track Qtr. Applicants audition on one instrument only and should have at least secondary level facility in their applied performance area. 2. 6 3 4 2 2
Ba Music (academic track)
Minimum Requirements Music Performance Secondary Theory I (16MTHC111. Students are reviewed by both music history and the applied performance area faculty to determine admission to this program. 4 2 3 4 9 5 202
Students may add a specialization in jazz studies to their BM in music education by electing the following additional courses. 2.5 after the freshman year. 3. any area Qtr. 211.
2) Intermediate Composition (15ENGL289) Foreign Language History Humanities Literature Mathematics Natural Science Social Sciences Social & Ethical Issues Electives Any Area 6 6 6 6 6 6 6 9* 24 6 3 15 or 18 6 3 3 6 9 9 3 36–39 201 * As assigned. Foreign Language History Humanities Literature Mathematics Natural Science Social Sciences Social & Ethical Issues Electives Any Area
15 or 18 6 3 3 6 9 9 3 36–39 201
* As assigned. 400) 48 Modern Dance Technique (16DNCE110. 2. (12 hrs. 7) Theory III (16MTHC311. Ballet Technique (16DNCE100. 3) 3 Ballet History (16DNCE351) 3 Choreography (16DNCE371. 220) Senior Research (16HILT480) Ensembles Music Electives** Freshman English (15ENGL101. 410) 12 Dance History (16DNCE251) 3 Somatic Studies for Dance (16DNCE131. 2. for classical guitar) ** Music Electives: 12 hours from HILT or MTHC except Early Music Lab. 6. 12) Music History and Literature I (16HILT111. 2. Dance majors are required to pass scheduled board and class examinations in ballet technique each year to continue in the program. the student will not take Secondary Piano Study and the six credits allotted for that study are then to be taken as electives (any area). World Music Lab. Plus 12 hours selected from a list of allowable music electives available from the program advisor. 12) Music History and Literature I (16HILT111. 2. Hrs. If piano is the performance concentration or secondary. Rhythm and Eurhythmics. 3) 6 Partnering (16DNCE221. 3) Music History and Literature II (16HILT211. 220) Senior Research (16HILT480) Ensembles Music Electives** Freshman English (15ENGL101. 7) Theory III (16MTHC311. 3) Music History and Literature II (16HILT211. Composition Lessons.
Ba Music (Performance track)
Minimum Requirements Music Performance Concentration Theory I (16MTHC111. 2. 3) Musicianship II (16MTHC215.
Bachelor of fine arts Programs
Dance curriculum (Ballet emphasis)
The bachelor of fine arts degree in dance is designed for the developing dance professional seeking technical training and artistic stimulation through a rigorous academic and studio curriculum emphasizing classical ballet.university of cincinnati College-Conservatory of MusiC Theory II (16MTHC211. 210. 3) Musicianship II (16MTHC215. Independent Study and Directed Readings must be with the musicology or theory faculty. Independent Study and Directed Readings must be with the musicology or theory faculty. If piano is the performance concentration or secondary. 6. the student will not take Secondary Piano Study and the six credits allotted for that study are then to be taken as electives (any area). all dance core curriculum classes must be completed with a grade of C or better. (12 hrs. 2. 2. Composition Practicum. 3) 15 Character (16DNCE241) 1 Dance Ensemble (16DNCE650)* 4 Dance Electives (to be selected from:) 9 Dance Conditioning (16DNCE130)
. 3. 6. Note: Foreign language credits must be one 15-credit sequence or two nine-credit sequences. Further. Composition Lessons. 3) Secondary Piano Study (16PIAN120. 471. 2. 3) Secondary Piano Study (16PIAN120. 200. 2. 310. Note: Foreign language credits must be one 15-credit sequence or two nine-credit sequences. 2. A list of applicable academic electives is available from the BA program adviser. 2) Intermediate Composition (15ENGL289) Qtr. Hrs. 300. World Music Lab. Composition Practicum. A list of applicable academic electives is available from the BA program adviser. 3) Musicianship I (16MTHC115. Rhythm and Eurhythmics. 7) Theory II (16MTHC211. 24 6 6 6 6 6 6 6 6 6 9* 12 6 3
Minimum Requirements Qtr. 2. for classical guitar) ** Music Electives: 12 hours from HILT or MTHC except Early Music Lab.
in Art History with at least 3 hrs. 3) 6 Voice Production III (16DRPF301. 5. 2. Hrs. Rudiments of Music Technical Theater Production 9 Makeup (3) Lighting (3) Costuming (3) Acting 3 Anatomy/Physiology or Anatomy for Dancers 3 Dance Injuries/Prevention or Kinesiology 3
Minimum Requirements Qtr. 2. 2) 6 Theater Movement I (16DRPF531.
6 3 9 3 6 9 180
Dramatic Performance Curriculum
The bachelor of fine arts degree in dramatic performance is a professional training program intended to prepare the performer for a career in the professional theater. Music (not applied ensemble courses) 9 To include 2 hr. Form. All required courses must be completed with a grade of C. 3) 6 Voice Production II (16DRPF201. 2) The Artist in Society (16DRTG210) History of the Theater (16DRTG231. Space (23FDST101. 5. 3) Repertoire (16DNCE440) Special Topics in Dance (16DNCE630) Pas de Deux (16DNCE321) Dance Style (16DNCE403) * Two of the four credits must be earned during the senior year. 2. 3) 3 Theater Movement II (16DRPF541. such as Photography Minimum Requirements Literature Electives At least 3 hrs. 3) Other design or applied art course. Specific criteria regarding board requirements content can be obtained from the drama department. 2. 6) 3 Theater Movement IV (16DRPF547. Hrs.or better. 3 3 3 3
3 6 3 9 15
Note: Throughout their program of study. all dancers are expected to maintain their ideal physique as prescribed by the dance faculty.
Minimum Requirements Qtr. covering any period from Renaissance to 20th-century art 3 hrs. Acting I (16DRPF111. 6) or Rehearsal and Performance for the Dramatic Actor (16DRPF420) 15
Freshman English 6 Intermediate Composition 3 Art Electives (distributed as follows) 9 6 hrs. 3) Dramatic Literature Electives** Required Academics Freshman English (15ENGL101. 5. in an applied visual arts course to be selected from: Basic Drawing (23FAM241) Foundation Studies—Color. 8) 2 Voice Production I (16DRPF101. 3) 3 Theater Movement III (16DRPF544. nutrition course and 6 hrs. 3) 6 Voice Production IV (16DRPF401. 3) 9 Acting IV (16DRPF411. 2. Eurythmics and 4 hrs. 2. 9 3 3 6
Audition Techniques for the Dramatic
Actor (16DRPF500) Acting for the Camera (16DRPF513) Business Skills for the Actor First Year Performan Project (16DRPF175) Senior Showcase (16DRPF475) 3 3 3 3 3
Minimum Requirements Introduction to Stagecraft (16THPR150)* Introduction to Costuming (16THPR100) Introduction to Lighting (16THPR120) Introduction to Makeup (16THPR110) Critical Aspects Fundamentals of Directing (16DRTG501) Script Analysis (16DRTG311. 2.22
university of CinCinnati College-Conservatory of MusiC
Techniques of Ballet Instruction (16DNCE531. 6) 9 Acting III (16DRPF311. 2. 2) 4 Drama Workshop (16DRPF434. to include 20th-century writers French History of European Civilization Social and Behavioral Science Electives Selected from two of the following areas: Anthropology Ethnology Philosophy Psychology Sociology Women’s Studies Electives To include a 3 hr. 2. Hrs. 3) Foundation Studies—Design Drawing (23FDST121. 2) Intermediate Composition (15ENGL289) History (as approved by faculty) Psychology Academic Electives Electives (any area) Qtr. Continuation in the program is based on satisfactory completion of course work and successful appearance at performance boards. 2. selected from any general area Any area other than dance Qtr. Hrs. 3) 9 Acting II (16DRPF114.
• Minor & Certificate Programs: Students and advisors should be aware of the option to create a minor or a certificate program. Sound & Motion (16EMED115) 3 E-Media Research and Resources (16EMED200) 3 Intro to E-Media Writing (16EMED220) or 3 News Writing (16EMED221) 3 Qtr. Modern American Drama. 115. These include employment in radio. industrial and multimedia production. 105. and Planning. The Electronic Media Division’s curriculum objectives are accomplished through course work in the College-Conservatory of Music. (16EMED355) Uptown—CCM/TV (16EMED357) Multitrack Music Production I (16EMED360) Multitrack Music Production II (16EMED361) Sound for Picture (16EMED370) Postproduction II (16EMED372) New Media Studio I (16EMED380) New Media Studio II (16EMED381) New Media Studio III (16EMED382) Internship (16EMED495) Senior Project (16EMED498) Special Topics in E-Media (16EMED630) Theory Courses** (4 courses for a total of 9 credits) BearCast/Radio (16EMED102) Survey of Film (16EMED175) E-Media Performance (16EMED225) Survey of Electronic Journalism (16EMED230) Survey of Electronic Mass Media Tech. and corporate communications. College of Business.II (16EMED109. (16EMED310) Survey of E-Media Advertising (16EMED330) Producing (16EMED351) E-Media Programming (16EMED400) E-Media Sales (16EMED440) BearCast Management (16EMED470) UCast/TV51 Management (16EMED471) Global E-Media Communications (16EMED475) E-Media Criticism (16EMED476) Directed Research (16EMED550) Independent Study (16EMED560) Special Topics in E-Media (16EMED630) Qtr. Electronic Media Core† Qtr. Hrs. Intro to Electronic Media Division (16EMED100) 1 History of Electronic Media (16EMED105) 3 (Must be completed with a grade of C or better before taking any other e-media core class) Digital Core I. Nature of Comedy. Hrs. This is achieved by course credits in: Minimum Requirements Electronic Media Core Electronic Media Electives Liberal Arts Core Liberal Arts Electives Business Electives Fine & Performing Arts Core Fine & Performing Arts Electives * See requirements for further details • All electronic media courses must be completed with a grade of C or better. Hrs. 109/110. Necessary modifications to the curriculum requirements for participation will be considered on an individual basis. 110) 6 Sight. and the College of Design.university of CinCinnati College-Conservatory of MusiC * Must be taken freshman year. 3 3 6 3 37 Qtr.
Before advancing to 300 and 400 level courses. Sound & Motion (16EMED251) Writing for the Web (16EMED322) Commercial Audio Production (16EMED340) Documentary (16EMED352) Narrative Video Production (16EMED353) Postproduction I (16EMED354) Producing for Single-Camera Prodn. television. students must have successfully completed the 100 and 200 level core courses (100. Architecture. • Advanced Standing: Advanced standing for transfer students from within and outside the university is established on an individual basis. Contemporary British Drama. and Theories of Drama. Minimum Requirements Electronic Media Law (16EMED480) Ethics of Mass Media (16EMED485) Internship (16EMED495) Capstone Experience (16EMED499) Minimum Requirements Electronic Media Electives Applied Courses** (4 courses for a total of 12 credits) UCast/TV51 (16EMED101) Bearcast/Radio (16EMED102) Digital Audio Production (16EMED240) Studio TV Production (16EMED250) Digital Sight. Hrs. and is subject to review and approval by the college-conservatory.
electronic Media Curriculum
The bachelor of fine arts degree is intended to prepare students for a spectrum of career choices in the field of electronic media as well as in the larger communications sector. 34 39 48–54* 23–29* 14 9 9 182
1–3 1–3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 3 1–6 3 3
1–3 3 3 3 3 3 3 3 3 3 3 3 3 1–3 1–3 3
** At least 12 credit hours in applied courses and 12 credit hours in theory courses must be completed along with an additional 15 hours in either applied or theory courses for a total of 39 hours. 200 and 220 or 221). advertising. Art. commercial. McMicken College of Arts and Sciences. ** Choose six hours from: Shakespeare.
which will lead to a minor in business. Complete additional two courses (6 credits) in any one of the following subject areas for an additional six (6) credits. 2. Hrs. 440) Musical Theatre Vocal Coaching (16MUST140. 22 7 9 3 3 9 9 6 6 3 3 3 6 6
Business Electives: 14 credits. 3) Sight Singing (16MTHC105. History (15HISTXXX) 6 Philosophy (15PHILXXX) 6 Political Science (15POLXXX) 6 Sociology/Psychology (15SOCXXX / 15PSYCXXX) 6 6 and An additional 17-23 credits out of the College of Arts & Sciences and/or the College of Business. 3 3 3 9
Fine and Performing Arts Electives At least three courses from the official class schedule of CCM for a total of 9 credit hours. 475) Qtr. 240. 2) (must be taken as a whole sequence) Fundamentals of Directing (16DRTG501) Dance History (16DNCE251) Sound for the Theatre (16EMED360. 6) Acting III (16DRPF311. Hrs. if supplemented with additional business classes.16THPR 271. 340. Minimum Requirements Liberal Arts Core: Liberal Arts Electives Qtr. 2) Acting IV (16DRPF411. 2 or 3) Intro to Electronic Music (16MTHC572 or 3) 3 3 3 3 6 3 3 3 3 3 9 9 9 18 182
Fine & Performing Arts Core: Fine & Performing Arts Electives Grand Total for a BFA in Electronic Media
Musical theatre Curriculum
Minimum Requirements Voice Performance Study (16VOIC140. Hrs. such as: Business: Foundation Courses Intro to Business (31BA171) Financial Accounting (22ACCT261) Legal Environment of Business (22BLAW271) Principles of Information Systems (22IS270)
3 4 3 4
The Electronic Media Division recommends the above business courses. 340) Basic Theory (16MTHC101. 6. These credits must be taken after consultation with and recommendation of the adviser in order to strengthen the student’s area of specialization or his/her pursuit of a certificate or a minor program. 7) Ensembles Acting I (16DRPF111. which will also count toward the liberal arts electives (see above).
. 2) 6 Intermediate Composition 3 Literature (not journalism or writing) (15ENGB or 15ENGC) 9 Effective Public Speaking (15COMM171) 3 One full-year sequence of a modern foreign language 9–15 History (15HISTXXX) 3 Philosophy (15PHILXXX) 3 Political Science (15POLXXX) 3 Sociology/Psychology (15SOCXXX / 15PSYCXXX) 3 Economics (16ECON101. Liberal Arts Core Freshman English (15ENGL101. Below is a list of suggested classes taken previously by e-media majors. Hrs. 2) Acting for the Camera (16DRPF513) Audition Techniques (16MUST300) Advanced Audition Techniques (16MUST301) Voice and Speech (16DRPF221. 3) Acting II (16DRPF114. Hrs. 14
Minimum Requirements Electronic Media Core: Electronic Media Electives
Minimum Requirements Qtr. Hrs.24
university of CinCinnati College-Conservatory of MusiC Qtr. Costume Appreciation (16THPR100) Intro to Stage Lighting (16THPR120) Intro to Stagecraft (16THPR150) Intro to Stage Design (16THPR160) Script Analysis (16THPR311. 34 39 73 or Any combination of business courses offered in the College of Arts & Sciences and/or the College of Business as approved by the electronic media advisor. 2. 2) 6 Liberal Arts Core 48–54 Liberal Arts Electives Qtr. 2) Freshman & Senior Showcase (16DRAF175. 5. 2) History of Jazz and Popular Music (16FAM501. 240. 6 17–23 23–29 48–54 23–29 Minimum of 77
Fine and Performing Arts Core Music Appreciation (16FAM201) Art History (23ARTH111) History of Theatre (16DRTG231)
In addition to your University grade point average (GPA).0 or higher.is the minimum acceptable grade for core theater design and production courses (16THPR). Sound Tech (16THPR130) with Thr Snd Tech Lab and Crew (16THPR222) Intro to Stage Design (16THPR580) with Stage Design Lab & Crew (16THPR508)
Qtr. If the student earns a D+ or less. annual portfolio reviews will take place within each production area. 2. Students will be placed in dance classes that will most effectively strengthen their dance abilities or eliminate weaknesses in their previous training. Full-year of study in 2 of the remaining areas: 26–30 Select any 9 credits from these costume courses (with permission of instructor only): Fund. Prod. & Pattern (16THPR254. Additionally. 9–13 3 3 3 3 2 3 2
Qtr. 15) or other approved history course Psychology Academic Electives (may be taken any quarter) Area Electives (may be taken any quarter)
3 3 3 9 6 (18) (15) 6 3 9 9 (9) (6) 194
Qtr. 219 2)
3 4 1–3 Qtr. 3) or Intro to Arts Appreciation (16FAM221. French. Each student will take a variety of dance classes including ballet. A C. * Musical Theatre majors will be required to take a minimum of 18 hours of dance suited to the skill level and training of the individual student.
Stage Properties Lab and Crew (16THPR550) Required Related Courses Freshman English (15ENGL101. production work. “partnering” (through the dance division) and choreography. 5. Students earning less than a 3.
theater Design & Production
Continuation in this program is based on a quarterly review of satisfactory progress in course work and production assignments.
Costume Students Only: Another course may be substituted for 16DRTG312 (refer to Advisor Approved electives).2. Advancement to the second year and each succeeding year in theater design and production is by permission of TD&P faculty review board. Failure to show progress in professional aptitude may result in program probation or dismissal. 6) 9 Pattern Drafting I (16THPR301) 3 Draping I (16THPR302) 3 Tailoring I (16THPR303) 3
. Costume Design (16THPR101) 3 Character Figure Drawing (16THPR102) 3 Costume Rendering (16THPR103) 3 Intro Cost. 14. 11) Musical Theatre Dance* Musical Theatre Rehearsal & Performance (16MUST660)** Freshman English (15ENGL101.or better is earned. lab. tap. and professional attitude and potential. 1. 2.or better. 2. or German may be substituted the History of Art. Hrs. 5) Survey of Theatrical Design (16THPR160) The Artist in Society (16DRTG210) Script Analysis 3 (16DRTG311. 2) Intermediate Composition (15ENGL289) World History (15HIST130.
One Quarter of study in 3 production areas: Intro to Costuming (16THPR100) Intro to Stage Lighting (16THPR120) Intro to Makeup (16THPR110) Intro to Thr. your quarterly GPA for all of your CCM/TDP undergraduate curriculum courses must be at least 3. Lab & Crew (16THPR 551. 3) 1
Introduction to Stagecraft (16THPR150) Introduction to Makeup I (16THPR110) Costume Appreciation (16THPR100) Dramatic Literature Electives Musical Theatre History and Literature (16MUST310. possible program probation. 2) or European History (15HIST113. Hrs. Hrs. Construction (16THPR201) 3 Costume Construction (16THPR202) 3 Cost. 24 9 6
Costumes & Wigs/Makeup students ONLY take “Intro” courses. Taking Intro to Arts Appreciation in place of History of Art raises the required Academic Elective credits from 9 to 12. the course must be repeated until an acceptable grade of C. Hrs.3) Intermediate Composition (15ENGL289) European Civilization (15HIST113.university of CinCinnati College-Conservatory of MusiC Required Production Courses Technical Production I (16THPR 211.0 GPA in these courses will be subject to review. A student’s merit is determined by class. 3) History of Art 4 (23ARTH111. modern. or dismissal. Stage Management (16THPR240) Drafting for Theater I (16THPR218. This will be determined by the resident choreographer for the program through a series of diagnostic examinations for incoming students. 2) 5
Stage Management Students Only: A full year of Italian. 48–51 6 3 9 9 3 3 6 3 9 9 6
All: Another course may be substituted for 16THPR219 with permission of advisor. Credit hours to be made up as Advisor Approved Electives:
Intro to Stage Craft (16THPR150) with Intro Stage Craft Lab &Crew (16THPR151)
All required classes must be completed with a grade of C. Shop Management (16THPR203) 3 Hist. ** Five quarters or more as assigned by audition. which meets annually to evaluate student performance and progress. of Cost. 2. 3) 1 Tech. 4.
Fundamentals of Directing (16DRTG501) History of Theater (16DRTG231. jazz.
6) with Stage Design Lab & Crew (16THPR508.Need one course of either NS (natural science) or SS (social science) Free Electives Total [Insert String Certificate Program?] 18 180
Two years of advanced study are required for completion of the degree. Hrs. The following degree programs are offered in the college-conservatory: Master of Music Master of Arts in Arts Administration Master of Fine Arts Artist Diploma Doctor of Philosophy in Music Doctor of Musical Arts Doctor of Music Education Admission to these degree programs is vested in the college. 9) 9 Makeup III* (16THPR411. 5. 9) 9 OR Makeup II* (16THPR307. 3) Stage Management II* (16THPR324. 3) Technical Production III* (16THPR434. where applicable. College-Conservatory of Music.” not “Advanced Study” credit. Qtr. University of Cincinnati. 3) 9 OR
gRADuAte pRogRAmS geneRAl InFoRmAtIon
The graduate programs in the College-Conservatory of Music operate as one of the units in the University of Cincinnati’s Division of Graduate Studies. 19. 5. 2.edu. 6) OR Stage Management I* (16THPR241. 6) Sound Design II (16THPR468) or Sound Design Practicum (16THPR339) OR Stage Design I* (16THPR341. from any of the following costume classes: Pattern Drafting II (16THPR404) 3 Draping II (16THPR405) 3 Tailoring II (16THPR406) 3 Costume Design II (16THPR464. 2.
. 5. 6) 9 OR Stage Lighting II* (16THPR314. and two to three years for doctoral studies. 8. 5. (16THPR214. 8. Entrance and advancement to these courses is by permission of instructor only. 20) OR Makeup I (16THPR204. 10)
2 2 9 6
Qtr. 3) Millinery (16THPR487) Fabric Modification (16THPR488) Masks / Jewelry (16THPR489) with Costume Lab & Crew (16THPR544. 5. 2. and all correspondence regarding admission should be directed to the Assistant Dean for Admissions. 5. 5.26
university of CinCinnati College-Conservatory of MusiC 9 3 3 3 6 9 6 9 6 3 3 3 2 Sound Design I (16THPR364. 18
Advanced courses may be pursued in one or two different areas. 3) Stage Design II* (16THPR444. It is recommended that students consider a minimum of two academic years for the completion of any master’s program. 6) or Stage Management III* (16THPR427. 5. 6) 9 Theater Lighting Technology I (16THPR521) and 3 Moving Light Programming I (16THPR522) and 3 Moving Light Programming II (16THPR523) or 3 Stage Lighting III (16THPR317. 2. Admission to advanced courses is by permission of instructor only. 5. L&C can be taken concurrently or during a later quarter
Sound Majors only must also take: Digital Audio L&C (16THPR511) Intro to Sound Design L&C (16THPR501) OR Rend. 8. Cincinnati OH 45221-0003 or email ccmadmis@uc. is required as a corequisite. PO Box 210003. 9) OR Technical Production II*(16THPR331. 9) with Lighting Lab & Crew (16THPR518. Hrs. 5. 8. hr. 6) 9 Costume Design III (16THPR474. *Practicum or Lab/Crew. Hrs. 6) with Makeup Lab & Crew (16THPR561. 6) 9 9 9 9 9 9 9 9
Costume Design I (16THPR461. 3) OR Theater Sound Tech (16THPR221) Digital Audio Systems (16THPR271) Intro to Sound Design (16THPR272) with Thr Snd Tech Lab & Crew 6 (16THPR222)
Only one quarter sound lab required unless emphasis is in Sound. 2. Select two years of advanced study. Choose 18 cr. ELECTIVES 48–58* Advisor Approved Theater Related Courses 12* * Costume students need 25 and Wigs/Makeup students need 22 Qtr. Dramatic Literature Electives 9 Academic Electives 9–12 . for Stage Des. 6) OR Stage Lighting I (16THPR207. Practicum or Lab/Crew hours accrued count toward “Advisor Approved Theater Related Courses. 2. 9.
or its equivalent.edu/ccmapp. 1. Please refer to the Admissions Handbook for admission procedures and materials. (Phone: 609-951-1100) or (Fax: 609-771-7681). history) 83 220 560 master’s (all others and AD opera Directory) 75 203 537 Doctoral (except voice. Music Education and Arts Administration are required to take the Graduate Record Examination (GRE General) and must supply the College-Conservatory of Music Admissions Office with complete transcripts of their previous undergraduate and graduate study.university of CinCinnati College-Conservatory of MusiC Other graduate general information appears throughout this Bulletin and in the Bulletin for the Graduate School. Have the three recommendation forms completed by persons who know of your skills and strengths. (A personal audition/interview is also required for acceptance into the cognate field. Princeton. tDp) 68 190 520 master’s (voice) 79 213 550 master’s (Composition.
.S. Cincinnati. Forward OFFICIAL TRANSLATED COPIES of your TRANSCRIPTS (records of academic work which you have taken while in college).” 4. After you are accepted. Not required for Artist Diploma (AD) students (except AD Opera Directing). may defer the GRE requirement but will be required to take the test during their first enrolled quarter. Composition. TOEFL applications can be obtained from TOEFL. This must indicate the amount of money which the student will have to spend while attending the University of Cincinnati. whose previous record falls short of this standard. Musicology. The same application serves as an application for an assistantship or scholarship. 3.0 scale) or higher from a fully accredited institution of higher learning. Apply online at: www. An application cannot be processed until all of the above materials are on file. The recommendation forms must be completed in English. If the College-Conservatory of Music receives transcripts which are not translated into English.0 (based on a 4. the applicant may request that a recording be substituted. Failure to meet this requirement will result in your not being permitted to continue to the following quarter. or the National Association of Schools of Theater may be admitted conditionally or with the status of academic probation. 2. and have them sent to you or sent directly to us. Box 6151. File all of the materials required for admission with: Assistant Dean for Admissions and Student Services College-Conservatory of Music University of Cincinnati PO Box 210003 Cincinnati OH 45221-0003
ADmISSIon AnD FInAnCIAl ASSIStAnCe InFoRmAtIon
admission to Graduate study
Admission to any of the graduate programs requires the bachelor’s degree. If you submit a PTE (Pearson) score for this requirement. theory. the applicant must have a quality point average of 3.) If it is clear that coming to Cincinnati or a regional audition location would impose an unreasonable hardship on the applicant. and must be from a bank official. The University of Cincinnati has strict requirements (see table below). Ohio 45221-0627. Submit a taped audition by following the procedures stated in “Requirements for a Taped Audition. contact the college office or the Graduate School. The application deadline is December 1 for all programs. master’s Arts Administration) 100 250 600 Proof of English Proficiency can also be provided by a 6. please contact the CCM Admissions Office for details.645) directly to the Office of International Services.uc. they will be returned by our office to you. musicology) 90 233 577 Doctoral (voice.grad. For unconditional admission. NJ 08541-6151.Music Theory. send official verification of available funding (minimum of $36. Note: Applicants for the artist diploma and DMA programs may not submit recordings. International students living outside the U. musicology. theory. Apply BEFORE December 1 for the following fall enrollment date. international students must also adhere to the following instructions. Applicants in all PhD and DMA Programs as well as MM Programs in Composition. (Fax: 513-556-0128). For information on graduate fees. Composition. Applications for scholarships and assistantships
In addition to the requirements mentioned earlier. Applicants showing unusual ability in performance. in an appropriate field. 6. PO Box 210627. Residents within a 500mile radius will be expected to audition in person in Cincinnati or a regional location. or whose study was at an institution not accredited by a regional agency or the National Association of Schools of Music.5 minimum score on the IELTS test. Minimum toefL scores internet Computer Paper undergraduates (except voice) 66 187 515 undergraduates (voice) 79 213 550 master’s (Strings. theory.
will not be considered until the applicant’s admission has been approved. Forward proof of English proficiency through the Test of English as a Foreign Language (TOEFL). The Graduate Admissions and Scholarship Committee requires a personal audition/interview for all degree programs in which professional competence in performance is to be demonstrated. University of Cincinnati. 5.
students either place out of piano cources or are placed in the correct piano course for their degree program. 2. A committee assesses the piano skills of incoming graduate students. and instead must register for the appropriate piano course required for their degree program. See further information below regarding these examinations. AD and doctoral students (except MM jazz studies AD Opera and AD Voice. If the test results are unsatisfactory.edu/ccm/keyboard/proficiencyrequirements. Visit www. The student will not be allowed to enroll in advanced courses until the appropriate deficiencies have been made up.
Test: Music History
Taken by all entering MM and doctoral students (except MM jazz studies).edu to receive a printed copy. including periodicals. history. After all information has been received and acceptance has been made by the College-Conservatory of Music. All questions regarding the I-20 must be addressed to the Office of International Services (513556-2879). Piano proficiencies are given during orientation week of the student’s first fall quarter. additional course work may be required. as well as an essay question to demonstrate proper writing styles. the student will be required to enroll in Graduate Research and Writing (16HILT821) for degree credit.edu and click on “Apply Now. The following degree programs are required to take the piano proficiency: • MM-voice • MM-theory.
geneRAl pRogRAm RequIRementS FoR gRADuAte peRFoRmAnCe mAjoRS
Graduate Diagnostic examinations in Music
Diagnostic examinations in music history and theory will be given prior to the beginning of the quarter when a student first enrolls in a graduate music program.. Using this assessment. the student will be required to take one or more of the music history review courses without degree credit. Recommended preparation: a study of standard reference materials such as may be found in Duckles. refer to MM jazz studies curriculum for jazz diagnostic requirements). complete works.
Note: Because there are no foreign student loans. If a student is deficient in certain areas.
Test: Piano Proficiency
The Graduate Piano Proficiency Examination is given during orientation week of fall quarter.28
university of CinCinnati College-Conservatory of MusiC If test results are unsatisfactory. they may bypass it. The results of these examinations will help to determine the specific program of study.” or contact CCM Admissions at ccmadmis@ uc.html.
Taken by all entering doctoral students (except MM jazz studies) who have already taken a graduate level research and writing course. Official notification of all funding (from private or government sources) should be forwarded to this university’s Office of International Student Services. Free Press). Examination includes questions on all types of music reference and resource materials. Consists of short answer questions. CCM does not issue these forms. 3). composition • PhD-theory. Students who have completed the College-Conservatory of Music course Graduate Research and Writing within the last seven years (16HILT821) are exempt from this examination. If students do not wish to attempt the Graduate Piano Proficiency Examination.ccm.
Test: Theory and Analysis
Taken by all entering MM. international students must make every attempt to obtain financial assistance from their own governments to support studies in the United States.. followed by a visit to a comprehensive music library to inspect these materials. This diagnostic examination will place students in a section of Graduate Theory and Analysis. etc. conducting. composition • DMA-voice • DMA-conducting. Recommended preparation: a thorough review of Grout’s “A History of Western Music”.
.uc. musicology Piano proficiency requirements for individual degrees are listed in the CCM Graduate Handbook and at www. the I-20 form will be issued only by the Office of International Services.
special audition/interview requirements
Please refer to the CCM Application Handbook for all current audition and interview requierments. Divided into three periods corresponding to content of Music History Review (16HILT601.uc. “Music Reference and Research Materials” (3rd ed.
Therefore. orchestra. The final decision in such matters rests with the division head. illness. The studio teacher may not intervene. Students must take the three quarter sequence in order (fall/ winter/spring). For the diagnostic audition the student should bring two prepared compositions of contrasting style. For string majors. After the three-week deadline. choral. No make up examinations are scheduled 5. black socks.
. white shirt. according to the orientation week schedule 2. black shoes
Basic graduate ensemble requirements may be satisfied by participation in any ensemble listed below: Instrumental Ensembles: Philharmonia Orchestra (16ENSM579) Concert Orchestra (16ENSM575) Wind Symphony (16ENSM582) Wind Ensemble (16ENSM581) Jazz Lab Band (16ENSM572) Jazz Ensemble (16ENSM573) Classical Guitar Ensemble (16GTAR670) Percussion Ensemble (16PERC670) Brass Choir (16ENSM571) Double Bass Ensemble (16DBBS670) Chamber Music Ensemble (16COAC673) Chamber Winds (16ENSM585)
All keyboard performance areas require recitals to be performed in public and evaluated by a faculty committee. black shoes long. The grade of “B” is required to pass each course. Students must complete the piano requirements during their first year of graduate school.
Graduate Piano Proficiency Courses
These courses are offered to graduate students who did not take the graduate proficiency examination or who did not pass the examination.g. and extenuating circumstances cannot be demonstrated. The test is only given once to each student 3. Please remember: 1. A student is allowed to cancel a degree-required recital up to three weeks before the scheduled recital date.edu. Two failed recitals within a degree program constitute grounds for dismissal from that program.html. For more information.
initial Diagnostic audition in Performance
Each new graduate student with a major or cognate in applied music must appear before the Performance Evaluation Board during the opening days of the academic year. The committee’s decision is final 4. If a recital is cancelled after the three-week deadline.university of CinCinnati College-Conservatory of MusiC Students who receive a bachelor’s degree at CCM and continuing on to graduate school in the same program are exempt from the proficiency. The examination is given during orientation week upon entering the graduate program. Conda at michelle. The assignment will be based upon the musical abilities of the student and the musical needs of the college’s ensembles. Men: Women: black tuxedo. black bow tie.
unless it is to demonstrate extenuating circumstances. ensembles may be taken for zero credit. or by the end of the first full week of the fall and winter quarters. one of the compositions is to be the first movement of a concerto. Once the deadline has passed. it is expected that students will attend recitals at CCM as part of their overall study at this institution. Students may audition for any of the ensembles in the CollegeConservatory of Music. injury.
Concert Dress Code
All students must have the required attire for concert performance (e. the student is responsible for performing the recital. Program faculty have the option of granting the student another opportunity if they deem appropriate. in case of an overload (excess of 18 hours). whichever comes later. the music faculty of the College-Conservatory of Music supports the concept that attending concerts is an essential ingredient of a professional musician’s training. Each faculty member who teaches applied music in the Performance Studies Division has implemented a policy that reflects this attitude and has established guidelines for the number of recitals required and the effect on the applied music grade. All ensembles carry one hour credit. plain black dress with sleeves. uc..
Ensemble participation is required for most students at the college. sudden unavailability of a collaborative artist) are legitimate cause for cancellation.
required recital attendance Policy
Philosophically. The diagnostic audition enables the applied faculty to review the student’s musical and technical proficiency at the beginning of the period of graduate study. and will be assigned to a CCM ensemble by the faculty. See Dr. contact Dr. the recital is considered a failed recital. only extenuating circumstances (e. Conda for the exemption form. and requirements vary with the particular degree or major. band).conda@ uc.g.edu/ccm/keyboard/pianoproficiency. Course placements can be found at www.
a. The specific nature of the final evaluation for the various master’s degree programs within CCM has been established by the CCM graduate faculty and the CCM Academic Council. see “Further Requirements” under jazz studies curriculum.
A candidate for the master’s degree must complete the work in five years from the time of initial enrollment.
students Who Have Left full-time status: Board and recital Policy
Master of music students must satisfactorily complete degreerequired recitals and boards within one calendar year after leaving full-time status. The student should enroll for applied lessons during the quarter leading up to the recital. which require either a two. b. it may not reflect some subsequent revisions in the programs.aspx). 2.
geneRAl InFoRmAtIon FoR mASteRS StuDentS
transfer of Credits
Students who have completed graduate courses at another institution can request an evaluation for the transfer of these credits into a CCM degree program.
Vocal Ensembles: Chamber Choir (16ENSM671) Chorale (16ENSM673) Chamber Singers (16ENSM672) 1. This time limit is also applicable to transfer credits. Any degree recital given by a student after leaving full-time status must be under the supervision of a CCM faculty member. winds. as assigned. Students majoring in winds. winds. This evaluation process is defined as satisfactory demonstration of mastery of subject matter in which the graduate student is seeking the master’s degree. Once the evaluation has been completed. within a span of five consecutive quarters. brass or percussion instruments. All students in the MM programs in music education and in areas of performance study other than strings. Ensemble requirements for doctoral students in any program are left to the discretion of the particular division involved. and only courses with at least a grade of B will be considered. brass or percussion. including the summer quarter. For MM students with a major in jazz studies. This demonstration shall be an individualized evaluation of each master’s candidate that is monitored and documented by at least two faculty members. 3. No more than 12 quarter hours can be transferred.edu/students/gradhandbook. Any extension beyond these limits is by departmental permission only. A year in residence is defined as being enrolled as a full-time student taking a minimum of 12 graduate credit hours during each of the three quarters. A description of the final evaluation for the various programs can be found in the CCM Graduate Student Handbook (www. orchestral or wind conducting. brass and percussion must participate in ensembles as assigned for a minimum of three quarters. Students majoring in choral conducting may fulfill ensemble requirements by participating in any approved choral ensemble.or three-year residency). or in instrumental conducting may fulfill ensemble requirements by participating in any of the following ensembles: Philharmonia Orchestra Concert Orchestra Wind Symphony Wind Ensemble Jazz Lab Band or Jazz Ensemble c. The evaluation of such credits is performed by the divisional faculty who have the instructional responsibility for the particular course(s) in question.30
university of CinCinnati College-Conservatory of MusiC programs.
mASteR oF muSIC pRogRAmS
At the time this Bulletin is published. All students enrolled for the master of music and artist diploma in performance study. uc.ccm. Students majoring in string instruments must participate in an orchestra for six quarters. major in strings. Students should always check with their advisers for up-to-date changes which have been approved by the CCM Academic Council.
As established by The Graduate School. and those enrolled for the degree of MM in choral. a recommendation will be submitted to the director of graduate studies for final approval. or should work with the supervising faculty member on a private basis. must participate in ensembles as assigned for a minimum of six quarters. each master’s degree candidate shall be subjected to an individual evaluation process at the end of his/her program. 4. The final evaluation must be judged as “passing” by two-thirds of the committee for the requirement to be fulfilled.
At least one year in residence is required of all candidates for the master’s degree programs (with the exception of the MFA
In addition. 5. Perform a second public recital OR a second board appearance (solo repertoire). Successful completion of an oral examination before a committee from the graduate faculty. before the voice faculty. 2.2.) One Chamber Music Recital Qtr. 2. 2. 4.
Further Requirements for Brass. 7) (any three quarters) Choral Ensemble Opera Workshop (16OPRA673) Qtr. Hrs.
Required Courses Applied Lessons (16VOIC800) Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801. one in the spring quarter of each year of the program.
Further Requirements for Harpsichord and Organ:
1. 2. Successful completion of an oral examination before a committee from the graduate faculty. students in these programs are encouraged to participate in a variety of ensemble activities. 3) Graduate Italian Diction (16VOIC631) Graduate German Diction (16VOIC632) Graduate French Diction (16VOIC633) Survey of Song Literature (16HILT621. 2. 2. 3) Graduate History and Style (16HILT801. 2. 2. 3) Graduate History and Style (16HILT801. Hrs. Performance of one complete public recital (to be approved and graded by the faculty). 3) Graduate History and Style (16HILT801. 3. 5. 3.3) Graduate History and Style (16HILT801. and Woodwinds:
1. including smaller conducted ensembles and chamber music ensembles. Hrs. 16 3 9 9 1 1 1 6 3 9 58
Harpsichord Organ Core Curriculum Applied Study Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801. Perform a public recital.2. 2. Perform a diagnostic board upon entering the program and two additional boards. 4.)
. Preparation of two complete recital programs (to be approved and graded by the graduate faculty). 3 or any combination of six quarter hours in this two-year course. 16 3 9 9 3 3 7 2 2 54
Note: All MM woodwind and brass majors are required to participate in a major ensemble each quarter of residence.
Further Requirement: Perform a diagnostic board upon entering the program and two additional board appearances before the piano faculty. 16 3 9 9 3 11 51
2. Percussion. Strings. 3) Ensemble Electives (Primarily in the fields of music history or literature) Qtr. 3. 3) Ensembles (16ENSMxxx) Music History and Literature or Theory Free Electives (graduate level courses only. 2. Double bass is required to do a second board appearance. 16 3 9 9 3 11 51
1. For organ only — Organ Repertoire (16ORGN531. 2. Three appearances before the appropriate performance study department with a grade of “Satisfactory. 6. 3 or 16ORGN541. Hrs. determined by student/adviser consultation) Performance Accomplishments One Solo Recital (50-60 min.
Required Courses Applied Study (16PIAN800) Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801.3) Ensemble (see note below) Electives Qtr. Successful completion of an oral examination before a committee from the graduate faculty. For organ only — organ majors are required to have a church position and to enroll in Practicum (16ORGN895) during each year of study. Perform a diagnostic board upon entering the program and one additional board appearance (orchestral excerpts except strings). 3. one to be performed in public.university of CinCinnati College-Conservatory of MusiC
Brass Percussion Strings Woodwinds Core Curriculum Applied Study Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801. approved and graded by CCM faculty. A maximum of three credits will be counted as electives.” (Questions regarding board appearances should be addressed to the Performance Studies Division head or Keyboard Studies Division head.
4. World Music II. may be admitted for study in this degree program with the specific provision that the language prerequisite be completed prior to graduation. World Music Lab I. recital program. Diagnostic examination in functional jazz piano.
Woodwinds Curriculum (Multiple instruments)
The purpose of the major is to allow outstanding woodwind performers to study three to four instruments while pursuing a master’s program. 6. Analysis of 20th Century Music. theory and analysis. Jazz Theory II (16JZST515). World Music Lab III. If test results are unsatisfactory. Hrs. clarinet. American Music II. The student must then complete two additional board appearances before members of the jazz faculty with a grade of “Satisfactory. jazz pedagogy and the history and literature of the student’s instrument. 2. Students are assigned by the faculty to at least two or three performing groups (big bands and/or combos) each quarter depending on the abilities of the student. b. Each student must perform a performance diagnostic board upon entering the program. the student will be required to take one or more of the following: Jazz Theory I (16JZST514). saxophone or bassoon) together with graduate secondary level study on at least three of the remaining four instruments. This ensemble requirement during residency is an additional requirement beyond the minimum of six credits which are required for graduation. 5.32
university of CinCinnati College-Conservatory of MusiC c. 5.” Each student must perform one complete public recital program with a passing grade awarded by members of the jazz faculty. and improvisation class work will be adjusted for this emphasis. Music of the African Diaspora. and to enable them to perform with a high level of musicianship and artistry on those instruments.
1. the student will be required to take one or more quarters of Jazz Keyboard Skills (16JZST511. 5. Diagnostic examination in jazz theory and arranging. 2. and who are otherwise acceptable to the program. American Music I. 3) 9 Seminar in Jazz Pedagogy (16JZST804. Jazz Arranging for Small Ensemble (16JZST516). For jazz studies majors. a. Each entering student must take the following jazz diag-nostic examinations. Technology. Applied Study 16 Graduate Research and Writing (16HILT821) 3 Advanced Jazz Improvisation (16JZST504.3) without degree credit. Their board requirements. 3) Graduate History and Style (16HILT801. World Music I. The program repertoire must be approved by the faculty prior to the recital. 3) will be required of all students unless previously taken as part of an undergraduate curriculum. Participation in two ensembles during each quarter of residency. and Business of Music Electives 6 Jazz Ensemble/Jazz Lab Band/Jazz Combos 6 67
4. Italian. Primary emphasis will be given to jazz history.
. Minimum Requirements Applied Study on Major Instrument Three Secondary Instruments (three credits each) Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801. World Music Lab II. If test results are unsatisfactory. German.2.6) without degree credit. The completion of at least one year of study (minimum of nine quarter credits) in each of the following languages: French. jazz theory. private applied study. 16th Century Counterpoint. oboe. the needs of the performing groups and the amount of rehearsal and performance commitment involved in each group. Music of the 20th Century. Each student must successfully complete a one-hour oral examination before three members of the jazz faculty. Basic Opera Workshop is required for any first year master’s students in voice who wish to take part in any opera activities. Recording.
5. Students specializing in lead trumpet will be admitted with a somewhat reduced requirement for jazz improvisation skills.5. the student will be required to take one or more quarters of Jazz History (16JZST544. 2.
6. or evidence of equivalent study in each language. Diagnostic examination in jazz history. without degree credit.
Jazz studies Curriculum
Required Courses Qtr. Music of Latin America. 16 9 3 9 9 12 11 69
1. 2. Electronic Music. these diagnostics replace the music history.
3. The program includes major study on one woodwind instrument from the following (flute. Oratorio (16VOIC541. Voice students who have not completed such study. If test results are unsatisfactory. 6) 9 Jazz Styles and Analysis (16JZST801. and piano diagnostic examinations.
2. 3) Ensembles (16ENSMxxx) Electives Qtr. 18th Century Counterpoint. Hrs. 6) 6 Composing and Arranging Electives selected 6 from the following: Jazz Composing/Arranging for Large Ensemble I (16JZST521) Jazz Composing/Arranging for Large Ensemble II (16JZST522) Advanced Jazz Composing/Arranging (16JZST523) Independent Study in Jazz Composition (16JZST560) Composition Elective (16MTHC530) Music History or Music Theory Electives 6 Suggested electives include: Music of Africa.
2. 2. Successful completion of an examination in music history and literature and music theory. Major Instrument (16GTAR800) 16 Graduate Research and Writing (16HILT821) 3 Graduate Theory and Analysis (16MTHC801. 2.university of CinCinnati College-Conservatory of MusiC 2. Completion of the language proficiency requirements in German and French. straightforward.
1. doctoral work will be terminated and a master’s thesis will be required in order to receive a MM degree. 3) 9 Graduate History and Style (16HILT801. To complete the program. Preparation of two complete recital programs (to be approved and graded by the graduate faculty). the student will not receive a MM degree but will proceed directly to doctoral work. followed by presentation of a recital featuring these compositions. the performance level on the secondary instruments should be comparable to that of an undergraduate major who has completed the major requirements for the BM degree. 4. scholarly manner. Completion of a variety of original works approved by the candidate’s composition teacher. Successful completion of an oral examination before a committee from the graduate faculty. Submission of a major composition for orchestra or other large medium. One or both may have been written independently. 5. 4. to consult. Graduate Research and Writing (16HILT821) 3 Graduate Theory and Analysis (16MTHC801. 3) 9 Ensemble (16GTAR670) 3 Seminar in Classical Guitar Repertoire (16GTAR824. 2. If the students’ progress is acceptable.
Classical Guitar Curriculum
Required Courses Qtr. Successful completion of an oral examination before a committee from the graduate faculty. 25–50 pages) or two shorter papers (ca. may. 3. 2. 3) 9 Seminar in Musicology (16HILT982) 4 Music History Electives (16HILTxxx) 26 • Up to 9 hrs. Three appearances before the classical guitar performance board with a grade of “Satisfactory” (including the initial diagnostic appearance). 3) 9 Graduate History and Style (16HILT801. 3) 6 Required Production Courses Performance Accomplishments One Solo Recital (50-60 min. Completion of undergraduate courses in Classical Guitar Repertoire and Classical Guitar Pedagogy (if they were not a part of the student’s undergraduate degree program). The student’s progress will be evaluated periodically. 2. 3. 2. A master of music in music history student desiring to continue work at CCM toward a PhD degree in music. Preparation of two complete recital programs (to be approved and graded by the graduate faculty). of appropriate MTHC electives may substitute for HILT electives • Up to 6 hrs. Hrs. One longer paper (ca.
Required Courses Qtr. Hrs. Hrs. 15–20 pages each) in the field of music history must be submitted. cite and document sources properly. Three appearances before the appropriate performance study department boards with a grade of “Satisfactory” (including the initial diagnostic appearance). Candidates completing this program and continuing with the doctoral degree in composition will receive three hours of graduate credit toward the DMA. 3) 9 Electives in Theory and Composition (see note below) 9 51
. 6) 6 Performance Practicum (16GTAR821. and to present a topic in a logical. in lieu of writing a thesis.) 2. submit 1-2 research paper(s) and be interviewed by the musicology faculty. one emphasizing solo and chamber performance on the secondary instruments. The performance level on the major instrument must be equal to the level normally expected of master’s students completing a major on that instrument. 3) 9 Graduate History and Style (16HILT801.) One Concerto/Chamber Recital
Music History Curriculum
Required Courses Qtr.
1. 3) 9 Symposium in Composition (16MTHC885) 0 Introduction to Electronic Music (16MTHC571. (See doctoral program language requirements. of Early Music and/or World Music Labs may count toward the 26 hours of HILT electives Musicology Colloquium (16HILT860) 6 Thesis (16HILT890) 9 66
2 2 56
Note: All electives to be selected from a division-recommended list. Papers must adequately demonstrate the student’s ability to write in a clear. Successful completion of a written examination in music history and literature and in music theory. organized and well-reasoned fashion. if progress is not acceptable. 2. If admitted to the doctoral program through this process. 2. musicology emphasis. Composition Major Study (16MTHC800) 12 Graduate Research and Writing (16HILT821) 3 Graduate Theory and Analysis (16MTHC801. in lieu of a thesis. 2.
(For graduate students continuing from the MM to the PhD. In exceptional cases. -701.)
The program is designed according to three “strands:” music education core. 505. Strand II: Music Studies 15+ Studies in this area will be determined on a case-by-case basis using initial diagnostic information and in consideration of each student’s musical/pedagogical needs and aspirations. completed at an accredited college or university. The format and extent of the exam will be determined by the music education faculty. 7. Design and Process Music History and Theory Electives Ensembles Strand III: Specialization/Electives 15+ A slate of courses/experiences has been created to use as a basis for crafting specialization course work based on advisement with a designated faculty member in each of the following areas: • arts administration • choral conducting • early childhood education • educational administration • jazz studies • Orff-Schulwerk • performance • related arts • urban music education • wind studies (Other areas of specialization may be created based on student interests and available university resources.) Total credit hours: 50–51+ Qtr. 2) Qtr. Hrs. 6 9 3 3 3 6 6 9 9 6 60
Note: Courses listed under composition may not be used to satisfy theory elective requirements. Graduate Theory and Analysis 6 Tonal Harmony: Form. 6. 2. 3) Graduate Research and Writing (16MTHC821) Set Theory I (16MTHC816) Schenkerian Analysis I (16MTHC818) Theory Colloquium (16MTHC870) Readings in Theory (16MTHC880) Graduate History and Style (16HILT801.34
university of CinCinnati College-Conservatory of MusiC
work will continue toward the PhD. 2. 2. -560. Strand I: Music Education Introduction to Research in Music Education History and Philosophy of Music Education Urban Music Education Technology for Music Teaching Contemporary Topics I • The Educational Landscape • Learning Theory and Music Education Contemporary Topics II • Curriculum Design • Assessment and Accountability Graduate Colloquium Masters Project in Music Education * Participation required all quarters in residence. and specialization/elective studies. and letters of reference and a “best piece” writing sample (with specific attention to teaching effectiveness). -630. 2.
Each student must complete a credit-bearing project as a culminating scholarly “capstone” to the degree. Completion of the proficiency requirements in German or another language approved by the division. an applicant must have a minimum three years of successful teaching experience in music at the elementary or secondary level. After completion and approval of this project and at the conclusion of course work. and any nonrequired theory course numbered above -800. a MM candidate may be admitted to the PhD program after completion of all master’s requirements except the thesis.)
Music education Curriculum
Prerequisites for this degree are a baccalaureate degree in music education. Submission of an acceptable portfolio of at least three professional level research papers. 3) Theory Electives 16th Century Counterpoint (16MTHC501. Evidence of the candidate’s musicianship is also required. music studies. (See Doctor of Philosophy in Music-Musicology. (20–21) 3 3 3 3 2
Required Courses Pedagogy of Theory (16MTHC701. -605. A minimum of 146 graduate quarter hours will be required.
1. 2) Graduate Theory and Analysis (16MTHC801. by mutual agreement of the theory faculty and the student. 6. 3.
. 7. The following elective courses are from the approved list: 16MTHC501. there may be a “no-thesis” possibility. -620. in which the thesis requirement is effectively waived. Candidates completing this program and continuing with the doctoral degree in music theory will receive 19 hours of graduate credit toward the PhD. or an equivalent degree. candidates will be examined by the music education faculty and a professor from the specialization area if outside the field of music education. a master’s degree and a strong musical/academic background as reflected by transcripts. To be admitted to the program. GRE scores. Hrs. Successful completion of an oral examination before a committee from the graduate faculty. 3.
Choral Conducting Curriculum
Required Courses Qtr. 5. 001) Instrumental Conducting (16COND811. 3) 9 Graduate Research and Writing (16HILT821) 3 Graduate Theory and Analysis (16MTHC801. 3. 2. those electing to complete the program in one academic year only will generally be eligible for financial aid in the form of tuition scholarship only.002) 18 Seminar in Conducting (16COND981-Sec. 3) 9 75 Oral Examination: Degree candidates must successfully complete an oral examination before a committee from the graduate faculty as selected by the wind conducting faculty. 5.1) 6 Instrumental Ensembles (16ENSMxxx) 6 Graduate Research and Writing (16HILT821) 3 Graduate Theory and Analysis (16MTHC801. 2. 5-Sec. 2. 3) 9 Graduate History and Style (16HILT801.
orchestral Conducting Curriculum
Required Courses Applied Study Conducting (16COND800-Sec. 5. *** Oral Examination: Degree candidates must successfully complete an oral examination before a committee from the graduate faculty as selected by the orchestra conducting faculty. 6) 12 Seminar in Choral Literature (16HILT981) 3 Ensemble (participation required during each quarter of residence) 6 Graduate History and Styles (16HILT801. Candidates completing this program and continuing with the doctoral degree in choral conducting will receive 12 hours of graduate credit toward the DMA. 2. 6) Seminar in Conducting (16COND981. Aural Training.
* Elective courses: Nine credit hours selected to complement the above requirements. 8.003) 6 Survey of Wind Literature (16HILT643. 4.002) 12 Conducting Performance (16COND960-Sec. 8 6 2 2 2
3 9 9 Qtr. Hrs. other groups by permission of the major advisor. 4. Advanced Orchestration. 4. 3) 9 Seminar in Conducting (16COND981. 2.
. 3) Graduate Theory and Analysis (16MTHC801. 003) Ensembles (16ENSMxxx) Graduate History and Styles (16HILT801. 3) 9 Survey of Choral Literature (16HILT631. These may include History of Opera or other special history topics. Three quarters of applied voice study. Analysis of 20th-Century Music. 2. 2. Schenkerian Analysis.001) 6 Survey of Wind Chamber Music (16HILT647. Graduate assistantships carrying responsibility for teaching and administrative assignments will normally be awarded only to those who elect to complete the program over two years. Hrs. Hrs. 2. 3) Graduate History and Style (16HILT801. 2.
1. the contemporary ensemble (INTY) or Opera Studio. 3. Three conducting performances. 2. Due to the compressed time frame. 2. 3) Cognate Studies Vocal Emphasis Survey of Song Literature (any three of 16HILT621. 9-Sec. 6. 2. Hrs. 2. the Concert Orchestra. Choral Conducting (16COND821. the Concert Orchestra Chamber Orchestra (COCO). 2. 6) or Chamber Music Literature with Piano (3 hrs) Qtr. 3) 9 Music Elective selected from history and theory courses 3 63
Wind Conducting Curriculum
Required Courses Qtr. 3-Sec. 3) Electives* Conducting Performance** (16COND960) Qtr. 3. Hrs. 2. Introduction to Arts Administration or other such courses as agreed upon with the major advisor. Applied Conducting Study (16COND800-Sec. 6) Score Reading (16MTHC521.
** Further Requirements: A minimum of six conducting performances must be successfully completed with either the Philharmonia Orchestra. 2. 9 18 9 6 9 9 3 6 3 9 6 87
Collaborative Piano Curriculum
Major Area Piano Concentration Seminar in Collaborative Piano Accompanying Major Concerti (16PIAN841) Survey of Sonatas - Piano and Strings (16PIAN842) Survey of Sonatas - Piano and Winds (16PIAN843) Core Requirements Graduate Research and Writing (16HILT821) Graduate Theory and Analysis (16MTHC801. 7) or Seminar in Opera Coaching (2 hrs per term) Instrumental Emphasis Survey of Chamber Music Literature (16HILT525. 3) Graduate Research and Writing (16HILT821) Symphonic Literature (16HILT515.university of CinCinnati College-Conservatory of MusiC The program may be completed in one academic year plus summers or over the course of two academic years.
harpsichord. music history and literature. electronic media. classical civilization. dramatic literature. Competency may be interpreted as having completed with a B average one year of collegiate study in a language. French and German is required of all students concentrating on vocal repertoire. 3 1 2 1 2 1 2 1 2 1 2 1 2 1 9 2
9 3 3 3 3 3 12 0–21 36–57 3 6 3 3 6 21
Electives 9 Recommended free electives: art history.
3 3 3 3 3 3 12 0–21 30–51
3 3 3 3 3 12 0–21 27-48
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Core Curriculum Approaches to Production Research Methods for Directors Directing I Directing I Lab Directing II Directing II Lab Directing III Directing III Lab Directing IV Directing IV Lab Directing V Directing V Lab Directing VI Directing VI Lab Graduate Acting I Movement III (Stage Combat) Qtr. Required Recitals Four Recitals (16PIAN870) Recital Coaching (16PIAN890) 4 4 60
1. Successful completion of a 30-minute oral examination before a committee of departmental faculty. 4. organ or related areas as needed. at least one recital should be planned and prepared by the collaborative piano student so as to incorporate two or more performance media within a single recital. In fulfilling the recital requirements. arts administration. (A solo piano piece could also be included. Total Degree Requirements 113–143
. Hrs. Each major is required to play a performance board before the full collaborative piano faculty in the spring quarter of the student’s first year.36
university of CinCinnati College-Conservatory of MusiC Introduction to Lighting Introduction to Arts Administration Voice IV Electronic Media Elective Costume Design I Career Planning Seminar Advanced Directing Practicum Total Core Curriculum Core Specialization Drama Movement II Assistant Director Practicum Directing Project I Directing Project II Thesis Production Thesis Tutorial Professional Directing Internship Independent Study or Musical Theatre Assistant Director Practicum Directing Project I Directing Project II Thesis Production Thesis Tutorial Professional Directing Internship Independent Study or Opera Seminar in Opera Stage Directing Assistant Director Practicum Directing Project I Directing Project II Thesis Production Thesis Tutorial Professional Directing Internship Independent Study Academic Studies Introduction to Dramaturgy History and Theory of Directing Aesthetics Advanced Script Analysis Musical Theatre History and Literature or History of Opera 3 3 6 3 4 1 3 56
Music Electives 5 General Studies in music history and literature. Competency in Italian. theory (such as Figured Bass Accompaniment). or the successful completion of a proficiency test in a specific language.) The remaining recitals may be those in which the collaborative piano major assists another student in the presentation of that student’s degree recital. languages.) 3. multicultural studies. (A total of four recitals will be required. Students wishing to concentrate on instrumental repertoire must demonstrate competency in at least German. 2.
3) Independent Study (16THPR560) Approaches to Production (16DRTG870) Aesthetics (16DRTG800) Theater History (16DRTG831. Supported production requirements include two studio productions and one thesis production. 2. 2. Written requirements include one thesis production proposal and one thesis paper. 804. stage design. 2) History of Art (23ARTH111. one lab production outside the area of specialization and lab projects as part of Directing I-VI. II & III (16-THPR-803. 813) History of Opera (16-HILT-511.
Major Area Makeup IV (16THPR851. 3) Script Analysis (16DRTG811. 3) Fashion Drawing (23FASH211. as well as an oral presentation and defense of the design before a selected faculty committee. 869) Costume Design IV (16-THPR-891. 3) Artist in Society (16-DRTG-710) Script Analysis (16-DRTG-811. 4–12 3 9 8–12 6 4–12 6 3 1–6 6 90
Awarding the degree is dependent upon successful completion of the final design/technology (thesis) project. For costume majors. 2. with associated research/support paper. II & III (16-THPR-801. For costume majors. 866) Costume Design III (16-THPR-867.university of CinCinnati College-Conservatory of MusiC Further Requirements: A minimum of seven quarters in residence is required. 893) Adv. providing they do not interfere with the core sequence. 513) Musical Theater Hist. 883) Tailoring I. Character Figure Draw (16-THPR-781) Adv. The curriculum for each is reflected in the following. 5. 2. 811) Others
3 9 3 9 9 6 -
Total credits: 90 (2 year program) 129 (3 year program) Note: Awarding of the degree is dependent upon the successful completion of the final design/research project. 892. this project will include the makeup design for a major production. 545. 3) Makeup V (16THPR877. 512. For makeup majors. sound design. with an associated research paper and sketches. 5) Sculpting Courses (23FAM661. 806. & Lit. Nonsupported production requirements include one diagnostic production. (Internships may be completed during the summer. 2. with associated research paper. 863) Costume Design II (16-THPR-864. over the three-year sequence. or during the second year. 2) Costume Design I (16THPR861. and an oral presentation and defense of the design before a selected faculty committee. 6) Advanced Construction (16-THPR-702) Adv. Hrs. 2. technical production. and stage costume. Costume Construction (16-THPR-886) Costume Shop Management (16-THPR-703) Millinery (16-THPR-887) Fabric Modification (16-THPR-888) Masks (16-THPR-889) Advanced Crafts (16-THPR-882) Costume Design I (16-THPR-861. (16-MUST-810. Hrs. 885) Costume Construction (16-THPR-864. Assistant directing assignments will include one CCM main-stage production and two professional internships outside of CCM. 868. 12 12 6 30 Qtr. Costume Rendering (16-THPR-782) Special Topics (16-THPR-660) Workshop Practicum (16-THPR-500) Major Area Required (12) Costume Lab & Crew (16-THPR-544. 862. II & III (16-THPR-802.) Required Related (3) Approaches to Production (16-DRTG-870) Supporting & Other Electives (6) Aesthetics (16-DRTG-800) Theater History (16-DRTG-831. 3) Introduction to Stage Lighting (16THPR720) Introductory Life Drawing (23FAM321. Major Area (69 required minimum from below) History of Costume & Pattern (16-THPR-754. 2. 865. 12 12 12 12 12 4 12 12 4 4 4 12 12 12 12 12 8 8 1-4 1-6
Note: Awarding of the degree is dependent upon the successful completion of the final design/research project. 2. 8. 2) Artist in Society (16DRTG710) Other approved DAAP courses (23-XXX-XXX) Design/Research Project (16THPR820) Qtr.
. 6) Pattern Drafting I. this project will include a major design or technology effort. this project will include a major design effort. and an oral presentation and defense of the project before a selected faculty committee. 3) Required Discipline-Related Courses Advanced Life Drawing (23FAA624. 805. Hrs. 8 9 3 3 3 9 35 Qtr. stage management. 884) Draping I.
theater Design and Production Curriculum
This major offers concentrations in makeup. 3) Electives (18 hours required) Costume Tech I (16THPR701. 812. 546) *Design Research Project (16-THPR-810) Qtr. 5. stage lighting. 9) Makeup Lab and Crew (16THPR561. Hrs.
design. 2) Advanced Script Analysis (16DRTG813) Approaches to Production (16DRTG870)
3 6 3 3 15
Two courses from the following options: Costume Design I (16THPR461) OR Intro to Stage Design (16THPR580) OR Intro to Stage Lighting (16THPR720) OR Lighting II (design focus) (16THPR814) OR Costume Appreciation (16THPR700) OR Intro to Makeup (16THPR710)
3 3 3 3 3 3 6
Approved Electives Courses from this list are suggested to complete the candidate’s course of study or to fulfill deficiencies in the candidate’s training or experience. 3) with
. and execution of all necessary paperwork (see course description) for an actual or theoretical design assignment.38
university of CinCinnati College-Conservatory of MusiC
Major Area Sound Design I (16THPR764. 6) Scene Painting Electives (16THPR770. 3 4 3 3 3 9 3 3 3 6 2 3 3 3 3
Electives (30 hours required) Rendering for Stage Designers* (16THPR714. 2. The project will be accompanied by a written argument of the conceptualization/approach and will be presented and defended orally by the candidate before a selected faculty committee. Fundamentals of Directing (16DRTG501) Drafting for the Theater I (16THPR718. 6) Stage Lighting III (16THPR821. 20) Qtr. Hrs. 3) Theater Sound Technology (16THPR721) Digital Audio Systems (16THPR771) History of Jazz and Pop (16HILT501) Musical Theatre History & Lit (16MUST810. 19. 9) Drafting II (16THPR847. 2. 9 9 12 3 33 3 3 6 3 3 3 21
Required Discipline Related Courses Aesthetics (16THPR800) Script Analysis (16DRTGR811. For stage design majors. 6) Stage Design Lab and Crew (16THPR871. 2. 5. 5. For Non-majors (16AADM660) The Artist in Society (16DRTG710) History of Theater (16DRTG831. engineering. 3) (two hours each quarter in residence) Stage Properties (16THPR550) Required Discipline-Related Courses Costume Appreciation (16THPR700) Introduction to Stage Lighting (16THPR720) Script Analysis (16DRTG811. 2. 2) Advanced Script Analysis (16DRTG813) Aesthetics (16DRTG800) Approaches to Production (16DRTG870) Qtr. 5. this project will include the research. 3) Stage Lighting IV (16THPR851) Lighting Lab and Crew (16THPR518. 5. 3) or Technical Production II (16THPR831. 9) Independent Study (16THPR560) Arts Admin. 3 9 18 6 6 42
Courses in physics. electronics. 9) Sound Production Practicum (16THPR773) Qtr. 2. 8) Drafting III (16THPR851. music. through their initial portfolio interview or through the completion of the rendering diagnostic home project. Hrs. 3) Stage Design II (16THPR844. computer music or Musical Theatre (require advisor approval) Design/Research Project (16THPR874) 6 90
Production Sequence Technical Production I (16THPR711. 2) Approved DAAP Electives Electives (any area) Academic Electives Design/Research Project (16THPR881)
9 4 6 8
6–9 6 3 6 90
* Students who do not exhibit a proficiency in rendering. 2. 6) Graduate Sound Seminar II (16THPR857.
Major Area Introduction to Stage Lighting (16THPR720) Stage Lighting II (16THPR814. 880) History of Art Electives Drafting I (16THPR718. 8. computer science. 1) Directing III (16DRTG803) Introduction to Dramaturgy (16DRPF551) Sound Reinforcement & Recording (16JZST541) Jazz History (16HILT544) Intro to CAD for Theater (32MET065) Qtr. Hrs. Note: Awarding of the degree is dependent upon the successful completion of the final design/research project. 9 9 9 9 6 42
Major Area Stage Design I (16THPR841. 5. will be required to take this course. Hrs. 6) Sound Design II (16THPR768) Graduate Sound Seminar I (16THPR854.
4) 6 15 Required Discipline-Related Courses Approaches to Production (16DRTG870) Script Analysis (16DRTG811. 5. Awarding of the degree is dependent upon the successful completion of the final production/research project. 9) Production Electives (18 hours required ) Introduction to Stagecraft (16THPR750) Introduction to Lighting (16THPR720) Introduction to Makeup (16THPR710) Costume Appreciation (16THPR700) Qtr. 5. 5. For a stage management major. For stage management majors. 5. 9) Drafting II (16THPR847. 3) 6 or Stage Management I (16THPR741) with 3 Stage Management II (16THPR824. 9 9 9 27
Note: Awarding of the degree is dependent upon the successful completion of the final design/research project. with documented research and all associated paperwork. applied music (any course which improves the student’s ability to read music — for opera and Musical Theatre stage managers). 5. 20) and Rendering for Theater (16THPR714) or Introduction to Stage Lighting (16THPR720)
. Hrs. history of opera. languages (specifically Italian. this project will include an assignment as stage manager to a large scale opera. 6) Stage Management III (16THPR827. 6) 12 or Sound Design (16THPR764. 3. 3) Technical Production III (16THPR834. 8. and a final production book. 2) Advanced Script Analysis (16DRTG813) Independent Study (16DRPF560) Aesthetics (16DRTG800)
Introductory Stage Design I (16THPR580) (Fall qtr. history of jazz and popular music. 2. The work will culminate with an oral presentation and defense of the organizational and administrative techniques used in the production before a selected faculty committee. 3) with 9 Stage Design Lab & Crew (16THPR871. dramatic literature electives. 2. 2. 6) Technical Production Lab & Crew (16THPR817. 2) Advanced Script Analysis (16DRTG813) Arts Administration for non-majors (16AADM660) Aesthetics (16DRTG800) Approaches to Production (16DRTG870) Discipline-Specific Electives (see Note) Free Electives (12 hours required ) Design/Research Project (16THPR840)
3 2 1–3 3 2
3 6 3 6 3 21
3 6 3 3 3 3 12 12 6 90
Electives (six hours required ) The Artist in Society (16DRTG710) Dramatic Literature Electives Drafting I (16THPR718.9. 3) Required Production Courses or Stage Lighting I (16THPR707. 6) 9 or Stage Design I (16THPR841. 8. 6) and Stage Design Lab & Crew (16THPR508. as well as an oral presentation and defense of the design concept and execution before a selected faculty committee. Hrs. For stage lighting majors. 9) Qtr.) Co-req. 12 12 24 3 3 3 3
Production Sequence (18 hours required) Rendering for Stage Design (16THPR714. 5. a production journal. 19. 2.: Stage Design Lab & Crew (16THPR871) Stage Properties (16THPR550) Sound for the Theater (16THPR761) Drafting I (16THPR718) Required Discipline-Related Courses Fundamentals of Directing (16DRTG501) Script Analysis (16DRTG811. Musical Theatre. French and German for the opera stage manager). 8) Drafting III (16THPR851.university of CinCinnati College-Conservatory of MusiC
Technical Production Lab & Crew (16THPR817. this project will include the lighting design for a major theatrical production.
3 3 3 3 6 90
Major Area Technical Production II (16THPR831. or drama production. along with all associated paperwork. 8. 9) or Stage Lighting II (16THPR814. 6) or Stage Design I (16THPR841. these would include psychology. 9) 9 or Rendering for Stage Designers (16THPR714. 6) with 9 Theater Sound Technology Lab & Crew (16THPR722. 2) Art History Computer Science Electives Engineering Electives Costume Appreciation (16THPR700) Stage Lighting Projection (16THPR730) Sound Reinforcement Techniques (16THPR760) Introduction to Makeup (16THPR710) Design/Research Project (16THPR830)
3 4 4 4
Note: Electives are selected from division-recommended list.10) or Stage Lighting Lab & Crew (16THPR518.
Major Area Stage Management II (16THPR824. 5. 8.
university of CinCinnati College-Conservatory of MusiC
Required Discipline-Related Courses Aesthetics (16DRTG800) Approaches to Production (16DRTG870) Sound for the Theater (16THPR761) Drafting for the Theater II (16THPR847, 8) Script Analysis (16THPR811, 2) Advanced Script Analysis (16THPR813) Independent Study (16THPR560) Electives (eight hours required) Arts Administration (for nonmajors) (16AADM660) Costume Appreciation (16THPR700) Stage Design Lab & Crew (16THPR871, 2, 3) The Artist in Society (16DRTG710) Approved courses in math, engineering, computer sciences, industrial arts, or Musical Theatre Design/Research Project (16THPR860)
3 3 3 4 6 3 9 31
3 3 6 3
Organizational Structure and Staffing (16AADM802) Public Policy and the Arts (16AADM803) Marketing the Arts (16AADM788) Internet Marketing and PR for the Arts (16AADM813) Arts and Education (16AADM812) Arts discipline electives Independent Study (16AADM860/560) Research Project (16AADM880) Internship (16AADM840) Current Issues Forum (16AADM870) Financial Accounting (22ACCT711) Financial Tools (22FIN713) Managerial Accounting (22ACCT713) Stats & Decision Models for Mgrs. (22QA711) Leadership and Organizations (22MGMT714) Corporate Resp. & Bus. Ethics (22MGMT715) Business Law (22BLAW711) Business Elective Managerial Economics (15ECON711)
3 3 3 3 3 3 5–9 3 6–21 0–5 2 2 2 4 4 2 2 2 4 71
Note: Awarding of the degree is dependent upon the successful completion of the final design/research project. For technical production majors, this project will include the technical direction of a major production, with associated portfolio material, and an oral presentation and defense of the methods and techniques used in the production.
special admission requirements
Artist Diploma in Harpsichord
Audition should include repertoire similar to that of the MM/ DMA audition, but must be of more than 30 minutes duration. Personal appearance in Cincinnati is required.
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This comprehensive graduate program — leading to the master of arts degree — was established to fill the growing need for qualified administrators in arts organizations. It is designed to prepare students for careers in performing and visual arts management. Students admitted to the program take course work through various colleges of the university including the College of Business, McMicken College of Arts and Sciences, and the College of Design, Architecture, Art, and Planning as well as the College-Conservatory of Music. Under normal circumstances, two years are required to complete the master of arts in arts administration degree. It is also possible to earn the combined MBA/MA degree in eight quarters through a cooperative arrangement with the College of Business. Additional credits in graduate business courses are required to complete the MBA degree. An essential feature of both programs is an internship in one or more professional situations. Core Requirements Qtr Hrs. Introduction to Arts Administration (16AADM771) 3 Funding and Grants (16AADM781) 3 Performing Arts Production Management(16AADM798) 3 Financial and Strategic Management (16AADM801) 3
Artist Diploma in Opera—Vocal Track
Cincinnati audition and interview required. At least five arias should be prepared with special emphasis placed on style, interpretation and languages. Applicants should have college level proficiency in French, German and Italian. Program is extremely competitive, with no more than 12 (usually postmaster’s) students enrolling in any given year.
Artist Diploma in Opera—Coaching Track
Cincinnati audition and interview required. Applicant should already have earned the master of music degree with college level proficiency in French, German and Italian. Prepared material from at least three major works of the standard repertoire must be played for the opera staff and coaching faculty, with the candidate prepared to give cues and respond to a conductor. Coaching of students and sight reading also will be required. The program is extremely competitive with no more than three students enrolled in any given year.
Artist Diploma in Piano
A personal audition in Cincinnati is required. Repertoire is similar to that of the MM/DMA; admission is extremely competitive and is for the student who seeks a performance career.
university of CinCinnati College-Conservatory of MusiC
Artist Diploma in Strings
Repertoire requirements are similar to that of the MM/DMA. The expected level of performance accomplishment must exceed that of MM or DMA students, since the artist diploma program is limited to those select students who seek a solo performance career. The audition selections should include the following styles: baroque, classical, romantic, contemporary. (One of these works should be a major concerto.)
Opera — Vocal Track
Voice & Coaching (38 cr. hrs.) Applied Study (16-VOICE-850, 950) Opera Coaching for Singers (16-OPRA-850) * Independent Study: for Dramatic Coaching for Singers (16-OPRA-560) (2 cr. per Qtr.) Acting (Max 27 cr. hrs.) * Characterization (16-OPRA-780) (3 cr. per Qtr.) Graduate Acting (16-DRPF-801, 802, 803) (3 cr. per Qtr.) Qtr. Hrs. 24 12 2
Artist Diploma—Chamber Music Track
This program is open only to serious pre-existing chamber music ensembles in the final stages of preparing for an active performing career. Each individual in an ensemble must apply separately and meet the requirements for admission; however, the audition and acceptance into the program will be as a group, not as individuals. Progress through the curriculum is dependent on the group remaining together; such activities as chamber music major study (regular coachings), annual board examinations, and the four required recitals will all involve the ensemble playing together. For the audition, which under normal circumstances must be in Cincinnati, the group should prepare one hour or more of music of varying styles, showing best its musical, interpretive and technical abilities.
* For students accepted into study in Acting III (by permission), in lieu of a second year of Characterization, register for Special Topics: Opera Acting III (16-OPRA-660). Performance Training (Min 12 cr. hrs.) Opera Studio (Coaching and Production) (16-OPRA-675) 3* Opera Theater (Coaching) (16-OPRA-677) 2* Opera Theater (Production) (16-OPRA-678) 2* Special Topics: Combat for Opera Singers (16-OPRA-660) 1CR/ 1 Qtr. * A minimum of 12 CR required of Opera Studio & Opera Theater Courses. Performance: A minimum of four major roles must be prepared and performed. Those roles, which are not performed as part of either Opera Theater (16-OPRA-677, 16-OPRA- 678) or Opera Studio (16-OPERA-675) must be presented in excerpt form before members of the Opera Faculty in tandem with a written dramaturgical presentation and score preparation. Of the four required roles, a maximum of two may be performed outside CCM in full production. Students must then provide documentation of their performance. The performance role must be coached by a member of the CCM Opera Faculty. Language Training (22-28 cr. hrs.) Special Topics: Italian Libretto (16-OPRA-630) (2 cr. per Qtr.)
students Who Have Left full-time status: recital Policy
Artist diploma students must fulfill at least two of the recital requirements during residence. The other two must be performed within two calendar years after leaving full-time status. Any extension beyond these limits is by departmental permission only. Any degree recital given by a student after leaving full-time status must be under the supervision of a CCM faculty member. The students should enroll for applied lessons during the quarter leading up to the recital, or should work with the supervising faculty member on a private basis.
The objective of this two-year program is to train highly talented young singers for a career in opera performance. Structured as a modular program, it should be completed in a two-year time span. Most students admitted to this program have already completed the master of music degree. It is possible upon the completion of the diploma program, or at any point within the program, to elect those modular units that would lead directly to the master of music or doctor of musical arts degree, whichever degree program is appropriate to the student’s level.
* Students must take one year of Italian (3 cr. per Quarter for 9 Qtr. hrs.) and one year of either French (3 cr. per Quarter for 9 Qtr. hrs.), or German. (5 cr. per Quarter for 15 Qtr. hrs.) To be determined by the Opera Faculty. Professional Development (2-8 cr. hrs.) Professional Development (16-OPRA-750) (Course is taken each quarter a student is in residence for either 0 credit or 1 credit, depending upon student load in a particular quarter.)
university of CinCinnati College-Conservatory of MusiC Additional Requirements • Depending on the student’s background and previous study, 18 hours are selected from the following: Piano, Graduate Diction, Conducting, Voice, Opera Performance Preparation, Opera History, Special Topics: Opera Libretto, Song Literature, Seminar in Accompanying, Vocal Recital Coaching. • Those students who are admitted without the prerequisite completion of at least one year of study in each of the following languages - French, German, and Italian ---or evidence of equivalent study in each language, must complete this requirement in order to graduate. • There will be no TOEFL Requirement for admission.
Managing a Professional Performance Career (16-INTR-610) per Qtr.) Total Credits
2 (2 cr.
Remedial Requirements * Students will be evaluated by the Opera Faculty and, when necessary, they will be asked to take the following Graduate Diction courses: Graduate Italian Diction and Recitative (16-VOICE-631) Graduate French and German Diction (16-VOICE-632, 3) * There is No TOEFL requirement for admission. Important Note Concerning Time To Degree Students who are required to take additional language or diction classes may find that it takes longer than six quarters to complete this program.
Opera — Stage Directing Track
Studio Mentorship (33 cr. hrs.) Applied Study: Opera Stage Direction 885) Seminar in Opera Directing 781) Actor Training (6-9 cr. hrs.) * Opera Characterization (16-OPRA-780) Qtr. Hrs. (16-OPRA24 (16-OPRA9
Opera — Coaching Track
Studio Training (36 cr. hrs.) Applied Study (16-OPRA-900) Seminar in Opera Coaching (16-OPRA-820) Qtr. Hrs. 4 2
Performance Training (36 cr. hrs.) * Assigned by Opera Faculty Committee. Minimum is 3 credits per Quarter. Opera Studio (Coaching and Production) (16-OPRA-675) 3* Opera Theater (Coaching) (16-OPRA-677) 2-3* Opera Theater (Production) (16-OPRA-678) 2-3* * A minimum of four projects must be completed under the approval of the candidate’s program committee. An adjudicating committee would be drawn from the opera, conducting and accompanying faculties. These projects would include: 1. The playing of a final dress rehearsal for a main stage production, demonstrating complete mastery of a work. 2. The musical preparation and performance, either as conductor or accompanist, of an Opera Studio one-act opera or major scene preparation. 3. The preparation and performance of an artist diploma role presentation as an accompanist or conductor, either for jury or public performance. 4. An outside/professional presentation, which was prepared under the supervision of CCM faculty and documented by the student. Professional Development (2 cr. hrs.) Managing a Professional Performance Career (16-INTR-610) Total Credits
* For students accepted into study in Acting III (by permission), in lieu of Characterization, register for Special Topics: Opera Acting III (16-OPRA-660). Directing and Assistant Directing (Min. 9 cr. hrs.) Opera Studio (16-OPRA-675) Opera Theater Production (16-OPRA-678)
* Students must direct either one studio opera (16-OPRA-675) or one main stage opera production (16-OPRA-678) in order to graduate. Students must Direct One Opera Workshop Scenes Program. When a Student Assistant directs on an Opera Theater Production they sign up for 16-OPRA-678. Production A Minimum of four projects must be completed under the approval of the candidate’s program committee. An adjudicating committee would be drawn from the opera and drama faculty. These projects would include: 1. Working as assistant stage director on two main stage productions (4CR) 2. Presentation of one, or, the equivalent of one, one-hour scene program. 3. The preparation and direction of a Role Presentation working with Artist Diploma students. 4. An outside engagement as stage director, which must be documented and presented to the program committee. 5. The preparation and direction of either one studio or main stage production, which culminates in a final thesis presentation to their program committee. (4CR)
as determined by the Opera Department Faculty. Flute. Students who have not completed such study but who are otherwise acceptable to the program may be admitted for study in this program with the specific provision that the language prerequisite be completed prior to graduation. 6. Clarinet. 6 qtrs. per qtr. Hrs.) Applied Study (HSC850. 2. Trombone. Hrs. 2. • Students must demonstrate musical literacy. Any deficiency in these must be made up prior to graduation by taking Graduate Diction and Recitative in Italian (16-VOIC-631).) 6 Chamber Music */ Secondary ensemble 12
. Curriculum Qtr. Viola. • International applicants will be required to take the TOEFL exam in order to apply for the AD Directing Program. and Graduate Diction in French (16VOIC-633) and German (16-VOIC-632). competitions and auditions and should be completed in two years of full-time study. Violin. hrs. Italian. minimum. 950) Qtr. Students will be expected to translate and understand texts and libretti in the above languages.
Module IV: Harpsichord Performance Accomplishments: (Eight cr. chamber music. and related courses to be selected from: Figured Bass Playing and Improvisation (16MTHC515. or evidence of equivalent study in each language. hrs. double bass. Harp. hrs.) Graduate Theory and Analysis (16MTHC801. Trumpet. 36 Module II: Harpsichord Support Area (36 cr. each recital to be 50 minutes long (16HSC970) 4 Total Modules I-IV Piano 80 Total Modules I-IV Harpsichord 89 Module V: Remedial Areas (As determined by the Evaluation Committee. • Students will demonstrate proficiency in Italian.
Applied Study (6 crs. 3) Additional seminars as determined by adviser Module III: (9 cr. The structure of this degree program is to provide ample practice time to prepare for recitals. hrs. tuba substitute an orchestral excerpt board for one recital) Major ensemble (1 cr. hrs.. approved and graded by the faculty 8 Total Credits 69-75
Further Requirements A diagnostic board upon entering the program and two additional boards. each qtr. Four performances required. Percussion. Violoncello. French and German Diction. 7) Interpretation and Performance of Baroque Music (16HILT531. Bassoon.) Aesthetics (16-DRTG-800) Script Analysis (16-DRTG-811) Total Hours
2 3 Module I: (minimum of 36 cr. 36
3-6 6 16-19
Performance Accomplishments Four public recitals. French Horn. hrs. performance practices. two chamber recitals. Woodwinds.
Curriculum Major Applied Study (16PIAN850. Tuba) The objective of this two-year program is to provide specialized training for performers post-Bachelors or post-Masters.university of CinCinnati College-Conservatory of MusiC Professional Development (5 cr.) Special Topics: Italian Libretto (16-OPRA-630) Special Topics: Stage Combat for Opera (16-OPRA-660) Theory (6 cr. Hrs. hrs. 3) Early Keyboard (16PIAN921.) Literature of major instrument. Oboe. 2 credits each (viola. 3)
6 9 9 12
3 3 65-68
Additional Requirements • The completion of at least one year of study in each of the following languages: French. German.) Managing a Professional Performance Career (16-INTR-610) Arts Administration for non-majors (16-AADMN-660) Special Topics (6 cr. 2. It is also possible that these credits would lead directly to the master of music or doctor of musical arts degree.) (One) Concerto Recital (16HSC960) 2 (One) Chamber/Accompanying Recital 2 (Two) Solo Recitals. Brass and Percussion Curriculum
(Double Bass. whichever program is appropriate to the student’s level. 950) Other Requirements Chamber Music (three quarters) Master Class in Piano Performance (three quarters) Advisor-Approved Electives (from CCM graduate music courses) Qtr.)
instrumental Music Performance for strings.) 36 Performance Accomplishments (16xxx855) 8 Two solo recitals.
including the summer quarter. The other two must be performed within two calendar years after leaving full-time status. theory.. and doctor of philosophy in music. 3) Module IV: Performances Four Chamber Music Recitals (50-60 min. Substitution for French or German can be permitted with the approval of the CCM graduate faculty: PhD DMA DME Two languages. or should work with the supervising faculty member on a private basis. performance practice. normally French or German No language required
At least one year of full-time study is required for doctoral degrees. the candidate has four additional calendar years in which to complete the remaining degree requirements. Any extension beyond these limits is by departmental permission only. that a candidate plan to spend two full academic years (or the equivalent in a year and summer terms) in residence. how-
. The DME is a degree emphasizing studies related to the music teaching-learning process applied to instructional settings. Any degree recital given be a student after leaving full-time status must be under the supervision of a CCM faculty member. etc. researchoriented degree. (A student becomes a candidate for the degree after successful completion of the comprehensive examinations.) (16COAC860)
The college-conservatory believes that a graduate program of study should be completed without undue delay. The PhD program follows closely the traditional academic guidelines for this scholarly.
instrumental Music Performance — Chamber Music track
Module I: Applied Study Chamber Music Major Study (coaching) (16COAC850. applied study.
Proficiency will be shown by passing one of the national examinations given by the Educational Testing Service. ea. is an invariable part of each candidate’s program).) At that point. The students should enroll for applied lessons during the quarter leading up to the recital. pedagogy. Beginning with the initial enrollment. The DMA is a professional degree. 2. ensembles. The College-Conservatory of Music recommends. doctor of music education. arts administration. confined mainly to the fields of performance. or related subjects. Hrs. except where circumstances beyond the student’s control prohibit the completion of the work in the normal time.
Module II: Support Area Music History and Literature courses (16HILTXXX) 12 Managing the Professional Performance Career (16INTR610) 2 Other supporting classroom and/or laboratory courses in history. a student has five years to achieve candidacy. theory. in cooperation with the Division of Graduate Studies and Research of the University of Cincinnati. literature. 24 12
students Who Have Left full-time status: recital Policy
Doctor of musical arts students must fulfill at least one of the recital requirements during residence. Courses are offered in several of the language departments through the auspices of the Division of Graduate Studies and Research to help the candidate prepare for this examination. performance practices and composition (although a solid core of courses in musicology.44
university of CinCinnati College-Conservatory of MusiC 10 72 ever. offers graduate programs in music leading to the degrees of doctor of musical arts.
geneRAl InFoRmAtIon FoR DoCtoRAl pRogRAmS
The College-Conservatory of Music. 950) Major Instrument Applied Study (16XXX910) Qtr. as determined by the student and adviser 16 Module III: Analysis and Performance Graduate Theory and Analysis (16MTHC801. A year of residence is defined as being enrolled as a full-time student.
Music electives (any CCM graduate music course) Total
* The above curriculum assumes 2 credits of chamber music per quarter. during each of three quarters within a span of five consecutive quarters. taking a minimum of 12 graduate quarter credit hours. normally French and German One language. The foreign language requirement in French may be satisfied by successfully completing the French reading course or an examination administered by the University of Cincinnati French department. The foreign language requirement in German may be satisfied by successfully completing the German reading course at the University of Cincinnati.
Before selecting a cognate field. music education. The written exam in history/literature will be a three-hour score and listening identification of work/composer style. and the student will be responsible for answering appropriate questions on the oral comprehensive examination. administered by the history and theory faculty. Prerequisite for this degree is the master of music in the appropriate field of specialization or its demonstrated equivalent.university of CinCinnati College-Conservatory of MusiC
Doctoral students may include Graduate Theory and Analysis as a component part of their degree programs. as well as essays on topics in music. the student will have four years to complete the remaining requirements in the program of study. in some cases. There will also be a three-hour written exam in theory and analysis. The major area examinations are given in all three quarters of the academic year. choral or instrumental conducting. included under the performance preparation category and under the studies in music category for the DME program. The major area examinations are administered by the major area faculty and are in two parts. This package then becomes an official portion of the student’s doctoral program. Prerequisite. may elect a cognate field in some specific phase of literature in the original language. Subsequently. these are called “secondary field” or “related area. literature and theory of music. Voice majors with sufficient linguistic ability and preparation. The second part is an oral examination which is taken upon successful completion of the written exam.
Literature and Performance Practice of Applied Music* Area Qtr. related courses 18–24 Historical Perspective—general studies in the history and literature of music 18 Cognate Field—studies in one of the following fields: music theory. The committee structure for the oral exam can be found in the Graduate Handbook. After attaining candidacy. or may elect a study of comparative literature. the student must meet with a selected faculty member in the cognate field to discuss expected requirements and to design a specific package of courses and requirements for the chosen cognate field. Hrs. composition. this portion of the doctoral program is an opportunity for the student to individualize the doctoral program according to personal interests and career aspirations. normally after one year in residence or its equivalent. Students should also have superior creative ability. Performance—applied music study 16–24 Performance Preparation—literature of major instrument. the student should discuss various options with the assigned major adviser. will be given three times a year (early in each quarter).
Qualifying examinations. Specialization is offered in the following fields of applied music: Bassoon Clarinet Composition Conducting Double Bass Euphonium Flute French Horn Harp Harpsichord Oboe Organ Percussion Piano Saxophone Trombone Trumpet Tuba Viola Violin Violoncello Voice
All doctoral programs have a requirement for a cognate field. performance practices. and skilled in the use of analytic and critical tools. Students in musical composition are expected to be articulate about their own music and the music of others. The first part is a written examination and cannot be taken earlier than one quarter following the successful passing of the qualifying examinations. jazz studies. again with recourse to the original languages insofar as possible 15–18
DoCtoR oF muSICAl ARtS
The doctor of musical arts curriculum is designed for the performing musician who has already achieved a high level of proficiency and artistry in the field of specialization.
Purpose and objectives
The DMA curricula have been formulated to promote the development of students toward the following goals: to be superior performing musicians and teachers equipped with the tools of musical scholarship and armed with a broad. After the successful completion of these examinations. but who at the same time reveals a capacity for further artistic and technical development and a potential for musical scholarship.” Whatever the designation. and may be taken with the approval of the adviser when the student is ready. Graduate Theory and Analysis may not be included as a part of a theory cognate. upon approval of adviser or committee as appropriate. well grounded in the history. music history and performance practices. the CCM director of graduate studies will certify to the university dean for graduate studies and research that the student has been admitted to candidacy for the doctoral degree. comprehensive knowledge of music literature.
choral. or ensemble. related courses Qtr. music theory. based upon student needs 15–18 Cognate Field—studies in one of the following fields: applied music (concentration level). supported by a document of 12–18 pages 3 4. ensemble performance. Wind Curriculum
Area Major Area—wind conducting Performance Preparation—wind literature. counterpoint. Hrs. orchestral or wind conducting. operatic literature. music education. Performance—applied music study 24 Performance Preparation—literature of major instruments. composition. Credits will be counted under Performance Preparation. 2. Hrs. private applied music study. Area Qtr. 3) 9* Historical Perspective—general studies in the history and literature of music 9 Cognate Field—studies in an area approved by composition faculty and director of graduate studies 15 Composition Accomplishment—dissertation in the form of major composition(s) as determined by adviser and committee 12
Conducting. Note for organ only: Organ majors are required to have a church position and to enroll in Practicum (16ORGN895) during each year of study.
Conducting. music education. theory 18–24 Historical Perspectives — general studies in the history and literature of music Cognate Field — studies in one of the following areas: applied music. score reading. such as orchestration. orchestral Curriculum
Area Qtr. Chopin. Two full solo recitals (60 min. One lecture/ recital. Beethoven. Choral Conducting 18 Orchestral Conducting 9 Performance Preparation — choral and orchestral literature. related courses 27 Historical Perspective—general studies in the history and literature of music 12-18 Cognate Field—study in a related musical field 12-18 Performance Accomplishments—recitals and lecture recitals 1. music history. The audition should display aptitude and professional ability in reflecting pianistic and artistic maturity of various styles. Composition—composition study 24 Introductory or Advanced Electronic Music 9* Composition Courses 6 Post-1890 Analysis (16MTHC611. Hrs. or other approved area 15–18 Conducting Accomplishments Lecture Recital 3 Conducted Performances 6–9 Document 3–6 90
Area Qtr. approved by the thesis committee and evaluated by the graduate faculty.46
university of CinCinnati College-Conservatory of MusiC Symposium in Composition—continuous attendance Recital of original compositions 0–1 0 90
Performance Accomplishments—recitals and lecture recitals Document
6–9 3–6 90
* Piano. A chamber music recital 2 3. theory and other areas as appropriate. performance practices. etc. Choral Curriculum
Major Area Qtr.
* Students who have already had comparable courses will take instead up to 18 units of composition electives. performance practices. Note about performances: Two public recital programs. Hrs. ensemble performance. A “specialty” recital of such as all Bach.) 4 2. arts administration. ensemble performance. Hrs. Composition and Conducting listed separately below. Major Area—orchestral conducting 18 Performance Preparation—orchestral. theory. Document 3 90
Conducting. approved and evaluated by the graduate faculty. other areas with approval 12–18 Conducting Assignments Conducting Accomplishments 3-6 Lecture Recital 3 Document 3 90 Further Requirements: Three quarters of applied voice study. presented in lecture/recital form.
Admission to the doctor of musical arts in piano presupposes the level required for completion of the master’s degree in piano. 18
. performance practice related courses 18–24 Historical Perspectives—courses need to assure proper overall background of student in music history..
literature and philosophy of music and related subject areas. Courses in tonal theory. computer science and musicology. followed by a two-day comprehensive examination in theory/analysis and a subsequent two-hour oral examination that includes the cognate subject. see the CCM Graduate Handbook or contact the CCM director of graduate studies. breadth as demonstrated by the completion of a significant program of study in a secondary field. composition. including conducting (subject to a successful audition before the faculty of that study area). and its defense. be moderately familiar with music theoretical literature. counterpoint. seminars. post-tonal theory. music education. the candidate will submit a formal proposal for the dissertation to the CCM Graduate Thesis and Research Committee for approval. master of music or music theory. cognate adviser and director of graduate studies.
The candidate is required to produce a dissertation that gives evidence of high scholarly attainment and power of independent. its format. The candidate is expected to acquire competence within the broad range of theory. Prerequisites. 60 15–27 15–24 90
Theory Course Requirements
The 60 credits in theory and music history/literature are determined in part by previous course work at CCM or elsewhere. Music History/Literature Secondary Field (cognate) Dissertation Qtr.
DoCtoR oF phIloSophy In muSIC
Music theory emphasis
Applicants must submit a theoretical paper demonstrating scholarship and research abilities. For further requirements concerning the dissertation. To be considered for a teaching assistantship. its publication. Determination of each student’s specific responsibilities and opportunities will be made by the principal adviser. based upon student needs 15–18 Cognate Field—studies in one of the following fields: applied music (concentration level). and the requisite skills in musicianship and language arts. music theory.
. Possible cognate study areas in the university may include history. art history. with another language to be acquired as dissertation plans develop. the director of graduate studies will appoint an advisory committee for the project. Once the committee has approved the proposal. a personal interview in Cincinnati is required. or other approved area 15–18 Conducting Accomplishments Lecture Recital 3 Conducting Recitals 6–9 Document 3–6 90
The minimum credit-hour total for the degree is 90 quarter hours beyond the master’s degree. theory pedagogy. A candidate should expect to spend at least two years in full-time study. The number of credits allowed varies with the individual student. and a readings/colloquium sequence comprise the bulk of the requirement. according to university guidelines. or their demonstrated equivalents. Prerequisites for the PhD in music (theory emphasis) are master of arts in music.
Purpose and objectives
The PhD program in music (theory emphasis) is designed to provide a comprehensive course of study in the theory. The outline of courses for the degree is as follows: Theory. After having passed the required qualifying examinations and the comprehensive and oral examinations.
Each student’s program of study is developed in consultation with the major adviser. rhythm and meter. Three-hour qualifying examinations in theory/analysis and history/literature are taken by all doctoral students near the end of course work. deficiency courses without degree credit are often recommended to remedy any areas of weakness. This examination shall be two hours long. music history. the PhD candidate will appear before a committee of graduate faculty members and other interested persons for a public oral defense of the dissertation. aesthetics. Possible cognate study areas within the College-Conservatory of Music may include applied music. original research. three are recommended. Diagnostic entrance examinations help to determine course requirements. Hrs. theory and other areas as appropriate. When the project is completed. An applicant must exhibit verbally in an interview and via a paper or papers a secure command of pertinent theory and analytical methodologies. psychology and philosophy.
Secondary Field (cognate)
The PhD program of study requires completion of an approved cognate area in the university outside the field of theory.university of CinCinnati College-Conservatory of MusiC Historical Perspective Electives—courses needed to assure proper overall background of student in music history. and demonstrate adequate musicianship skill. Reading knowledge of German is expected.
university of CinCinnati College-Conservatory of MusiC • Seminar in musicology is normally required each quarter of residency. Once this approval has been obtained. This appearance. literature and philosophy of music and related subject areas. theory.
. see the CCM Graduate Handbook. and to acquire reading knowledge of the second language within the first year of doctoral study. • Graduate Theory and Analysis does not count toward the music theory electives. • Musicology colloquium is required each quarter for the first two years of residency. breadth as demonstrated by the completion of a significant program of study in a secondary field. students will choose a total of five study areas from the following lists.
Each student’s program of study is developed in consultation with the academic adviser. etc. The other four areas will be the focus of the major area (comprehensive) examinations that are taken after the student has passed the doctoral qualifying examinations.
DoCtoR oF phIloSophy In muSIC
Musicology emphasis Purpose and objectives
The PhD program in music (musicology emphasis) is designed to provide a broad and comprehensive course of study in the history. Prospective students who have master’s degrees in other areas of music or closely related disciplines should apply for the MM in music history and should normally expect to complete that degree. The outline of courses for the degree is as follows: Area Music History Electives Music Theory Electives Musicology Colloquium Cognate Dissertation Qtr. Diagnostic entrance examinations help to determine course requirements in music history. A formal proposal for the dissertation will be submitted to the CCM Graduate Thesis and Research Committee for approval. art history. and the requisite skills in basic musicianship. Hrs. Candidates are expected to enter with a reading knowledge of either French or German. music theory. language arts. three are recommended. The minimum credit-hour total for the degree is 90 quarter hours beyond the master’s degree. music history or music theory. The candidate is expected to acquire competence within the broad range of musicology. Possible cognate study areas in the university may include history. List A Middle Ages Renaissance Baroque Classic Romantic Modern List B American Music History of Theory Music and Gender World Music
The prerequisite for the PhD in music (musicology emphasis) is a master’s degree in musicology. which shall be for a duration of two hours. the director of graduate studies will appoint an advisory committee for the project. 48 6 6 15–27 15–24
The candidate is required to present a dissertation that displays evidence of high scholarly attainment and power of independent research. and piano. Upon completion of the project. One of the five areas may be fulfilled by course work (three quarters minimum). A candidate is expected to have a basic command of the important trends. For further specific requirements concerning the dissertation.
Musicology Course Requirements
In order to achieve a greater level of focus within the field of musicology. the candidate must demonstrate the ability to work skillfully with the materials of music (analytic and writing skills). students who have achieved an appropriate music history background may apply to the PhD program without completing the master’s in music history. needed to accomplish these aims. The number of credits allowed varies with the individual student. However. no more than four from List A and no more than two from List B.. is in addition to the regular major area (comprehensive) examination for candidacy. A candidate should expect to spend at least two years in full-time study. events and styles in the history of music when entering the program. after a year of course work and on the recommendation of the faculty. in consultation with the adviser. In addition. psychology and philosophy. remedial courses without degree credit may be required or recommended to remedy any areas of weakness. the PhD candidate will appear before a committee of graduate faculty members for a public oral defense covering the dissertation. according to university guidelines.
Secondary Field (cognate)
The PhD program of study requires completion of an approved cognate area in the university outside the field of musicology. • Graduate research and writing does not count toward the music history electives. composition and music theory. Possible cognate study areas within the College-Conservatory of Music may include applied music or conducting (subject to a successful audition before the faculty of that study area).
Jerry Folsom. Additional studies at Virginia Commonwealth U. Part-time faculty affiliations: Indiana U. National Centre for Orchestral Studies. BA. Christopher Leuba. CCM. General Manager with the National Symphony Orchestra. marketing. Norway. Philip Collins. Washington U. Esther Boyer College of Music (1979. U. Board of Advisors member of International Horn Competition of America (2003–present). Adjunct Instructor in Trumpet. Orchestra Manager with the Baltimore Symphony Orchestra. CCM since 1996. CCM since 2006. Scholars award and lecturer/consultant in Germany. Professor of Arts Administration. BM. ProMusica Chamber Orchestra.. James Decker. Riccardo Muti. Pi Kappa Lambda. Coconut Grove Playhouse. CCM since 1998. Cleveland Opera Orchestra. Other professional experience includes assistant principal horn for Grant Park Symphony and principal horn for Memphis Symphony Orchestra. Diploma. Studies at U. “Mastering the Horn’s Low Register”. Consultant and contributor for “Philip Farkas: Legacy of a Master” (Northfield. of London. adjunct professor of Trombone. CCM since 2008. Graduate studies. New England Conservatory. Performer and co-producer for Summit Records CD “Shared Reflections: The Legacy of Philip Farkas”. China and Argentina. Interim Head. Faculty. Author of International Opus publication. Professor of Horn. the Rochester Philharmonic. Composer of “WHY?!” for unaccompanied horn. Faculty. Featured soloist with Dayton Philharmonic Orchestra. ProMusica Chamber Orchestra. Faculty. Adjunct Assistant Professor of Horn. Recipient of Fulbright U. Former member of the Cleveland Orchestra. Faculty. Attended Valparaiso U. Horn studies with George Cable.. Former faculty at Shenandoah U. Conservatory. Principal trombone. CCM since 2002.
Duane Dugger. Luzerne (NY) Music Center (1985–present). MM.S. U. managing director. national and international. Second hornist of the Miami Philharmonic (1974–75). Robert Routch. Studied with Sydney Mear. music history study with Hans Tischler. University of Dayton Wind Ensemble and Dayton Philharmonic Pops. with Distinction.” and has made arrangements of sacred music for trumpet ensembles. Assistant Professor of Trombone. (1999–2002). and William Adam. U. Performed as hornist with Iceland Symphony Orchestra. San Diego Chamber Orchestra.university of CinCinnati College-Conservatory of MusiC
FACulty By AReA oF InStRuCtIon
Jean P. spring 2010)
Timothy Anderson.. Chile.. Ph. since 1991. Frequent soloist with the CSO. Adjunct professor. the Czech Republic. U of Illinois. Toured North and South America as a member of Eastman Brass Quintet. Westwind Brass. and soloist. Cedarville U. of Michigan. U. Assistant Professor of Arts Administration. orchestra and chamber musician. Served as director of marketing for the Pittsburgh Symphony. Shakespeare & Company. Bernard Adelstein. Numerous master class and regional horn workshop appearances. Active clinician. BM. William Vacchiano. Queen City Brass and Cincinnati Brassworks. BM. AD. Horn teachers include Philip Farkas. Principal trumpet. Temple U. (On leave. General Manager with the Milwaukee Symphony Orchestra. 1990). Cincinnati Chamber Orchestra and on various recital series. U.. Winds and Percussion Department. Has recorded with Cincinnati Pops Orchestra. and American U. The American U. Chair. of South Carolina. Performer and clinician.
. Faculty. and Executive Director of the Maryland Symphony Orchestra. Extensive experience as chamber musician and soloist. published trumpet studies book. Roland Pandolfi and Doug Hill. Richmond Symphony Orchestra (1999– 2003) Recent orchestral performances include Richmond Symphony Orchestra. Cleveland Institute of Music. Dayton Philharmonic Orchestra. 1995 International Brassfest and featured artist and frequent contributor at International Horn Society Symposia. Published in The Horn Call. Cincinnati Symphony Orchestra. Performer on Dee Plus. CCM since 1990. Gardner. MM. Served as Manager and Artistic Administrator with the Richmond Symphony Orchestra. Faculty. Second hornist of The Philadelphia Orchestra under the batons of music directors Wolfgang Sawallisch. IL: The Instrumentalist Publishing Co. Division of Opera. Solo appearances with Memphis Symphony Chamber Orchestra and San Diego State Symphony Orchestra. Faculty. Cincinnati Chamber Orchestra. a CD of brass chamber music with M. and director of marketing and planning. Alan Yaffe. Indiana U. Dayton Philharmonic Orchestra. Pacific Chamber Orchestra. Advisory council member of the International Horn Society (1999–2006). Drama and Arts Administration. fundraising. Chamber music ensembles include Carillon Brass. Randy C. Selected as an orchestra management fellow with the American Symphony Orchestra League. Assistant principal horn. Cincinnati Symphony and Pops Orchestras since 1975. Musical Theatre. BM. New School of Music (1977–1986). and Eugene Ormandy (1975–97). Professional background in management and marketing of cultural organizations. Ethel Merker. “In the Singing Style. Columbus Symphony Orchestra and ProMusica Brass Trio. arts education and strategic planning. Consultant to professional arts organizations in the areas of management. Poland. Columbus Symphony Low Brass Ensemble. Eastman School of Music. Cleveland Ballet Orchestra and West Virginia Symphony. MA. of Cincinnati CCM. Dee Stewart. of Southern California and San Diego State U. Columbus Symphony Brass Quintet. Daniel Patrylak. Opera Orchestra and Symphony. graduate studies. and the National Arts Centre Orchestra. Philadelphia College of Bible and The College of New Jersey. of Dayton (1996–2006).D. recorded with Eastman Wind Ensemble. Mel Broiles. Formerly principal trombone. New York State Summer School of the Arts (1988–present). Hamilton. Armando Ghitalla and Arnold Jacobs. published by Thompson Edition. Wendal Hoss. 1986–96).
Cincinnati Symphony Orchestra (1985–90). Harvey Phillips. since 1990. MM. of Cincinnati Mrs. Santiago de Compostela. OMEA. and Suzuki Clinician. U. Clifford Lillya and William Dederer.” published by McGrawHill. Northcut. U. In 1995. Chicago. Dayton Philharmonic (1981–85). Bass trombone. MM. Recent solo Performances include the 2007 International Trumpet Guild Conference and an eight-state solo tour in 2007. Ongoing Competitions Chair and Board of Directors. Recordings with: Albany. Classical Guitar Studies at CCM. Benita Valente. England.. Principal trombone. Cincinnati Symphony Orchestra (1990–present). Taught at Indiana U. LaSalle. B. In 2004 he also served on
. and with the Cincinnati Ballet Orchestra. Professor of Trumpet. Chairman. Equilibrium and Summit Records. the Ravinia and Salzburg Festivals. Carillon Brass. and Vermeer Quartets. Yamaha Performing Artist. National Endowment for the Arts. Faculty. Dipl. Timothy J. Numerous master classes throughout the U. and Daniel Perantoni. “Teaching Brass: A Resource Manual. Principal trumpet. Fredonia: MM. Integra. Distinguished Service Award. DC). Tennessee Technological U. and U. ASTA Guitar Division. D. Charles Schlueter. of Education and New York NET. humanities seminars for NJ State Dept. Piano studies in Australia and Europe (London and Munich). New World. Accompanied professional recitals in Australia. Jessye Norman. Performed and recorded with the Cincinnati Pops Orchestra for the Telarc label. Andres Segovia (Spain). BS in music education. of Melbourne (Australia). Studied with Tony Chipurn. The American Sinfonietta. Peter Serkin and Stefan Litwin in Stony Brook. Professor of Classical Guitar. U. Russia. ASTA. San Diego Symphony Orchestra and principal trumpet in both San Diego Opera and San Diego Chamber Orchestras. of Tennessee. Former member. and the Dayton Philharmonic Orchestra. San Diego State University (1984–1989). Norton. MENC.. Co-author. Stanford Olsen. Germany. student and teaching assistant). Author of “Jacques Gallot’s Pieces de Luth”. and Delores Ziegler. CCM since 1994. Most recent solo recording is “Stargazer. England). Susanne Mentzer. R. Awarded CCM’s Ernest N. Coordinator of the brass chamber music program and music director of the famed CCM Brass Choir. Touring with Westwind Brass during the 2004–06 concert seasons. 2000 and 2004 he served on the jury of the International Robert Schumann Lieder Competition in Zwickau. of Tennessee. Has appeared as concert narrator in Schoenberg’s “Ode to Napoleon” with the Arditti. and the United States for such artists as Kathleen Battle. Executive board of ASTA Guitar Division. Solo Recitalists Panel. Performances and recordings with Summit Brass. Since 1992. America’s large professional tuba-euphonium ensemble. Faculty. Member of Symphonia. Keystone Brass Institute and Rafael Mendez Brass Institute. Associate Professor of Tuba and Euphonium. Sophocles Papas (Washington. and Australia. Indiana U. U.C. Cincinnati Symphony Orchestra. performing at the 1995 International Brassfest (Bloomington. Two solo recordings with Hornpipes (trumpet/organ duo). A. D. and is also featured on the Deutsche Grammophone recording of the same work with the LaSalle Quartet. faculty member of the Tanglewood Music Festival vocal/accompanying program where he teaches master classes and “Russian for Singers” class.
Kenneth Griffiths. Professor of Accompanying.. Discovery. and prepares recital and chamber music ensembles. The Ohio State U. of America. BM. Adjudicator for national and international competitions. Faculty. Guest lecturer and teacher. Recitalist in England and the United States on lute and guitar. Ben Matthews. Faculty.
Clare Callahan. studied accompanying with Gerhard Hüsch (Munich. (Dolly) Cohen Award for Excellence in University Teaching. “Tennessee Tech Pride”. Siebert. Faculty. Japan. now in its 2nd edition.” released on Equilibrium. Georgetown Visitation College. Classical guitar study with Emile Bibobi (Wimbledon.C. Alan H. Central State U. Michigan State University (1989–1990). Released a compact disc recording of works for solo tuba. Recognized as one of Ohio’s top 100 educators in Ohio Magazine’s Excellence in Education Awards. David Fedderly.. University of WisconsinSuperior 1980–1982). Euphonium and trombone soloist with Cincinnati Symphony and Simon Winds.). The Catholic U. Basel. Germany. U. Teachers include James Garrett. John Garrison. Area Artist Series. of Dayton. Member. Warren Deck. 2005 Ernest Glover Award for Outstanding Teaching. CCM since 1972. Has served as a member of the United States Army Field Band (Washington. Performs as principal tuba with the Dayton (Ohio) Philharmonic Orchestra. European tours in 1999. Indiana). Teaching experience includes Xavier U. Serves as an artist-educational advisor for Custom Music Company (Detroit) and an executive committee member and journal advisor for the International Tuba Euphonium Association.. Arizona State University (1982–1983). AA. Director of Accompanying Activities. Winston Morris. Spain. CCM. Summer Classical Guitar Workshop (1983-present) Winner. the 53rd Annual MidWest Clinic: An International Band and Orchestra Conference (Chicago) and the 2002 Ohio Music Education Association Professional Conference (Cincinnati). Glover Outstanding Teacher Award and the U. Orchestre Symphonique de Montreal (1987–90). Queen City Brass Quintet (1979–present). U. Cincinnati. Washington. of Cincinnati. (Fellow in Musicology). BS. NY. MM. Bass trombone. State University of New York.
Peter K. Susan Dunn. Choral work broadcast over CBS Radio. Member of Board of Directors.50
university of CinCinnati College-Conservatory of MusiC Klavier. David Hickman. DMA in progress. Arizona State U. Ed. Current member. Founder/Director.. Teachers include. University of Michigan: DMA studies at Arizona State University. GFA. Education: Epsom. Pro Arte. Rodgers. Principal trombone. David Shifrin. 1975–79. Indiana U. of Dayton. International Trumpet Guild. Scholarship winner to Musica en Compostela. Guitar Foundation of America. Faculty. Served as the executive director of the Rafael Mendez Brass Institute.. Eastman School of Music. 1981. Adjunct Instructor in Trombone. Guitar performances for NET and NPR. Sarah Walker. CCM since 2002. of Cincinnati. BA. on Integra and Rodgers. 2000. BM.S. England. John Ware. Trombone. Director.
Studies piano with Jeaneane Dowis. Kennedy Center.. Studies with Richard Toensing and Louis Gonzales (U. the Cleveland Art Song Festival. Ohio Wesleyan U. St. CA. Karen Tuttle (Aspen Music School). Florida. Dorothy DeLay. Prepared and accompanied many top prize winners of the National Federation of Music Clubs Artist Competition. Piano studies with Jean Casadesus and Jeanne Kirstein. and the Cerritos Center in Cerritos. Joshua Bell. Associate Professor of Composition. School of Music. Patricia Wood. Kim Kaskashian. Aspen Music Festival. Kingsville International Young Performers competition. Italy. of Colorado). 1994–97. author of the Inner Game of Music. Accompanying studies with Robert K. Nigel Kennedy. the Schleswig-Holstein Festival. D’Angelo Competition and the Montreal Concours International de Musique. the Opera Theatre and Music Festival of Lucca. CA. they will be performing in Montreal for the Andre Turp Society.. Australia. Paul Kantor.
Sandra Rivers. Art Song of Williamsburg. Lori Laitman. SUNY. chamber music with Claus Adam. See Opera. coaching singers and instrumentalists. Numerous works have been performed extensively throughout the United States and Europe. Joseph Silverstein. Accompanied winners of National Federation of Music Clubs Artist Competition. University of Cincinnati. Kurt Sassmanshaus. Sylvia Plyler. since 1995. U. MS. 1978. PhD. CCM Faculty since 1976. and postdoctoral studies with Louis Andriessen at Koninklijk Conservatorium. Jake Heggie. Rising Stars. Paul Katz. Awarded first prize as best accompanist in the International Tchaikovsky Violin Competition. MM. Norman Shetler (Summer Vocal Institute. CBS Masterworks. Much in demand as a collaborative pianist and master class teacher. NATS Artist Awards. Sophia Rosoff. Musical Heritage and Zafiro. Austria). the Mozart Society of Carmel. RCA Victor Red Seal. 1997–1999. performing frequently throughout the United States. Taught at The Ohio State U. DMA. Mr. Garland and Ms. Richard Tetley-Kardos. ASTA state. Donna Hallen Loewy. Adjunct Instructor in Instrumental Accompanying. baritone Andrew Garland and Ms. Cho-Liang Lin. Evans and Ruth Riley. CCM since 1982. Nadja Salerno-Sonnenberg and others. In the summer of 2010. and various venues in Louisiana. harpsichord with Doris Ornstein and Gordon Wilson. Composers who have been featured include: Tom Cipullo. BA. Accompanist for master classes of Stephen Clapp.university of CinCinnati College-Conservatory of MusiC the jury of the International Lieder Duo competition “Brahms und die Wiener Moderne” in Stuttgart. California. CCM since 1982. they have performed at Carnegie Hall. Since then. MM. William Byrd Competition. Itzhak Perlman. The Juilliard School. Faculty. Elmar Oliveira. Rita Sloan. Dayton Philharmonic. many others. Gil Shaham. regional and national auditions. Field Service Professor of Accompanying and Accompanist-in-Residence. vocal accompanying with Hans Peter Schilly. George Crumb. the Huntsville Chamber Music Society. Teldec. Given piano master classes and chamber music master classes throughout the United States and the Peoples Republic of China. Southern Ohio region. of Pennsylvania). and LaSalle Quartets. of Pennsylvania. Assistant professor. West Chester U. Appeared on the “Tonight” show with Johnny Carson and Jay Leno. Joseph Silverstein. Cincinnati Opera and Dayton Opera. Leonard Shure. Has recorded on EMI/Angel. Worked as an opera coach with the Israel Vocal Arts Institute in Tel Aviv. Rochester Philharmonic. CCM. MTNA Wurlitzer Collegiate Artists Competition. Stephens College in Pennsylvania and other venues. the Phillips Collection and the Cosmos Club in Washington. CA. and Indiana. the Congress of Strings. Dallas Symphony. Fanfare in Louisiana. Italy. Official accompanist for the Metropolitan Opera Auditions. Worked with Kathleen Battle. New York Woodwind Quintet. Appeared at the Mostly Mozart Festival. Lenox. written with Barry Green. BS. Performed as soloist with Cincinnati Symphony. the Yamaha Young Performing Artists Winners Recital. Stephen Paulus. Tubamania in Sydney. Performances in Alice Tully Hall. Graz. Won-Bin Yim. U. Piano studies with Sascha Gorodnitzki at Juilliard. and the International Tuba and Euphonium Conference. DC. Loewy presented their first concert of Living American Composers for the Marilyn Horne Foundation in New York. Coached vocal chamber music for the Grandin Festival in Cincinnati yearly and was Chamber Music Coordinator for the Opera Theatre and Music Festival of Lucca. Steven Mark Kohn. Faculty. Binghamton. Harpur College. the International Double Reed Society. and Jeffrey Wood. The Modern at Fort Worth. Richard Wernick and Jay Reise (U. Thomas Pasatieri. presented by the Marilyn Horne Foundation (MHF) in recitals and residencies at the Kosciusko Foundation in New York. Tanglewood. Louisiana Philharmonic. Yehuda Hanani. BM. Loewy’s recording of On the Other Shore. Cincinnati Chamber Orchestra and others as well as giving solo recitals throughout the United States. Sarah Chang. under the auspices of a Fulbright Grant. and the Great Performer’s Series at Lincoln Center. Music Barge. Italy. Moscow. Temple U. Chamber Music studies with the Guarneri. and has held similar positions with the International Clarinet Conference. Faculty. Voice consultant and co-author of the Inner Game of Music Vocal Workbook. which includes all of the folk song settings of Steven Mark Kohn has garnered much praise. Kyung-Wha Chung. Lee Hoiby.. Meng Concert Hall in Fullerton. Cho-Liang Lin. The Ohio State U. Pony Canyon. sponsored by the International Hugo Wolf Society. David Conte. Professor of Collaborative Piano. Bergen College. with a diverse range of perform-
. she was a faculty coach and pianist at SongFest at Pepperdine in Malibu. BM. Instructor. College of Music. Steinway artist. With tenor Daniel Weeks. of Colorado. MA. Merkin Hall. 1997–98. In 2005. This year. Artistic Coordinator of the Steinway/CCM Recital Series at Steinway Hall in New York City. Paul Hall (New York City). Awarded the Acuff Chair of Excellence at Austin Peay University. Served as artistic director of the recital series.
Michael Fiday. the International Institute of Vocal Arts in Chiari. Netherlands. at the Taft Museum. Accompanist for Graz Midwest Orchestral Auditions. the Aspen Music Festival. Louisville Symphony.
DMA. Evian. BMI. the MacDowell Colony and Yaddo. U. has previously fulfilled commissions for a wide variety of works from orchestral. as well as Audible Traces. CD of chamber works on Gasparo Records. among others. percussionists Christopher Froh and Hollands’ Slagwerkgroep Den Haag. Joel Hoffman. Kennedy Center. Italy. Nebraska Chamber Orchestra. of Illinois. Vegetable. Juilliard School of Music. and Elliott Carter. Has done research involving granular synthesis. National Chamber Orchestra of Washington. Cincinnati Symphony Orchestra. G. Martin Jones and Guido Agosti. Portland. the Hindemith Foundation (Switzerland). Works performed in Tully Hall. Professor of Composition. Rome. Ukraine where the National Symphony Orchestra of Ukraine gave the world premiere of orchestra work
ers such as: pianists Marc-Andre Hamelin and James Tocco.). New York. choral. Europe and Asia. Composed numerous acoustic. (On leave. electronic and film. Solo recitals in England. and other European cities. Great Britain. Cincinnati Chamber Orchestra. Boston. object-oriented and graphical programming. BA. grants and residencies from. CCM. and the National Chamber Orchestra. Published in Journal for New Music Research. Other recordings include “Sound Collaborations. Juilliard 20th Century Ensemble.net.Y.” v. Washington. 2”. C. Has taught electronic and computer music at New York U. CCM Center for Computer Music. Piano studies with Mollie Margolies. Coeditor of SEAMUS newsletter. Latest commissions include the Tasmanian Symphony Orchestra (Australia). Belgian Radio Orchestra. Adviser for new music. Or. Collegium Musicum of Geneva. 20 ASCAP awards and two Juilliard prizes in composition.N. Hancock Chamber Soloists. two fellowships from the National Endowment for the Arts. and Computer and Mathematics with Applications. Philharmonie Berlin. opera. Musicology and Theory.. MM. 2nd CD of chamber works on Albany Records. violinists Carla Kihlstedt and Graeme Jennings. Faculty. the Camargo Foundation (France). board of directors (1997–2001). of Wales. and mentioned in 1998 International Electroacoustic Music Competition at Bourges. National Chamber Orchestra (1993–94). MM. Faculty. ASCAP. new double concerto glow (clarinet and violin). Vincent Persichetti.” a CD of Jewish folk music arrangements recorded by EMA Records. Newport. Director. Rome and Onibatan Music. American Academy of Arts and Letters. France.U. Produced electronic music concert series at Texas A&M U. — one of the first Web-streamed performances of a contemporary monodrama. France and Italy. guitarist Seth Josel. BBC Orchestra of Wales. “Partenze” for solo violin recorded by Koch International Recordings. Recently a special guest of the Premieres of the Season Festival in Kiev. Principal publishers: RAI Trade.. and new two piano work for The Pridonoff Duo. and at CCM. Composer-in-residence at the Rockefeller Foundation (Italy). Recipient of numerous awards. Buffalo Philharmonic (1990–92). Columbia U. Tangeman Sacred Music Center and the UC University Research Council. and Headlands Center for the Arts. and three fellowships from the Ohio Arts
. to chamber music. “Duo for Viola and Piano” recorded by CRI Recordings. Costa Rica National Symphony. Professor of Composition and Theory. Schirmer Music Corp. BAMus. ANU. Italy and Korsholm. Composer-in-residence.. Virginia Center for the Creative Arts. New York’s Sequitur Ensemble. Vienna. “Blue and Yellow” on VDM Records. Oklahoma Chamber Orchestra. Switzerland. Won third prize in 1990 NEWCOMP Computer Music Composition. two American Music Center grants. CCM since 1978. Milton Babbitt. Florida Orchestra. U. Symphony Space. and created the composition applications Stochgran and Patchmix. DMA. Collaborative compositions with Allen Otte. Affiliated with International Computer Music Association. Festival performances at Ravinia. American Harp Society. London. electro-acoustic and computer music works. “Implements of Actuation” (EMF 123) and “Clotho: The Life of Camille Claudel” performed at CCM and Miami U. Florida Gulf Coast Chamber Players. Portogruaro. Lyra Music Co. Vice President for Conferences (2004–6). The MacDowell Colony. Paris. Yale University. Oakland East Bay Symphony. Columbus Symphony Orchestra. Orchestra Hall. and the Atlanta Symphony. Florence. Faculty.52
university of CinCinnati College-Conservatory of MusiC Council. MMus. Chicago. fall 2009 and winter 2010) Mara Helmuth. Thomas James Kelly Professor of Music. “Millenium Dances. Honors include BMI award. Complete list of published works and other information: joelhoffman. Fromm Foundation.C. new viola work for Miles Hoffman. newsletter coeditor/ editor (1998–2001). Finland. Alun Hoddinott. CCM since 1995. Piano soloist with Chicago Symphony. Buffalo Philharmonic.. Lenore Quartet. four Meet the Composer grants. Golub-Kaplan-Carr Trio.. Division of Composition. “Self Portrait With Mozart”. DC. Analytical Methods of Electroacoustic Music and the New Grove’s Dictionary. Canada. National Chamber Orchestra. WGUCFM. New York. Numerous performances in the United States. Active on ICMA conference committees. Florida Orchestra. R. Recent commissions for the Shanghai Quartet. Amarillo Symphony. BM. Schirmer.36 of the Consortium to Distribute Computer Music Series on Centaur Records. Interim Head. Texas A&M’s associate provost for computer. “Tum Balalayke. and Texas A&M. Society of Electroacoustic Music. CD of orchestral and chamber works on Albany Records. Winter and Spring 2011). Yaddo.” Cincinnati Symphony Orchestra. Ohio Arts Council. Other publishers: E. “Music for Two Oboes” recorded by Centaur Recordings. Mineral. Tanglewood Festival Orchestra. Commissions from Tanglewood Festival. the American Composers Forum. American Composers Orchestra. Venice. Computer Music Journal. Douglas Knehans. the electronic music studios. Perspectives of New Music.I. Studied with Easley Blackwood. Notable performers include: Chicago Symphony Brass. Bearns Prize (Columbia U. and on Open Space CD 16. MMA and DMA. dance. (On leave. since 2002. as well as the Internet 2 application Soundmesh for improvisation between remote locations. Colorado Philharmonic. which was nominated for an EMMY award. Received grants from the Brazos Valley Arts Councils. Carnegie Recital Hall. Cleveland Quartet. and the International Alliance of Women in Music. Commissioned to write specifically for Australian Broadcasting Corporation Radio and Television programs and music to the PBS documentary Animal. “String Quartet No.
Opera de Valencia. Other awards include the CUNY Luigi Dallapiccola Composition Award (1991) for outstanding achievement in music composition and Yale University where he won the Woods Chandler Memorial Award for best composition in a larger form. Spoleto U. Indiana U. Professor of Music. Director of instrumental music at Permian High School in the Odessa. See Theory. Jacksonville Symphony. BM. Chautauqua Opera. Gran Teatre del Liceu. Creator and Artistic Director of the Australian International Summer Orchestra Institute from 2005-2008.S. commissioned by the Australian Film Institute and was screened at the prestigious Un Certain Regard section of the Cannes Film Festival and over a dozen others world wide. New York City Opera National Company. CCM since 1979. Additional research in Montreal. Poland (2007). Orchestral Activities. state Music Educators National Conference conventions in Texas. Texas. New York. and Paris and Toulouse. Fall 2010).K. Professor of Music. See Jazz Studies. Selected for inclusion in Who’s Who in American Colleges and Universities. first winner of Maazel/Vilar conducting competition.university of CinCinnati College-Conservatory of MusiC ripple. Director of bands and conductor of Symphonic Band. Director.A. France. Artistic director. MM.” 7th edition. Opera Pacific. the Premieres of the Season Festival in Kiev. Head. Was featured on National Public Radio’s “Windworks”. Outstanding Young Men of America. of Cincinnati. Ash Lawn-Highland Summer Festival. Poland. Gloria Opera Company.S. and clarinet with Rowie Durden and David Kaplan. Music Teachers National Association.R. Has appeared at national and international conferences of World Association of Symphonic Bands and Ensembles. Ohio and Kentucky. Faculty. Clare Callahan. with George Barbour Award for Promoting Good Faculty–Student Relations. and was Director of the University of Tasmania Conservatorium of Music from 2000-2008. Presented by UC in May. Canada.
Modern Conductor. Barcelona. Guest lecturer and master classes. Doctoral dissertation research grant to Yale University. In June. Studied conducting with d. St. MA. BME. New England Conservatory of Music.). New Orleans Opera. a work also recorded for worldwide CD release on ERM Media Masterworks of the New Era series. CCM since 2008. Alabama Symphony. Milligan. Ukraine and the Accent 09 Festival in Cincinnati. New Faces Festival in Krakow. distributed by Naxos. See Classical Guitar. University of Texas at Austin. 2009. a professional chamber choir. in May. Faculty. named Outstanding Teacher for the University of Cincinnati Honors Scholars Program. American Choral Directors Association.” Rivers has conducted CCM’s choral and orchestral forces
Scott Belck. Featured in three books on Australian music (A Handbook of Australian Music. Rochester Philharmonic. Eastman School of Music. MM. Other recordings include rive performed by The Verdehr Trio on Crystal Records. Seoul. West Texas State University. adjudicator. Directory of Australian Composers and Sound Ideas: Australian Composers Born Since 1950: A Guide to Their Music and Ideas) as well as the International Who’s Who in Music and Musicians Directory (U. 2003. U. Music Director and Conductor for twenty seasons from 1988-2008 of the Vocal Arts Ensemble of Cincinnati (VAE). CCM’s graduate conducting program has been recognized by U. Mark Gibson. Australia. the Krakow Academy of Music. presented with Ernest Glover Outstanding Teacher Award at CCM. John Herrick Jackson Music Library. and has won awards from the American Music Centre and Meet the Composer. Has conducted numerous opera companies and orchestras around the world including Minnesota Orchestra. Opera de Mahon (Menorca). Northwest Missouri State University. piano virtuoso Michael Kieran Harvey recorded Boyd panels for Move Records (Australia).S. visiting director of orchestral studies. Division of Ensembles and Conducting. Opera Theatre and concerts with Shenzhen Symphony. New Music. of China and commemorative 9/11 concert with the Queens Symphony. Previously music director. Previous taught as visiting professor of composition at the National University of Singapore (2006). MacDowell Colony and Leighton Artist Colony (Banff ). voice with Jess Walters and Royal Brantley. Earl G. School of Music. lecturer. Director of Choral Studies. DMA. Central Conservatory of Music. of Michigan. Public School System. the College Band Directors National Association. Guest conductor. CCM’s Choral Program was the recipient of the Dale Warland Singers Score Library and Archives and recently hosted the winter 2010 Central Division convention of the American Choral Directors Association (ACDA) and the fall 2008 second national conference of the National Collegiate Choral Organization (NCCO). DMA. Beijing. Czech Republic.. the Australian International Summer Orchestra Institute in Hobart. CCM since 1998. BME. and most recently in the 59th edition of Who’s Who in America. Rivers and the VAE received two ASCAP-Chorus America Awards for “Adventuresome Programming of Contemporary Music. New York City Opera. Opera Theatre and Music Festival of Lucca. Cleveland Opera. American Society of University Composers. Hochschule für Musik und Theater. Composed music for the short film A Song of Air. Republic of China. Recent guest appearances include “Don Giovanni” with Indiana U. Previous fellow of the Victorian Council of the Arts. Miguel Roig-francoli. P. U.A. and music for electronic cello is also featured on the CRI Emergency Music series now distributed by New World Records. Dallas Opera. Faculty. (On leave. Editor and co-author of “The
. and clinician throughout the United States and Canada. Professor of Music. Principal conductor. Terence G. opera with Walter Ducloux and Royal Brantley. Paul Chamber Orchestra. Thomas Lee. Teacher of Xian Zhang. Opera de Malaga. 1996 and 2006. Guest conductor and lecturer for three weeks at Tunghai University in Taichung and Taipei. News and World Report as among the top five in the U. USA. Taiwan. Who’s Who in Fine Arts Higher Education. Munich. Guest of the CzechAmerican Summer Music Institute in Prague. Dean of the CollegeConservatory of Music (CCM) between 2008-2010 in Cincinnati and currently the Thomas James Kelly Professor of Music at CCM. Rivers.
Assistant Professor in Orchestral Studies. on a concert tour of Portugal. Conducts a wide range of repertoire including regional and world premieres of works by Kaija Saariaho. Eastman School of Music. CCM since 2007. David Amram. Professor of Music. and youth choruses. Won a silver medal at the First U. Performed at the Spoleto Festival USA alongside Alicia Alonso. and Jorma Panula. Additional training at School of American Ballet and Harkness House Ballet. David Howard and Elena Tchernichova. Don Giovanni. Faculty. Tan Dun’s Water Passion after St. Wild Bells. Articles in Anacrusis. China and is a guest at the Taipei International Choral Festival in Taiwan. of Cincinnati (2000-2001). Director of U. Kent Youth Wind Orchestra.S. Gordon Stout. He has led the CCM Chamber Choir and Philharmonia Orchestra in the cycle of J. Cultural specialist in the Republic of Malaysia sponsored by USIA. Miami Conservatory.S. Chorus America. BMusEd. Nazareth College. Returning to England and Ireland for workshops next year. U. Invited to join American Ballet Theatre at age 14 by Mikhail Baryshnikov and danced with ABT for 12 years. U. Assistant Professor of Ensembles and Conducting. In summer 2010 Rivers leads masterclasses in Seoul. the national service organization to develop and promote professional. Served as assistant conductor of Eastman Wind Ensemble and Wind Orchestra. CCM since 1997. Houghton College Greatbatch School of Music. Susa’s Dangerous Liaisons. Brett Scott. Montana. and Augusta Read Thomas’s Ring Out. St. Kenneth Kiesler. University Choir (2001-2005) and Chamber Singers (2001-2007). Operas include La bohème. Former Music Director of The Phoenix Ensemble in Ann Arbor Michigan. among others. Conducting next year in Georgia. Philip Glass’s Symphony No. Taught at U.
in acclaimed university and regional premieres of John Adams’s On the Transmigration of Souls. of Cincinnati CCM. Recent guest conducting includes the Korean premiere of Arvo Pärt’s Berliner Mass with South Korea’s Inchon City Chorale. Die Zauberflöte. partnered by Baryshnikov. U. Director of Wind Studies. Served as interim Music Director of the Central Kentucky Youth Symphony. Has conducted all-state ensembles and festival bands in over 30 states. Directed his own conducting workshops in London and at U. Canterbury. Guest conductor. Conductor. Frequent appearances as guest conductor and clinician across the United States and abroad. Roger Nixon. two years. Fulbright scholar to Berlin. Werther. and Oregon State U. Germany. Le nozze di Figaro. and performs at the Spoleto Festival in Italy. Annunziata Tomaro. Korea. U. MM. and the world premiere of Enid Sutherland’s Daphne and Apollo Remade. Music director and conductor of the Buffalo Philharmonic Chorus and conductor of the Buffalo Philharmonic Chorus Chamber Singers (2004-2007). Newly appointed assistant conductor of Cincinnati Chamber Orchestra. To The Wild Sky. and Martin Ellerby. Studies at The Juilliard School. Il barbiere di Siviglia.54
university of CinCinnati College-Conservatory of MusiC Opera Theater and Music Festival of Lucca. Conducted the premiere performances of works by Warren Benson. and U. of Rochester and Eastman School of Music (2001-2007). U. CCM since 2007. Faculty. an all-American program with the Choir of the Sichuan Conservatory of Music in Chengdu. Ithaca College Wind Ensemble. Canadian Bible College. Krzysztof Penderecki’s Credo. Mozart’s Coronation Mass and John Rutter’s Requiem in Carnegie Hall. Cast by Twyla Tharp as the leading ballerina in Tharp’s new ballet. Research Memorandum Series and American Choral Review. Association of Canadian Choral Directors. MM. with notable collaborations with artists such as William Bolcom. and NYSSMA/New York ACDA Summer Conference. and before National and Central Division Conventions of ACDA. Faculty. He is a recipient of Choral America’s “Michael Korn Founders Award for Development of the Choral Art. EckhardtGrammatté Competition and Prairie Festival of New Music Young Composer’s Competition. Stravinsky’s Mavra. U. China. Italy. In 2010-11 at CCM he conducts the Chamber Choir in a 400th anniversary performance of Monteverdi’s Vespers of 1610 and the regional premiere of Alfred Schnittke’s Concerto for Choir. Winner of awards from the Canada Council for the Arts. The Sound of Eternity). John Passion. Trained at American Ballet Theatre School. DMA. adjudicates and presents seminars at the World Choir Games in Shaoxing. Rivers is a long-time member of the Board of Directors of Chorus America. Has been Music Director of the
Deirdre Carberry. of Regina (1996-1999). Sir Anthony Dowell and Merrill Ashley. The Little Ballet. Virginia. Recently awarded “outstanding woman conductor grant” by the League of American Orchestras. of Kent. Danced opposite Fernando Bujones as the Sugar Plum Fairy at SUNY
. as well as university experience at Walla Walla College. Spain. College Music Society. Conducted the Taipei Symphony Orchestra Wind Ensemble in a series of concerts throughout the Republic of China. studied privately with Donald Husberger and David Effron. Larry Rachleff. Director of U. In residence. Recipient of the Robinson Award presented by the Conductor’s Guild and the Presser Music Award. U. Dana Wilson. Wolf-Ferrari’s Il segreto di Susanna. Conductor’s Guild and New York State Music Association/MENC. and New York. Matthew Passion and B Minor Mass (the latter with Bastian Clevé’s film. Purdue U. Was one of four Americans in 2008 invited to compete in the Concurso Internacional “Jesús López Cobos” in Madrid. CCM. L. Raymond Premru. Assistant Professor of Dance. Lectures at National Collegiate Choral Organization. Washington. volunteer.” honoring a lifetime of significant contributions to the professional choral art. Mark Gibson. of Cincinnati. of Regina. and Haydn’s Nelson Mass. St. of Cincinnati Women’s Chorus and Cabaret Singers (1999-2001). CCM since 1973. Matthew. Debuted as Kitri in Baryshnikov’s Don Quixote. Cynthia Wong and Conrad Susa. and taught undergraduate conducting. Bach’s choral/orchestral masterworks – Christmas Oratorio. of New Mexico. of Idaho. Extensive public school teaching experience. Has worked with Gustav Meier. Member of American Choral Directors Association. of Michigan. Peter Sparling and the Gemini Duo. Rape of Lucretia. Rodney Winther. of Rochester Men’s and Women’s Glee Clubs (20052007). Director of bands and professor of music at Ithaca College School of Music. Faculty. BM. 5. International Ballet Competition.
which won the prize for Best Series at the American Medical Association’s International Film Awards. Micheal Tevlin. artistic director and actor with several small experimental theatre companies. Cincinnati Playhouse in the Park. France). Wesleyan U. Post-undergraduate training in New York with Maggie Black for ballet and at the Limon Institute for modern. Indianapolis Starlight Theatre. Shellie Cash. Utah Regional Ballet. co-authored with Robert Barton. Toured globally with Ballet Spectacular (Central and South America). CCM since 1994. Associate Professor of Dance. (On leave. stage. Recipient of a League of Cincinnati Theatres “Sustained Achievement Award”. Professor of Drama. Ballet instructor and production coordinator. Bartenieff Fundamentals.. Division of Dance.. France). (Limon technique-based company in Paris. fall 2010) Qi Jiang. and a class called The Artist in Society. Broadcast and e-Media Coaching…. MS. Lauderdale. Former chair of the Voice and Speech Department at The American Academy of Dramatic Arts. the Dorothy Chandler Pavilion. Butler U. Beijing Central Dance theater and Beijing Central Ballet. Indiana Ballet Theatre. Willamette University. Ballet West Conservatory. including narrating concerts with the Boston Symphony Orchestra. Head. and Alexander Godunov & Stars of the American Ballet (Europe). Former faculty. Faculy. directs and teaches courses in script analysis. Named master artist by Indiana Arts Commission (1985 and 1991). The Voice in Violence…. Worked on over 500 films and television shows including L. CCM since 2001. Memphis State U. Memphis Ballet. is coming out in a new edition in 2011. Alaska Dance Theater.” Lectures internationally on vocal violence and the effects of emotion on the voice. Rocco Dal Vera. directing. For the last three years Deer and Dal Vera have had a regular monthly article in Dramatics Magazine called “Acting in Musical Theatre. Millikin Dance Theatre. co-authored with Joe Deer. and the Cincinnati Symphony Orchestra among others. U. under the direction of Ruth C. Performed with Fort Wayne Ballet. Tanz-Forum (Graham technique-based company in Cologne. Teaches all levels of modern dance technique. Hong Kong Jean Wong Ballet School. MFA. Taught at the National Theatre Conservatory. Former literary manager and dramaturge. Playwright. Taught and adjudicated at numerous ballet festivals. Faculty. and television. Louis Civic Ballet and others. His adaptation of Stravinsky’s “l’Histoire du Soldat” (which he directed while playing the Devil) premiered at the Salt Lake Symphony Opera. and The Gods Must Be Crazy. Fort Wayne Ballet Company and Memphis Ballet Company. MA. Currently seen as co-host and assistant producer of the public television series. Faculty. Studied and danced with the Joffrey Ballet and Twyla Tharp Dancers in New York.. Received a research fellowship from the U. the Denver Center for the Performing Arts. of Utah. CCM since 1984. Voice can be heard on numerous commercials. Michigan. choreography and courses in the Alexander Technique. Baryshnikov & Company (USA). inducted into the Cincinnati Entertainment Awards Hall of Fame. Raiders of the Lost Ark. Deemed premier artist of China by the Chinese government (1985). Associate Professor of Dance.. resident vocal coach for the Tony-Award winning Cincinnati Playhouse in the Park. and at the Beijing Dance Academy. Theatre and film critic: WGUC-FM. Former assistant director. Other mind/body systems studied include: yoga. Has appeared on PBS’ “Great Performances” series in “Baryshnikov Dances Balanchine” and “Baryshnikov Dances Sinatra & More” with American Ballet Theatre. the Pilates Method and t’ai chi. Elena Tchernichova’s American Classical Ballet (Israel). United States International University.
Michael R. Florida. Interlochen Arts Academy. CCM since 2008. principal dancer at Ballet West. Theatre critic: Cincinnati Magazine. Works as a voice and speech coach at numerous theatres around the US including the Actors Theatre of Louisville. and the Los Angeles Theatre Center. One of a handful of certified instructors in the Alba Emoting technique. Law.. Ballet master. Professor of Drama. of Utah. Hill Street Blues. Korean). For the last twelve seasons. Formerly assistant professor of dance at Bucknell U.university of CinCinnati College-Conservatory of MusiC Purchase. and Film. Long Beach Civic Light Opera. Petrinovic. Butler Ballet. conferences and competitions. New Jersey Ballet. dance history. BA. Featured in television and video programs “ABT at the Met” and “ABT in San Francisco. BFA.a lifelong journey. Rhodes U. A. BFA. injury prevention. Associate Professor of Dance. Healthward Bound. THIRTYsomething. Eugene O’Neill Theatre Center. Partnered with Baryshnikov to perform Balanchine’s Who Cares? at the AIDS Benefit Gala at Paris’ Moulin Rouge. Professional actor: film. edited the first three books in that series: Standard Speech and other contemporary issues in professional voice and speech training. and Joffrey Ballet School. Former head of the BFA Professional Actor and Musical Theatre Training Programs for Wright State University. dramaturgy. CCM since 1999. Fellow of the National Critics Institute. MFA National Theatre Conservatory at the Denver Center for the Performing Arts. Choreographed works for Ballet West. St. Interlochen Arts Camp Dance Program. Performs as storyteller throughout eastern United States. Other professional dance experience includes Hong Kong Ballet.” Faculty. Faculty. Germany). toured internationally with Ballet Theatre du Silence (Cunningham technique-based company in Paris. and Millikin U. part-time faculty at Dance Arts Academy in Traverse City. Former artistic director. Acting in Musical Theatre: A Comprehensive Course. Indiana U. the Salt Lake Symphony Opera. CCM since 1998. Faculty. Early dance training at the Academy of Performing Arts in Ft. ATI certified teacher of the Alexander Technique. Burnham. Voice: Onstage and Off. Performed with Ballet West. Oregon Shakespeare Festival. of Utah (1997). U. Author and editor of five books. Peter Goss Dance Co. At CCM-Drama. BFA United States International U. Founding editor of the journal Voice and Speech Review for the Voice and Speech Trainers Association. many of which have influenced curricular design at a number of schools and been translated extensively (most recently.
. is entering its second printing.
Cincinnati Symphony Orchestra. and Tom Korbee’s Will It Ever Stop Raining? Named Ernest Glover Outstanding Teacher at UC in 1999. Studied the acting techniques of Michael Chekhov with Mala Powers. House of Games and The Untouchables. serves as a Board Member for the University/Resident Theatre Association. Chair of Dramatic Performance Department. Named CCM’s Ernest Glover Outstanding Teacher (2009). (On leave. and serves on the Board of Advisors to the American High School Theatre Festival. known for her arena style of unarmed stage combat called “Scrappy Fighting”. CCM since 2009. Human Race Theatre Co. Big Love. LA Opera. and the only woman in the United States recognized by the SAFD as a Fight Master. BA Thomas More College. O. BS SUNY at Fredonia. and Russian Laureate Viacheslav (Slava) Kokorin. Vancouver Opera. Godspell (with Shoshana Bean and Leslie Kritzer). Associate member: Society of Stage Directors and Choreographers. In 2007 was awarded two Acclaim Awards: one for the role of Fraulein Schneider in CCM’s Cabaret and the second was the Cincinnati Acclaim “Most Valuable Player” award. Center Stage Baltimore among others. Glory of Living. Seattle Opera. Dracula for the past three years. Professor of Drama. Showboat Majestic. Suburbia. Don Giovanni. MFA. Part One: Millennium Approaches (CEA for Best Ensemble Acting). Wild Party. 12th Night and Much Ado About Nothing. and the premiere of We Tell The Story: The Songs of Ahrens and Flaherty. CCM since 1984. Professional singer in many performances with the New York City Opera. Of Mice and Men for the St. Past president. Richard E. Appearances in TV shows “Quarterlife.” Faculty. David Wheeler and Patsy Rodenberg. Alpha Psi Omega. Owner/Director of the Bard alley Studio. MS SUNY College at Buffalo. Anon(y)mous. and Tony Kushner’s Angels in America. as well as the world premieres of Zoe Kazan’s Absalom and Naomi Wallace’s Hard Weather Boating Party. Romeo and Juliet. Has studied with internationally acclaimed director Anne Bogart and members of the Saratoga International Theatre Institute in New York and Los Angeles for the past decade. Association of Theatre Movement Educators (ATME). Brigadoon.56
university of CinCinnati College-Conservatory of MusiC Cincinnati Playhouse in the Park. Has directed at the Ensemble Theatre of Cincinnati. Artistic director of “Hot Summer Nights” in Cincinnati. Other regional credits include Human Race Theater Company. Man of LaMancha. Phi Beta Kappa. Avenue X. 12th Night. Kentucky Opera and over sixty productions for CCM including Cyrano. Ohio Theatre Alliance. Favorite directing credits at the Human Race Theatre Co. Professor of Drama. and A Delicate Balance. New York debut at the Laurie Beechman Theatre directing An Evening of (Mostly) True Songs. Coyote on a Fence. Adam Wagner’s Don’t Look Down. One of the founders of the nation’s most successful premiere theaters. Red Corners. Fall 2010)
R. Joseph Weinberger Chair of Acting.” “Dancing at Lughnasa. include Doubt. The Mark Taper Forum. Homicide. The Spanish Prisoner. Jr. Dolly! (with Pamela Myers). Cleveland Opera. teaches the Michael Chekhov acting technique and mentors aspiring teachers of stage combat. and Whose Afraid of Virginia Wolfe. Serves as Chair of the Commission on Accreditation of the National Association of Schools of Theatre. University/ Resident Theatre Association and others. Los Angeles credits include Besame Mucho. Private Lives.” “Law & Order” and “The Guiding Light. Mark Halpin’s The Kid in the Dark.K. Andrie Malaev-Babel. MFA. Anon(ymous).” and “As You Like It. Actors Equity Association (AEA). Faculty. Brigadoon (Cincinnati Entertainment Award for Outstanding Musical). and the hit premiere of Jerry Springer the Opera for New Stage Collective. Member of the Society of American Fight Directors (SAFD). k. Joanna Merlin. Steven Goldstein. Teachers have included Alan Schneider. Association for Theatre in Higher Education. Faculty. The Pages of My Diary I’d Rather Not Read and The Catholic Girl’s Guide to Losing Your Virginity. Professor of Drama. As You Like It. Richard III. Internationally in demand as a master teacher of contemporary violence. Rakes Progress. continues to walk the boards and was most recently seen in ETC’s productions of Dean Man’s Cell Phone and More Fun Than Bowling. New York University. Resident artist. Recent directing credits include “Charley’s Aunt. numerous productions for the Cincinnati Opera including the world premiere of Margaret Garner with Denyse Graves. directed Violet (with Ashley Brown). I Am My Own Wife. Bat Boy: The Musical. Recent directing credits at CCM include Spring Awakening. Has directed premieres of Richard Oberacker and Rob Taylor’s Don’t Make Me Pull This Show Over: Dispatches from the Front Lines of Parenting.
. Cincinnati Pops and Cincinnati Opera Education. since 1996. Louis Repertory.” “The Diviners. Interim Associate Dean for Academic Affairs. The Lady’s Not For Burning. Faculty. Additional training through the Arena Stage and the Royal National Theatre of Great Britain. Certified Fight Director. University of Cincinnati College-Conservatory of Music. Founding member of the Atlantic Theater Company in New York. Certified Teacher. That’s Enough. Birmingham-Southern College. Member: Actors’ Equity Association. Lovers and Executioners. Jenny Jones. Panel member or workshop leader with various national organizations: National Association of Schools of Theatre. BA. Hess. Rape of Lucretia. American Federation of Television and Radio Artists (AFTRA). BFA. Charlie’s Aunt. the Ensemble Theatre of Cincinnati (ETC). for five years the resident fight director for the Cincinnati Shakespeare Company working on such plays as Coriolanus. stage and television. Crazy For You. BA. CCM since 1993. Elephant Man and I Hate Hamlet. KNOW Theatre of Cincinnati. Hello. Pelleas and Melisande. of Cincinnati. Professional actor on film. Southeastern Theatre Conference. Macbeth. Omicron Delta Kappa.. Former artistic director. MFA U. The Know Theater.” “Myths and Hymns. Portland Opera. both of which enjoyed sold out runs at the Hudson Theatre. Birmingham-Southern College and the Cincinnati School for Creative and Performing Arts. Associate Professor. CCM Faculty since 1993. Terrell Finney. Theatre Performance. The Night We Never Met. Association of University Professors (AAUP). Chautauqua Institution. Israeli Opera and Chicago Opera Theater.” Appeared in the films Signs and Wonders. nearly twenty productions for the Tony award winning Cincinnati Playhouse in the Park including Durango. Performances with Lincoln Center Theater. Boston U.” “Floyd Collins. Regional Fight Directing includes choreographing Actor’s Theater of Louisville’s annual hit.
Canada. the National Broadcasting Society. CCM since 1989. Washington. Assistant Professor of Electronic Media. and selected digital works at the Idea Festival in Louisville. The Atlanta-Fulton Public Library System. The Promise of New York (Director/Camera/ Editor/Graphics). Producer and webmaster for ChristChurchCincinnati. Inc. U. assignment editor. Media experience also includes web design. the Television Administration and Marketing Society. Internet-based projects and websites for Al Roker Entertainment. MA (English). BS. Professional media experience includes over twelve years at F+W Media as a Publisher. Savannah College of Art and Design 1993–96. Fox. Kevin Burke. since 2010. Assistant Professor of Electronic Media. In demand for on-camera commercial work as well as voice overs for radio and television. video services manager.C. Writer-producer of “The Pioneer Shakedown. government and independent television and video production. Hawaii. Editorial Director and Executive Editor. Served as the first Director of Digital and New Media of the William J. CCM Faculty.” a documentary about former GE engineers (1994). Illinois. Won Interactive Media Award’s Best in Category (Museum) award for the Clinton Presidential Center website. including A Matter of Time at the Art Interactive Gallery in Boston. and new media and digital arts at New
York U. Faculty. Assistant Professor of Electronic Media. and Catalan. Omnicom. Over 10 years professional experience in broadcast. Associate Professor of Electronic Media. F>I>R>S>T> Robotics 2004: The Frenzy (Motion Graphics). Neighborhood Playhouse. Panelist for conventions of the Association for Education in Journalism and Mass Communication. Served as producing artistic director of Manhattan Rep Company. Cablevision of Savannah. CNN Atlanta (1992). Fluency in Spanish. New York U. CCM since 2008. Chicago. Has performed with National Players in Japan. Producer of noon news. and the Advertising Club of Savannah. Contributor. public affairs. Clinton Foundation. Faculty. field producer. which was presented at U. and Pratt Institute. Pfizer and Priceline. BFA. Previous teaching appointments include U. Served as director of interactive media and online creative with Omnicom Group with a client list of Fortune 500 companies. New York City. BS (Electrical Engineering. Active member of The Broadcast Education Association.university of CinCinnati College-Conservatory of MusiC Diane L. Faculty. Building America’s Home (Editor/Motion Graphic). An Gorta Mor. Numerous publications and presentations. Aves de Paso (Birds of Passage). in addition to teaching writers and other creative professionals in the field and through live webinars. Cincinnati. 1/2: The Documentary (Editor) and Mad Dog Films. CCM since 1996..” and “The Encyclopedia of TV News. Korea. New York University. Professor of video. MS. The Chaser’s War On Everything (Australian TV Series). CCM since 1977. such as American Express. of Cincinnati (Professor of English). North Africa and Bermuda. Professional Performing Arts School. WKRC-TV. promotional. Rensselaer Polytechnic Institute. An award-winning playwright/director with nine plays published by Samuel French. BA.’s Parsons School for Design. Faculty. Installations and exhibits featured in major galleries throughout the country. Hanover College. Interface: Virtual Environments in Art. Northwestern U. Savannah College of Art and Design. and the University Film and Video Association. Kvapil.org. Western Union and more. Taught interactive communications at Quinnipiac U. the National Academy of Cable Excellence. Electronic Arts Minor). health news and fine arts events. production coordinator. Rx for Survival: a Global Health Challenge (Assistant Editor). Has produced and directed documentary. Beckfield College and Xavier University Writing Center. MS (Digital Imaging and Design). “Television in America. and for video exhibits in the Gallery of Everyday Heroes at the National Underground Railroad Freedom Center. Previous teaching positions held at the Art Institute of Pittsburgh (Online Division) and Art Institute of Houston. Marjorie J. 1973–83. Worked previously as reporter and anchor for WEEK-TV in Peoria. New York U. director/editor/videographer. and executive producer for NBC’s WMAQ-TV. Peter DePietro.” Writer for two Cincinnati-based Web sites. Associate Professor of Drama. Italian. Featured in numerous regional and national touring company productions as well as WNET and NBC telecasts. Written teleplay recently produced for NBC’s “Young People’s Specials. MPS. Dell. Adobe Certified Training and the Rockport International Film and Television Workshops.com. New School U. Associate Professor of Electronic Media. Atlanta Video Production Center. where she served as strategic and creative leader for multiple book imprints and
. Writer. WNGM-TV and WNEGTV. BA. Jane Friedman. Developing Serious Games.. Instrumental in coverage of major breaking stories.
Raul Barcelona Avarez. Knowledge and Society. Film credits include The Yes Men Fix The World (Cinematographer). Design and Education. id/Interactive Domain in New York City. of Georgia. corporate. Bayer. radio DJ and engineer.. Inc. Elle Décor: Behind the Design (Editor/Graphics).” Studied with Eric Morris (1987). Syracuse U. Catholic U.. newscast producer. French. Dan Rather Reports (Spanish Translator). Marcromedia. Xavier University. including Digital Storytelling: The Narrative Power of Visual Effects in Film. MFA. Dustscape at Gallery 61 in New York City. D. and the Radio-Television News Directors Association. California–Berkeley and published in the International Journal of Technology. Faculty intern. cable.. and Technology and Design: Partners in the Evolution of Creativity.” a video promoting reform of Hamilton County government (1992) and “The Lay-Off List. Your Place on the Internet. Cincinnati (1993). University of Evensville. Chris Gardner Media. the National Broadcasting Society. educational programming and advertising recognized by the Broadcast Education Association. Production manager. Additional studies include work at Avid. Awards for Best Documentary Audience Choice Award at the 2009 Big Muddy Film Festival and an Aloha Accolade Award at the 2008 Honolulu International Film Festival. the Broadcast Education Association. which was recognized in 2007 with a top award from the Episcopal communicators association. (Graphics Designer/Editor).
cum laude. Marie-Claire Jamet. Lucy Moses School of Music at Merkin Hall.. World Harp Congress performances in Vienna. Field Experiments. In 1999. Xavier. Adjunct Associate Professor of Harp. Magazine. DMA. Faculty. Adjunct Professor of Vernacular Music. Received backto-back (2002. wrote the musical score for the film “The Greater Good. Haines. composition with Scott Houston. Wrote book chapter on “The Effects of Media Violence. As a composer. Selected as a National Association of Television Program Executives (NATPE) conference fellow in (1998) and was awarded a NATPE faculty development grant (2001). New Albion. arranger. Published in the Journal of Sport and Social Issues and Government Video Magazine. John Wesley Owens. Faculty. Thomas A. Paris and Prague. Director of music. of Cincinnati).” a feature-length film produced in Cincinnati. Lying in Bed. Judy Loman. Research activities include presentations at the International Communication Association in Jerusalem. Radio Prague Symphony Orchestra. Royal Conservatory of Toronto. the Broadcast Education Association in Las Vegas. video and multimedia productions. and studied electronic music with Paul Palombo. on-air talent and news reporter for AM and FM stations. Published Poems including Books. Extensive professional experience in radio as an on-air personality. BM. Avery Fisher Hall. Former Aspen Music Festival fellow and assistant teacher to Nancy Allen. Choral groups under his direction have appeared at Carnegie Hall. PhD. adjudicator and guest conductor. Daniel Pinkham and Eric Kunzel. Pierre Jamet. BM. the White House. Collaboration with Harvard All-American and Cincinnati Bengal punter/wide receiver Pat McInally was released on the High Spiral record label in 1982. Alice Parker. 2003) first place awards from the Broadcast and Internet Radio Division’s research paper competition during the Broadcast Education Association National Convention. studied popular music with Simon Anderson. BA. received first prize in the drama category from the Broadcast Educators Association for producing “The Holy Chest. since 2010.” an interactive storybook audio drama and also received second prize in the multimedia category from the BEA for the interactive multimedia project “Sound Foundations: Mechanics of Sound. CCM Faculty. Mason United Methodist Church. U. writing and producing music for CD.. news reporter and adviser to college radio stations (U.m. Cincinnati Chamber Orchestra. BA. Former Principal Harp: Israel Philharmonic Orchestra. Harvard U. Recordings:
. As a recording engineer and producer. Marcella De Cray.” Selected as a NAPTE conference fellow at the National Association of Television and Programming Directors annual convention (1998). Susann McDonald. U of Cincinnati. of Alabama. U. CCM since 1999. Associate Professor Electronic Media. Western Carolina U. Studied theory. Ann Pilot. Kennedy Center Opera Orchestra. of Cincinnati College-Conservatory of Music. Westminster Abbey and Notre Dame Cathedral. of Notre Dame. Producer. Co-winner. Douglas Belland. In 2005. The Juilliard School. Adams. Former faculty. His teaching includes positions at Wayne State U. of Kentucky. harp and flute recital for Mostly Mozart Festival. Faculty. Frequent rock music performer at concerts and charitable events. Vocalist with the Vocal Arts Ensemble.58
university of CinCinnati College-Conservatory of MusiC
business manager with numerous accolades and creative developments. Linda Wood. film. Concert Artist’s Diploma. Centaur. American Harp Society National Conference Performances of Debussy “Danses” and Caplet “Conte Fantastique” in Cincinnati and San Francisco. MA. Mode and others.000 live performances spanning 30 years. Publications: “The Debussy Danses” World Harp Congress Review. CCM since 2004. Associate Professor of Electronic Media. Glover Outstanding Teaching Award. MA in composition at Butler U. of Alabama. MM. 3 a. Has worked as a vocalist and pianist in the popular music idiom with 6. Recitals: Carnegie Hall.. extensive experience in orchestral and chamber recording and electronic/acoustic music productions for Clavier.. spring and fall (1999) “L’Après-midi d’un Faune. 2001 CCM Ernest N. host. co-author. Additional articles and reviews published in UE Magazine. Appeared as moderator at the Broadcast Education Association management and sales division and at the National Association of College Broadcasters MidSouth Regional conferences. Teachers include Nancy Allen. MM. and Northern Kentucky U. Artistic director/conductor. Studied conducting with Elmer Thomas and John Leman.
Gillian Benet Sella. Music production for television and radio advertisements with Adams Music for Media. U. AB. CCM since 2003. An active composer. Ecole Normale de Paris. Scott Huston and Ellsworth Milburn. debut harp recital as winner of Artist’s International. New Haven Symphony. and the Speech Communication Association in Miami. CCM since 1992.
Clifford F. Weill Recital Hall. Diplôme de Concertiste. Adjunct Assistant Professor. Prepared choruses for John Rutter. Faculty. spring 2000. He was named a fellow by the NY professional choral organization Melodious Accord directed by Alice Parker in 1998. Quebec Symphony Orchestra. and the U. active in music performance and composition. U. Solo performances with the Israel Philharmonic. Kennedy Center Opera Orchestra. Wayne State U. Letter From an Erstwhile Boyfriend and Front Oval have appeared in The Foramlist. Faculty member at the Aspen Music Festival and School since 1999 where serves as the founding director of the Susan and Ford Schumann Film Scoring Program. The Evanswille Review and 1997 Novel & Short Story Writer’s Market. DMA.” World Harp Congress Review.” Currently conducting original research in surround sound production aesthetics and effective listening techniques while remaining active in producing music for a variety of publications. Israel. Cincinnati Symphony Orchestra. Cincinnati Choral Society. composition and contemporary music with Paul Cooper. Naxos. Cincinnati Premier: Liebermann “Concerto for Harp and Flute” with James Galway and Cincinnati Symphony Orchestra.
Manhattan School of Music. Sinclair Community College. including frequent club appearances and jazz festivals. Has accompanied Slide Hampton. Lift Up. Faculty. UpBeat Brass and Detroit Jazz Festival Orchestra (Lead) as well as prior performances with U. OH. Again I Say Rejoice. Woody Herman Orchestra.S. CCM. Awarded the Elliott “Elli” Mannette Outstanding Musical Innovation Award by the State of Ohio in 2001. and has arranged and commissioned works such as Luck Be a Lady Tonight. Published in Jazz Player Magazine. Chris Berg. MA.S. Carl Fontana. Faculty. CCM since 1994. Donna Summer. Switzerland. Yale U. Adjunct Instructor in Jazz Trombone. Recent Grants include Visual and Digital Instructional Laboratory Technology Grant for a technology-based research project and Chancellor’s Small Grant awarded jointly for Faculty Jazz Combo (U. Guatemala. of North Texas. U. Bobby Shew. Art Gore. among many others. Yellow Springs. and video games. the Van Dells and Jimmy Dorsey Orchestra. John Lithgow. BM. BM. Faculty. Recordings include The Movement. John Pizzarelli. Numerous performances as guest soloist. Juilliard scholarships. U.
Wayne. Band member and club. Jamey Aebersold Summer Jazz Clinics since 1982. Night Flight Jazz Ensemble (United States Air Force). Linda Ronstadt. Ohio Music Educators Association. Marc Fields. Taught and performed in United Kingdom. Cincinnati Symphony Orchestra and Pops. Days Gone By and Endless Stars. CCM. Trumpet. Warren Vache. many others as a sideman and appears in the “Live in Concert” video. Fulbright Grant to Canada (1993). At the Cannibal’s Prayer Breakfast. Richie Cole. and many others. Revisited with Christian McBride and The Detroit Jazz Festival Orchestra. Music Teachers National Association. Mel Lewis. Miami University. Great American Piano Competition (1995). (OH). Roland Hanna. Faculty. Phil Woods. Minnesota Ballet’s Festival Orchestra. Johnson.. Cincinnati Symphony Orchestra since 1995. Inc. and Tony Chipurn. Previous teaching appointments include Capital University University of Minnesota Duluth. Finland.” text for non-pianists. Recipient of two Cincinnati Enquirer “Cammy” Awards (1996 and 1999). Jazzwise Summer School in London. orchestration with Leo Raucher. Finalist. Marty Grosz and Vivian Lord. Jazziz Magazine’s Keyboards on Fire Competition (1995). CCM since 1999. Composer and soloist in Cohesion Jazz Ensemble. twice American Harp Society national competition first prize. Lew Tabackin. Faculty. Play That Funky Music. Jim McNeely. Current performance credits include The Detroit Jazz Festival Orchestra. assistant professor of jazz studies at Central State U. Debussy “Sonata for Flute. Miami Valley Jazz Camp.R. Zoot Sims. Studied with Oliver Nelson. Adjunct Instructor in Jazz Drums. Junior Cook. Steve Allee Big Band. Chuck
. Has presented lectures for International Association of Jazz Educators. North Texas State U. Germany. Marty Grosz. John Pizzarelli. Dayton Philharmonic Orchestra. Jimmy Knepper. Recorded with Teruo Nakamura and Herbie Hancock on “Rising Sun” and “Manhattan Special” for Polydor Records with Larry Young. Has served as artistic director and conductor for The Dayton Jazz Orchestra. Ray Charles Orchestra (1989–2004). CCM since 2007. Trombonist. Phil DeGreg. Billy Hart. Lexington Philharmonic. DMA. MMEd. Capital Brass Quintet. Double bass studies with Orin O’Brien and Lou Norton of the New York Philharmonic. Toured one year with Woody Herman Orchestra. Mark Murphy. and with Lonnie Liston Smith on “Expansions” for RCA. Joe Albany. New England Conservatory of Music and Berklee College of Music. festival. composition with Dr. Author of “Jazz Keyboard Harmony.. Italy and Brazil. Currently. France.. concert. Associate Professor and Director of Jazz Studies. Aspen Music Festival E. Special studies. Director of research and music development. including six world tours and WLW-TV staff orchestra (1975–1982).
Scott Belck. Jazz Central Big Band and The Fraze Jazz Orchestra. Montclair State College. Spectrum. Kenny Werner. Denmark. with J. Back in U. Rotary Sholarship to Canada (1990). Stanley Turrentine. BA.” Women’s Philharmonic on Koch. Miami University One O’clock Lab Band. CCM Faculty. and arranging and jazz keyboard with Scott Healy. University of Dayton. Nakimichi Concerto Competition. Principal trumpet performances with Indianapolis Symphony Orchestra. Concert à Cinq. In Cincinnati. conductor and adjudicator. Viola and Harp. U. House pianist for the Blue Wisp Jazz Club in Cincinnati for 15 years. Numerous original compositions for musicals. Marshall University and Saint Francis Xavier University (Canada). Has recorded ten CDs as a leader. leader of the Greenwich Trio and member of the Blue Wisp house trio. Ron Carter. Tromba Mundi Contemporary Trumpet Ensemble.S Musical Excellence Fellowship Grant. CCM since 2003. Designed and developed software for brain-actuated music.” Jolivet Chant de Linos. Richmond Symphony Orchestra and Top Brass. Recipient of two National Endowment for the Arts grants for jazz piano research and a Fullbright Fellowship to lecture in Brazil. with the Atlantic Sinfonietta on Koch. MM.university of CinCinnati College-Conservatory of MusiC Tailleferre “Harp Concertino. Staff member. Air Force Band of Flight and Glenn Miller Orchestra. Private study with Vic Firth (Boston Symphony) and Alan Dawson. Studied with Dan Haerle. and Tromba Mundi: Music for Trumpet Ensemble. John Elliot. Jongen. The Cincinnati Cotemporary Jazz Orchestra. of Minnesota). Toured and recorded with George Benson for five years. Principal harp. The Columbus Jazz Orchestra. Prizes: Sony E. Tim Cummisky. Scott Hamilton. since 2010. Ting Ho. classical guitar with Don Reagen. Professor of Jazz Studies. Recordings with his own ensemble as well as the Columbus Jazz Orchestra. of Tennessee in Knoxville. Active in freelance work in tri-state area. film and television sound tracks. Bob Wilbur. Lead Trumpet credits include Manhattan Transfer. Funky Nassau. Brain Actuated Technologies.J. piccolo and bass drum on CRI. Aretha Franklin. since 1987. radio and television performances with Susanna McKorkle. Red Holloway and Richie Cole. The Widespread Depression Orchestra. Tan Dun’s “In Distance” for harp.S. Costa Rica. of Cincinnati. Adjunct Instructor in Jazz Bass and Combos. BM.
Cincinnati Chamber Orchestra and the Broadway Series. Currently. Dr. Tony Bennett. the Guy Lombardo Orchestra. U. and David Liebman. BM. The Freddie Bell Show and tours with Acoustic Alchemy and the Woody Herman Orchestra. Published in Saxophone Journal. the International Summer Jazz Academy (Warsaw. one LP). Kenny Garrett. National Association of Jazz Educators. CCM since 2001. and multimedia presentations entitled “EarthkindHumankind” featuring music. Northern Kentucky University. Studied composition with Manny Albun. Rosemary Clooney and many others. Ahmad Jamal. (2000–2004). Fall 2010) John Von Ohlen. Recipient of a National Endowment for the Humanities grant for the study of Wes Montgomery. poetry. Larry Griffin. Adjunct Assistant Professor of Jazz Studies. Frank Foster. dance and art. Member of the Ohio All-Star Jazz Ensemble. and Ladd McIntosh. the Jerusalem 3000 Recital at the El-Dan Forum in Israel. the Woody Herman Orchestra. Director. He currently performs on trombone and electric bass with the local Salsa ensemble “Tropicoso. Faculty. “Jazz: Live from the Hyatt” 1986–1990. BM (trombone). Jim McNeely. CCM Jazz Ensemble CDs on “SeaBreeze Vista. Poland) 1995–96. Ray Eubanks and Dr. Gerald Wilson. Assistant Professor of Jazz Trumpet. Perry Como. Faculty. NPR. Previously. Rick VanMatre. Studied trumpet with John Clyman. Slide Hampton. North Texas State U. and N. Blue Wisp Big Band. Faculty. and American Society of University Composers Festival. Miami University (Ohio). Author of “Reading Jazz Rhythms and Bebop Riffs” (CSU Music Press). Andy Narell. Producer and conductor. Faculty. and the World Saxophone Congress. the North American Saxophone Alliance. Alex Acuna. and as concerto soloist with the Illinois Philharmonic. Kentucky. After Gwynnewood merged in 1986 with Group Effort. CCM since 1980. Wess Anderson. BM (jazz studies) College-Conservatory of Music. Co-owner. Author of “Jazz
. Lecturer at The Ohio State U. Mercer Ellington. arranger and performer with the Symphony Jazz Ensemble. Has been trombonist with Cincinnati Symphony Orchestra. (On leave. Faculty. Latin X-Posure. Trombone and piano study with Bob Phillips. Has presented performances and lectures for the International Association for Jazz Education. College-Conservatory of Music. and many others. the PsychoAcoustic Orchestra and on numerous albums. He has recorded and/or produced hundreds of CDs of local artists in nearly every possible music genre including the 2002 King Records Tribute CD “Hidden Treasures. and Will Kennedy. Has performed as jazz soloist with Bobby Shew. Cincinnati Magazine Annual Award: “Best Jazz Musician. Steve Rodby. moving into computerbased digital audio workstation recording. Billy Maxted Orchestra. BM. Carmine Caruso. and for such artists as Frank Foster. The Ohio State U. he supervised the changeover from analog to digital recording. National Association of Jazz Educators Award: 1988–89 Ohio Jazz Educator of the Year. Performance credits include appearances with Hubert Laws. directed programs for American Jazz Radio Festival. Group Effort Sound Studios. Special studies. Wisconsin Conservatory of Music. Kenny Werner and Kenny Wheeler. contemporary Latin music performances with Roland Vazquez. James E. Adjunct Instructor of Audio Theory and Techniques. director. musical producer and audio engineer. Formerly on the faculty of CCM. Ohio unit. Don Ellis. Blues Alley and The Clearwater Jazz Festival. Active for
Bill Gwynne. Clea Bradford and Melvin Rhyne.). Bob Brookmeyer. the Roger James Orchestra. the Jazz at Old Town Series in Warsaw. Central State U. BA. Crescent Springs. Joe Viola. of New Mexico. (Ohio) since 1980. Joe Henderson. Adjunct Assistant Professor of Jazz Guitar. which recorded for Creative World. WCPO-TV. John McNeil. Joshua Redman. WLW-TV. “Jazz Voices. three LP recordings). Professor of Jazz Studies. jazz coordinator. Composer. Glover Outstanding Teacher Award. Cincinnati Pops Orchestra. Richard Burkart. Featured in WOSU-TV’s award-winning production..M. North American Saxophone Alliance. Marc Johnson. President. Toots Thielemans. three LPs). 1987–89.” 1981. MM. Kim Pensyl. Poland. One of Billboard’s Top 20 Contemporary Jazz Artists of the Year in 1989 and 1990. Rayburn Wright. Frank Tiberi. Other concerts have included such varied venues as the Nancy Jazz Festival in France. Rosemary Clooney. Ernest N. CCM since 2005. Commercial music composer. MA. lab band program. As conductor. Performance venues include The Blue Note. Studied with Bill Dobbins. Middletown Symphony. CollegeConservatory of Music.” Recorded with Joey Calderazzo. Northridge. MM (jazz and contemporary media). CCM Faculty Jazztet. Cecil Bridgewater. 1988. WKRC-TV and numerous freelance recording projects. Studied guitar with Marty Ellis. Curtis Fuller. David Liebman. ASCAP’s Best New Jazz Writer of 1989. 1960. Smith. Bob Sheppard. Adjunct Instructor in Jazz Drums. Adam Nussbaum. Al Hirt.” Has also produced and engineered numerous projects for the video game industry and audio for video. the Jamey Aebersold Summer Jazz Clinics. Ramon Ricker. Gerald Wilson.” On-air host for local and nationally syndicated public radio broadcast. Performed as jazz soloist with Nathan Davis. 1996–present.” Faculty.60
university of CinCinnati College-Conservatory of MusiC Guitar: Theory and Technique” and “Symmetrical Scales of Guitar” (Studio P/R-Columbia Pictures Publ. Woody Herman Orchestra (one-year tour. Drummer and featured soloist with Stan Kenton Orchestra (two-year tour. Ralph Marterie Orchestra (one-year tour. he founded Gwynnewood Recording to provide musically aware recording services to the local music community. Paul Piller. composition with Eddie Baker.A. Extended tours with Urbie Green. Holiday on Ice. CCM since 1984. Recordings with the OSU Jazz Ensemble and the California State University Northridge Jazz Ensemble. Louis Bellson. PsychoAccoustic Orchestra. Cincinnati Ballet Orchestra. Classical saxophone performances with the Rochester Philharmonic and Cincinnati Symphony Orchestra. the Duke Ellington Orchestra. Four top-10 albums on Billboard magazine’s contemporary jazz chart.R. the Music Educators National Conference. Faculty. CCM since 2004.. director. Led own quartet. Ray Wright. California State U. Faculty. Tom Battenberg. Recorded as featured jazz soloist with the Cincinnati Pops Orchestra. CCM Jazz Guitar Ensemble. Eastman School of Music.’s Jazz Album of the Year in 1991.
PhD. Western Michigan U. Kodaly. University of Illinois at Urbana-Champaign. Author of articles for state and national music education publications (Oregon Music Educator. The Quarterly. Florida State U. Luther College. BME. Inducted into Pi Kappa Lambda in 1976. Maxine Sullivan and Keith Jarrett. Clifford Madsen. Winter 2011)
Paul Cauthen Associate Senior Librarian. Meredith College. Kentucky Music Education Association and University of Kentucky Bluegrass Choral Music Festival. MM.
. oratorio and recitals. Guest conductor. CCM since 2003. MM (Voice) & MM (Music Education). Former teachers include Craig Kirchoff. Served on the faculty at California State U.” Coordinator and executive editor of The Mountain Lake Reader. and University of Kentucky Music Education Masterclass. College of Mount St. Gorno Memorial Music Library. Bulletin of the Council for Research in Music Education. of Cincinnati. Tennessee Music Education Association. EdD. Designed and implemented Lebanon Schools Smart About Art/Picture Lady Program for Holbrook Elementary. Division of Music Education. Faculty. Dalcroze and Pathwise. Campbellsville University. Clinician at state and national conventions. School Music News. Triad. Steve Schmidt Trio. Richard Suddendorf. Visiting Assistant Professor of Music Education BA.. CCM. Teaching positions held at Kodaly Pedagogical Institute of Music. and in the Music Education Division. Western Kentucky University. CCM since 1985. University of North Carolina at Chapel Hill. Research Applications in Music Education. PostDoc Study. of Kentucky. (On leave. Cologne. MME and Ph. Served as director of music ministry and director of adult choirs at Lebanon United Methodist Church. Member of the national board of editors for The Quarterly (1990–1997) and council advisory committee for the Council for Research in Music Education (1988–1998). Previous faculty positions at the U. Since 1976. BME. Member.BM. Faculty. district.university of CinCinnati College-Conservatory of MusiC four seasons in Broadway pit orchestras. U. National Collegiate Choral Organization and American Orff-Schulwerk Association. Cadenza. West Germany. clinician. James Croft. Tennessee Vocal Association. Current and former memberships with the Music Educators National Conference. adjudicator and clinician in numerous choirs and choral festivals including Kentucky Chapter of American Choral Directors. Oberlin College. leader of Blue Wisp Big Band in Cincinnati (five LPs).D.. National Association for Teachers of Singing and American Choral Directors Association. of Oregon and the Crane School of Music. Trained in Orff. since 2010. Treasurer of the Greater Cincinnati chapter of American OrffSchulwerk Association. BA. and abstracts for RILM (Repértoire International de Littérature Musicale).
Eva G. Faculty. The Ohio State U. collection development for sound recordings and videos. Kentucky Colonel Award from Kentucky State Legislature and Outstanding Educator Award from Kentucky Governor’s Scholars Program. Taught public school instrumental music at various levels in Kentucky. International Kodály Society. Organized the Greater Cincinnati Choral Festival. State and regional division research offices with the Music Educators National Conference. and state honor bands. Articles in various professional and state journals. Coordinated the Association for the Advancement of Arts Education program for Louisa Wright Elementary School. Guest conductor. since 1991. and Design for Arts in Education). CCM Faculty. reviews for Reference and User Services Quarterly. Numerous albums recorded with artists such as Cal Collins. Professor of Music Education. Organization of American Kodály Educators. He also compiled the list of recommended recordings of orchestral music for the Music Library Association publication A Basic Music Library. recordings and videos. Update. The Instrumentalist. Performed professionally in opera. Assistant Professor of Music Education. Honors and awards include Midwest Kodály Music Education Association Jean Sinor Scholarship. Publications include articles for Grove Music Online. 4th edition (forthcoming). principal responsibility for the cataloging of scores. Lizabeth Bradford Wing. Dianne Kronour. U..” Co-author with Richard Colwell of “Knowledge for Structural Music Teaching. Francy Boland and Benny Carter with the WDR Radio Orchestra. instrumental and vocal music in the public schools. Conference presentations at national and state levels. Faculty. music theater. John Clayton. Head. Western Kentucky University Potter College of Arts and Letters student mentor award. Recorded with Carmen McRae. Has responsibility for overall supervision of the music listening facilities and computer lab.
Ann M. and at the Berlin Jazz Festival. Taught at Lebanon City Schools. MA. Editorial board member for Contributions and the Southeastern Journal of Music Education. MS. For the Music Library Association he is a member of the Authorities Subcommittee and has served as Chair of the Subcommittee on MARC formats and as a Member-at-Large on the Board of Directors. University of Kentucky and Bullitt Central High School. American Choral Directors Association. Presentations for International Kodály Society Symposium. and Patrick Dunnigan. of Illinois. including over 200 select singers from 28 area high schools. Porter. and adjudicator with school bands and with regional. Toured Japan and recorded with Mel Torme and Marty Paich Orchestra. Midwestern Educational Research Association. Taught general. Joseph. Professional memberships with Music Educators National Conference (KMEA). U. Collegiate Music Educators National Conference. Potsdam College. Assistant Music Librarian. Hayward as associate director of bands. CCM Faculty. served as higher education representative for the California Music Educators Bay Section Association. Capital University. CCM since 2008. Floyd. Kentucky Music Educators Association. Chapter author for “The Handbook of Research on Music Teaching and Learning” and section editor for “The New Handbook of Research on Music Teaching and Learning. Liszt Academy of Music-Zoltan Kodly Pedagogical Institute of Music. CCM since 1986. CCM and Winston Salem/Forsyth County Public Schools. MM. and maintenance of the online audio reserves program. Assistant Professor of Music Education.
London. past Corbett Award citations (Cincinnati). Faculty. American Theatre Association. Research awards and fellowships include American Institute of Indian Studies (AIIS) Junior Fellowship. Chairman. BM. Guest lecturer at Oberlin College. Associate Editor. Detroit. U. CCM since 1996. Editor.” “Grand Hotel. Studied directing at Bristol Old Vic Theatre School.” “The Mystery of Edwin Drood. Gorno Memorial Music Library.” “The Boys From Syracuse.” “Songs for a New World. and visiting scholar at Cornell University in South Asian Studies Program. Supervised CCM’s ongoing appearances with the Cincinnati Pops (Erich Kunzel. Music Library Association Index and Bibliography Series. International Programs and Studies Globalization/Foreign Language Fellowship. and University of Illinois Musicology Fellowship. of Wisconsin-Madison. Assistant Professor of Musicology. Danforth Society.” Anita in “West Side Story.D. American Harp Journal. spring 2010)
Mark Palkovic. Bowdoin College. Faculty CCM. of Illinois. Nat Brenner and Burnet Hobgood. U.. True Brew Theatre. BM and BA. Has served as musical director for CCM’s productions of “On the Town. Publications: (author): Harp Music Bibliography: Compositions for Solo Harp and Harp Ensemble. Harare. Southeastern Theatre Conference.. British Council (Stratfordupon-Avon) and with Robert Mohr.B. Chicago. conductor) including recent collaboration. Lewis and Clark College. Syracuse University. PhD.” “Assassins” and “High Button Shoes” at the Boston Conservatory. Seminars at regional and national meetings. since 1989. Ethnomusicology Forum and The World of Music.” among others.” “Sweet Charity. The Guitar in American Banjo. BA. BA. Dolly!” as well as “The Most Happy Fella” at the West Virginia Public Theatre in Morgantown with the original Broadway revival lead. Varanasi and Delhi. Cincinnati Entertainment Awards. Ohio University. studying directly with Romana Kryzanowska. Musical Boxes. Tulane U. Chile. Conducted “Sweet Charity. Choreography credits at CCM include “Babes in Arms. Cornell University. Conducted national tours of “Cabaret.” “West Side Story. theatre (Birmingham-Southern College). Asunción and the Chaco. Grawemeyer Award for Music Composition: The First Twenty Years.” and “On the Town. “Patriotic Broadway.” “My One and Only” and “Man of La Mancha. theatre (Johannesburg).and Twentieth-Century Music. Served as musical director and musical supervisor for CCM’s Hot Summer Nights (1998). Presented workshop on Teaching and Performing South Asian Music and Dance in American Universities and dem-
.. ATHE. BM (with distinction). Professor of Musical Theatre.” “Nine. many in honor of Rodgers’ centennial birthday celebration (2002–2003). Cincinnati Men’s Chorus. ATL. MA.” “My Fair Lady” and “Hello. (co-author): Index to CD and Record Reviews. Corbett Distinguished Chair of Musical Theatre. Productions for professional.” the baker’s wife in “Into the Woods. Harp Music Bibliography: Chamber Music and Concertos. Artistic director. Since 1981. Served as musical director for Harvard U. MLS.62
university of CinCinnati College-Conservatory of MusiC musical director at SUNY-Potsdam. MA.” “Dracula — The Game of Love.” Certified Pilates instructor since 2001. national advisory board. Member. Worked for Rodgers and Hammerstein Organization Archive in New York City on the recreation of select shows (including “Babes in Arms” and “The Boys From Syracuse”). Obelisk awards (Birmingham). Previously on taught at Eastman School of Music and University of Notre Dame Department of Music. Newcomen Society. Faculty. CCM Faculty. (editor): Music Inspired by Art. Millikin University and H. Associate member of the Society of Stage Directors and Choreographers.” “Ruddigore. Roger Grodsky. of Illinois at UrbanaChampaign. SETC. Harp Music Bibliography Supplement: Compositions for Solo Harp and Harp Ensemble. Ithaca College. Santiago and Valparaíso. Head.” “The Human Comedy. president. North India. Wenner-Gren Individual Research Grant. Birmingham International Educational Film Festival. various regional and dinner theatres. Spiro Malas.” “Grand Hotel. Bibliographic Control of Music. Uttarakhand. Has appeared as Velma Kelly in “Chicago. Patricia A. 1987-1997. Birmingham. Analyses of Nineteenth. U. NOLA.” Received a Marquee Award (New Orleans) for best actress in a musical for “Chicago. Garhwal University in Srinagar.D. 1897-2000. Associate Professor of Musical Theatre. a Joseph Pilates protégée.” Morales in “A Chorus Line.” “Under Construction” and “Songs for a New World.’s Hasty Pudding Theatricals. Zimbabwe. (On leave. Loyola U.” “Oklahoma!. Fieldwork experience includes research in Uttarakhand. An Index to Music Published in The Etude Magazine. 1940-2000. Bulawayo and Chipinge. Antioch University. 1882-1933. S.” Taught master classes for Ballet Iowa and in Kharkiv.
Aubrey Berg. Board of directors. Acclaim Awards. Directed and choreographed CCM’s Musical Theatre students (2002) as well as Tom Wopat. MM and Ph.” Received Big Easy Entertainment Award (New Orleans) and a Storer Boone Award (New Orleans) for best choreography for Tulane Summer Lyric’s production of “The Will Roger’s Follies. Denyce Graves and Nick Clooney in Cincinnati Pops Orchestra’s “Patriotic Broadway” televised on PBS. U. Choreography for Tulane U.” “Candide. Senior Librarian.” woman 2 in “Songs for a New World. Birmingham Festival Theatre. Black Hills Playhouse. Department of Musical Theatre. Joseph Jefferson award citations (Chicago).N. FulbrightHays Dissertation Development Research Award. (translator): Harp Music in the Nineteenth Century. Adjudicated America’s Junior Miss (2003).” Director/choreographer for “Song and Dance. British Drama League (London). CCM since 1987. John Schneider. Paraguay. Ukraine. Diane Lala. Hot Summer Nights. of Cape Town. In-residence
Stefan Fiol. 1883-1957.” and Audrey in “Little Shop of Horrors. Mandolin and Guitar Periodicals. Professor of Musical Theatre. Publications in Ethnomusicology. educational and community groups. artistic director.” televised nationally on PBS. MFA. Cincinnati Pops Orchestra.” “The Wild Party. Kent State University. DALRO award citation (Johannesburg). Resident director and dramaturge for Performing Arts Council (South Africa).
Norway. of New Orleans. De Clavicordio IV (2000). Jonathan Kregor. Notes. Current projects include two monographs: Opera as Soundtrack (under contract with Ashgate Publishing Co. Stage and Screen Conferences. music history. CCM since 2004. Notes. 2007). Concert Life in Haydn’s Vienna: Aspects of a Developing Musical and Social Institution (Pendragon. and other collections. International Musicological Society. bruce d. Mary Sue Morrow. 2008). American Liszt Society. Theater. The Journal of Musicological Research. and articles in Playbill. Papers presented at regional. Music & Letters. PhD. Press. International Federation of Theatre Research. The Cambridge Mozart Encyclopedia (2006). Kurt Weill Newsletter. of Nevada. of Sussex. and others. Lady in the Dark entry in Enzyklopädie des Musiktheater (R. Essays in The Cambridge Companion to the Symphony (forthcoming). Florilegium Musicae: Studi in onore di Carolyn Gianturco (2004). Muzikologija. the Mozart Society. Notes. BA. the Humanities West Lecture Series in San Francisco. Articles and reviews in Min-Ad: Israel Studies in Musicology Online. International Musicological Society. and international meetings. AMS Council member (2004-06). PhD. Nineteenth-century Music Review. BM. Analecta III: Liszt and the Birth of Modern Europe (2002).E. Society for American Music. Former president of the Southern Chapter
. MA. Coeditor of Wagner and Cinema (Indiana U. Spanish and Garhwali. Faculty. Associate Professor of Musicology. of Rochester. Nineteenth-Century Music Review. Changing Tunes: The Use of Pre-existing Music in Film (Ashgate. Faculty. The Journal of Musicological Research. Papers at regional and national meetings of the American Musicological Society. Taught at Northwestern U. Papers at the meetings of the American Musicological Society. Northwestern U.
U. Press) in press. mcclung. 2002). and the Holbergdagene in Bergen.P. and The Southern Quarterly. London cast recording. Michigan State U. The Musical Times. International Wagner Society. PhD. Member of American Musicological Society. the 2007 Kurt Weill Prize. lectures and performances with Central Himalayan vocal and instruments. International Fanny Mendelssohn Hensel Conference and Stiftung Weimarer Klassik und Kunstsammlungen. Jaecheon International Film Music Festival. Jeongwon Joe. and co-editor of Lady in the Dark: A Sourcebook (Kurt Weill Foundation. Rice U. Author of the book Lady in the Dark: Biography of a Musical (Oxford U. German Historical Institute and Stiftung Weimarer Klassik. MM. Associate Professor of Musicology. 2009 UC Academy of Fellows for Teaching and Learning and 2009 UC Excellence in Doctoral Mentoring Award. Press. Former faculty of U. Journal of the British Society for Eighteenth-century Studies. Eighteenth-Century Music. of Iowa. Harvard U. Reviews in The Opera Quarterly and Kurt Weill Newsletter. Oxford Composer Companions: Haydn (2002).) and Western Opera’s Diaspora in Korea During the Japanese Occupation 1910-1945. Fluency in reading. New England Conservatory. 1861–1918 (1998). Theory. Kurt Weill entry in A Reader’s Guide to Music (Fitzroy Dearborn. CCM since 2007. Piper. and invited lectures. International Colloquium on the American and British Musical. Author of German Music Criticism in the Late Eighteenth Century: Aesthetic Issues in Instrumental Music (Cambridge U.university of CinCinnati College-Conservatory of MusiC onstration.K. Journal of Musicology. Royal Musical Association. Assistant Professor of Musicology. including those given for the Bard Festival in New York. CCM since 1992. U.. Eastman School of Music. Author of Liszt as Transcriber (Cambridge U. Journal of the American Liszt Society. and others. 1997). International Kurt Weill Symposium. Faculty. U. and speaking Hindi. Press. Taught music history and theory at Eastman (Teaching Award) and U. Bach’s keyboard works for C. Kurt Weill Edition advisory board and volume editor for Lady in the Dark (in preparation). and executive committee member of the Opera Discussion Group of the Modern Language Association (2005-09). Contributor to Music of the Sirens (Indiana U. and a 2008 ASCAP Deems Taylor Award. and Music and Culture in America. MA. and Michigan State U. Northwestern U. International Conference on Nineteenth-Century Music. Taught at Harvard U. Research focus on nineteenthcentury music. North Carolina. music history. 1997). Press. U. and in the collections A Stranger Here Myself: Kurt Weill Studien (Georg Olms Verlag) and The Cambridge Companion to the Musical (Cambridge U. Co-editor of and contributor to The Eighteenth-Century Symphony (Indiana U. MM. The Beethoven Journal. 1989). Opera Quarterly. Sitar and Middle Eastern Ensembles. Society for Eighteenth-Century Music. where he was a Presidential Instructional Teaching Fellow. 2010). Society for Cinema and Media Studies. Invited talks at U.. BM. Loyola U. Press. CCM Faculty. Modern Language Association. 1999). American Society for Eighteenth-Century Studies. Music consultant to Chanwook Park. Teacher of the Year).P. 2008. Press. Numerous invited professional lectures. the Metropolitan Museum of Art Concert Series. musicology. Recipent of an NEH Summer Stipend Award (2010). director of the Cannes award-winning films Oldboy (2004) and Thirst (2009). and other places. Former faculty. member of the AMS committee on Cultural Diversity (2008-2011). Searching for Common Ground: Diskurse zur deutschen Identität 1750–1871 (2000). Lady in the Dark music and text consultant for Royal National Theatre (London) production. 1997). Northwestern U. College Music Society.. which won the 2006 Special Jury PrizeGeorge Freedly Award. of Rochester (finalist. Balinese Gamelan. Associate Editor of The Journal of Film Music. 2006). Articles and reviews in Musical Quarterly.E. Song. music consultant for Encores! production. Between Opera and Cinema. musical supervisor. and the Sonneck Society. 19th-Century Music. Bach: The Complete Works (Packard Humanities Institute. Articles and reviews in Cambridge Opera Journal. national. 2006). writing. Editor of two volumes of C. 2010) and Between Opera and Cinema (Routledge. Indiana U. The Reader’s Guide to Music: History. Reno.. PhD. and Criticism (Fitzroy Dearborn Publishers. since 2010. 1999).. College of the Ozarks. Professor of Musicology. Rhodes College (Southwestern at Memphis). including those of the American Musicological Society. forthcoming) and a critical edition of Clara Schumann’s unpublished arrangements. Papers presented at numerous national and international meetings organized by the American Musicological Society. Musik und Bürgerkultur: Leipzigs Aufstieg zur Musikstadt (2007).
and won the Harvard Certificate of Distinction in Teaching. Michigan Opera Theatre. Donal Nold. Former faculty with Michigan State U. 2006) and “Masses by Ludwig Daser and Mattaeus Le Maistre: Parody Masses on Josquin’s Motets from the Bavarian Ducal Court of Albrecht V” (A-R Editions. the Med-Ren Conference of the Royal Musical Association. Schlagel.’” in Journal of Musicology. CCM since 2008. director of choral activities with Harvard Graduate School of Arts and Sciences.” “Musical Culture of the Czech Lands and Central Europe before 1620. Formerly associate director. Tanglewood Music Center. Joseph Seiger.
. book reviews in Notes: The Journal of the Music Library Association and Rivista Itialiana di Musicologia. AB. Virginia Opera. Mannes College of Music. American Recorder
Robin Guarino. Served as collaborative pianist with the Metropolitan Opera National Council Auditions. and at meetings of the American Musicological Society.” “New Directions in Josquin Scholarship. and Giulio Cesare in Egitto for Seattle Opera. reception history and music historiography. Chautauqua Opera and the American Symphony Orchestra in performances at Avery Fisher Hall and Alice Tully Hall. Performed with the choirs of Studio de Musique Ancienne de Montreal and Les Violons du Roy in Quebec City. an Alexander von Humboldt-Stiftung Fellowship (1991–92). CBC Radio recitals. and more. Wellesley College.. Additional studies at The British Institute and Goethe Institute. Scholarly publications include the critical edition and commentary “Si placet Parts for Motets by Josquin and His Contemporaries” (A-R Editions. CCM since 2008. Dracula (also with Eos). Wolf Trap Opera. Early Music America. Faculty. MA.” Faculty. the articles “A Credible (Mis)Attribution to Josquin in Hans Ott’s Novum et insigne opus musicum” in Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis and “The Liber selectarum cantionum and the ‘German Josquin Renaissance. Also a filmmaker. Vocal Arts Department and UCLA Vocal Arts department. Faculty. an early music ensemble featuring repertory for viola da gamba. Additional teaching and directing at Manhattan School of Music. Served as program and music director for the 20th Century Opera and Song Interpretation Program. BA and MFA. Recipient of a Fulbright-Hays Foundation Fellowship (1981–82). Washington International Voice Competition. and Viola da Gamba Society of America. Worked as a stage director with The Metropolitan Opera. Manhattan School of Music. Iphigénie en Aulide and The Magic Flute for Juilliard Opera Theatre. La Calisto. assistant conductor with Convivium Musicum Choir for Renaissance Music. of Michigan. Anton Nel and Jeffrey Gilliam. the international conferences “Josquin and the Sublime. CCM since 2008. which was shown on PBS’ “Independent Focus. Così fan tutte. Bruce Ford. Université de Montréal. member of Atelier de Musique Baroque de L’Université de Montréal. Assistant Professor of Musicology. Natchez Opera. J. U. CCM since 1998. in progress). Banff Centre for the Arts. Arthur Greene. Director of the CCM Early Music Lab. Served as lecturer and teaching fellow at Harvard U. Conservatoire de Musique du Québec. Seattle Opera. Served as music director of Ensemble 1521: Ensemble for Renaissance and Medieval Music. and the Tangeman Sacred Music Center. where she directed and restaged production of Don Giovanni. Hull. Matthew G. Board member for Catacoustic Consort. Denyce Graves. Artur Balsam. U. The Magic Flute. Washington National Opera. Atkinson Centre for Mature and Part-Time Students. CCM since 1999. Vassar College. of Calgary. Martin Katz. Presented papers at Boston U. Harolyn Blackwell and more. UC Faculty Development Council. Additional directing engagements at Glimmerglass Opera. Recent engagements include The Marriage of Figaro and L’Étoile for the Wolf Trap Opera Festival. the world premiere of David del Tredici’s monodrama. Music history instructor at Colorado College and UNC-Chapel Hill. and a National Endowment for the Humanities Collaborative Grant (2006–08). the Pontifical Institute for Medieval Studies. she produced and directed four independent films including Crossing the Atlantic. Associate Professor of Opera and Director of Opera. BA. College Music Society. Presentations at national meetings of the American Musicological Society. Author of a music appreciation distance-learning course through the UNC-Chapel Hill independent studies program. U. Former faculty of The Juilliard School... School of Music and U. and as prompter with The Metropolitan Opera and The Washington Opera. which included the world premieres of chamber operas by Jake Heggie (Again) and Mark Adamo (Avow). Friends of CCM. Dale Bartlett. Ralph Corbett Distinguished Chair in Opera. the Medieval and Renaissance Music Conference. Received grants from the UC University Research Council. DMA. Served as diction coach at CCM and Curtis Institute of Music. MA. sixteenth-century motets. PhD. Faculty. Bard College. Studied with Jean Pierre-Ponnelle at Munich State Opera and The Metropolitan Opera. Associate Professor of Musicology. New York U. Directed Six Ten-Minute Operas I & II for the Eos Orchestra (New York City). Yale U. of Maryland–College Park. Santa Fe Opera. Marie-France Lefebvre. Violinist in the Durham (NC) Symphony and the UNC-Chapel Hill Symphony Orchestra. Stephanie P. MA. and performances with major artists including Samuel Ramey. The Banff Centre for the Arts.
of the AMS. Faculty.” and the International Congress on Medieval Studies. PhD. The Marriage of Figaro and Lohengrin. Peattie. Service on various AMS standing committees and on the boards of the Mozart Society and the Society for Eighteenth-Century Music (President 2009-11). and the American premiere of Heinrich Sutermeister’s Die Schwarze Spinne for Gotham Chamber Opera. BM. Associate Professor of Opera Coaching. Harvard U. Member of the American Musicological Society. York U. Harvard U. Research focuses on Josquin des Prez. Wolf Trap Opera. Studied piano with Monique Collet-Samyn. of North Carolina at Chapel Hill. Il Signor Bruschino for Gotham Chamber Opera.64
university of CinCinnati College-Conservatory of MusiC Society. and as diction coach and assistant conductor with The Metropolitan Opera. and a bibliography of writings by James Haar in Journal of Musicology.
Cincinnati Opera (1996–2005). Europe and Australia at com. Capital U. Frantz Holetshek. Master class accompanist for Jennie Tourel. Minnesota Opera. Study in vocal coaching with Erik Werba. Principal stage director and artistic advisor to the Kentucky Opera (1988–1990). Coach-accompanist. Richard Best. Victoria State Opera (Melbourne). Eastman. Los Angeles. Burge.
Roberta Gary. Faculty. Solo recitals and workshops include Dallas. 2010. 1990. BM. BM. Columbus. The Merola Program. director of drama. American Institute of Musical Studies. College-Conservatory of Music. the Cincinnati Chamber Orchestra.”“Pelléas et Mèlisande. Naitonal Theater of Prague. Albert Herring. Helen Laird. U. Alan Titus. Ruth Anne Swenson. Lectures and master classes on Bach. Anhaltisches Theater Dessau and Tiroler Landestheater (Innsbruck. Stadttheater Bern. Lilli Choolasian. Opera Workshop.. performer’s cert. Ellen Shade. Keyboard assignments with Cincinnati Symphony and Cincinnati Chamber Orchestra. U. Division of Keyboard Studies. Vocal coach with many organizations including U. New York City. CCM. Boston Lyric Opera. Opera Workshop. Dorothy DeLay. Bernard Lagace. CCM since 1967. Une Education Manquee. early performance practice. Lynn Harrell. Atlanta.. Louis. Accompanied in recital Sherrill Milnes. Studied piano with Olga Conus. Coached Leontyne Price. Boston. 1992–1996. Arthur Poister. Also directed Young Artist producitons at Washington National Opera. U. Solo performances with West Virginia Symphony. Wolf Trap. Werther. Young Artist Program. 1976–78. as grant panel-ist for the National Endowment for the Arts (1985–present). Columbia College. Served as on-site evaluator and. organ with Wayne Fisher. the world premieres of Libby Larsen’s “Frankenstein: The Modern Prometheus” and Robert Moran’s “From the Towers of the Moon” (The Minnesota Opera). San Francisco Opera. LaSalle Quartet. and Bach’s Art of Fugue (2008) on Arsis label. Tulsa Opera (1988–1993). Opera Theatre of St. of Cincinnati. Northern Kentucky U. Bach Week. Studio accompanist for Robert Powell. CCM since 2006. Freelance work as instrumental and vocal coachaccompanist. Luciano Pavarotti. Nicholas Muni. Faculty. The Choate Organ-Harpsichord Seminars. Faculty. Oberlin College Conservatory of Music. Jacob Willis and Cheryl Parrish. Faculty. Nevada Opera Seminar and Association. of Cincinnati. 1976. Zara Nelsova.
Postcard from Morocco. BM. Has been a member of the West Virginia Symphony and the West Virginia Chamber Orchestra. of Texas at Austin. Columbia College.”“Medusa. Featured productions include: the American premieres of Verdi’s “Le Trouvère” and Rossini’s “Armida” (Tulsa Opera). opera coaching with Italo Tajo. SC. Cosi fan tutte. San Francisco Opera Center. New York City Opera and many others.” and “Der Kaiser von Atlantis. Faculty. New England Conservatory of Music. Down Beat award for Outstanding Jazz Combo (1989). 1973–80. Private studies with John Beck and James Culley. Cincinnati Opera presented 14 company premieres. Associate Professor of Percussion. Indiana Univeristy.”“The Seven Deadly Sins. Eastman School of Music.”“Nabucco. CCM since 1978.”“The Maids. Juilliard School of Music. Israel Vocal Arts Institute in Tel Aviv. Austria). both broadcast on NPR. and Montreal. Metropolitan Opera Young Artist Development Program (1988–1990). Theater Erfurt. piano with John Quincy Bass. MM. Cincinnati Opera (1975–1988). the Canadian Opera Company. Centro Linguistico Italiano (Firenze). Productions at CCM: The Crucible. artistic direc- tor. Faculty. Of Mice and Men. Faculty. Professor-in-residence. Dolara Zajick. Sheri Greenawald. William Porter. Vancouver Opera.university of CinCinnati College-Conservatory of MusiC Ben Terry Lusk.” Director of over 200 productions in North America. artistic director. 19th-century romantic literature. BM. Professor of Opera/Accompanying. Canada) for best theater production of the year (Jenufa at Canadian Opera Company). Opera Ireland. MM. of Cincinnati. David Craighead. 1998–present. Ohio. Niki Li Hartliep. 2003 winner of the Cincinnati Post’s Post-Corbett Award for Individual Artist of the Year and winner of a 2003 Dora Award (Toronto. Coach. Aspen Opera Theater Center (AOTC). Eastman School of Music. Mignon Dunn and Dolara Zajick.”“Elektra. 2006. 1987–1996.” “La Voix Humaine. Edmonton Opera.panies including the Houston Grand Opera. Akademie für Musik and darstellende Kunst. Professor of Organ. Soviet American Youth Orchestra. David Malas. Giorgio Tozzi. Prague). Faculty. Faculty. Seattle Opera. Recordings of Liszt and Reubke (2001). Under his leadership. Seattle. 1981–83. Northwestern U. and the world premiere of Lorenzo Ferrero’s “La Conquista” (National Theater.
Russell D. DMA. Field Service Associate Professor of Opera and Distinguished Artist in Residence. John Alexander. the world premiere of “Jackie O” (Houston Grand Opera and Banff Center for the Arts). Franck (2005). Wallingford. Ariadne auf Naxos. Stadttheater Giessen. CCM since 1999. Head. Faculty. Andrew White. China. Harald Vogel and Edward Parmentier. Associate Professor of Opera/Vocal Coaching.”“The Turn of the Screw. Austria. Glimmerglass Opera. BA. Florida Coast Philharmonic. of Cincinnati College-Conservatory of Music. Studied voice with Richard Miller and Todd Duncan and coaching with Alberta Masiello. 1965–67. New York City Opera. and organ pedagogy. of which he directed 10: “Jenufa. Aspen Music Festival. movement and ease based on the Alexander Technique. MM. national conventions.
. 2001–2002. Le Pauvre Matelot. Sylvia Plyler. Pittsburgh. Scranton Summer Organ Week. 1966. Sichuan Opera. coach. MM. CCM since 1993. Faculty. American Guild of Organists. Donald McInnes. Connecticut. International Institute of Vocal Arts in Chiari. Certified as an Andover Educator. organ with Wayne Fisher. Susan Quittmeyer. 1980–present. Recitalist. and the Columbus Pro Musica Chamber Orchestra. Jeanne Kirstein. Italy. U. among others. Santa Fe Opera. Enrico Mainardi. Margaret Price. Winner. National Repertory Orchestra.. Graz. the world stage premiere of William Bolcom’s “Medusa” and the North American premiere of Peter Bengtson’s “The Maids” (Cincinnati Opera). presently. Assistant to Jean-Pierre Ponnelle and Peter Sellars (late 1980s). Vienna.
including Lincoln Center. Founding member. including solo concerts and guest presentations in Shanghai. Piano studies with Leon Fleisher. Artistic director of the Next Generation Festival. BM. CCM since 1979. Recordings: “Cinematic Piano. Bowling Green State U. Pratt
James Culley. Toronto. Specialist in the field of andragogy. Yehuda Hanani. Major summer festivals: Ravinia. Principal Keyboardist of the Cincinnati Symphony Orchestra (CSO) (1991–present). and Piano Pedagogy Forum. music for Shakespeare’s “The Tempest” in ’02. the Columbus Pro Musica Chamber Orchestra. ars moderno. Associate Editor Clavier Companion magazine. conference planning committee member. St. Detroit. National Conference on Keyboard Pedagogy.
Michael Chertock. Performed as extra percussionist in the Cincinnati Symphony and Cincinnati Opera Orchestras. See Jazz Studies. Birmingham (UK). Indianapolis. Transferred to the Peabody Conservatory of Music. Aukland. the Kennedy Center. Allen Otte came to the U. Eastman School of Music. BM. Mr. Presentations at MTNA National Convention. With and without the group he has concertized. Boston. Articles in Keyboard Companion. Thomas Schumacher and James Tocco. Mansfield U. Concerto appearances with the principal orchestras of Montreal. first student to receive a performer’s certificate in piano and violin as well as a graduate performance diploma in conducting. Numerous recitals throughout the United States. Original member of Percussion Group Cincinnati. MTNA National Conference. and chamber music with members of the LaSalle Quartet. Minnesota Orchestra and the Cincinnati. Opus One. BA. Kentucky and more. CCM Concerto Competition (1988. Rildia Bee O’Brien Cliburn Competition (1990). grand prize. Ian Hobson. world piano competition of the American Music Scholarship Association (1991). Received the 1998 Ernest Glover Outstanding Faculty (CCM) award.” “Love at the Movies” and organ Soloist for the CSO’s “Festival Prelude for Organ and Orchestra. Faculty. St. Professor of Percussion. Orchestral performances include New York Philharmonic. Robert Weirich. Einstein and EMF labels) and performed with that group throughout the U. Steering committee member. Louis. Carnegie Recital Hall among others. Roger Davis. Naples. Allen Otte. Louis and Columbus. Detroit. in 1979 he founded Percussion Group Cincinnati. Chamber music performances With the Linton Chamber Music Series. Faculty. Professor of Piano. and computer. Paul Meyer. Baltimore. CCM. As both percussionist and composer he works with soprano Audrey Luna. Herbert Brun. of Illinois. and first prize. and with Summit Brass. Aspen. of Oklahoma. Taught previously at Miami University. Salt Lake City. Seattle. Oberlin College. Coordinator of Secondary Piano and Piano Pedagogy. the Chautauqua Festival Orchestra. He is a regular summer faculty member at Oberlin where he has also done a course in traditional and creative music for Javanese gamelan. and former head of Adult Learning Committee of The National Conference on Keyboard Pedagogy. The three members of the group are faculty and ensemble-in-residence at the conservatory with an international touring schedule of concerts. Tokyo Quartet. of Cincinnati in 1977 with The Blackearth Percussion Group which he co-founded in 1972. Chair of Piano Department.L. master classes. with performances at the Percussive Arts Society International Conventions at Nashville. J. Head of adult piano programs for Cincinnati Communiversity. Percussion Group Cincinnati is recorded on Mode and their own label. the West Virginia symphony. Daisy de Luca Jaffe. teaches eurhythmics. PhD. Freelances as timpanist/percussionist in regional orchestras. Faculty. National Group Piano/Piano Pedagogy Forum. Orchestra of St. which has included special relationships with John Cage. mayor’s 801 Plum Series. Italy with opera director Malcolm Fraser creating experimental music theater pieces.. CCM since 1977.S. St. and in Asia. Lancaster. Professor of Percussion. composer) Awards: silver medal. Began college at age 16 at U. the Hollywood Bowl and the Mostly Mozart Festival in Tokyo. Otte is professor of percussion. and abroad. he has also worked in Lucca. soprano. Oberlin Conservatory. CCM since 2004. Caramoor.”Piano Concerto in F with the Sofia Philhamronic (G. National Group Piano/Piano Pedagogy Forum. Studied piano with Frank Weinstock. and in computer music with Mara Helmuth.. MM. Gave world premiere of Tod Machover’s Jeux Deux for Hyperpiano and Orchestra with the Boston Pops in 2004. Mr. Dorothy Chandler Pavilion (LA) and Orchestra Hall in Chicago. composition. Atlanta. CCM since 1993. Oregon.” “Christmas at the Movies. Pittsburgh. MM. recorded and taught throughout North America. A large body of new and often experimental music has been created specifically for the group throughout its history. Faculty. and New Jersey symphonies. John Luther Adams. and at Tanglewood. “Palace of the Winds. winner. Numerous recitals throughout the U. BM. Joanna Hodges International Piano Competition (1989). Pratt won the Naumburg International Piano Competition in 1992 and was awarded an Avery Fisher Career Grant in 1994. Blue Ash/Montgomery Symphony
. Philadelphia. Awadagin Pratt. Brahms prize. and Qu Xiao-song. and children’s programs. the Cincinnati Chamber Orchestra. Robert Weirich. John Von Ohlen. Wolftrap. MM.S. Associate Professor of Piano. Recorded (ars moderno. Illinois. Eugene and Elisabeth Pridonoff and James Tocco. Europe. poet Don Bogen. and coaches and conducts traditional and contemporary chamber music. Cincinnati.66
university of CinCinnati College-Conservatory of MusiC Orchestra. CDCM. National. Charles International Piano Competition (1993).” chamber music of Frank Proto. Steering Committee. various literature seminars. the Columbus symphony. Saarbrucken. Stearns Institute of the Ravinia Festival and Grand Tetons Music Festival. Conductor. Omaha. based on the life of Camille Claudel. Chattanooga. Dayton. London. was premiered in 2001. Directed CCM Percussion Ensemble for 21 years. Michelle Conda. U. Luke’s. Associate Professor of Piano and Artist in Residence. Blossom. The evening-length monodrama “CLOTHO” for percussionist. A CD of five collaborative works with Mara Helmuth is available on EMS. 90). Milwaukee. American Music Teacher. Pedagogy studies with Jane Magrath and E. concerto appearances. Aspen. Yamaha Key Action.
Korean National Conservatory. and Germany. United States Chopin Competition (second). Elisabeth Pridonoff. Rudolf Serkin and John Crown. Midland-Odessa (first). London. Ibla (Italy) Grand Prize International Piano Competition (third). CCM since 2004. and Graz Festival. Yonsei U. Philadelphia Orchestra. Young Keyboard Artists Association (two seconds). Belgium. Washington International Piano Competition. Duo-in-residence at CCM. the Oklahoma City Symphony. “A Long Way From Normal. Hong Kong. Trudeau. Chamber music with Leonard Rose. Los Angeles Philharmonic.. Current and former students hold faculty positions internationally and have been competition winners in the Second International Competition for Young Pianists in Memory of Vladimir Horowitz in Kiev. Professor of Piano.” “CBS Sunday Morning.” Festival appearances include Chautauqua. Lillian Steuber. Taiwan.” and “St. Soloist with the Nashville Symphony. the Shreveport Symphony. Paul Sunday. Tully Hall. Northwestern University. Italy. International appearances as Pridonoff Duo with Elizabeth Pridonoff. Performed on the “Today Show. Studied With Adele Marcus. Toronto Town Hall debut. Mexico at the Sociedad Artistica Technologicao. International career as Pridonoff Duo with Eugene Pridonoff. Orchestral appearances with New York Philharmonic. “Live from South Africa. with performances in New York at Tully and Merkin Halls and at the Kennedy Center in Washington. Tunghai U. Giangiulio and Lawrence Leighton Smith. Solomon. Switzerland and Poland. Artist-in-Residence. Mexico. and in Canada.” Profiled in Newsweek. the Boise Philharmonic. Missouri Southern International (first. Other worldwide performances include South Africa. San Luis Obispo Mozart. Faculty. Eleanor Sokoloff. Hong Kong Baptist U. Canada. the Illinois Philharmonic. third and finalist). Faculty. Emanuel Bay. Menahem Pressler. and the Joanna Hodges International Piano Competition (second). Faculty. and Taiwan. Peter Wiley and Gary Karr. CCM since 1982. Steinway Artist. Adjudicator for national and international piano competitions. and Ehwa U. Vanderbilt U. including Tully Hall. Former students hold positions in Japan. Munich.
Eugene Pridonoff. Japan. Artist Diploma Musicale Academia Chigiana in Siena. New York Newsday. BM. Kennedy Center. University of Southern California. Arcady. under such conductors as Ozawa. Shreveport Wideman (first. Israel. China.” “Good Morning America” and “Sesame Street. Emerge and Mirabella. Gielen. Prausnitz. Appointed Duo-in-Residence with Eugene Pridonoff at CCM in 1986. First-place winner of national and international competitions including the Midland-Odessa.. Adjudicator for the American National Chopin Competition. and MTNA Collegiate Artists Competition.” an all Beethoven Sonata CD. Performances throughout U. Italy. Russia and Asia. Joanna Hodges International Piano Competition (second). Lawrence Quartet. and the International Recording Competition of the National Guild of Piano Teachers (grand prize).. Paul Sunday.university of CinCinnati College-Conservatory of MusiC also appears with cellist Zuill Bailey in duo recitals throughout the U. second). Merkin Hall. Brazil. Performed twice at the White House during the Clinton administration including the state dinner for Thabo Mbeki. third and finalist): Ninth Biennial American Pianists Association National Piano Fellowship Audition (Fellowship Award). Western Arts. Brazil. Claremont Graduate School. the El Paso Symphony. Central Opera Orchestra of Beijing. Other appearances include NPR’s “The Sunday Show” and with Bill McGlaughlin of “St.” NPR’s “Performance Today Weekend Edition. and Graz.” Chamber recitals with Lynn Harrell. CCM since 1980. Shreveport. conducting with Richard Lert. Taipei National U. chamber music with Felix Galimir and Lenord Rose. Latin America and United States and have been prize winners in the Second International Competition for Young Pianists in Memory of Vladimir Horowitz in Kiev. and the Museo de Arte Contemporaneo de Monterrey. Performances and master classes in New York and Boston (Baltic Series). Juilliard School of Music in Piano and Voice. Korea. Harsanyi. MM. Recorded for Vienna Modern Masters label. El Salvador. Robert Casadesus (Cleveland) International Piano Competition. Ibla (Italy) Grand Prize International Piano Competition (third). vocal accompanying with Martin Isepp. the Cincinnati Chamber Orchestra. Paul Sunday. Studied with Rudolf Serkin. Chamber music
. Korea. Spain. BM. Cincinnati Symphony. Leonard Rose. Studied piano with Claude Frank and Rudolf Serkin.. and Alice Ehlers. Shanghai Conservatory. National Orchestra of El Salvador and others. Temple U. Five albums with Angel/EMI. and University of Arizona. Portugal. Ninth Biennial American Pianists Association National Piano Fellowship Auditions (Fellowship Award). The Curtis Institute of Music: MM.C. Kennedy Center. Jaime Laredo. Monterrey. Featured on NPR’s “The Sunday Show” and with Bill McGlaughlin of “St. Merkin Hall. ambassador). USA Weekend. Taught at University of California. BMD. Brazil. Canada. Private lessons in piano. Laureate prize winner in the Montreal. Numerous tours in Japan. Hans Heinz. Ukraine (first). Missouri Southern International (first. John Steele Ritter.” and “Play Bach” with the St. Midland-Odessa (two firsts). Steinway Artist. of the Arts. and throughout the U. Student of Mieczyslaw Horszowski.” “Transformations.S.S. Kostelanetz. Anna Kaskas and Guido Agosti. and internationally at the Moscow Conservatory. MMD. Samuel. DA. Mieczyslaw Horszowski. Santa Barbara. Shreveport. Field Service Professor of Piano. Chicago Public Library Myra Hess Series (national live broadcast). Lyric Arts. Faculty. D.” Featured soloist on PBS’s “Live from Kennedy Center–A Salute to Slava. Baltimore. Rome (by invitation from the U. Sasha Gorodnitzski. Adjunct Professor of Keyboard Studies. Amalfi Festival and International Piano Week of Belgium.. Wuhan Conservatory. Spain. Shreveport Wideman (first. Moscow Conservatory. Ivan Galamian. People magazine.S. Young Keyboard Artists Association (two seconds). Ukraine (first). El Paso and Oklahoma City Symphony. Central Conservatory in Beijing. Italy.S. National Symphony Orchestra. Pomona College. Montreal and Tschaikovsky International Piano Competitions. Consultant to the National Endowment for the Arts for the establishment of grants for recitalists. Siena. Co-Artistic Director of CCM Prague International Piano Institute and Brevard Music Festival. second). Joanna Hodges Piano Competition. and harpsichord and fortepiano with Ralph Kirkpatrick. The Curtis Institute of Music. Hong Kong Academy for Performing Arts.
with honors. Eminent Scholar in Chamber Music. Chair of String Department. Mostly Mozart. Featured in Benjamin Saver’s book. Erich Kunzel. the Great Wall International Music Academy (Beijing). chamber music master classes. Recorded on the Hyperion and Ivory Classics labels and has been featured in radio broadcasts on NHK. James Tocco. Tokyo Quartet. Santa Fe. Solo. Leonard Rose. Japan. Adjunct Assistant Professor of Chamber Music. Cellist. chamber music performer and pedagogue. Featured soloist for Hindemith’s Der Schwanendreher with Cincinnati Chamber Players.” and “The Age of Anxiety” of Leonard Bernstein. Wolf Trap. Faculty. Jorge Mester. Aspen Chamber Symphony. Faculty. Ravinia. Charles and Joanna Hodges International Piano Competitions. MM. Recordings: Nine recording for SONY with Jean-Pierre Rampal. recording artists and professors at universities around the world. Monday Evening Concerts. Co-authored Essentials for Viola with Masao Kawasaki and Dorothy DeLay. Juror. published by TimeWarp Technologies. South America. Paula Robison. Solo appearances include the major orchestras of the world: Berlin. Pro Arte releases include the world premiere recording of Bernstein’s complete solo piano music and the first recorded performance of the piano solo version of the Suite from Copland’s “Rodeo. Liszt and Busoni. Won the International ARD Competition in Munich (1973). the Skaneateles Festival and the Deer Valley Music Festival. Has toured the globe with performances in the United States. the Soviet Union. as well as the Canadian Music Competition. Author of “Cakewalk in Concert” (1998). Aspen Festival. Faculty. Benita Valente. CCM since 1993. of New York (1987–1993). Orpheus Ensemble. Burbank Symphony Orchestra and Long Beach Symphony Orchestra. over 40 international concert tours. Floria Philharmonic. William Grubb. CCM since 1980. duo flutists. U.” Current and former students hail from six continents. and Joanna Hodges International Piano Competitions. Chicago. Regularly programs keyboard works of Handel. Edith Oppens. Formal New York debut recital in 1977.Oberlin College Conservatory. City U. Ojai Festival and Mostly Mozart Festival.S. Canada. and guest principal viola. Larry Combs. CCM since 1991. In the summers. as-
. appeared at the Vienna Festival (1975). Brooklyn Coolege. and with members of the Guarneri. Repertoire of over 50 works with orchestra including standard piano concerto repertoire as well as more rarely performed works such as the “Symphonie Concertante” of Szymanowski.
performances at the University of California Irvine Chamber Series. The Juilliard School. Professor of Piano. MM. Asia. the Worthington Chamber Players. Recent recording for Delos with Rampal and Arimany. BM. Los Angeles. Europe and Africa. Australia and Europe. Currently coordinates the Cincinnati Chamber Circle. Chamber music performances with James Levine. the “Kammerkonzert of Alban Berg. American. Australia. Lynn Harrell. (On leave. taught and/or performed at the Aspen Music Festival and School. Records exclusively for Deutsche Grammophon. Live performance of Erwin Schulhof’s “Cinq Etudes de Jazz” issued by ECM Records. Sarah Chang. “Beethoven: The Late Quartets” album won the Grand Prix du Disque in Paris and several other international prizes. Pomona College Symphony Orchestra. Professor of Viola. DMA. Richard Goode. Deutsche Harmonia Mundi released recording of the complete Bach-Liszt organ transcriptions and a second disc of Bach-inspired piano compositions by Franck. Adjunct professor of music.. WGUC and WOS. Schleswig-Holstein. LaSalle and Amernet Quartets. Lilian Kallir. the Tokyo String Quartet and the LaSalle Quartet. Mexico. Manhattan School of Music (1989–1990). performances with the Columbus and Cincinnati Symphonies. Concerto performances with the LA Chamber Orchestra. “Home Concert” (2000). St. Chamber performances with the Tokyo String Quartet. other publications include A Comprehensive Overview of Left Hand Technique for Violin and Viola and the forthcoming Volume II of A Comprehensive Overview of Right Hand Technique for Violin and Viola and Orchestral Excerpts for Viola. Victor Rosenbaum and Emil Danenberg. Getty Museum. as well as members of the Cleveland. and “Home Concert Xtreme” (2005). Cleveland Concert Associates and Cincinnati Symphony.68
university of CinCinnati College-Conservatory of MusiC first prizes in the Naumburg. Keith Lockhart. Piano studies with Claude Frank. Cleveland Institute of Music. DMA. Interim Dean. coachings with Kurt Sassmannshaus. CCM since 1975. New England Conservatory. the upcoming Hindemith Cycle Series. Carroll. European festival appearances. Taught at Princeton U. Munich.retired in 1988. Japan. LA Philharmonic Orchestra. South Africa and the Middle East. 1977–80. San Gabriel Symphony Orchestra. Glen Dicterow. BM. Faculty. oboist Heinz Holliger. Juror for the Gina Bachauer. LaSalle Quartet since1975 . London.. Markand Thakar and Luthero Rodrigues. Isaac Stern. Canada. concerto and chamber music performances in North and South America. chamber ensemble coach. and the Beaux Arts Trio. Ohio State University and Aspen Music Festival. they have won
Catharine L. Collaborated with Jaime Laredo. Principal viola. Nadja-Solerno Sonnenberg. the Eastern Music Festival. “The Most Wanted Piano Teachers in the USA. Starling String Project. international chamber music competitions. and festival participation including Salzburg. LaSalle.. Worldwide career as soloist with orchestra. studies with Lynn Harrell. Leslie Parnas. Vienna. and are prominent performers. Lockenhaus. and the Hollywood Bowl. Boston U. most of the countries of Europe and South America. Lee Fiser. studies with Leslie Parnas. MM. spring 2011) Frank Weinstock. Concert performances with Isaac Stern. Professor of Violoncello. Founder and director of the CCM Viola Ensemble. pedagogical and rehearsal software for keyboard players. the Percussion Group Cincinnati. Gunther Schuller. and workshops. BM. Hilton Head. Teaches with the CCM Preparatory Department. Holland. Manhattan and Berkshire Quartets. Cincinnati Chamber and Cincinnati Ballet Orchestras. recitalist. Private studies with Masao Kawasaki. Shigenori Kudo and others. Appeared with such conductors as Jesus Lopez-Cobos. and Jean-Pierre Rampal in U. WFMT. BM. of Cincinnati. Former member.” Recorded for Gasparo the complete four piano sonatas of Edward MacDowell.
. Muir. collaborating with conductors such as Christoph Eschenbach. (1992–present). Commissioned work includes Osvaldo Golijov. and Cleveland orchestras. David Robertson and Vladimir Fedoseyev. and orchestra leaders in ensembles such as the London Philharmonic. and the Peabody Conservatory. and Hong Kong Symphony. including Leon Fleisher. Taught at the U.” Active chamber musician and has performed for several years with the Amati Trio. North German State Radio. Czechoslovakia. Has taught around the world. Performs chamber music with other members of the Aspen artist-faculty. the U. Preparatory Division. an integrated precollegiate program for string players with prodigious ability (1987). Chairman of the string department at the U. Has collaborated in performances with preeminent fellow musicians. U. prominent soloists and chamber musicians. MM. Appointed soloist and concertmaster of Toho orchestra at the age of 15. works by Americans Lukas Foss. faculty. Worked in close association with Dorothy DeLay. the Northwest Chamber Music Festival. regularly records. of Ottawa. Butler U. previously held by the late Dorothy Delay. Faculty. Peabody Conservatory. Recorded “Alkan Grand Sonate. recorded with the Emerson Quartet. Portugal and Belgium. Schuman and Beethoven for cello/piano. Germany. the complete Vivaldi. Spain. Permanent member of the faculty. Appeared at Carnegie Hall. U. CCM since 1987. Principal bass of the Columbus Symphony Orchestra (1985). Recording of the Frank Martin “Concerto” was praised by American Record Guide as “by far the best. premiered with soprano Dawn Upshaw. Brazil and others. Utrecht Conservatory. Studied at The Juilliard School as a scholarship student of Dorothy DeLay. Ottawa. Colombia. Masao Kawasaki. A prize winner in the International Sibelius Competition in Finland and a Silver Medalist in the Queen Elisabeth of Belgium International Violin Competition in Brussels. Japan. 92nd Street Y and Lincoln Center. The Juilliard School. Royal Academy of Music and Guildhall in London. Great Lakes. Buenos Aires Philharmonic. and a silver medal in both the Paganini International Competition and the Wieniawski International Competition in Poland. CCM since 1992. Berlin Hochschule. the Tokyo. Presents master classes at conservatories worldwide including the Juilliard School. Oslo. Violinist. Holland. and performed as soloist and ensemble player with the Orpheus Chamber Ensemble. BM. Appeared as a featured soloist with the Columbus Symphony Orchestra. Considered one of today’s preeminent violin pedagogues. Associate Professor of Violin. Itzhak Perlman. of Boulder. Aspen Music Festival. New England Conservatory. of Cincinnati College-Conservatory of Music since 1984. Guest soloist with many orchestras. Piotr Milewski. USSR. Appears frequently in recitals with his wife. Austin and at Sarah Lawrence College before joining CCM full time. best-selling Bach unaccompanied suites. Studied cello with George Neikrug and Stephen Kates. Bernard Rands.” which received a Grand Prix du Disque nomination. Assistant to Dorothy DeLay. China and Australia. Frankfurt Radio. Professor of Violoncello. BM. College-Conservatory of Music. Pittsburgh. of Cincinnati (1998–present). Berlin Radio Symphony. Has appeared at Carnegie Hall. New World Symphony. MM. Paris Conservatoire. DMA. Former students also hold faculty positions in European and American conservatories and universities including Lübeck. both in Cincinnati and at the Aspen Music Festival and School. and Kenji Bunch. the United States. and Australia Chamber Music festival. Poznan Music Conservatory. U. pianist Patricia Wood. and performed with that ensemble on their European concert tour (1970). The Juilliard School. Associate Professor of Double Bass. Professor of Violin. Yefim Bronfman. Artistic director of the thematic chamber music series in Scottsdale and the Berkshires. St. MS. Tokyo National U. Paul Chamber Orchestra. as well as Nicolai Miaskovsky sonatas. teacher and conductor. Other festival appearances have been Chautauqua. Israel. including the Chicago Symphony. Musicorda. Poland. Scholarship student of Dorothy DeLay. of Michigan. as well as choreographer David Parsons and actors Sigourney Weaver and Richard Chamberlain. Philadelphia Orchestra. U. Jordan College of Fine Arts. Finland Festival. studied with Pablo Casals. CCM since 2000. of Texas. Capetown.” Leads the BachAnnalia Festival at CCM. Kurt Sassmannshaus. Vermeer. Faculty. commissions new works. faculty. Won first prize in the International Chamber Music Competition in Colmar. Since 1992. Yale at Norfolk. Lera Auerbach. John Musto. Josef Gingold at Indiana U. including master classes in Europe. Schubert. Albert Laszlo. Performed at Marlboro. the Washington Quartet and Musica Camarati. which showcases in Cincinnati. Awards in international and national competitions include first prize in the National Violin Competition in Poznan. and three American concertos with the Irish National Symphony. where he also was awarded the Audience Prize. where he is on the faculty and acts as a member of the board. Served as principal bass of both the National Chamber Orchestra of New York and I Soloisti of New York. Aspen Music Festival (1976–present). CCM since 1981. Lark and Colorado quartets. Cincinnati. Received early training on the violin and began bass studies at the age 12. Blue Hill. Current and former students include prizewinners of major international competitions. Aspen Music School and regular performer at the Aspen Music Festival. Founded the Starling Preparatory String Project. Faculty.university of CinCinnati College-Conservatory of MusiC sociate professor of music.. Faculty. has performed chamber music with members of the CCM faculty both in Cincinnati and in Merkin Hall in New York. Round Top (TX). Prades Festival (France). Leo Ornstein and Samuel Barber. and Dorothy DeLay and Hyo Kang at Juilliard.. Co-principal bass of the Aspen Festival Orchestra. Recently appointed to CCM’s distinguished Dorothy Richard Starling Chair for Classical Violin. Bulgaria. Austria. Scholarship student of Homer Mensch
at Juilliard and a fellowship student of Eugene Levinson at the Aspen Music School. Studied with Jadwiga Kaliszewska at the Poznan Conservatory. CCM since 1995. Built a distinguished career which brought him to the United States. Yehuda Hanani. Faculty. of Indiana at Bloomington. Israel Philharmonic. The Juilliard School. the Theater Chamber Players. Faculty. France. “Close Encounters With Music. Adjunct Professor of Viola.
Louis. Hangar Theatre and Tacoma Actors Guild. of Wisconsin-Milwaukee. Faculty. Miami U. New York and regional stage management credits include the Gramercy Theatre. Hair. (1988–2000).” as well as in The New York Times and Washington Post. Museum designs for The Cincinnati Children’s Museum and the Cincinnati Art Museum. Hiding Behind Comets and The Last Five Years. Spring 2011) Chuck Hatcher. Northlight Theatre. Philadelphia Theatre Company. 2006 UC Presidents Award for Excellence recipient. Xavier University. Of Mice and Men. (On leave. Regional credits include Buffalo’s Studio Arena Theater. Additional CPIP credits include. MFA. MFA. Six Degrees of Separation. Summerfest at the University of Illinois. Apollo Theatre and the Court Theatre.” “Richard 3. which performed at the Kennedy Center in Washington. Oakland Symphony Pops Series. Williamstown Theatre Festival. Lighting students have been cited for 18 USITT and SETC awards. Founded “Starling Kids. U. D. Ashford and Simpson. MM. Aspen Music School.” a broad-based community violin program at CCM and several local schools (1996).” “The Baker’s Wife. Joey Heatherton. Assistant stage manager for the Tony Award-winning “One Flew Over the Cuckoo’s Nest” starring Gary Sinise. Recent professional productions include: Cincinnati Playhouse in the Park the premiere of Victoria Musica directed by Ed Stern and The Garden of Rikki Tikki Tavi and Sleeping Beauty at Ensemble Theatre of Cincinnati. Studied with Dorothy Delay at Juilliard and Aspen Music School. (On leave. At CCM. CCM since 1991. Member of The United Scenic Artists of America-829. and Boston’s Loeb Theatre Center. “The Cunning Little Vixen.” USITT award-winning lighting designs for CCM include. D. industrial productions of “The Spirit of Milwaukee” and “The Future is Now” at the MGM Grand in Reno. a comprehensive Web site demonstrating his innovative teaching methods. Gilbert V. Sound design for over 50 productions at Cornell. Assistant stage manager for “Nomathemba” starring Ladysmith Black Mambazo.vilcreations. and U. Other design credits include The Kentucky Opera. Charley’s Aunt. World premieres with: Edward Albee. Design & Production. Arena Stage of Washington. Bernadette Peters. the Cincinnati Playhouse. The Wisconsin Ballet Ensemble. Wisconsin. and Ming Cho Lee. Former member of the Fairmount String Quartet and Argenta Trio. Red Noses. Lee Blessing and Drew Frasher have received acclaim for the Cincinnati Theatre. Conducted master classes at University of Las Vegas.” “A Chorus Line. Winter 2011) Won-Bin Yim. Faculty. Dallas Theatre Center.” “Hair. Bay View Festival Orchestra (1987–89). Former faculty. Two River Theatre Company. Associate Professor of Violin. and Yong-Ku Ahu. ODC/San Francisco. Associate Professor of Sound Design. Assistant to Dorothy Delay. Formerly resident production stage manager for the Virginia Opera. Cornell U. BM. Has recently adjudicated major design competitions in Orlando
. and Paramount KI Productions “Game On” and “Cheers. The Evergreen State College. Korea. At ETC. Berl Senofsky. BA. and the Crossroads Theatre of New Jersey. and ETC of Cincinnati. The Juilliard School. Yale School of Drama. CCM since 1981. Faculty.C. Death of a Salesman. Two Gentlemen of Verona. “Tosca. He has been resident lighting designer for the Connecticut Ballet Company. Chuck serves as Chair for the Ohio Valley Section of The United States Institute of Theatre Technology and is a Vice Commissioner at the national level with the USITT Sound Commission.C. His sound design for The Syringa Tree directed by Michael Haney at CPIP has been heard regionally as well as internationally with productions at the Vienna English Theatre and the Frankfurt English Theatre. Faculty. The Cincinnati Ballet. Wichita State U. Dracula: The Game of Love. including Angels In America. Jr.70
university of CinCinnati College-Conservatory of MusiC and Cleveland.. Resident sound designer and senior lecturer. BFA.” Vegas acts for Lily Tomlin. Numerous solo and chamber music concerts and master classes in the United States and Korea. featured on the syndicated Public Radio International show “From the Top. Winner of Artist International Audition. Alice in Wonderland and The Frog Princess. Regional theatre credits include designs for Yale Repertory Theatre. The Boys From Syracuse. Earlier studies with Jens Ellerman. Dancing at Lughnasa. Jae Hyun Lee. Merrily We Roll Along. CCM since 1987. Faculty. Joon Woo Lee.” and the U. Longwharf Theatre of Connecticut. The Laramie Project and Hot Summer Nights (2000 and 2001). the Manhattan Theatre Club.” MFA and BFA CCM lighting design head.com. originating at the Steppenwolf Theatre of Chicago then touring to London’s Barbican International Theatre Event. Concertmaster.” “The Barber of Seville” and “The Magic Flute.” “The Knot Garden. Michele A. Faculty. musical theatre and opera productions. Players Theatre Columbus. Kay. The Burt Reynolds Dinner Theatre.com. Bay View Music Festival (1987–89). Chair. The University of California-Berkeley. and Kent State. The Connecticut Dance Festival. Member USA829/IATSE. The Festival of the Lakes in Madison. of Montana. U. Reno Philharmonic (1986–90). The Lady’s Not for Burning. Syracuse Stage.” “Into The Woods. China. Studio Web site: www. Roshosmon (Acclaim Award). Repertory Theater of St. of Nevada/Reno.. BA. Capital Repertory Theatre.” Opera Memphis.S. Gage. Resident lighting designer/teacher at the University of Wisconsin-Madison. and Richard III. Peabody Conservatory of Music. Regional opera stage management credits include Cincinnati
internationally and has appeared throughout Europe. Connecticut Stratford Shakespeare Theatre. Professor of Theater Design. Wayne State U.” “Falstaff. premieres of “The Chalk Circle” and “Zaide.” “Carmen. and numerous dance concerts. Wichita Symphony Orchestra (1990–91). Ohio U. and Joseph Papp’s NYSF production of Andre Serban’s “Sganarelle.. Author of violinmasterclass. in New York debut. Indianapolis Opera. and five seasons with the Weston Playhouse of Vermont. Chicago stage management credits include Steppenwolf Theatre. Hemsley. A Funny Thing Happened on the Way to the Forum. and at New York’s Lincoln Center. CCM since 2000.
theater Design and Production
James H. Buffalo Studio Arena.. The Juilliard School. Carnegie Recital Hall.” “Evita. Assistant Professor of Stage Management. Lie of the Mind. Department of Theater. Professional stage manager of many dramatic. Studied design with Thomas Skelton. In addition to his design work. DMA.
Member. Faculty. Former staff positions for Santa Fe Opera.S. Served as production coordinator and lighting designer for Metropolitan Community College Playfest (Kansas City. U. “The Nose. Cincinnati Playhouse in the Park. of Nebraska-Lincoln and U. Utah Shakespearean Festival and Opera Theatre and Music Festival of Lucca (1997–1998). Indianapolis Opera. Costume and fashion design for the Don-Lu modeling institute. CCM has been his artistic home since 1987. among others. Faculty. U. FL). MFA. CCM since 2004.” “Julio Cesare in Egitto. U. Former resident costume designer/professor at the University of South Dakota (30 productions). of Florida. Previous faculty appointments with the Hong Kong Academy for Performing Arts. Seaside Musical Theatre (Daytona Beach. Missouri).” “The Rake’s Progress. Faculty. Formerly assistant professor (1999–2004) and associate professor (2005–06) at UNC Charlotte. BA. Member of United Scenic Artists. Grand Hotel. Cunning Little Vixen.” “Little Me. Member USA 829. among others. Actors Equity Association and American Guild of Musical Artists.. and the Utah Shakespearean Festival for whom he has designed 12 productions. Cendrillon. Poe. U.” “Man of La Mancha. U. Othello (for New Mexico Repertory). Credits include Washington National Opera. MFA.-Long Beach. Chicago Opera Theatre and the U. Cincinnati Ballet. East Carolina Summer Theatre and Pennsylvania Center Stage.” “The Crucible” (opera). UC-CCM. musical and opera scenic design production credits across the U. Formerly adjunct professor.. Scenic designs for “Wiley and the Hairy Man” (Children’s Theatre Charlotte) and “Blithe Spirit” (Theatre Charlotte) received nominations for outstanding set design 2002–03 by the Metrolina Theatre Association. Costume Design and Technology. Cincinnati Opera. BA. Little Women. pageant. CCM. (Bush Fellow). Johnson Community College. Lecturer.” “My One and Only.
.” “Zaide” (world premiere). United Scenic Artists-829. Faculty. CCM since 2006.” “Le Nozze di Figaro. USITT-Ohio Peggy Ezekiel design awards for Falstaff. panelist. Formerly assistant professor. and several productions with the Actors’ Theatre of Louisville. and the Guthrie Theatre. Cincinnati Shakespeare Festival. BM and BA. two Cincinnati Entertainment Awards and Florida Player of the Year award. Sacramento. Don Giovanni. University of Florida (2003– 2006). River City Scenic and Bike Rubber. creative work and opera production. CCM since 1987. La Boheme. Lend Me a Tenor. Chicago. New Mexico Repertory Theater. Louis. U. the Miss U. CCM since 1989. U.” National awards include 11 USITT and several National Opera Association awards for stage design. Assistant Professor of Costume Technology. Served as technical director at U. Secret Garden. as well as the Utah Shakespeare Festival and Cincinnati Ballet. Received a Cincinnati Enquirer Acclaim Award. workshop presenter and adjudicator. Nevada Opera. and Midsummer.” “Falstaff. of Missouri–Kansas City. of South Dakota-Vermillion. For the Manhattan School of Music he designed the noteworthy New York City premiere of Shostakovich’s opera. Music
Theatre of Wichita. Worked with Midwest Service Warehouse. Vixen. Regina Truhart. Virginia Commonwealth U. Il Viaggio a Reims. Rusalka.” “Assassins. his favorite venues include the Hong Kong Academy for Performing Arts. and Midsummer Night’s Dream (for CCM). Penn State U. California State U. of Massachusetts at Amherst. A retrospective of his design work may be viewed at: http://theumfridstudio.” “Chicago. Flying Karamazov Brothers. Floyd Collins. Pelleas et Melisande. Dracula. Missouri Repertory Theatre. Cincinnati Playhouse in the Park. Member. Fiber artist and painter.S. of Minnesota. Hansel and Gretel. Faculty.university of CinCinnati College-Conservatory of MusiC Opera. of North Carolina at Charlotte’s “Crimes of the Heart” was recognized by the Metrolina Theatre Association as outstanding set design by an academic institution for 2004–05. Brian Ruggaber.” “Dancing at Lughnasa. U. theme restaurants and mascots. Northern Kentucky University (1999–2000). “Rusalka. Western Australian Academy for Performing Arts (Perth). University of Minnesota-Moorhead.Guest designer for the FM Civic Opera and Modern Dance companies. Professor of Scenic and Costume Design. Cincinnati credits include Ensemble Theatre of Cincinnati.com. Scenic design for U. first place in the National Opera Association video competition. Rake’s Progress. Associate Professor of Technical Production. Nashville Opera. Zaide. Europe and Asia. Barbizon. MFA. Babes in Arms. Other designs for CCM include Werther.” “Susannah” and “Reckless. Served for 10 years as technical director with Cincinnati Playhouse in the Park. lecturer. Served as lighting designer for productions with Miami University.” “Pelleas et Melisande. Recipient of the United States Institute of Technical Theater Award of Distinction. Cincinnati Ballet and Cincinnati Opera Outreach. “Rent” at the New York Theatre Workshop directed by Michael Greif. Royal College of Music. Stirling Scot Shelton. Assistant Professor of Scenic Design. of Cincinnati CCM. CCM since 2006.” “The Secret Garden. adjunct associate professor. University of Wisconsin at Milwaukee (2000–2001).” “The Ballad of Baby Doe. “La Boheme. Wild Party. MFA.. Professor/Head. resident costume designer for FMCT (30 productions). King Lear and Macbeth (Utah Shakespeare) and Nutcracker (Cincinnati Ballet). MFA. Thomas C. Senior Resident Scenic Designer and head of scenic design. Faculty. of Missouri–Kansas City. Dean Mogle. A Flea In Her Ear. Missouri Repertory Theater. Resident and guest costume designer for the Black Hills Playhouse (more than 35 productions).” “L’incoronazione di Poppea. With over 120 drama. BFA.A. Nebraska and New Mexico Repertory Theatres. Seventeen of his shows have been nominated by Creative Loafing Charlotte for best scenic design. Seasons in Hell. CCM since 2008.” “Don Pasqualé. Rake’s Progress. of Rochester’s Eastman Opera Theatre. Umfrid. of Missouri–Kansas City. California State U. of NebraskaLincoln. Lady Be Good. Boheme. Other assistant stage management credits include the Tony-nominated “A Grand Night for Singing” directed by Walter Bobbie for the Roundabout Theatre.” “On the Town.” Favorite CCM scenic designs include “Don Giovanni. Into the Woods. Stages St. United States Institute of Theatre Technology and Metrolina Theatre Association. BFA. National Opera Association Awards include Falstaff. Shakespeare Santa Cruz.
Published articles occur in: Journal of the Arnold Schönberg Center (Vienna. Currently on the editorial board of the Journal of Music Theory and Music Theory Online. Journal of Schenkerian Studies. Lighting director for “A Sky Tribute to Dale Earnhardt. Articles published in Music Theory Spectrum. Editorial work includes: editor. the Texas Society for Music Theory Conference and executive board for Music Theory Midwest. U.. Oberlin College Conservatory.72
university of CinCinnati College-Conservatory of MusiC University Fellowship. Geva Theatre. Assistant Professor of Music Theory. theme parks.. PhD. of North Texas. MA. U. Awards: Paul Sacher Foundation Grant (2011-2012). the Journal of Mathematics and Music and Quaderni di Matematica. Faculty. the Texas Society for Music Theory.. Ostinato Rigore (Paris. and reviews editor. and Friends of CCM. Assistant Professor of Lighting Technology and Design. Music Theory Online. as well as Disney University. Faculty. College-Conservatory of Music. Yale U. 8th Intl Conference on Music Perception and Cognition (ICMPC8). Lighting designer for the Kennedy Space Center Visitors Complex. the Society for Music Theory Southeast. Hebrew Union College. events and theater. University of Cincinnati. MA. The Getty Center. Schoenberg and Words (New York: 2000). Contemporary Music Forum. Yale U. Publications forthcoming in: Opera Quarterly and The Cambridge Companion to Schoenberg. 2005). Has presented papers at the annual meetings of the Society for Music Theory (Seattle.” Presentations of research: Society for Music Theory. BM. of New York. including Society for Music Theory.” Lighting designer for Odyssey. Louis. Grants from: NEH. Consultant and lighting designer for the inaugural Miss Utah Pageant Night Parade (now in its 21st year). the history of music theory. 2005). (2001). Teacher at University of Cincinnati. Visiting scholar. Wig master/make-up artist for Cincinnati Playhouse in the Park (1989–2001). 2006). CCM since 1997. 2004–2006. New England Conference of Music Theorists and Society for American Music annual conferences. the Music Theory Society of New York State. Lighting Lead at “Fantasmic!”.” featured during the NASCAR*Pepsi 400. Prize Teaching Fellowship. Music Analysis. MM. Yale U. 2003 and 2006. PhD. MPhil. of Cincinnati. Principal designer for The Beth Fowler Dance Company including performances of “Sleeping Beauty” and “The Nutcracker. (2000). Wig master. piano soloist and accompanist with Concert:Nova. MTMW and MTSNYS. for Neuroscience. 2007) the fourth biennial International Conference on Twentieth-Century Music (Brighton. Herbert Colvin Award for outstanding student paper – Texas Society for Music Theory
Mark Williams. URC Faculty Summer Fellowship and URC research council grant for research at the Paul Sacher Foundation in Basel. CCM since 2009. Kelly A. The Graduate Center of the City U. the McGill Workshop on Italian Serialism of the 1950s (2010). Wig master Indiana Repertory Theatre. Baruch College and Rutgers U. MM.” “Swan Lake” and “Giselle. Fall 2010) Steven J. Author: “A Topical Guide to Schenkerian Literature: An Annotated Bibliography with Indices” (2003). summa cum laude. 2001). School of Oriental and African Studies (U. and Northern Illinois University. program committee for the Society of Music Theory. (1996–2000). Associate Professor of Music Theory. the New England Conference of Music Theorists. Sarah Lawrence College. Brigham Young University. Yale U. MCM 2007. AMS. historical consciousness and the neuroscience of music. Music Theory Society of New York State. Twelve years experience in makeup design. Cahn. 2002 & 2003). Boston U. and the Rocky Mountain Society for Music Theory. Switzerland (2008. Lecturer and acting instructor. GlaxoWellcome. Papers delivered at numerous conferences. Program annotator for Bard Music Festival: “Schoenberg and His World (1999).” Principal lighting designer for Central Florida Ballet including productions of “Tutus. Hollace Anne Schafer Memorial Award for outstanding student paper. festivals. of London). PhD. England. CCM since 2001. Tangos & More. Research and teaching areas include: post-tonal music and Schoenberg studies. the Music Theory Society of New York State Conference. Rutgers U. Theory and Practice. BM. Performance: “Demystifying Schoenberg” (April 2009). Journal of Music Theory 45. Los Angeles. the West Coast Conference for Music Theory and Analysis. of Michigan.. Utah Shakespearean Festival. BFA. Hartford Stage Company. the first International Conference of the Society for Mathematics and Computation in Music (Berlin. two-day arts festival. Teaching experience at Texas Tech U. New England chapter of the American Musicological Society (2000). Professional lighting designer for ballet. Stony Brook University. Cleveland Lyric Opera. Awards: Whiting Foundation Fellowship (2001–02). aesthetics. the annual meetings of Music Theory Midwest. S’Marvelous! Wonderful! Studies of American Popular Song. MFA. CCM since 2003. U. Associate Professor of Make-Up. Theory and Practice and MCF Newsletter. 2004–2006. (On leave.Mus. Actor’s Theatre of Louisville and Denver Theatre Center as well as wig master/make-up artist for Ensemble Theatre of Cincinnati. Natl Institutes of Health (NIH). teaching fellow.
David Carson Berry. ventilating and construction of wigs. prosthetics and mold making.. BA. Soc. Inc. I-VII International Music Festival and School (1995–2001). of Memphis. Cambridge. NIH. U. B. Director and founder. Affiliated faculty: Depts of Philosophy and Judaic Studies. 2005. Catherine Losada. make up and wig designer. Publications include articles and reviews in: Journal of Music Theory Pedagogy. a large.” Principal lighting designer for Southern Ballet Theatre including productions of “Carmen. Former member. 2002). Associate Professor of Music Theory. Yurko. Notes and Music Theory Online. and
. Arnold Schönberg: Interpretationen seiner Werke (Vienna. -Meet and Greet” and “A Taste of Fantasmic!” Faculty. Faculty. music theory. Library of Congress. Columbus Opera. the Arnold Schoenberg Center (Vienna). University of Cincinnati – College-Conservatory of Music. Ford’s Theatre. Arkansas State U. Santa Fe Stages and Kentucky Opera. Lighting liaison at Disney Studios. 2004. Served as wig master for The Repertory Theatre of St. Lighting design for Disney Studios including “Monsters. NYU. facial hair. sonata theory. Journal of Music Theory.
. Italy as the recipient of a Fulbright grant. Indiana U. Ithaca College. Northern Illinois U. Faculty. Aspen Music Festival. Additional studies at L’Accademia di Santa Cecilia. Orchestral and choral works performed by National Orchestra and Chorus of Spain. Professor of Music Theory and Composition. Adams. Samuel Ng. Assistant Professor of Music Theory. Indiana U. University of North Florida Chorale and Chamber Singers with Orchestra of the Chamber Music Society of the Good Shepherd (Jacksonville. Faculty. Recipient. Ramón Llull Prize. appeared at the Bad Hersfeld Festival and on German television. Member. Savannah Symphony. U. Professor of Voice Tenor. the Rosa Ponselle competition. Wichita State University. Titulo Superior de Composición. CCM since 2004. COLFUTURO scholarship. University of Cincinnati (2009). Jean Cox.S. Spain (2004). England. and Mazda Foundation for the Arts and Sciences scholarship. MM. Articles and reviews published or forthcoming in Music Theory Spectrum. Professor of Voice. Has been on the faculty of the Aspen Music School.
David H. in Lucca Italy. of New Mexico. Baresel. Ithaca College (1990–92). City U. the Alfred Mann Dissertation Award at U. first prize. Compositions performed in Spain. Orchestra of the City of Barcelona. MA. national composition competition of Spanish Jeunesses
Musicales (1981). MM. Paris (1982). Papers delivered at numerous conferences.S. (Paris). City U. CCM since 2008. and Xavier University’s Edgecliff Vocal Ensemble and Concert Choir. and Fundación Juan March (Madrid). and PhD. performed operatic roles as a member of the resident ensembles of the Vienna Kammeroper. A. Thomas E. Symphony Orchestra and Chorus of the City of Ibiza. Currently on the faculty of the Opera Theater of Lucca and is currently co-artistic director of the Summer Program Opera Theater and Music Festival of Lucca.B. of New York (1996–00). and contemporary music. “Dolly” Cohen Award for excellence in teaching. Des Moines Symphony. grants from U. Revista de Musicología (Madrid). Indiana U. Madrid Royal Superior Conservatory. among others. BS. Fundación Juan March. George Rieveschel Award for creative and/or Scholarly Works. Author of “A Handbook of Diction for Singers” published by Oxford U. Madrid Symphony Orchestra with the National Ballet of Spain. MM. Sang roles with Opera Southwest. In Austria and Germany. Bogotá. Journal of Musicological Research. Intégral. Indiana Theory Review. Bogotá. Faculty. Dana Research Fellow Award. including the Louisiana State U. BM. Author: Harmony in Context (McGraw-Hill. Northern Illinois U. Faculty member. New Grove Dictionary of Music and Musicians. Municipal Orchestra of Valencia. including American Musicological Society and Society for Music Theory national conventions. and Saarländisches. Miguel A. Vocal studies with Richard Cassilly. Specialized areas of interest include the evangelist roles in Bach’s Passions. Germany. MAGNET dissertation fellowship. Taught music theory at Louisiana State U. and Santa Fe Opera. Ball Dissertation Fellowship at U. 2007). Eastman School of Music. Journal of Music Theory Pedagogy editorial board. Ithaca College (1992). Orquesta y Coro de la Comunidad de Madrid. the National Federation of Music Clubs competitions. second prize. Akron Symphony. CCM since 2000. 1999. and Friends of CCM. Symphony Orchestra of the Balearic Islands. Mr. and Society for Music Theory. Roig-Francoli. School of Music Teacher Appreciation Award (2007). Theory and Practice. opportunity fellowship. UNESCO International Rostrum of Composers. and College Music Symposium. Rome. Orchestra of Santa Fe. Press. Piles Editores. Four Corners Opera. Presented papers at meetings of Music Theory Society of New York State. Students have gone on to the finals of the Metropolitan Opera National Auditions in New York (1998. Tenerife Symphony Orchestra. Dayton Philharmonic. Division of Performance Studies. 2003) and Understanding Post Tonal Music (McGraw-Hill. Eastman School of Music (1996– 2000). Mexico and the U. Medal of Honor. and “The Song Texts of Antonín Dvořák” published by Leyerle Publications. Government of the Balearic Islands (2010). Commissions: National Orchestra and Chorus of Spain. Colombia (1995–96). Society of Music Perception and Cognition. Staatstheater. of Rochester (2006).S. LRSM and LTCL in piano performance. Czech vocal music. Great Lakes Chamber Music Festival. of Michigan (1993–95). Journal of Music Theory. Sang with the Opera Barga Festival in Italy for three years. of Rochester. Foundation for Iberian Music (NY). In Germany. Orchestra of Spanish Radio-TV. CCM Philharmonia (Cincinnati). of Rochester (2003-4). and the Raymond N. Early Music (England). such as the Houston Grand Opera competition. Superior Conservatory of Music of the Balearic Islands. Music Theory Southeast. the Patricia Carpenter Emerging Scholar Award with the Music Theory Society of New York State (2005).-Spain Joint Committee for Cultural and Educational Affairs. Spanish Ministry of Culture. (summer 1994). Recipient of numerous awards. and 2003) as well as numerous other competitions. Area of specialized study with Adele Addison and Jan DeGaetani. Articles and reviews in Music Theory Spectrum. FL). Head. U. Compositions published by EMEC. Artistic adviser for the Chicago Symphony Orchestra’s Manuel de Falla festival (1997). and Music Theory Online. Spanish National Radio. George Gibson. Faculty. CCM since 1980.university of CinCinnati College-Conservatory of MusiC Conference (2003). (1991). Baresel has been a visiting faculty member at Boston University and The Ohio State University. Kaiserslautern Pfalztheater. Cincinnati Chamber Orchestra. (1992–96). Former students are singing professionally in Europe and the United States and are teaching throughout the U. and Music Theory Midwest annual meetings. Wayne State University Orchestra and Concert Chorale (Detroit. Member of an international team of scholars affiliated with the Sorbonne U. the D’Angelo competition. MAGNET fellowship. MLA Notes. MI). and Eastman School of Music. University of Cincinnati (2007). U. and in New York’s Merkin Hall. of New York (2002–03). Analisi: Rivista de Teoria e Pedagogia Musicale (Italy). Appeared as tenor soloist with Dayton Bach Society. dean’s dissertation prize. PhD. New Mexico Symphony. BM. and was Artist-in-Residence at the Bay View Music Festival for two
. Pittsburgh Bach Society. Indiana U. Colombia (1993–94).
National Opera Company. the Grandin Chamber Music festival (OH) and in Central City. San Francisco Opera Orchestra. Sarasota Opera. Dayton Opera. Seiji Ozawa and Maxim Shostakovich. Mozart’s Grand Mass in C minor. Northwestern U. Schumann and Boulanger for Titanic Records with the American VocalArts Quintet.”“Little Shop of Horrors. and songs of Charles Ives for Koch International Classics with the Detroit Chamber Winds. Whitewater Opera Co. Tony Award for outstanding actor and actress in a musical. AGMA.”“Into the Woods. New Japan Philharmonic. Ohio. on stage at New York Metropolitan Opera. Shinsei Nihon Symphony. Mr.”“Footloose. Laura. numerous dinner theatres and concert halls. Thomas Dunn. St. Clair. resident actor with Human Race Theatre Co. Duke Opera Festival. MM. since 2010. Won second prize in the Concert Artists Guild international competition. Has sung with Cincinnati Symphony. “Phantom of the Opera. Associate Professor of Voice. Dayton Symphony. “Jeremiah”. Lyric Opera of Chicago. U. and has been a soloist under the batons of James Conlon. Aspen Opera Program.”“The Boys from Syracuse.. Light Opera of Manhattan. Broadway and touring companies of A Light in the Piazza.” “Cats. Performed extensively throughout the United States. Monica in The Medium and title role in Cendrillon. European debut in Austria as soloist for the Klassiche Musikfest’s in Die Jahreszeiten and Beethoven’s Mass in C at the Esterhazy Palace in Eisenstadt.” and “The Full Monty. SAG. Faculty member of the Vianden International Music Festival in Luxembourg. The Wiener Staattsoper and opera companies of Berlin. Dayton. CCM. Royal Opera Copenhagen. Karen Lykes. Has most recently presented concerts in Oregon. Adjunct Associate Professor of Voice. Florida Grand Opera. Cincinnati Opera. Germany. Pacific Opera.” and many other theaters and orchestras in the U. Chautauqua Opera. Mr. co-directed and taught voice for Rising Star Singers. Murray Sidlin. voice faculty at Cincinnati’s School for Creative and Performing
.” Students include nominees for the Grammy Award for best classical vocal performance. Washington Opera. Europe. Pittsburgh Civic Light Opera. Inc. San Francisco Opera. Austria and Japan in opera. in regional theatres and national tours of “South Pacific. Associate Professor of Voice. Opera Omaha. Musical Theatre.. Glimmerglass Opera. Taylor. a USA Swimming official and he and his wife. Has been a finalist in the New England Regional Metropolitan Opera auditions. Central City Opera. with the Buffalo Philharmonic Orchestra and Chorus. operetta. Concerts taped for PBS broadcast. Gwendolyn Coleman Detwiler.” and on Broadway in “Wicked. Featured soloist with the Cincinnati Symphony Orchestra. They have one daughter.”“Babes in Arms. Birmingham Theatre. Norbert College. of Cincinnati. Sarasota Opera. Has also performed the works of Gershwin. Opera Theatre of St. CO. industrial films. Wiener Kammeroper. Ensemble Theatre of Cincinnati. He has also been a faculty coach for The Grandin Festival and co-founded. Presented recitals at Chautauqua Institute (NY). Music Theater of Wichita. oratorio. Cincinnati POPS under the direction of Erich Kunzel and Kieth Lockhart. Member of the American VocalArts Quintet. Baresel’s students have been engaged by The Metropolitan Opera. Baltimore Choral Arts Society and the National Chamber Orchestra Society. Repertoire spans the baroque to the contemporary. CCM Faculty. College of Mount St. U. Boston U. CCM since 1997.. and the winner of the Franz Schubert Prize for excellence in interpretation of the Lied in Austria. the Kentucky Opera and the Cincinnati College-Conservatory of Music. 9.” Mahler’s “Lieder eines fahrenden Gesellen. Gustav Meier. Beethoven’s Symphony No. Served on the voice faculties of New
years. Greater Miami Opera. the National Symphony. Musical Theatre. of Maryland. Recordings include Concordia. 4 and Bernstein’s Symphony No. Principal opera roles with San Francisco Opera-Merola.” “Urinetown. Santa Fe Opera. Kern. and the Lucille Lortel Award for outstanding achievement off-Broadway. as well as for the Virginia Art Song Society and The American Schubert Institute. Colorado Symphony Orchestra. and on Broadway. He performed throughout United States. Robert Shaw. Weill/Brecht. Has performed in opera. preparatory dept.”“Candide. Japan and Central America with orchestras and choral societies such as the Boston Symphony Orchestra. Petr Altrichter. Cleveland Opera. Roles include Gilda in Rigoletto. Mercury Opera Rochester. San Francisco-Merola Program. BM. BM.” Member of AEA. Co-founding director of Carnegie Opera Theatre. Bangor Symphony Orchestra and the Western New York Chamber Orchestra.”“Nine. Arkansas. Costa Rica and Japan.” and “A Little Night Music.”“Beauty and the Beast. Stuttgart and Frankfurt.” “Little Me. dramas. Essen Opera (Germany). Lyric Opera Cleveland. the Governess in Turn of the Screw. Utah Opera Festival. Blonde in Die Entführung aus dem Serail. Des Moines Metro Opera. Los Angeles Opera and the Metropolitan Opera. and a frequent clinician and adjudicator. MM.”“Follies. MM and DMA. Seattle Opera. CCM since 1993. CCM. Drama Desk and Outer Critics Awards.Pittsburgh Opera. Baresel is occupied outside the profession as a licensed pilot. Faculty. Luciano Berio. BM. New York. Joseph. the Summerfest Chamber Music Festival (MO). Students have performed with New York City Opera.”“Les Misérables. Also taught at St. The Ballad of Baby Doe and as Suleika in world-premiere recording of Schubert’s Der Graf von Gleichen. Faculty. Has worked with an array of conductors including Kazuyoshi Akiyama. are amateur ballroom dancers. Rodgers and Hammerstein and Sondheim.. Central City Opera. including Bach’s Mass in B minor. Member of the inaugural company of “Hot Summer Nights. Adele in Die Fledermaus. Louis. Handel & Haydn Society. Cincinnati Playhouse in the Park.”“The Producers. Massenet. Wolf Trap Opera. Glimmerglass Opera. OH. Award-winning professor of voice and opera at the State University of New York at Fredonia from 1999 until 2010. Massachusetts. and abroad. by Randol Alan Bass. Students have performed in Chautauqua Opera Program. 1.”“The Return of Martin Guerre. concert and oratorio.The Cincinnati Pops. Michigan Opera Theater. Recordings include the vocal chamber music of Brahms. Carl St. Patricia Linhart. Michigan Opera Theatre.74
university of CinCinnati College-Conservatory of MusiC Arts. Norbert College.S. Kentucky Opera. NATS. the recipient of a vocal fellowship to the Tanglewood Music Center. San Francisco Western Opera Theatre. Lyric Opera of Chicago. Berlioz’“L’Enfance du Christ.” “Grease. Musical Theatre Voice Specialist. Cincinnati Opera.”“Rückert Lieder” and Symphony No.
Hagen and Oldenburg (Germany). Ghent (Belgium). of New York and Wright State U. McGraw was a featured recitalist on the J. Central City. William McGraw has performed opera.university of CinCinnati College-Conservatory of MusiC York U. Artpark.” Chautauqua. Indianapolis. S. Paris and New York City Opera. Kenneth Shaw. Soloist at Piccolo Spoleto Festival in Charleston. Mr. as baritone soloist in Grieg’s “Peer Gynt Suite” with the late Werner Klemperer as narrator. Jamestown Choral Society. Barbara Paver. Studied with Julius Huehn. Indianapolis Opera and Boston Opera under the baton of Sarah Caldwell. Nashville. Cincinnati Symphony. district winner. BS.” Fiordiligi in “Così fan tutte. Opera Memphis. Teaching experience at U. 1987. Studied with Barbara Honn. MM. Students and former students have participated in apprentice programs with Seattle. Shreveport Opera. St. L’École Hindemith (Switzerland) 1985. Opera roles include Donna Anna in “Don Giovanni. Currently a master teacher for the Bel Canto Northwest Vocal Institute in Portland. Brevard. Cert. Christ Church (Rochester. Memphis Symphony. Former artistic director of Converse Opera Theater. ETV and Centaur Records. Artist-in-residence in voice. Orchestra of Northern New York. Eastman School of Music. of the Pacific. Louis Conservatory of Music. Associate Professor of Voice. In May 2005 performed the role of Melot in Act II of “Tristan und Isolde” featuring Deborah Voigt and Ben Heppner in Cincinnati’s May Festival under the baton of Maestro James Conlon and in 2006 was the soloist in Vaughan-Williams’ “Five Mystical Songs” with the Cincinnati Symphony Orchestra under the baton of maestro Robert Porco. Indianapolis Opera. Participated in workshops for the National Association of Teachers Singing (2000) and Preparing High School Students for a Collegiate Career (2000). in recognition of outstanding accomplishments. European recital debut at Bordeaux. Louis Symphony “On Stage Series. Taught in Lucca. State U. U. Pinnacle Presbyterian Artist Series. as the Herald in Wagner’s “Lohengrin” and as a baritone soloist in Liszt’s oratorio “St. Chairman of Voice Department. CCM. William McGraw. CCM since 1999.” Received the New York City Opera Debut Artist of the Year Award (1987). CCM since 2001. both nationally and internationally.” the title role in “Don Giovanni. Paul Getty Museum Concert Series in conjunction with music historian Robert Winter and has presented recitals and master classes at various universities and colleges. of Cologne exchange fellowship and Fulbright travel grant (1972). McGraw was engaged as baritone soloist in Ralph Vaughan-Williams’ “Dona Nobis Pacem” with the Cincinnati Symphony Orchestra under the baton of Robert Porco. New Jersey and Cincinnati. Recorded live with Opera Orchestra of New York in Janecek’s “Jenufa. Oregon. Dayton Choral Society. of Arizona. Utah Festival Opera. He was named an Omicron Delta Kappa Man of Merit by Baylor U. Mary Henderson Stucky. BM. and Chautauqua Opera. Potsdam Community Chorus. Kentucky Opera. Washington U. Member. Associate Professor of Voice. finalist (1992. and San Francisco Opera auditions. Columbus Symphony. Bern (Switzerland). Faculty. Former assistant professor of voice and opera. Dayton Opera.” Alice Ford in “Falstaff. as well as in leading roles on Broadway. Indianapolis Opera.” Enrico in “Lucia di Lammermoor” and John Proctor in “The Crucible. Western Regional finalist. Chicago.” Orchestral engagements include performances with Greenville Symphony. Hessische Rundfunk. In the recent past. Jacksonville State U. Rochester Philharmonic. Brahms’s “Ein Deutsches Requiem” and Orff’s “Carmina Burana” with such symphony orchestras as those of Seattle.” Awards: Corbett Opera Competition.” as well as with Atlanta Opera Orchestra as bass soloist in Mozart’s “Requiem. Nashville Opera. Mr. Dennison U. CCM since 1990. Louis. Helen Boatwright.
. Italy and in Master Classes nationally. He has performed Mendelssohn’s “Elijah. Perf. Hugues Cuenod. of Michigan.” These and other roles have been performed with such companies as Greater Miami Opera (now Florida Grand Opera). Instructor at Syracuse U.” Pamina in “Die Zauberflöte” and Frasquita in “Carmen. Faculty. Metropolitan Opera auditions. 1982–1990. Greater Miami Opera. Cleveland. Tucson Masterworks Chorale.” Mahler’s Eighth Symphony. Kenneth Griffiths and Kelly Hale. Recipient of U. As a soloist he performed in Carnegie Hall under the baton of Margaret Hillis in conjunction with the New York Choral Society. he performed with the Cincinnati Symphony Orchestra as Manuel in “Falla’s La Vida Breve” (recorded on Telarc). Converse College. ’93. Place Kensington (Montreal). Associate director of Institute for Advanced Vocal Studies in France since 1990. The fall of 2004..” which won the International Liszt Competition and is recorded on the Telarc label. Wolftrap. Vocal Arts Ensemble of Cincinnati. Memphis. CCM since 1986. Monument Symphony Orchestra. MM. World premiere performances include leading roles in Hoiby’s “The Tempest” and Fink’s “Chinchilla. Opera Columbus.” Marcello in “La Bohème. Welsh Hills Symphony.C. Recorded songs for Deutshlandfunk. and are engaged in opera houses in Zurich. St. Sun City Symphony and Arizona Choral Association. Louisville Orchestra.” the title role in “Rigoletto. Faculty. Professor of Voice. Human Race Theater. Aspen. ’94). St.” Valencienne in “The Merry Widow. Cincinnati Opera and New Orleans Opera. France (1973).” as well as Dutton’s “The Stone Man. winner of the Liederkranz Wagner Competition (1998).. Professional performances at The Crane School of Music. MM. Stanislaus. Crane New Music Festival. Tucson Bach Society.. Wolf Trap and Glimmerglass. of Rochester/U. Faculty. Opera South.” title role in “Suor Angelica. His operatic roles include Figaro in “Il Barbiere di Siviglia. BM. SC. and the U. Voice faculty.” Dame Myra Hess Concert Series. Maracaibo Venezuela Opera. Performances with New York City Opera in 11 leading roles such as Marcello in “La Boheme. in St. National Association of Teachers of Singing and College Music Society. Dayton Opera. CCM since 2004. Louisiana State U. Leading roles with Glimmerglass. 1985–1990. Professor of Voice. First prize in the New York Opera Index Competition (1987). Coached with Elly Ameling. oratorio and various concert works as well as recitals and master classes. Faculty.” among many others. Elizabeth Mosher. NY).
Tucson Symphony. Sang over 30 operatic roles at Rochester’s “Opera Under the Stars. Louis New Music Circle. Has performed frequently with Atlanta Opera.
Studies with James Pappoutsakis and Julius Baker. Performed the Mozart Clarinet Concerto with the Symphony Orchestra of the Curtis Institute in a live Philadelphia radio broadcast (1991). as well as multiple World Saxophone Conferences.. (1972–82). 1978. Brandeis U. West Texas State U. The Juilliard School. Principal flute. Wheeling Symphony Orchestra. Manhattan Transfer. Gary T. Ashlawn-Highland Opera Company and Las Vegas Music Festival. Associate Professor of Saxophone. Solo
. Adjunct Instructor in Clarinet. Faculty. Former faculty. (On leave. Faculty. New York Philharmonic. Former member. Yamaha Performing Artist and Vandoren Artist. Nonesuch. Kentucky Symphony. recorded eight compact discs with the Cincinnati Symphony and Pops. Boston Pops Esplanade Orchestra and Portland Symphony Orchestra. later studies with Julius Baker. Eugene Symphony. Principal flutist with the Atlantic Sinfonietta. Japan and most recently Thailand. New York Virtuosi and Virtuosi Quintet. Europe. CCM since 1997. Sunflower Music Festival. Currently writing an orchestral excerpt book. Aufmann. Richard Hawley. Solo performances have included appearances with the Cincinnati Symphony Orchestra. Cook. Miami University (OH) and Northern Kentucky University. principal clarinet of the Philadelphia Orchestra. CCM since 1992. Telarc and Gunmar labels. Faculty. Former principal clarinet with Fort Wayne Philharmonic. Faculty. Professor of Oboe. Harvard U. BM. the Philadelphia Orchestra. CCM since 2008. Regular saxophonist with the Cincinnati Symphony Orchestra. Faculty. BM. of Colorado at Boulder. Richmond Symphony (IN). MM. Seton Hill College and Duquesne U.” Faculty. Faculty. Adjunct Associate Professor of Bassoon. First flutist to receive the DMA from Juilliard. Frequent soloist with the Fort Wayne Philharmonic. active recitalist. Mark Ostoich. Bradley A.76
university of CinCinnati College-Conservatory of MusiC performances in Carnegie Hall and Avery Fisher Hall with Julius Baker and Jean-Pierre Rampal. Delegate to International Conference of Symphony and Opera Musicians. CCM since 1998. Active as soloist. Joseph Allard. and the Tommy Dorsey Orchestra. and MIT. U. South Carolina Symphony Orchestra.” A frequent performer locally in the Linton Chamber Series. Winner of Brahms Festival Competition in Wolftrap. Earl Bates. Former principal clarinet of the Charleston. VA. The Curtis Institute of Music where he studied with Donald Montanaro. Former principal flute of the American Symphony Orchestra at Bard College. Bowman. Pittsburgh Symphony (interim associate principal). Studied with Loren Kitt. MS. Boston Conservatory of Music. studied with Harold Goltzer. Palm Beach Opera Orchestra. Cleveland Orchestra. Japan and North America and also as a participant of the Marlboro Music Festival in Vermont. Performed with Parnassus Woodwind Quintet and Contemporary Music Forum as well as Baltimore Symphony Orchestra. the New York Philharmonic. John Pizzarelli. Andrews U. William Wright. MA. Received Frank Damrosch Prize. Capstone Digital. Juilliard Pre-College Division (1983–present). One of five musicians to receive the Presidential Scholar in the Arts medal and award from President Ronald Regan in a ceremony at the White House (1998). Presented his Carnegie Hall debut in 2006. orchestral and chamber music settings. DMA. Dayton Philharmonic. Indiana U. Has performed chamber music throughout China. Performed with the Lyrique en Mer Orchestra (France). New England Conservatory. Faculty. Juilliard (1963). Leonard Bernstein Fellow. Gunn. and Lennie Tristano. Washington Ballet Orchestra. Miami (of Ohio) U. of Cincinnati CCM. “The Audition Book. Indiana/Purdue U. Performed with the Cincinnati Symphony Orchestra. DMA. James Bunte. Garner. Dixon and Young. Duquesne U. CCM since 1999. the Eastern Music Festival Orchestra and the Santa Barbara Symphony. 1983. Faculty at the University of Oregon. CCM since 1995. U. James. Professor of Flute.. Japan. Recorded for CRI. at Fort Wayne. Springfield Symphony (OH) and the Colorado Music Festival Orchestra. The Juilliard School. Concert saxophonist. CCM since 1970. Berkshire Music Center at Tanglewood. Appointed principal clarinet of the Cincinnati Symphony Orchestra (1994). Lawrence Bocaner. DMA. toured with the Glenn Miller Orchestra and Royal Caribbean Cruise Lines. Chairman of Cincinnati Symphony Orchestra Committee. Attended Oberlin Conservatory. Randolph C. Current associate principal and E-flat clarinet with Cincinnati Symphony Orchestra. Master classes in Korea. BM. the Los Angeles Philharmonic. Rice U. Dick Hyman. performed with Ray Charles. Teaching positions at New England Conservatory of Music. Recipient of the Lèni Fe Bland Foundation Grant (1991 and 1992).. Stefan Carlsson. giving recitals and master classes throughout the United States. Adjunct Instructor of Clarinet. Arthur Wiesberg. NFA board of directors. performed at NASA (North American Saxophone Alliance) regional and national conferences.S. Golden Crest Digital. Baltimore Chamber Orchestra. Staff member. Bard Music Festival and St. Opera Theatre of Lucca (Italy) and CCM’s Grandin Festival. Goshen College. Early flute studies with father. New York Voices. Spring 2011) Jonathan F. Canada and throughout the U.
Ronald G. Performances with the Tanglewood Music Center. Recordings: Koch International Classics. Experienced jazz musician. Garner. Byron Stripling. Martin E. and public school experience at a Kentucky high school. BM and BME. 1977. Louisiana State U. Lucca Festival. BM. Performs extensively in solo. Numerous performances with the New York Philharmonic. Faculty. Was awarded first prize in the coveted Coleman Chamber Music Competition for “Trio Con Brio.. Barts Music Festival. BS. Charleston Symphony. Adjunct Assistant Professor of Bass Clarinet. MM. Currently clarinet and bass clarinet with the Cincinnati Symphony Orchestra and the CSO Summer Pops Orchestra. Associate principal bassoonist with Cincinnati Symphony Orchestra. Washington Opera Terrace Theater Orchestra. teacher and recording artist in New York area. Cincinnati Symphony Orchestra since 1990. Emil Schmachtenberg and Frank Bowsher. Adjunct Instructor in Flute.
CCM since 1996.university of CinCinnati College-Conservatory of MusiC Santa Fe Opera. the Curtis Institute. MM. Professor of Jazz Studies Steven Waxler. Professor of Composition and Theory N. Aspen Music Festival. Currently. BA. Jacksonville Symphony. Oberlin Conservatory. DMA. and currently senior faculty member. Kelly Hale. Faculty. MA.P. Professor of Clarinet Gerald Doan. Gainesville. New York. principal oboist. Associate Professor of Musical Theatre Walter Levin. BM. Werner. Cincinnati Symphony Orchestra. BA. DMA. as well as recitalist for conferences of the International Double Reed Society for which he was past president. Major influences include John Mack. Summer festivals include Marlboro Music Festival (principal bassoonist under Pablo Casals). Professor of Violin Margaret McNamara. MA. Resident Makeup Artist Peter Kamnitzer. of West Virginia. BM. Adjunct Associate Professor of Trombone Nancy Carr Cosgrove. as well as the Concert Artists Guild Competition. MFA. Associate Professor of Voice Phillip D. Taos. Professor of Music Education Donald H. Columbus ProMusica. BEduc. and Sarasota Music Festival. Wolfram. 1990 Conference of the International Double Reed Society. and West Virginia U. Artist Diploma and BM. University of Florida. Professor of Voice Lenna Kaleva. PhD. principal bassoonist. Has enjoyed premieres of major works by the Philadelphia Orchestra and the Pittsburgh Symphony. (On leave. and the Dayton Philharmonic. Co-host. Professor of Electronic Media
. Loree-CCM Oboe Festival. Baton Rouge Symphony. Featured artist-teacher. Professor of Opera and Coaching Eiji Hashimoto. BFA. Dahlgren. BME. Ga. Soloist with Pittsburgh Symphony and frequent soloist with the Cincinnati Symphony. Santa Fe Opera. PhD. Italy’s Festival of Two Worlds. U. university campuses. Dipl. Associate Dean Darrell Handel. BS. BMEd. Associate Professor of Piano Donald Metz. MM. Finalist for positions in with Cincinnati. International Institute of Music. BA. Dipl. MM. New Mexico. CCM since 1989. Professor of Electronic Media Elmer R. PhD. and Chicago Symphonies. Oboes at Oxford. Professor of Musicology Morleen Getz Rouse. Professor of Harpsichord Barbara Honn. MEd. spring 2010) Rick VanMatre. Previously: professor of oboe at Louisiana State University. Professor of Musicology Karin Pendle.
Simon Anderson. BME. Received a National Endowment for the Arts grant for a bicentennial work for narrator and orchestra (1976). Professor of Music Education Charles H. and senior lecturer of oboe. Professor of Viola Oscar Kosarin. MM. PhD. See Jazz Studies. Tennessee. Cincinnati Chamber Orchestra. Adjunct Professor of Bassoon. Master classes and appearances as soloist throughout U. Coordinator. Professor of Opera and Musical Theatre. Thomas. MM. PhD. BA. Ohio University. The Curtis Institute. MM. Crabtree. principal oboist. 2009. visiting professor. EdD. Professor of Music Education René Boyer. MFA. Received University of Cincinnati Outstanding Adjunct Faculty Award. Professor of Music History and Literature Edward Nowacki. MM. Oboist. Professor of Theater Robert J. MTNA Collegiate Artist and Chamber Music Competition. Florida State U. BME. 2006–2007. Professor of Arts Administration Ronald de Kant. Professor of Musicology Carl H. MM. Professor of Musicology Warren E. and Sewanee Summer Music Center. MA. Member of the National Endowment for the Arts Music advisory panel for solo recitalist grants.” Former faculty. Professor of Choral Music Rick VanMatre. MM. Cincinnati Ballet. Professor of Music Education Yi-Qi Zhou Cheng. oboe/musicology professor. MM. Manhattan School of Music and Interlochen Arts Academy. Benner. William Winstead. PhD. Won award in the George Eastman Prize Competition for “Concerto for Bassoon. Faculty. Foster. Spoleto. BA. BM. Associate Professor of Dance Tony Chipurn. Dean Manfred K. PhD.S. Professor of Music Education David Mulbury. George. Host. University of Texas at Austin.. Featured with Sewanee Wind Quintet on National Public Radio’s “America in Concert” series. PhD. principal oboist. Joseph Robinson and Earnest Harrison (LSU). BS.
the first electronic organ. which later absorbed the earlier institutions. co-op allows students to alternate academic quarters of classroom instruction with salaried. UC boasts the first – and still one of the nation’s largest – cooperative education or “professional practice” program. It is a member of the National Commission on Accrediting and is recognized by the Ohio State Department of Education. Criminal Justice and Human Services College of Engineering and Applied Science The Graduate School College of Law College of Medicine College of Nursing James L. authors Thomas Berger (Little Big Man. opera stars Kathleen Battle. Architecture. Established at UC in 1906. Today. UC has gained international attention for studies on the vibration analysis of structures. cultural services and basic and applied research.000 UC co-op students work in 34 states and nine foreign countries for 1. Among past or present faculty and alumni are: President and later Chief Justice William Howard Taft. assistant surgeon general. actor David Canary. The University of Cincinnati has established a continuing reputation for excellence in graduate and undergraduate education. Dawes. In 1870. the University of Cincinnati today serves more than 38. UC is accredited by the North Central Association of Colleges and Schools. the chemistry of surfaces and laser brain surgery. UC has been the source of many contributions to society. Albert Sabin. Nobel Peace Prize recipient Charles G. Cleveland Abbe. founder of Children’s International Summer Village. the first safe anti-knock gasoline and the first antihistamine. sports greats Sandy Koufax. whose work at UC led to the National Weather Service.000 students through 16 colleges and divisions offering hundreds of degree programs from the associate to the doctoral level. environmental scientist and head of OSHA. Winkle College of Pharmacy Division of Professional Practice Raymond Walters College School of Social Work
. Marylin Gaston.
colleges and academic units
College of Allied Health Sciences McMicken College of Arts and Sciences College of Business Clermont College College-Conservatory of Music College of Design. artist Tom Wesselman. prima ballerina and ballet director Suzanne Farrell. Oscar Robertson. Final Notice). In recent years. UC became a state university in 1977. Neighbors) and Jonathan Valin (The Lime Pit. Jack Twyman and Tony Trabert. Eula Bingham. architect Michael Graves.university of cincinnati General University information
General University information
The UniversiTy of CinCinnaTi in Brief
The University of Cincinnati traces its origins to 1819. Art. and Planning College of Education. Located on five campuses. Barbara Daniels and Mark Oswald. Doris Twitchell Allen. developer of the oral polio vaccine.500 employers. on-the-job experience. Tony Award winner Faith Prince. the city of Cincinnati established the University of Cincinnati. the first program of cooperative education. almost 4. Since its 1819 founding. The University of Cincinnati is a stimulating environment that has produced some exceptional people. the year of the founding of the Cincinnati College and the Medical College of Ohio. and Broadway stars Lee Roy Reams and Michelle Pawk. including the oral polio vaccine.
C. Vice President for Research Mitchel D. Jr.
The University of Cincinnati is a public comprehensive system of learning and research. Plummer.C. professional and career education programs. Vice President for Student Affairs and Services Frederick H. LHD. worldrenowned scholarship. PhD. 2018
In support of this mission. High School transcripts are also required of all applicants who have completed less than 60 semester hours or 90 quarter hours of college level credit from regionally accredited college and universities. The excellent faculty have distinguished themselves worldwide for their creative pedagogy and research. 2013 Margaret E. McCrate. BA. the University of Cincinnati strives to provide the highest quality learning environment. Senior Vice President and Provost for Health Affairs James D. Thomas. The university system is designed to serve a diverse student body with a broad range of interests and goals. Vice Chairperson C. Williams. 2011 Sandra W.
The University of Cincinnati offers admission opportunities in a wide range of academic. President Joseph A. Richardson. The university requires that students who graduated from high school in 1986 and thereafter who wish to earn a baccalaureate degree present the following high school units. Francis Barrett. 4 units of college-preparatory English 3 units of college-preparatory mathematics 2 units of science 2 units of social science 2 units of a single foreign language 1 unit of fine arts 2 additional units of any of the above Students who have been admitted with deficiencies in the above requirements will be notified of that fact in acceptance materials sent to them by the Office of Admissions. Vice President for Information Technology and Chief Information Officer Michael J. Henney. non-matriculated students. Steger. JD. Chairperson Sandra W.. Carroll. Applicants should request that official transcripts from all colleges and universities attended be sent to the Office of Admission at the time of application. Further information regarding admission may be found in the front of this Bulletin and the separately published viewbook. Additional science and/or math units are required by some programs. President Emeritus Henry R. with the date of expiration of each trustee’s term. JD. PhD. UC Foundation Sandra Degen. LittD. MS. EdD. non-traditional students. 2010 H. universities. Buck Niehoff. President. Jeffrey L. LHD. 2015 Thomas H. Chesley. Winkler. PhD. Admission is based in large part on academic performance at previous colleges. LLD. Secretary
Gregory H. Interim General Counsel
Admissions requirements for transfer students to undergraduate programs are determined by the UC colleges and academic departments that offer the programs. Buchanan. PhD. PhD. Vice President for Governmental Relations and University Communications Mitchell D. Humes. Perzigian. Heimann. and students from UC regional campuses transitioning to the Uptown Campus. Vice President for Finance Anthony J. 2012 Gary Heiman. Director of Athletics Gregory J. President Emeritus Jane E. 2014 C. Livingston.
transfer and Lifelong Learning center
The Transfer and Lifelong Learning Center serves transfer students. Heimann. Buck Niehoff. Wyler. 2016 Robert E. Vehr. MA. and high schools. Academic advisors in the TLLC assist students in:
. Senior Vice President for Administration and Finance Michael W. Senior Vice President and Provost for Baccalaureate and Graduate Education Monica Rimai. Francis Barrett. especially in problem solving and the application of their discoveries. MD. PhD. It is a place of opportunity. 2018 Stanley M.2 university of cincinnati General University information
Board of trustees and administrative officers
Board of Trustees
Listed below are the names of present members of the Board of Trustees of the university. Siff.
Officers of the Board of Trustees
H. innovation and community service and to serve as a place where freedom of intellectual interchange flourishes.
courses may be evaluated incorrectly due to a lack of information about the course. One semester credit equals 1. with a cumulative GPA of 2.Western Association of Schools and Colleges • You can check your school’s accreditation online at www.or better is required for UC credit to be granted.00 or higher.uc. and undergraduate colleges and programs. housing and related deadlines.Southern Association of Colleges and Schools/ Commission on Colleges . Cincinnati State Technical and Community College. 10 semester credits transfer as 15 quarter credits. • In most cases. institutions you have attended must be accredited by one of six national accrediting agencies: . We may require a copy of the current course description and/or syllabus for re-evaluation. and Sinclair Community College • Referral to other UC programs and services including Financial Aid. prospective transfer students must plan a course of study to meet the requirements (both academic and nonacademic) of the institution they wish to transfer into. For more information on the programs and services of the TLLC: • Web: www. history and so on will usually transfer to a direct equivalent UC course. • UC operates on a quarter academic calendar. and orientation • Advising on transfer credit evaluations • Outreach to UC Raymond Walters College.admissions. Your UC GPA is based only on course work completed at UC. contact the Office of Admissions and explain your concern. scholarship.chea.New England Association of Schools and Colleges . changing majors) may reduce the applicability of transfer credit to the degree program ultimately selected. established by UC.org. • General education requirements such as math. confirmation.uc.university of cincinnati General University information • Pre-admission advising • Admission processes including application. The prospective transfer student should: • Seek out program/degree and transfer information and an adviser • Be aware that a change in major will most likely reduce the number of credits that can be applied to the new major • Understand the policies and procedures of the transfer institution.Middle States Association of Colleges and Schools .
acceptance of transfer credit
Here are some general points to understand about transfer credit: • In order for transfer credit to be awarded. UC Clermont College. around 65 credits must be earned here.Northwest Association of Schools and Colleges . you still have to meet UC’s residency requirements.
. Occasionally. will receive credit for transfer courses with a D grade.edu/transfer/ • Phone: 513-556-2247 • E-mail: transfer@uc. If you think your transfer credit evaluation is wrong. To view the complete list of student responsibilities. a grade of C. (Exception: In compliance with Ohio Board of Regents requirements.North Central Association of Colleges and Schools . course transfer. students will receive credit for all D grades earned. which usually means at least two years of course work.edu
• If you have already earned a great many credits at another institution.) • Your GPA from other institutions does not transfer to UC. Delays in developing and following an appropriate plan or changing one’s plan (e. financial aid. To receive a bachelor’s degree from UC.5 quarter credits. The University of Cincinnati accepts credit for examinations such as Advanced Placement (AP). An abbreviated list is provided below. Housing. or because the course content has changed.
responsibilities of students
In order to transfer with maximum applicability of transfer credit. UC will transition to a semester system in 2012. are earned for each exam.uc. visit the Transfer Web pages at www. transfer admission.admissions.g. The University of Cincinnati accepts military credit based on a course by course evaluation. For example. students who have earned an associate of arts (AA) or an associate of science (AS) degree. Planning for transfer should begin as early as possible. Prospective students are welcome to drop in at the TLLC at 400 University Pavilion between 8:00 AM to 5:00 PM Mondays through Fridays except holidays. For courses taken in fall 2005 or later. College-Level Examination Program (CLEP) and International Baccalaureate (IB) when minimum scores.edu/transfer. A Transfer Preview and campus tour is available every Friday at 10:00 AM. for courses taken prior to fall 2005. including application fees.edu/cer.admissions. You can monitor the progress of your course review and print a copy of your Credit Evaluation Report (CER) by visiting the following Web site: www. English.
edu/registrar/fresh_start. They are published online at www. Fees for hours over 18 will be assessed at the part-time credit-hour rate. when disagreement occurs regarding the application of transfer credit toward degree requirements.html. do more. Students invited to join University Honors typically have: • an ACT composite score of 32 or higher • an SAT score of 1400 or higher (critical reading and math combined) • a high school class rank in the top 10 percent • an unweighted high school GPA of 3. Fees are payable at the beginning of each academic quarter. Students also complete honors experiential learning projects in which they engage in active learning and self-discovery. We pay close attention to co-curricular activities and the personal statement written as part of the application to UC. students create a vision for their future.
fresh sTarT PoliCy
The purpose of the Academic Fresh Start Policy is to permit a student who performed poorly upon initial enrollment at UC to have an opportunity for a fresh cumulative grade average. University Honors provides an academically challenging environment where passionate professors and peers inspire students to learn more.
UniversiTy honors Program
The University Honors Program comprises the top 5 percent of UC students from across undergraduate disciplines.
fees and finanCial assisTanCe
Fees are assessed on the basis of a student’s college and program.uc. at multiple levels within the university.uc. Current UC students can apply to transition into University Honors. in compliance with Ohio Board of Regents (OBR) Articulation & Transfer Policy. For eligibility criteria and application information.4 university of cincinnati General University information
The appeals policy. visit the Office of the Registrar’s Academic Fresh Start information page at www. culminating in the development of an e-portfolio to showcase honors work. All students will be assessed the general fee.edu and are also available from the Office of Admissions. while we are looking for students who excel academically.
All first-time freshman applying for bachelor’s degree programs are considered for admission to University Honors. exclusive of military or air science credit hours. the information technology and instructional equipment (ITIE) fee. Students take honors seminars. To view the written policy and appeals form. Learn more at www.8 or higher And. campus life fee. the designation University Honors Scholar is placed on the student’s final transcript. The first-year experience continues with Honors English Composition courses focused on civic engagement. we’re also looking for leaders. innovators. and the nonresident surcharge. and explorers – students reaching out to their local communities and beyond. Students registering for fewer than 12 quarter credit hours (10 quarter credit hours for graduate students) will be assessed student fees on a credit-hour basis. that application is available online in winter each year. One Stop Student Services and the individual college offices.uc. visit the Transfer Web pages at: www.uc.edu/transfer.
. admissions.onestop. provides transfer students the ability to appeal. those who enroll for 12 quarter credit hours or more (10 hours for graduate students) will be assessed full-time instructional fee. while pushing the academic envelope. When a student completes University Honors requirements. In the Gateway to University Honors course. the level of the classes (graduate or undergraduate). Full-time fees normally cover up to 18 credit hours per quarter. except where the college curriculum specifies an academic load in excess of 18 hours. as applicable. the student’s residence classification and the number of enrolled credit hours.edu/honors. and be more. through which faculty challenge them with creative projects and experiences that take learning beyond the typical classroom. Students are challenged through honors seminars and experiential learning projects focused on: • Community engagement • Global studies • Leadership • Research and creative arts The University Honors first-year experience includes a leadership retreat just prior to fall quarter.
which allows students to take required placement tests. onestop. Every effort will be made to identify university. including the General Education core. Specific information about financial aid programs.
. co-curricular activities. Orientation also provides important information about university resources and opportunities. Complete the FAFSA as soon after January 1 as possible. major course work. ICL relies heavily on experiential education as a way of demonstrating the linkages between the curriculum and inquiry. New students are also required to attend New Student Convocation and College Day activities that are a part of a comprehensive Welcome Week. ICL is built around three touch-points in the undergraduate experience to provide all students with key opportunities to develop. loan and undergraduate grant programs.edu. students must officially register for classes and must pay all associated tuition and fee charges. high schools. experiential learning. integrative. From professional development. Freshmen with exemplary high school academic records should apply for admission by December 1 of their senior year for maximum scholarship consideration. withdrawals. an early application receives priority consideration for limited funding sources. and act upon a learning plan for degree completion. a scholarship search and the aid process is available online at www.uc. The Student Financial Aid Office is committed to making education as affordable as possible. ICL underscores the University of Cincinnati’s strengths and places them within a holistic framework for student learning from the first undergraduate year through graduation. which begins the week before fall quarter. receive academic advising and register for their first quarter classes. It begins with a significant first-year experience as its cornerstone and continues with opportunities for self-reflection and on-going support through mid-collegiate coursework and experiences. Students can view the class schedule and register online through the One Stop Student Service Web site at www. and faculty-guided reflection. first-served basis. is available at www.financialaid.edu/registrar. Scholarships are also available from the State of Ohio.
All students enrolling for the first time are required to attend a New Student Orientation.uc. review.
integrated core Learning (icL)
The phrase “Integrated Core Learning” describes the University of Cincinnati’s signature approach to undergraduate education. uc.uc. Details about these programs will be mailed at the appropriate time.edu Web: www. Because some aid programs are awarded on a first-come. practice. churches and civic groups. fees and refunds are listed on the Office of the Registrar Web site at www. contact: Student Financial Aid Office University of Cincinnati PO Box 210125 Cincinnati. federal and state resources to assist both undergraduate and graduate students in fulfilling their educational goals. Broadly defined. ICL will provide students with the necessary tools to transition to a profession or graduate program and continue to assume ownership for life-long learning. The Free Application for Federal Student Aid (FAFSA). and study abroad to service learning and student research. creativity and social responsibility. civic engagement. ICL was developed as the thoughtful integration of all aspects of the undergraduate experience. contextual complexity. If you need more information.financialaid.edu.university of cincinnati General University information
Students who attend the University of Cincinnati are encouraged to apply for financial aid. and community engagement to foster learning that is self-directed. Students (new. returning and graduate) should review the information in this Bulletin concerning college scholarship programs.edu
To attend classes and receive course credit. rigorous instruction. as well as a status check once you apply. Registration procedures and calendars including deadlines for registration.edu. ICL envisions the purposeful weaving of high-impact practices and experiences with high-quality. Culminating with a senior-year experience. this approach seeks theory-practice integration. and transformational.uc. experiential learning permeates every program on campus. field projects. OH 45221-0125 Phone: 513-556-1000 (One Stop Student Services) Fax: 513-556-9171 E-mail: financeaid@uc. and social responsibility. It is used annually to apply for all work-study.financialaid.
and total them. A=4 B=3 C=2 Step 2. The University encourages the resolution of complaints in a fair and collegial manner. Complaints regarding incompetency of instruction. 36 ÷ 12 = 3. recognizing at the same time the unique tradition of the University to provoke thought. Substitute grades with their assigned values (quality points).uc.
computing a Grade Point average
Each student’s UC grade point average (GPA) is determined by dividing the total number of quality points earned by the total number of UC credit hours carried. Divide the sum by the number of hours enrolled. MD. B. 2.6 university of cincinnati General University information
UndergradUaTe grading sysTem
For the UC grading scales and definitions. and examine dissent. a student believes he/she has been subjected to other improper treatment. Each course is allotted three credit hours. 1. A = 4 x 3 =12 B=3x3=9 B=3x3=9 C=2x3=6 Total = 36 Step 3. T. sexual orientation.0 GPA
This document supersedes all former individual college grievance procedures.
See the Office of the Registrar’s grade changes information page at www. The student receives grades of A. These procedures are applicable when: 1. Multiply the assigned value of each grade by the credit hours allotted each course.
Grade replacement Policy
UC policy requires a student repeating a course to re-register for the course and pay tuition. P.
sTUdenT grievanCe PoliCy and ProCedUres
All members of the University community are expected to interact with civility and respect. Advanced standing credit is not included in the calculation of the UC cumulative quality point average. national origin.
Allegations described below will be handled as outlined. 3.edu/registrar/gradereplace. sex. It is to be used by any UC student except those who are admitted to and enrolled in a graduate degree. the student may proceed through the Formal Resolution stage.uc. college office. and NG have been earned should be excluded from the calculations. the Office of the Vice President for Student Affairs and Services. Copies of the process for complaints alleging discriminatory treatment involving a faculty member may be obtained at the Ombuds Office. or the University Ombuds. and C.html.html. visit the Office of the Registrar grading scale information page at www. 2. The student’s GPA is calculated as follows: Step 1.edu/registrar/gradechange. This document establishes a policy and process for undergraduate students to request review and resolution of certain complaints. or JD program. or religion will be handled according to the UC Discrimination procedure administered by the Office of Equal Opportunity. Classes for which the grades of W.uc. a student believes that he/she has been subjected to an academic evaluation which is capricious or biased. Allegations of incompetent instruction will be handled according to the agreement between UC and the AAUP. stimulate discussion. it will be handled according to the agreement between UC and the AAUP. Complaints alleging discriminatory treatment.html. UP. Allegations of discriminatory treatment based on age. Complaints alleging violation of privacy. Example: A student completes four courses during the quarter. and the Office of Equal Opportunity. SP. see the Office of the Registrar’s grade replacement policy information page at www. Complaints may be resolved informally between the individuals or with the aid of their department head. For complete information. If the complaint involves a faculty member. disability. However. NP. race.edu/registrar/grading_scale.
. Allegations of a violation of privacy as set forth under the Family Educational Rights and Privacy Act (FERPA) will be handled by the University Registrar in accordance with current practice.
but all those joining in such a group action must sign the statement. Following the receipt of the notification that the complaint was not resolved informally through Mediation (Step 2). No reason needs to be given for withdrawal of the grievance. The challenge must specify reasons that would prevent the individual from being unbiased with respect to the grievance. Original documents shall be returned to their source or to another site as agreed in the signed resolution. shall schedule a grievance review meeting. the UO shall immediately notify the Chair
1. The CGRC may also request information (within FERPA regulations) from other sources. Any faculty member directly involved in the grievance shall not participate as a member of a CGRC.
. A student may withdraw a grievance from further consideration at any time by submitting a written statement to the Chair of the CGRC. The CGRC shall hold a grievance review meeting at which all parties shall have the opportunity to present to the CGRC any written and/or oral information relevant to the complaint. Step 3 – Formal Resolution. Step 2 – Mediation. 7. Mediation. First the student must talk with the faculty member about his/her complaint. The University Ombuds shall determine whether. The Chair. Two or more students with the same complaint may join in a group action. Challenges must be submitted in writing to the Chair of CGRC within two (2) days after the parties have been notified of the CGRC composition. Mediation shall be requested of and conducted by the Office of the University Ombuds. If the complaint is not satisfactorily resolved through A and/or B. they will be divided into two or more subgroups. two students from a pool of four selected by the College Tribunal or student government.
of the CGRC in the college in which the dispute originated and inform all affected parties in writing. Signed written statements may. who will attempt to resolve the complaint. to persons directly involved in the formal resolution of the grievance. If it is found that they do not. 2. a student may initiate an informal complaint in the University Ombuds Office (607 Swift Hall) or the College Office in which the course is offered no later than the end of the quarter following the quarter in which the activity that gave rise to the complaint occurred. Complaints regarding a course will be in the jurisdiction of the college offering the course. If the Chair is challenged. If the complaint is not resolved. and the Chair. Formal Resolution. One individual may represent the entire group but all complainants may be required to meet with the University Ombuds or the CGRC. all of the students have the same complaint. no later than the end of the following quarter. a student may proceed to Step 2. The student and faculty member may elect to have an advisor present who may counsel but not actively participate as a spokesperson or vocal advocate. upon written request. If the complaint is not resolved through mediation. The Chair of the CGRC will notify all individuals involved in writing that the grievance has been withdrawn and that the grievance process is terminated. If the student or faculty member chooses not to attend the meeting. All complaints shall be heard without unnecessary delay. 5.university of cincinnati General University information
To use these procedures. All individuals directly involved shall receive a copy of the signed resolution. The University Ombuds (UO) shall consult with the College and shall meet with the individuals separately and/or together to attempt to reach a solution (written) which is agreeable to and signed by all parties to the dispute. Any party to the complaint may challenge the participation of any committee member on the grounds of conflict of interest. his/her written statements shall be reviewed in their absence. be submitted by individuals and witnesses if unable to attend. The meetings shall be tape recorded and the tape shall be maintained in accordance with University records policy. shall be retained by the UO. C. when necessary. in fact. the physical presence of witnesses shall be restricted to those invited by the Committee (except as noted above in #5). However. the complainant’s college representative will sit as an ad hoc member of the College Grievance Review Committee (CGRC) (see Step 3). the student(s) may file a grievance with the Chair of the CGRC. the student must talk with the faculty member’s department or unit head or a college representative designated by the Dean. 6. or Step 3. B. other than the final resolution. The CGRC shall be composed of two faculty selected from a pool of four elected from the faculty of the college. Either party may request testimony from witnesses. A faculty member must be willing to meet with a student for discussion. 8. A single statement of complaint shall be submitted and processed in the manner described herein for individuals.
Step 1 – Informal Resolution. 4. No written records. A. who is appointed by the College Dean. A student registered for cooperative education through the Division of Professional Practice will receive an extension of one quarter upon his/her request. The parties involved must first attempt to resolve the complaint informally. All other notes shall be destroyed. Copies of written material provided to the Committee shall be made available. 3. If the course is offered in a different college than the student’s home college or school. the appointing Dean shall determine the validity of the challenge and either replace or retain the Chair.
career Development center
The Career Development Center offers career guidance. the Archives and Rare Books Library. family and friends concerned about a student. a statewide library consortium that includes a central library catalog of over 46 million items from 90 other library collections across Ohio. Langsam Library.uc. for urgent care on a walk-in basis (no appointment necessary). For details.
The Division of Student Affairs provides programs and services which complement and support the learning environment of the university and enhance the quality of student life.8 university of cincinnati General University information
Following the grievance review meeting.uc. [Written June 1. and referral services to students and alumni. 1992] Please note: There are separate University Grievance Procedures for graduate students and employees. The College Dean shall have the authority to accept and implement or modify the decisions of the CGRC. and numerous digitized books. Decisions of the College Dean shall be final. staff. Harrison Health Sciences Library. Graduate Student Grievance Procedures are available from the Graduate School. on-campus recruiting and interviewing workshops are among the services offered quarterly.
african american cultural and research center
The African American Cultural and Research Center enhances the entire university community by serving as a resource for individuals to become more enlightened about the African American experience. Libraries at UC include the Walter C.html. provides access to the university’s own resources and serves as a local gateway to OhioLINK. 3. the College Dean may exercise his/her authority to alter the grade. building and maintaining satisfying relationships. Additionally. The CGRC’s report shall contain: 1. the CGRC shall issue a report to the College Dean.
The UniversiTy’s liBraries
University of Cincinnati Libraries offer access to an outstanding research library collection of over 3. Either party may appeal the decision of the CGRC in writing to the College Dean within ten (10) days following notification.m. relevant University rules and policies. but not limited to. internship and job search assistance. The Libraries’ Web site. eight college and departmental libraries.
gradUaTion wiTh honors
Students who are candidates for a degree and who have met the college’s residency requirement may be recognized by award of the honors based on their university Grade Point Average (GPA). the career navigator program specifically assists undecided students with career exploration and special topics in career decision-making classes. Grounds for appeal shall be limited to procedural error or new information not available at the time of the hearing. documentation of written and oral information presented to the CGRC. It traditionally provides campus-wide information and referral for students. decisions and the reasons therefore. The College Dean shall notify both parties in writing of the CGRC’s decision. If the grievance alleges capricious or biased academic evaluation and the CGRC finds in favor of the grievant. social. Details regarding admissions. as well as thousands of journals. the Donald C. professional development classes. faculty and staff. almost 100 databases.6 million books. group and couple’s counseling for UC students. and other materials. the law library and libraries at Clermont College and Raymond Walters College. to 5 p. We are available Mondays through Fridays 8 a. at www.edu. 2. relevant information including. Our workshops and other outreach programs are available upon request and include such topics as balancing multiple demands. Employee Grievance Procedures are available in union contracts or in the Human Resources Policies & Procedures Manual.edu/registrar/ latin_honors.
The Counseling Center offers individual. spiritual and cultural needs. journals. as well as a wide range of services to help students with their research needs. We also provide consultations for faculty.m.
. images and newspapers. Career fairs. The center also aids in the retention of the African American student population by specifically addressing their academic.libraries. visit the Office of the Registrar’s Latin honors information page at www. registration and student financial aid are located separately in this Bulletin.
• Promotes responsibility and ethical behavior by the university community • Protects the opportunity for students to attain their education • Protects the physical and mental health. for other counseling we accept Student Health Insurance and some other insurances. Campus Recreation Center. interventional programs and a due process judicial system. 45221-0193 Phone: 513-556-6814 Fax: 513-556-1458. Turner Scholars Program. law school and other professional schools. scholarly and research activities.
ethnic Programs and services
Ethnic Programs and Services offers cultural and educational programs. CPG Academic Support. and billing.edu Web: www. Siddall. educational programs/sanctions.edu/studentlife/conduct
academic excellence and support services
Academic Excellence and Support Services (AESS) provides comprehensive resources. financial aid. OUJA is committed to promoting a safe. For information on any of these programs and services. and outreach are free. safety and welfare of the university community members • Protects individual property rights Contact: Office of University Judicial Affairs Suite 745 Steger SLC PO Box 210193 Cincinnati.
resident education and Development
Resident Education and Development (RED) is responsible for the staffing. a resident advisor (RA) for each floor or house community.. civil and just community by utilizing the Student Code of Conduct to hold students accountable for decisions and behavior that negatively impact the university community.university of cincinnati General University information and communication skills. Student-centered staff are regularly available to assist students from 8:00 a. Contact us at 513-556-0648.m. groups. or via e-mail with these processes when needed. Dabney. RED works
. Academic Coaching. Appointments for testing or other support services outside of the regular business hours may be pre-arranged. Daniels. A limited number of assessments for learning disabilities and attention deficit hyperactivity disorder is available only by referral from UC’s Disability Services Office. programs and services designed to promote academic excellence and retention. a public inquiries assistant (PIA). Ohio. Cross-trained professional staff is available to assist students by phone. Schneider.cummins@uc. university-wide.
new student orientation office
The New Student Orientation Office coordinates all orientation and placement testing for incoming first-year and transfer students as they transition into UC.m. and staff members in the central RED administrative office.
The mission of the Office of University Judicial Affairs (OUJA) is to support the mission of the University of Cincinnati. RED staff members include the desk operations staff for service and security features.
one stop student services center
The center serves as both a real and virtual place where students can take care of student business issues related to registration. contact: AESS (Academic Excellence and Support Services) at 513-5566823 or visit www.uc. to 6:00 p. E-mail: daniel. consultation.uc. who is a full-time receptionist in each hall or complex. M-F. one or two assistant residence coordinators (ARC) for each hall or complex. responsibility and a just community
Pre-Professional advising center
The Pre-Professional Advising Center helps students prepare for admission to medical school. This continuum of academic support services is available to UC students. through the implementation of the Student Code of Conduct (the university code of behavior). Urgent care. social and cultural needs. in-person. AESS programming includes: Tutorial Services (peer tutoring and online tutoring). and we use a sliding fee scale. The Office of University Judicial Affairs: • Values the concept of Social Responsibility • Adjudicates all alleged violations of the University of Cincinnati Student Code of Conduct • Promotes students’ rights. and is provided through the Disability Services Office (210 University Pavilion) and the Learning Assistance Center (120 University Pavilion). as well as scholarships through the prestigious Darwin T.
Mcnair scholars Program
The McNair scholars program provides assistance to disadvantaged or underrepresented students preparing for doctoral studies through a variety of student support. Ethnic Programs and Services also aids in the retention of the student of color population by specifically addressing their academic.edu/aess. Supplemental Instruction. programming and quality of life in the seven residence halls – Calhoun. orderly. Stratford Heights Village. and Disability Services.
edu/uhs/studenthealthinsurance. enrollments and waivers. The clinics are staffed by physicians with specialty boards in internal medicine.edu. or other provider for dermatology. whichever is applicable.10 university of cincinnati General University information
collaboratively with Housing and Food Services and Facilities Management to direct and maintain residence hall operations.uc. UC Physicians. vaccine titers. RED provides activities to complement the in-class experience and enhance student learning. registered nurses. laboratory and radiology technologists. UC policy requires all students who register for six or more credit hours (including co-op students) have health insurance. For more information. low-cost. mediate conflicts. Students with UC Student Health Insurance are not charged for their UHS primary care clinic visits: they are charged for vaccines. Students are referred to specialty clinics at UHS. programs and individual sessions free to the entire UC community on a variety of health and wellness issues. enrollment or waivers.
student activities and Leadership Development office
An important resource for UC students who want to be involved. or visit us at the Lindner Center.
university Health services
University Health Services clinics. family medicine. Most students may waive coverage at www. These students are billed automatically for single student coverage. a nurse practitioner. nursing assistants. The UHS pharmacy in Varsity Village on the 300 level offers reduced prices on the pharmaceuticals in its formulary. and can be reached at 513-556-6124. mental health and other specialty appointments.-based claims administrator and a U. Located in the Steger Student Life Center on the 400 and 600 levels. and to promote students’ growth and independence. or the central RED office on the second floor of Scioto Hall. provide primary care. Calhoun Hall 556-8596 CRC Hall 558-3031/556-6484 Dabney Hall 556-6484 Daniels Hall 556-0676 Schneider Hall 556-3925 Siddall Hall 556-8281 Stratford Heights Village 558-7000 Turner Hall 556-3925 Graduate students enrolled in less than six credit hours may purchase coverage and should contact the Student Health Insurance Office for more information regarding the necessary forms and requirements. must be received by the Student Health Insurance Office by the close of business on the third Friday of the term or semester. behaviors and lifestyles. For assistance. or call the Student Health Insurance Office at 513-556-6868. 513-5566476. 24 hours a day.S. All insurance transactions. support university policies. health insurance plan to all eligible students. Suite 334. whichever is applicable. but they will be charged for their care.S. The center is located at 675 Steger Student Life Center. located on the 300 level of the Lindner Center in Varsity Village and the first floor of the Holmes Building. gynecology. call 513-556-6115. and pharmacists. Students are seen by appointment for primary care and gynecological services.onestop. encourages and supports health decisions. Students with other health insurance may be seen at UHS. The Wellness Center provides workshops.
uc Wellness center
The UC Wellness Center provides resources. to foster students’ adjustment to university life. prescriptions and mental health care. preventive medicine and occupational medicine. contact the front desk of any residence hall. The insurance must be equal to or greater than that offered by the university and must have a U. and assist students and parents in identifying and using other university resources. RED staff advise student organizations in the halls. please visit www. provide leadership development training. and while traveling. the office provides programs with an educational component. to encourage a sense of community and connection to campus. and due dates.-based underwriter. the Student Activities and Leadership Development Office provides leadership and direction for the more than 300 student organizations. The coverage insures UC students at school. anywhere in the world. For information regarding benefits. specifically leadership development and citizenship.
. as well as a full range of activities and cultural programs for students. and mental health services to all University of Cincinnati students. disseminates information and educates the university community about health and wellness in order to create an environment that promotes.uc.
student Health insurance
The University of Cincinnati offers an excellent. Students with private insurance wishing to be excluded from UC’s student health insurance plan must complete and submit an online insurance waiver form no later than the third Friday of the corresponding term or semester.
the Department of State and the governments of the countries whose students and faculty come to the University of Cincinnati for study. the UC Women’s Center supports the universitywide sexual violence response program with trained professionals and peer advocates. address correspondence to: UC International Services University of Cincinnati PO Box 210640 Cincinnati OH 45221-0640 Phone: 513-556-4278 Fax: 513-556-2990 Web: www. All international students are required to purchase the University of Cincinnati student health insurance plan unless they have insurance equal to. The university is authorized under federal law to enroll nonimmigrant alien students and scholars as well as visiting faculty through the services of this office. transgender and questioning (LGBTQ) students at the University of Cincinnati. staff member or visitor who has experienced sexual assault.
• Seek integrity by aspiring to the highest moral and ethical standards • Promote justice by working to build a learning environment that offers everyone an equal opportunity to grow. it is the highest award for a graduating senior woman • Student leadership development and training In addition. see the Student Health Services section of this Bulletin. advocacy and referral to any UC student. is dedicated to meeting the diverse needs and interests of women and lesbian/gay. Through our actions. Faculty. we subscribe to the defining purposes. The office provides advising on financial needs. intimate partner violence or stalking. The insurance must be provided by an American insurance carrier. The 24-hour help line (513-218-9531) provides support. or greater than. we will strive to make the University of Cincinnati a more caring and just community. staff and administration also support an educational setting of excellence.edu/international/services. the UC plan. faculty and visiting scholars and researchers at the University of Cincinnati. faculty. The center offers a wide range of programs and opportunties. cultural adjustment and personal concerns. research and creative endeavors • Strive for excellence by aspiring to achieve our fullest potential in our educational and personal pursuits • Celebrate the uniqueness of each individual by respecting individual differences and promoting common interests • Practice civility by extending to those we meet the same respect. as well as information regarding immigration and visa regulations. The faculty of the university produces world-renowned scholarship and nurtures innovation in and out of the classroom. The office is in charge of issuing the Certificate of Eligibility (1-20 for F-1 status. opportunity and service. traditions and diversity of the University of Cincinnati. or DS 2019 for J-1 status) only to applicants who have submitted all the necessary documents and have been admitted to the university. The staff of UC International Services is available to assist all internationals with their general welfare and guide them in their relations within the university community so that they can pursue their academic goals most successfully.university of cincinnati General University information
uc Women’s center
The UC Women’s Center (UCWC).uc. These services meet the requirements of the Department of Homeland Security. including: • Safe Zone – faculty. bisexual. For more information regarding the insurance requirement. located in 571 Steger Student Life Center (513-556-4401). one that nurtures independent thinking and the free and open expression of ideas
. and pursuing quality in teaching.
The University of Cincinnati is a public comprehensive system of learning and research that serves a diverse student body with a broad range of interests and goals. As members of this community we will: • Pursue learning and scholarship by building on successes. flourish and contribute • Accept responsibility by striving to build a learning community committed to these common values and principles
UC inTernaTional serviCes
UC International Services Office is responsible for all international students. For more information about the university. In embracing our roles within this learning community. learning from mistakes. training and research. staff and student leader training on LGBTQ issues • Women’s History Month (March) • Sexual Awareness Month (April) • Body Acceptance Week (April) • PRIDE Week (April) • The C-Ring Award – given since 1922. cooperation and caring that we expect from others • Embrace freedom and openness by working to create an environment that is safe and affirming.
medicine – they are all being practiced on a global stage. • Challenge yourself: Whether you’re climbing in the Himalayas with UC’s Geology program. • Live and learn the language: Become more proficient in a foreign language you have studied or learn a new one. in the McMicken College of Arts and Sciences section. or as long as a year. help with passports and visas. In short. If they choose to continue in the POC they attend summer field training encampment after their second year. How UC International Programs assists you: • Affordability: UC International recognizes the importance of affordable education abroad. insurance. AFROTC teaches students the basics of leadership as well as teamwork and offers them many outstanding opportunities for personal growth and development. attend a slightly longer session. Freshmen and sophomores are not obligated to the military in any way unless they are on scholarship.
. work. They can intern with a Human Rights Commission in Africa.onestop. or Latin America.asp. register for one of the Aerospace Studies courses and the Leadership Laboratory. and communicate with. other cultures. particularly for non-language majors. If you have any difficulties. To initially enroll. All the more reason why it is vital that our future workforce be informed world citizens. minor. They range from as low as $3.uc. or who do not complete all the GMC courses. Some last a week. or general education requirements.edu Additional information is available on our Web site: www.edu/global There is no better time to have an international experience than while you are a student. including: • study abroad • exchange. located at 3134 Edwards One. it is critically important that American students expand their experience and world view. in addition to traditional study abroad programs. we keep track of you while you are abroad.” Students with at least two years of college remaining may enroll in the ROTC program. Asia. volunteer in health clinics in developing countries. under the disciplinary heading “Aerospace Studies” and “Air Force ROTC. Your academic advisor will approve coursework for your major. and o Mentoring on other internal and external scholarship resource. Our services include advising. a quarter.uc. Business. Reasons to study. or communicating with a host family in Mexico. The world is your classroom: Where will you go?
reserve offiCers Training CorPs (roTC)
The Air Force ROTC program prepares you for life after college and duty as an Air Force officer.edu/learningopp/qtr. UC students have many other pathways to experience the world. And. research. science. it helps prepare students for life in the “real world. Rotary. Students make the decision to pursue the Professional Officer Course (POC) during their second year. pre-departure orientation. books and associated fees.” The introductory classes of the General Military Course (GMC) are offered during the first two years of college. Convenient appointment times are available Monday through Friday in our offices. The UC International Programs office provides information and services for students and faculty in all areas of education abroad. Students who complete all the GMC courses have a four-week training encampment. those who start their ROTC program with POC. and • international service learning A variety of excellent programs in an array of places from Australia to Zambia are yours to choose from. music. such as Gilman. www. And. excavate ancient ruins. Course information can be found online on the One Stop Web site. you will challenge yourself to adjust to. You may also contact us by: Phone: 513-556-4278 Fax: 513-556-2990 E-mail: email@example.com university of cincinnati General University information
UC inTernaTional Programs
Study abroad can be one of the most rewarding experiences you will have as a UC student. The UC International Programs staff is available to advise you on all of your education abroad options. We work to help you find ways to finance your experience by: o Collaborating with Student Financial Aid o Providing UC International grants based first on merit and then on financial need. are offered in English. and the International Student Identity Card (ISIC). we are your first point of contact
• On-time Graduation: Continue to make regular academic progress by participating on UC programs or pre-approved external programs. or volunteer abroad: • See your major from another point of view: In order to master the knowledge in any major today. and the Boren Scholarships. others a summer. • Safety: We focus on programs that provide a network of support services while you are abroad. a semester. Scholarships for undergraduate and limited graduate studies are available on a competitive basis. No time to master the language? Many courses. or apply for the International Co-op program and work in Europe. education.000 annually to full tuition. You will gain confidence communicating with others as you learn.
For complete information. All Army ROTC courses are listed online under the disciplinary heading “Army ROTC” in the McMicken College of Arts and Sciences section (www. To utilize their veteran educational benefits at UC.000 monthly.edu/learningopp/ qtr. scholarship winners also receive free room and board their freshman year. Department of Defense. military personnel who died during active service to their country. students concentrate on leadership. fees.onestop.
Changes in Army policies and training philosophy have resulted in a dynamic Army ROTC program that provides young leaders with the skills to serve in the Army or private industry in the 21st century. In the POC.
Dependents of a Deceased veteran
The Department of Veterans Affairs. enabling them to test and practice the leadership skills they have learned. However. the ROTC programs are in compliance with national nondiscrimination policies and the guidance and policies of the respective military services and Department of Defense. The scholarships and financial incentives are worth in excess of $100. Each scholarship covers tuition.university of cincinnati General University information All cadets on scholarship. gaining invaluable experience along the way.vba.edu/registrar/veteran_education_benefits. To learn more.html. cadets go on active duty as second lieutenants.asp). Department of Veteran Affairs (VA) and a per-term certification process through the UC Office of the Registrar.
Army ROTC provides great opportunities for leadership education. For information regarding benefits certification procedures. visit the U.uc.uc. Those in flying careers will have a longer commitment. management and the United States’ defense policy. reservists/guard members and dependents of veterans under several assistance laws. and all in the POC. Any student in any major is welcome to participate in the Army ROTC program without any military obligation. visit the Ohio Board of Regents Information page for this program at http://regents.S. visit the Office of the Registrar’s Veterans Educational Benefits Information page at www.
The Ohio War Orphans Scholarship Program awards tuition assistance to the children of deceased or severely disabled Ohio veterans who served in the armed forces during a period of declared war or conflict. current active duty soldiers. High school seniors through graduate students are eligible to participate in the Army ROTC program and receive scholarships and financial benefits. Enrollment in Army ROTC is no different than enrollment in any UC class. including five-year co-op students. student-veterans must complete an application process to the U. they have various positions of responsibility within the corps.
. reserve/Guard Members and Dependents of veterans
The University of Cincinnati is approved for the education and training of veterans.ohio. Those that decide to officially join ROTC can choose to fulfill their military obligation either full time in the active Army or part time in the Reserve components.
va edUCaTional BenefiTs
veterans. To maintain their benefits.php. Department of Veteran Affairs Survivors Benefits page at www.va. For complete information.edu/armyrotc. Students who are military veterans or members of the Reserve components automatically qualify for advanced standing in the ROTC program. Textbooks and uniforms are provided.000 at the University of Cincinnati. receive a monthly stipend ranging from $300–$500 depending upon year in school. The Reserve components in conjunction with Army ROTC offer a dual membership program that allows cadets to gain valuable military experience along with substantial financial incentives worth up to approximately $3. along with numerous possibilities for scholarships and financial incentives. and other eligibility criteria as established by the VA.S. Students are encouraged to try out the program and gain valuable life skills. student-veterans must maintain satisfactory academic progress as defined by the VA and their college. Upon graduation. In addition. books and stipends ranging from $300 to $500 monthly.gov/ survivors/. and any individual with a solid background in academics and physical fitness.S. Additional paid educational and training opportunities are available in the summer through the Army ROTC program. Army ROTC can be contacted at 513-556-3664 or on the Web at www. There are numerous opportunities available to all types of students in Air Force ROTC. Note: The ROTC programs at the University of Cincinnati may not fully comply with university nondiscrimination policies due to the selective process of military service. and military and adventure training. There are no additional costs associated with ROTC classes. call 513-556-2237. Special scholarships are available for nurses. Army Reserve and National Guard soldiers.gov/sgs/war_orphans/index.uc. Additionally. Department of Labor and the Social Security Administration offer a wide range of benefits and services to the survivors of U. They will serve four years.
please contact the appropriate college office or UC Creative Services. Vietnam-era veterans or disabled veterans. Questions concerning this policy should be addressed to the director at: Office of Equal Opportunity Suite 250. Call 513-732-5319 for questions. University Hall University of Cincinnati PO Box 210214 Cincinnati.
Content: All information contained in this Bulletin is current at time of production. the university will take affirmative action in carrying out its policy of nondiscrimination and equal opportunity for all.14 university of cincinnati General University information
The University of Cincinnati actively supports University Rule 3361:10-13. sexual orientation. color. religion. disabled. where past or present discrimination continues to have an adverse impact upon protected class members such as minority groups. Furthermore. All students are encouraged to meet with their advisers every quarter before registering for classes. national origin. sex. 513-556-3001. For updates to this Bulletin. women.
. status as a disabled veteran or veteran of the Vietnam era shall not be practiced in any of its programs or activities. disability. However. content is subject to change without notice. This Bulletin is intended for general informational purposes only. Current students should not use the program requirements listed here to plan their course of study. age. OH 45221-0214 Phone: 513-556-5503. Discrimination on the basis of race.
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