DMA Handbook Fall 2021 - Final Version

STONY BROOK UNIVERSITY
DEPARTMENT OF MUSIC
DMA HANDBOOK
Fall 2021
This HANDBOOK is a User’s Manual for the DMA degree, and a commentary on the departmental Degree
Requirements spelled out in the Graduate Bulletin. Read those Degree Requirements carefully. They are
official policy and are binding. You should also become familiar with policies of the Graduate School,
especially those expressed in the section Academic Regulations and Procedures and Degree Requirements of
the Graduate Bulletin.
The full text of this handbook is also available through the Blackboard website for graduate student
performers.
TABLE OF CONTENTS
Overview of the DMA

Important people
The First Year of the DMA

Registration in your first 2 semesters
Recitals
Recital Requirements (Baroque, New Music, DEI)
Accompaniment Procedures
Academic coursework (first year)
MUS 520 Music Research (course and waiver policies)
MUS 505/506 Musicianship
MUS 690 Practicum
Piano Proficiency and MUS 509
Foreign Language Requirements
Equivalencies
English not your first language
Singer requirements for languages
Exceptions for instrumentalists and pianists
Ensembles
Ensembles: SBSO
Ensembles: SBSO: post advancement
Ensemble: Jazz
Ensembles: Singers
Ensembles: Keyboard players
Chamber Music
Chamber Music policies--more detail
DMA Performance Contract
Secondary areas of concentration
Combined Violin/Viola degree
Juries
NY State Residency and Tuition
Second Year of the DMA

Registration in your third and fourth semesters
Lecture Recital
Lecture Recital--more detail
DMA Essay
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DMA Essay--more detail
Third Year and Beyond-Advancing to Candidacy

Advancing to Candidacy checklist
Maintaining full-time status/Academic level
SBSO--post advancement
Keyboard Collaboration-post advancement
Registration for G5 students
The Final Oral Exam
The Final Oral Exam: sample questions
The Final Recital
The Completion of the Degree
Graduation: Applying for graduation
Graduation: notification of your graduation plans
Graduation: the Doctoral Defense Form (DDD)
After the Final Doctoral Recital
Conferral of the Degree
Commencement
5. Additional Information and Important Details

Academic Honesty Policy
Grievance Procedures
Completion of the Degree
DMA Checklist
Leave of Absence
Sample Registration tables
General Building Policies and Housekeeping
Who Does What?
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THE DMA HANDBOOK
The Stony Brook DMA comprises four contract recitals, a lecture recital and a final recital, two
academic courses, a musicianship course, an introduction to library research, chamber music,
ensemble and/or collaborative requirements, a language requirement, for some students a piano
proficiency requirement, a DMA essay, a teaching practicum, and a final oral examination. It is
constructed so that your coursework should mainly be finished within the first two years, leaving
the last years of your DMA for preparation of your Final Recital and oral exam.
This Handbook will provide useful and necessary information about navigating the years of your
DMA, and is divided first by year, and then by sections related to the specifics of your
requirements.
Throughout this Handbook, there will be links to more information about all kinds of things, stored
in the Appendix. Make sure to click the links when you need more detail about everything from
chamber music to foreign languages to academic honesty.
The Stony Brook University website provides a wealth of important information about your life
during your DMA, and one of the most important sites is the Graduate Bulletin. The Graduate
Bulletin is the letter of the law—it contains the degree requirements, the admissions process, and
all the music course descriptions, as well as all the course listings for the entire University. When in
doubt, consult the Graduate Bulletin.
https://www.stonybrook.edu/sb/graduatebulletin/current/courses/mus/
IMPORTANT PEOPLE AND USEFUL RESOURCES

Many important people will be helping you navigate your degree work. There is your
performance teacher, whom you will see frequently for at least the first two years of your
degree, and you will also be assigned various advisors for your degree work throughout the
program. Your first stop for advising will be your performance teacher after your initial advising
sessions; they can answer basic questions and refer you to the appropriate contact for more
complicated issues.
Department of Music Administration and Staff, and Important Committees
The Chair of the Department: Perry Goldstein thru 08/21

perry.goldstein@stonybrook
Christina Dahl beginning 08/21
christina.dahl@stonybrook.edu
The Graduate Program Director (GPD) Christina Dahl thru 08/21
christina.dahl@stonybrook.edu
Erika Honisch from 08/21
erika.honisch@stonybrook.edu
The Graduate Program Coordinator (GPC) Monica Gentile (GPC)
monica.gentile@stonybrook.edu
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The Assistant to the Chair (ATC) Martha Zadok (ATC)
martha.zadok@stonybrook.edu
Concert Manager/Director of Pre-College Programs:
Michael Hershkowitz
michael.hershkowitz@stonybrook.edu
Audio engineer: Nick Nelson
nicholas.nelson@stonybrook.edu
Piano technician: Thomas Malenich
thomas.malenich@stonybrook.edu
Important committees, to which you will submit paperwork at various points along the degree:
The Graduate Studies Committee (GSC)

The Chair, the GPD, the GPC, faculty representing History/Theory/Ethnomusicology, Composition
and Performance, plus two student members. Email Music.GSC@stonybrook.edu
The Performance Studies Committee (PSC)

Appointed members of the Performance Faculty. Email MusicPSC@stonybook.edu
Blackboard
Blackboard is a Learning Management System used by the University and a great resource for
finding documents, forms, the Handbook, updated procedures, etc. Log in with your Net ID, and
go to Organizations, where you will find the Music Graduate Performance link, follow that link,
and then click on Documents.
Admissions and Advising Committee

Starting in Fall 2021, you will be advised by your performance advisor after your first semester
of school. However, when you first enter during orientation week, you will have a team of
advisors who will meet with you. This committee will have read your admissions file and essay
submissions, and will be familiar with your application. After the first couple of weeks of school,
you will direct questions about your degree work to your performance advisor, the Graduate
Program Director, or the Graduate Program Coordinator.
Who does what??

Please click this link to find a list of commonly asked questions and where to go for answers.
How does the Music building work?

Please click this link for a “housekeeping memo” with useful tips on hours of operation and other
info about the Music Building and Department.
THE FIRST YEAR OF STUDY IN THE DMA

The first big event in your Stony Brook life is orientation. During that time, you will participate in
assessments in History, Theory, and Musicianship, and if you are a singer, you will take a piano
proficiency exam.
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You will also receive your academic advising committee assignment and meet with your advising
team for the first time to work out your registration for the first semester. With your academic
advising team, you will work on a DMA Completion Checklist.
You will receive your academic level, which will appear as a G number (for example, G4). Based
on that number, you will register for 9 or 12 credits to become a full-time student. Being full-time
is crucial if you have a scholarship or tuition waiver and for maintaining your visa status if you are
an international student.
All incoming DMA students are designated G4, and full-time for G4 is 9 graduate credits.
Here are the doctorate academic levels, and the credit requirements:
G4—9 graduate credits exactly

G5—9 graduate credits exactly
RESIDENCY: four semesters of full-time registration are required before you can advance to
candidacy (advancing to candidacy is addressed in this Handbook during the Third Year)
BASIC FORMAT FOR REGISTRATION IN YOUR FIRST TWO SEMESTERS

● Your lessons (MUS 671)
● An academic course (one theory, one history—one course per semester)
● A large ensemble
● Chamber music
● A course called Practicum, designated MUS 690
● Musicianship (MUS 505/506), if you do not pass out on the basis of the placement exam
● Bibliography (MUS 520) unless you obtain a waiver for prior experience
● GRD 500 (research and academic honesty)
● Possibly a language course, based on your placement exams
And, you will likely try to perform two recitals during this first year, although some students end
up performing just one.
Singers have an additional requirement in the first year:

● Vocal coaching with Daniel Beckwith (MUS 577) is required during your semesters of
residency (14 coachings during your first four semesters, and seven coachings during your
semesters after advancement)
Click here for specific sample registration tables that will be useful for your specialty.
Now we will articulate your degree requirements in the first year in more depth, starting with
your contract recitals.
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RECITALS DURING THE FIRST (AND SECOND) YEAR
The core of your performance work for the DMA is a hefty requirement for performing six recitals
during the degree. We divide the recitals in this way:
● Four recitals called “contract” recitals
● One Lecture Recital (often abbreviated LR)
● One Final Recital, which is attached to a research project called the final oral exam.
SCHEDULING
Recitals are scheduled on campus, typically in the Recital Hall or the Cabaret Theatre, but you
can have one (and only one) off-campus recital during your degree. You cannot perform the Final
Recital off campus. You must complete three contract recitals before advancing to candidacy and
may perform the fourth contract recital after advancement.
Recital times are tightly booked, and when the concert manager announces the start of recital
scheduling, you should be on your computer exactly at the start time if you wish to get a desired
recital time. Your performance teacher needs to be at your recital, so please consult their
schedule when choosing a date. Your performance teacher will need to sign an approval form,
submitted to the Graduate Program Coordinator, for each recital that you perform.
Michael Hershkowitz is the Concert Manager (michael.hershkowitz@stonybrook.edu) and he will

publish the form you will use for reserving the Recital Hall, as well as an additional Stony Brook
Recital Handbook, posted to Blackboard.
ACCOMPANIMENT PROCEDURES
All instrumentalists and singers should be aware of our Departmental accompaniment procedures.
Please click on this link to read about our Keyboard Collaborative policy.
PROGRAMS
You will be responsible for writing out and printing your own programs, but you are encouraged
to use a template provided on Blackboard for this purpose. Consult the Recital Handbook on
Blackboard for detailed procedures regarding scheduling of recitals, recording your recital and
use of the Staller Center spaces. You must provide your recital program to the Graduate Program
Coordinator before you give your recital—failure to provide this program could hold up your
degree progress and lead to unexpected tuition costs.
Requirements for repertoire vary by instrument or voice, so be sure to consult with your
performance teacher. However, chamber music can be used on recitals, and each instrument has a
slightly different proportion of solo music to chamber music admissible on recitals. In addition,
your recitals should be at least 60 minutes long, unless you are a singer or a brass player. Again,
consult with your individual teacher—but typically a brass player might expect to provide 50-60
minutes of music on a recital program
Singers are allowed to use up to two opera roles for their recital requirements, but this should be
in consultation with their performance teacher.
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In addition, all students must speak from the stage regarding one piece on one of your recitals.
PUBLICITY
You should publicize your recitals with flyers around the Department, and any kind of
appropriate social media outlets. And, provide your concert information to Michael Hershkowitz,
who will publish the date and time with relevant information on the Departmental website. In
addition, the Recital Hall should have livestream capability starting Fall 2021, and you are
encouraged to use social media to promote your live stream links. Always check Blackboard (Mus-
Grad Performance—documents) for the most up-to-date information about recitals and
livestreaming.
CANCELLATION OF RECITALS
If you need to cancel your recital, you cannot do so less than three weeks before your date. If you
cancel within that three-week period prior to the recital, you will lose your Recital Hall privileges
for at least a semester. If there are extraordinary circumstances requiring your cancellation, you
must submit a petition to the GSC, providing information on the situation.
OUR NEW MUSIC EMPHASIS

All students in the DMA program are expected to program at least 60 minutes of challenging new
music at some point during their degree. This music can be spread across your six recitals, or it can
be concentrated on one program, but this is a core degree requirement. Challenging new music is
typically written within the last fifty years, but there are exceptions to this (for example, a large
sonata of Charles Ives would be considered a challenging work). Think in terms of rhythmic and
notational difficulty in assessing works for this requirement.
BAROQUE REQUIREMENT
In addition, most studios require a significant work of the Baroque or Pre-Baroque on one of your
recitals.
DIVERSITY, EQUITY, AND INCLUSION

We are committed as a Department to the values of equity, diversity, and inclusion in our
curriculum and in our programming, and these principles should guide the discussion and choice of
repertoire on all recitals.
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ACADEMIC COURSEWORK IN THE FIRST YEAR
You will take two academic courses during the first year of your degree: one analysis/theory
course and one history or ethnomusicology course. You take one course per semester. Music history
courses engage with music of the past; ethnomusicology courses engage with music
anthropologically, as a cultural phenomenon; and music theory courses engage with music
analytically.
Analysis/Theory course numbers:
● MUS 502 Proseminar in Tonal Analysis

● MUS 504 Analysis of Music of the 20th and 21st Centuries
● MUS 538 Phenomenological Approaches to Music Analysis
● MUS 557 Topics in Theory
● MUS 559 Topics in Analysis
History/Ethnomusicology course numbers:
• MUS 500 Introduction to Music Research

● MUS 503 Music in the 20th and 21st Centuries
● MUS 507 Studies in Music History
● MUS 534 Opera Studies
● MUS 535 Lecture-Workshop in the Performance of Baroque Music
● MUS 536 Area Studies in Ethnomusicology
● MUS 537 Research Methods in Ethnomusicology
● Any courses numbered from MUS 539-555
You must get a B or better in your academic course in order to get credit for taking it. If you get
a B- or lower, you will be required to take another course. You will write papers in both courses,
and if you receive a B or better on your paper, it may be eligible for revision as your DMA essay
(this essay is the required expansion of a paper from one of your seminars in the second year of
your studies.)
You will choose your courses with advice from your advisors, who will look at your placement
exam/assessment results and talk with you about your experience in theory, analysis, history or
ethnomusicology. You are welcome to take an MA/PhD-track course (MUS 537 and above) but
you must consult the professor for permission to enroll. These courses are designed for HTE
students and require more reading and more complex texts than those assigned in the MM/DMA
courses.
MUS 520 MUSIC RESEARCH

This is a required course for all incoming DMA students, taught by the Head Music Librarian, and
offered as a short series of units (typically five weeks.) It is 0 credits and introduces students to
music library resources and music research fundamentals.
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You can petition to waive this course if you have taken a music-research and/or music
bibliography course during your previous studies. In order to waive this course, you must provide
the Graduate Program Director with the following:
● A signed waiver form, found on Blackboard (Waiver of MUS 520)
● A syllabus from the course you took
● Proof that you got a B or better in the course (the GPD will check your transcript)
MUS 505 and 506 MUSICIANSHIP

If you did not do your Masters at Stony Brook, you will need to take a Musicianship placement
exam during orientation. Many entering graduate students end up needing to take one or two
semesters of Musicianship, depending on the results of your placement exam. This course will be
engaged in sightsinging and dictation for tonal and post-tonal repertoire in the Western classical
tradition.
MUS 509 PIANO PROFICIENCY (Piano for singers and composers)

Singers must take a piano proficiency exam during orientation, and if you do not pass the exam,
you will be required to take one or two semesters of secondary piano lessons. These lessons will
be taught by the piano TAs, and you will be required to do a piano jury at the end of each
semester.
You can also take piano lessons for fun, or because it would be useful. Again, you would sign up
for MUS 509 (graduate secondary piano lessons).
Even if you have taken the piano proficiency exam, you should sign up for the Undergraduate
and Graduate Secondary lesson audition with the piano faculty and head piano TA, held during
the first week of school if you intend to register for secondary piano lessons. This will help us to
assign you to an appropriate teacher. Piano proficiency exams will contain sightreading, at the
level of Bach chorales and the Bartok Mikrokosmos, and if you have any pieces prepared, you
will offer them during the audition.
GRD 500
This is a single-session seminar, but it is a degree requirement, and required by the University. It is
designed to help you understand your rights and responsibilities as a member of an intellectual
community. You will meet in one session and have a few online assignments. This short course
covers the extremely important topic of academic honesty. This course is required in the first
semester for all incoming students. Please click the link on GRD 500 for our academic honesty
policy.
MUS 690 PRACTICUM

You must register for MUS 690 in every semester that you are enrolled full-time in the program at
Stony Brook. (Please see Third Year and Beyond for an exception to this for students living
abroad after advancing to candidacy). This is a practical training course, and you will receive a
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syllabus for this through Blackboard. It covers practical training in activities related to the
professional work of a performing musician, including solo and ensemble performance, coaching,
teaching, internships, and related work, both on-campus and off-campus. All coursework is
fulfilled by your activities as listed above. Click here for University policy on teaching for doctoral
students.
Toward the end of each term, you will be required to submit a form in which you provide
information about non-degree performances and/or teaching that you have undertaken during
the term. This form is emailed to the Graduate Program Director and cc’d to your major teacher.
Your teacher will approve the work, and the Graduate Program Director will assign grades
based on the approval of your teacher and timely submission of the form.
International students who will be doing CPT in the summer or winter terms are required by Visa
and Immigration Services to enroll in MUS 694 for 0 credits in those terms. For summer, this
registration will be Summer Session 0 (not Session 1 or 2).
FOREIGN LANGUAGE REQUIREMENTS

Language requirements are different for pianists/instrumentalists, singers, and harpsichordists. So,
depending on whether you are a singer, a harpsichordist, or a pianist/instrumentalist, you may
have one or two language courses during this first year of study.
All three different groups (pianists/instrumentalist, harpsichordists, and singers) must demonstrate
the equivalent of at least one year of foreign language study either by passing something called
the Language Equivalency Exam, or by taking a year of a language course.
Make sure to click the title above for all the details about the foreign language requirement for
your DMA—this is especially important for singers, who have a much bigger language
requirement, and harpsichordists, who have additional language requirements. The Appendix
explaining languages also provides information for non-English speaking students who wish to use
English as their language, and also information about petitioning to use other languages for your
requirement.
MUS 599—INDEPENDENT STUDIES (explained)

It may not always work to get your registration to 9 credits, exactly—especially for singers in the
first two semesters who need to take coaching as well as lessons, and who have a larger foreign
language requirement. MUS 599 is a variable-credit course that can be used to “substitute” for a
larger credit class (like your academic, 3-credit course). You register for MUS 599 instead of the
course (under the course instructor’s name/section) and fill out a form that is submitted to the GPC,
indicating the substitution. The MUS 599 form is in Blackboard.
ENSEMBLE REQUIREMENTS
Below are some details about the ensemble requirement during the first year and second year of
your DMA study. Please note that ensemble requirements extend beyond advancement to
candidacy in many cases: you should note that you are required to play in Ensembles in every
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semester of full-time residency and for the purposes of our Ensemble requirements, full-time
residency is defined as full-time lessons from your major teacher, not proximity to Stony Brook.
For most instrumentalists, there will be SBSO (Stony Brook Symphony Orchestra) requirements
after your first two years, but those will be described in more detail in the section about
Advancing to Candidacy. Jazz Department students are required to play in the Stony Brook
Large Jazz Ensemble, affectionately known as The Blowage, MUS 568. Pianists and
Harpsichordists take Keyboard Collaboration for their ensemble credit, and Singers take Opera
Workshop.
STONY BROOK SYMPHONY ORCHESTRA (MUS 565)

The Director of SBSO is Alan Kay
The SBSO plays six to seven concerts per year and meets for approximately 10 days prior to the
concert. There are two required composer orchestral readings per year. There will be sectionals
scheduled as well as full rehearsals, and you are required to attend all rehearsals. However, the
SBSO meets primarily during the days adjacent to the concert (with the exception of opera
weeks, or when there is an additional sectional), so this ensemble requirement mimics the work you
might do in a professional orchestra, and less closely resembles a typical university symphony
rehearsal schedule.
The requirement is that you are available to play in every concert for the season before
advancement to candidacy. Attendance is taken.
You can petition to be excused from a concert for a notable professional engagement, but you
should know that even with an approved petition, you can only have one excused concert per
year. After your one excused concert, your letter grade will drop for every subsequent concert
you miss, whether your petition to miss the concert was approved or not. You must use the
Orchestra Excuse Form available on Blackboard to petition.
You will be considered to have missed an orchestra week if you have more than one absence at
rehearsals for the week. There is a petition system for missing a rehearsal.
Please see the Orchestral Policies Document on Blackboard as well as the current syllabus, also
posted on Blackboard.
STONY BROOK LARGE JAZZ ENSEMBLE (MUS 568)

The Director of the Blowage is Ray Anderson
The Blowage, as it is known, meets every Monday night from 7-10pm. There is a concert at the
end of each semester, and other concerts may be scheduled during the semester.
OPERA WORKSHOP (MUS 579)

The Director of the Opera Program is Brenda Harris
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Singers are required to enroll for four semesters in Opera Workshop, and may be required to
participate beyond advancement, depending on full-time status.
COLLABORATIVE KEYBOARD (MUS 586 AND MUS 587)

The Director of the Keyboard Program is Gil Kalish
Just as the singers must enroll in Camerata and/or Opera Workshop, and all instrumentalists must
enroll in SBSO, all keyboard players must enroll in Collaborative Keyboard each semester of
your residency. Residency is defined as full-time lessons with your major teacher. Click the link
above for more detail about Keyboard Collaboration.
CHAMBER MUSIC
All students are required to play chamber music for four semesters, so you will be enrolled in one
of the following courses during both semesters of your first year. You can satisfy the chamber
music requirement by taking one of these courses:
● MUS 573 Graduate Chamber Music

● MUS 584 Baroque Ensemble
● MUS 596 Contemporary Chamber Players
● MUS 597 Small Jazz Ensemble
Click here for more details about the chamber music program.
THE LAST STEPS IN YOUR FIRST YEAR—THE DMA

PERFORMANCE CONTRACT
The DMA performance contract is submitted at the end of your first year of study, and lists all the
repertoire you have played on your first one or two recitals (depending on what you have
finished in the first two semesters) as well as a list of the chamber music you have performed, the
contemporary music you’ve done, and a proposed repertoire list and/or recital programs for all
the rest of the contract, lecture and Final Recitals.
Developing your ideas for your course of study is a significant part of your journey through the
DMA, and this contract will be submitted to the Performance Studies Committee (PSC), who will
look at whether you have at least 60 minutes of challenging new music, whether you have a
significant work from the Baroque or Pre-Baroque, and whether your programs are of sufficient
length.
You must include dates of composition, as well as lengths for all your repertoire. The contract will
be returned to you for revision if these items are missing.
Your contract is due by the end of the second semester of your studies, and you will receive
reminders about this from the GPC. At the time you submit your Performance Contract, you will
also submit your Lecture Recital form, proposing your Lecture Recital topic and requesting a
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secondary academic advisor for that recital. Your performance teacher functions as your primary
advisor for the Lecture Recital. If you do not meet the deadline for submitting your contract, your
TA (if relevant) and future doctoral work could be in jeopardy. And, if you do not submit the
contract by the end of your third semester, you may be dismissed from the program.
Your contract is signed by your performance advisor, but it must be ratified by the PSC. You
should take the opportunity to discuss your repertoire, your plans, and your ideas about the
Lecture Recital with your performance advisor before filling out the contract.
Additions and Revisions: any changes to the performance contract in the form of additions and
revisions (like changes in repertoire) must be submitted to Monica Gentile using the
Addition/Revision form found in Blackboard. This form will go to the PSC for review.
SECONDARY AREAS OF CONCENTRATION: You may decide, based on your research interests
and previous study, that you would like to do a concentration in a secondary area during this first
year, and as you discuss the DMA contract with your performance advisor. Students wishing to
add a secondary concentration in History, Theory, Ethnomusicology, or Composition will need to
apply to those programs separately.
In order to qualify for a secondary area, you must get approval from the faculty in that area. So,
for example, if you are a performer wishing to declare composition as a formal area of
secondary specialization, you must submit compositions to the composition faculty for review and
be accepted by that faculty.
Secondary area of concentration: combined Violin/Viola degree
JURIES
There are two juries required during your first two years. The first one is ten minutes long and
presents two works in contrasting style. You cannot present two movements from the same work,
and generally things like excerpts are not acceptable for the jury. You can present a single
movement from a work, rather than the complete work if it contains multiple movements.
The second jury is called your Final Jury, and it is twenty minutes long. This jury contains at least
three works in contrasting style. Again, three separate pieces, not three movements of the same
work. We prefer if you offer more than twenty minutes so that the jury can choose what they
would like to hear. We will stop you when your time limit is reached.
Typically, the first jury is played at the end of your first year, and the final jury is played at the
end of your second year. However, some students for various reasons choose to play their juries in
the Fall, either after one semester, or after three semesters.
The entire faculty sit on the juries, so you can expect to see a serious amount of performance
faculty at your jury. You are graded on a pass/fail basis, and if you fail, you will be required to
re-do the jury. You will be prompted by the GPC to sign up for a jury time as we near the end of
each semester. When you are signing up for a Final Jury (20 minutes) make sure to take two spots
on the jury sheet--and also make sure your performance teacher is going to be in attendance on
your chosen jury day.
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NY STATE RESIDENCY AND YOUR TUITION GOING INTO THE
SECOND YEAR:
You must establish New York state residency by the end of your second semester, so you must
begin the process of establishing residency as soon as you arrive in New York. The University
policy is that all domestic students can establish residency by the second year, so if you have a
tuition scholarship, it will be assessed for the second year based on the assumption that you have
become a New York state resident. (Please note that international students are exempt from
establishing residency)
This means that if you do not take steps to establish residency, you will be billed for out-of-state
tuition, but if you have a scholarship from the Department, it will cover whatever portion of in-
state tuition you are receiving, and you will be responsible for the difference.
This is University policy, not Departmental policy, which means we cannot intervene if you fail to
take steps to establish residency. Please visit the residency page on the Stony Brook University
website for the application for residency, as well as relevant deadlines.
University website for residency questions:

https://www.stonybrook.edu/commcms/sfs/residency/index.php
THE SECOND YEAR OF STUDY IN THE DMA

The second year of your DMA contains many of the same things you have done in your first year,
but includes two very significant and important degree elements: the DMA Essay revision, and the
Lecture Recital.
A typical schedule for the second year would look like this:
● MUS 671 Lessons

● Ensemble
● Chamber Music
● MUS 690 Practicum
● MUS 695 (DMA Essay Tutorial) and MUS 696 (Lecture Recital) taken in consecutive
semesters
You see that you no longer have an academic course in either semester, but you will be doing the
Lecture Recital in one semester, and the DMA essay revision in the other semester. You will still
have Ensemble requirements as detailed in the first year (SBSO for instrumentalists; Camerata or
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Opera Workshop for singers; Keyboard Collaboration for pianists and harpsichordists). And, you
will enroll in chamber music as detailed above in the first year (Chamber Music, Baroque
Ensemble, CCP, or Jazz Ensemble).
There is a system for registering for MUS 695 and MUS 696
• If your last name starts with A-Ma, you will register for MUS 695 in the third semester
(Fall), and MUS 696 in the fourth semester (Spring).
• If your last name starts with Mb-Z, you will register for MUS 696 in the third semester
(Fall), and MUS 695 in the fourth semester (Spring).
THE LECTURE RECITAL

The Lecture Recital is an event during your second year that synthesizes the fundamental skills
developed in the first year of the DMA, namely (1) research; (2) analysis; (3) performance, and
(4) effective communication. You will submit a Lecture Recital proposal and description to the GSC
for comments and suggestions within the first month of the semester in which you are enrolled in
MUS 696. Preparation for the performance will take place over the course of the semester and
will be informed by the insights that emerge in the process of developing the project.
Really important: you must attend three Lecture Recitals BEFORE you can register for the Lecture
Recital course (MUS 696). If you haven’t attended three recitals, you will not be allowed to
register for MUS 696, and this could mean that your progress towards advancement gets
delayed, resulting in tuition liability. Please attend three recitals in any of the semesters before
the semester in which you register for MUS 696.
Click here for a detailed description of the preparation process, which involves several steps and
several documents, as well as a timeline for the semester in which you actually prepare and
present your lecture-recital.
THE DMA ESSAY

During your two academic courses, you will generate papers. In each of your seminars you will
write a term paper. If those papers receive a B or higher, they may qualify to serve as your DMA
essay. You will revise one DMA essay during your second year of study, and it will go through a
more rigorous process of revision than any of your other papers. You should confer with the course
instructor from which your proposed paper comes in order to identify the best paper to use for
your DMA essay.
Keep your papers from both courses—based on the advice of your course instructors you will
choose which paper to use as your DMA essay.
You must receive a B or better in the course from which you choose the paper, and a B or better
on the essay itself in order to use the paper for your DMA essay.
If you have not received a B or higher in either of your academic courses, or if none of your
papers has received a B or higher, you will be required to take another academic course in your
second year of study in order to develop the skills necessary for writing a paper at this level. This
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will slow down your progress towards advancement and could have real implications for your
financial aid.
Click here for more detail about the DMA essay.
RECITALS IN THE SECOND YEAR

Your contract recitals will continue in the second year. Most people plan to do one contract recital
+ their Lecture Recital in the second year of the DMA. But this is entirely up to you and is based
on what you decided with your performance teacher and articulated on your DMA contract.
Revising the DMA Performance Contract: If you find that you’re beginning to revise your original
ideas for repertoire during this second year, you must fill out an Addition/Revision Form and send
it to the GPC with your changes. The GPC will send this to the PSC for review, and you can
proceed forward. Remember—when you make changes, the PSC will still be looking at the
proportion of new music in your whole program. Recital revision forms can be found on
Blackboard.
YOUR THIRD YEAR AND BEYOND

ADVANCING TO CANDIDACY
At the end of your second year, you will be expected to have completed all requirements
necessary for advancing to candidacy. Advancing to candidacy is an important marker in your
DMA career, and especially important for your funding. If you had TA support or a scholarship, it
will end at the end of your fourth semester. However, if you have successfully advanced to
candidacy, the Graduate School will provide tuition support for the next six semesters (three
years). So, advancing in four semesters is truly important. You should work with your performance
teacher and your academic advisor throughout your first two years to make sure you are on track
for advancing.
Here are the degree requirements that you must have completed in order to advance to
candidacy:
● You must have completed or waived MUS 520 (Music Bibliography)

● You must have completed or passed out of MUS 505/506 (Musicianship)
● You must have completed GRD 500
● You must have passed out of your piano proficiency requirement if you are a singer
● You must have played three of your four contract recitals
● You must have played and passed both your juries.
● You must have completed four semesters of chamber music
● You must have completed four semesters of ensemble as articulated earlier in the
Handbook
● You must have taken four semesters of performance lessons
● You must have completed four semesters of MUS 690 Practicum
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● You must have successfully presented your Lecture Recital, and completed MUS 696
● You must have finished the revisions for your DMA essay, had it approved by all the
appropriate faculty and completed MUS 695
● You must have satisfied the language requirement (note: there are exceptions for those
students whose program requires more than one language)
● You have to have completed your two academic courses (one history/one theory) with a
grade of B or better
● You must fill out a Petition to Advance Form and have submitted it to the GPC.
You should meet with your performance advisor during your fourth semester to make sure you are
on track for finishing. This is a hefty list of requirements and requires focus and discipline to
complete in four semesters.
There is a checklist for completion of the DMA contract posted on Blackboard (Graduate
Performance Students-Documents) which will assist you in keeping track of everything you need
for finishing.
IMPORTANT FORMS: In addition to the signature sheet for your DMA essay, you also must obtain
Recital Approval Forms for your contract recitals. Give these to your performance teacher after
each recital so that they can sign—you then return these forms to the GPC.
Remember that you must have your MUS 690 Practicum form filled out for each semester—the
GPD will take care of obtaining your performance teacher’s signature for this
ADVANCING TO CANDIDACY AND MAINTAINING FULL-TIME

STATUS
You will be notified by the Department when you have been officially Advanced to Candidacy,
and at that point your academic level will change from G4 to G5.
G5 students have very specific instructions for enrolling—but this is a good thing, because if you
enroll correctly, your tuition will now be covered by the Graduate School for six semesters.
When you are a G5 student, you are expected to take the bulk of your credits in a course called
Dissertation Research. This is a variable credit course, but you need to maintain at least 5 credits
of dissertation research to maintain your funding. There are three course numbers associated with
dissertation research, and which one you register for depends on where you are living at the time.
You must maintain full-time status the entire time you are a G5 student if you wish to receive
Grad School tuition funding. And, if you are an international student, you must be in touch with VIS
about requirements to maintain full-time status for your VISA and make sure that you are in
compliance. The Dissertation Research sections are as follows:
MUS 699 is for students living in the NY region
MUS 700 is for students living outside the NY region, but in the United States and mainly doing
work off campus
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MUS 701 is for students living outside the United States where you are mainly doing your work
outside the country
Your obligation to your Ensemble credit is linked to your registration for one of these three
sections of Dissertation Research. But, your ensemble credit is also tied to whether you are having
full-time, or partial lessons with your performance teacher.
Full-time lessons are defined as around 14 lessons per semester.
Partial lessons are defined as 7 lessons or fewer per semester.
SBSO OBLIGATION AND YOUR DISSERTATION RESEARCH SECTION

MUS 699 + full-time lessons=full-time obligation to play in SBSO
MUS 699 + partial lessons=partial obligation to play in SBSO (one concert per semester)
MUS 700 + full-time lessons (keeping in mind this means you would be having full-time lessons,
but living outside the NY region) =full-time obligation to play in SBSO
MUS 700 + partial lessons=partial obligation to play in SBSO (one concert per semester)
MUS 701=no obligation to play in SBSO, unless you are taking lessons. If you are engaged
actively in online lessons with your performance teacher after you are advanced to candidacy,
please discuss with your teacher whether you should have a partial obligation to SBSO.
Your performance teacher will be in touch with the Director of SBSO during seating assignments
at the start of each semester and will notify the Director if you are taking full-time or partial
lessons. At that point you will be seated accordingly.
KEYBOARD COLLABORATION AND YOUR DISSERTATION RESEARCH

SECTION (for pianists and harpsichordists)
The Keyboard Collaboration requirement is tied completely to your number of lessons, and what
the piano department decides is your involvement in the program. If you continue to have lessons
while Advanced to Candidacy, you will be expected to fulfill your full-time keyboard
collaboration obligation UNLESS you are in MUS 701 status. (living internationally).
SAMPLE REGISTRATION FOR G5 STUDENTS

For an instrumental student living in the NY region and having weekly or partial lessons:
● MUS 671 lessons for 1 credit

● MUS 565 SBSO for 1 credit
● MUS 690 Practicum for 1 credit
● MUS 699 Dissertation Research for 6 credits
For an instrumental student living outside the NY region, but in the United States and having
weekly or partial lessons:
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● MUS 671 for 1 credit
● MUS 565 SBSO for 1 credit
● MUS 690 Practicum for 1 credit
● MUS 700 Dissertation research for 6 credits
For all students living outside the United States and having partial or weekly lessons
• MUS 671 for 1 credit

• MUS 701 for 7 credits
• MUS 690 Practicum for 1 credit
• (discuss SBSO obligation with your teacher)
For all students living outside the United States and not having lessons
• MUS 701 for 9 credits
For keyboard players, you would register for MUS 586 Keyboard Collaboration for 1 credit in
all semesters that you are having regular lessons, MUS 671 for lessons, the appropriate
Dissertation Research section for your location, and MUS 690 Practicum.
YOUR FINAL RECITAL AND ORAL EXAM

The last recital you will play at Stony Brook is called your Final Recital, and prior to the recital
you will sit in a 2-hour exam with your performance teacher, another performance faculty
member, and an assigned academic advisor. The Graduate Performance Director will get this
committee convened and will work with you to schedule a time for the final oral. It is generally not
a good idea to schedule the oral on the same day as your Final Recital—this is heavily
discouraged.
There will be an external evaluator for this recital, and you are not allowed to be in touch with
this person, nor should you know their name. Your performance teacher and the GPD will arrange
this.
Many details about graduation and completion are in the Appendix, so make sure to click here
for details about scheduling your Final Recital, your final oral exam and signaling to the GPD and
the GPC your intention to finish the degree, including filling out the Dissertation Defense Form.
THE FINAL ORAL EXAM

This is a two-hour exam which tests your knowledge about the repertoire you are playing on the
Final Recital.
Questions will range across many topics, including theoretical questions, historical context,
interpretive issues and context, and any other related issues pertinent to your program. You
should study for this exam like you would for an academic “field” exam: that is, you must
demonstrate a depth and breadth of knowledge about the works you are playing, the time
period in which they are situated, and the context of the composer’s own works as well as
significant works by other composers surrounding the work in question. This exam is designed in
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part to discover whether you have the information necessary to teach these works, or to speak
intelligently and accurately to the public.
Click here for sample questions on a Final Oral Exam.
The Prospectus
In preparation for the exam, you will submit a Prospectus. This is a document of around 10 pages
plus a bibliography which will discuss each piece on your program and give an overarching sense
of your programming choices. This document will guide your examining committee in following the
direction of your research, so it’s important for the oral exam that your prospectus give a good
sense of your studies and your ideas about the program.
You will need a signature both from the academic advisor assigned to your Final Doctoral
Committee and your performance teacher on the prospectus in order to graduate.
Your prospectus must be submitted to the GPC at least two weeks before your scheduled Oral
Exam, or the exam may be cancelled, and your ability to graduate will be in jeopardy.
Materials for the Exam

You need to provide scores for each member of the committee, or you must be in touch with them
all about their use of electronic devices.
If the committee is using computers or tablets, you should scan your own scores—making sure
there are measure numbers! —and provide those. Do not send links to IMSLP. Not only is this a
copyright violation, it’s just downright lazy and it also usually means that your scores will not have
measure numbers, which ensures that everyone in the room will become cranky. Moreover, the
scores on IMSLP are often error-filled, or reflect outdated editorial recommendations. When at all
possible, use Urtext editions. If there is an autograph of the score, you should consult it. In modern
editions of Baroque works, make sure that you know which markings are editorial, and which
reproduce the composer’s indications.
You should also provide a copy of the prospectus for each committee member, as well as any
diagrams.
Part of your preparation should entail a thorough analytical review of the pieces so that you are
able easily to answer questions about form, structure, harmony, etc. For tonal works, you should
be able to provide an explanation of the tonal structure, and for new music, you will need to
provide a context and coherent account of the pitch language.
You are free to use your notes and materials in the exam, and it is really all right to say, “I’m
sorry, but I do not know that.” We want to get a sense of how you can handle yourself in this
situation, and part of that is your ability to adapt during the two hours.
THE FINAL RECITAL

For your recital you are required to write program notes. These will be attached to your
program.
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This recital is officially recorded by the Department so that a copy of the recording can be
provided to your external reviewer. It is your responsibility to collect the recording from the audio
engineer, but you should provide the recording (or link) to the GPC, who will distribute the
recording to your outside reviewer.
AFTER THE FINAL RECITAL

Your recital will be evaluated by your performance advisor, your academic advisor and your
external evaluator. You may request to see comments from these three evaluators.
In order to submit your recording:
● You must provide a link to the online video or audio recording of the recital to the GPC.
● You must submit the link along with one copy of the recital program to the GPC as soon as
possible after the recital, but no later than three days after the performance.
● You should plan to make a “back-up” recording of the recital, in case something happens
with the Department recording.
● If your performance teacher or academic advisor was not able to attend, you need to
provide them with recordings.
● The GPC will send your recording link to the external evaluator.
CONFERRAL OF THE DEGREE

Upon receiving positive evaluations from your reviewers (your teacher, your academic advisor
and your external evaluator) the Department will forward a Degree Completion Statement to the
Graduate School.
Your recording will be archived in the Music Library.
COMMENCEMENT
You are encouraged to attend the December or May commencement ceremony and to participate
in the Doctoral Hooding Ceremony! Please let your performance advisor know if you plan to
attend, so that they might make plans to be there. Those with December degrees are free to walk
in the May commencement. If you completed almost all requirements for the degree in May, but
receive an August degree, you may attend the preceding May graduation.
There is a separate Department ceremony, usually held in the Recital Hall.
Congratulations! You have read the whole DMA Handbook, and you may be in the process of
receiving a degree from Stony Brook! Please do make sure to read the Important Additional
Information and More Detailed Explanations below, as needed during relevant points in your
degree.
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IMPORTANT ADDITIONAL INFORMATION AND MORE
DETAILED EXPLANATIONS
FOREIGN LANGUAGE REQUIREMENTS EXPLAINED IN MORE

DETAIL
Please note: we are in the process of amending the foreign language requirements, but these
changes will not be in effect for Fall 2021. When they go into effect, the new students entering
the program will follow the new guidelines. But, if you enter in Fall 2021, you are governed by
these current guidelines:
For instrumentalists and pianists, the languages you can use for this purpose are
● French
● German
● Italian
● Spanish
For harpsichordists, the languages you can use for this purpose
● French
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● German
● Italian
For singers, you must demonstrate this proficiency in three of these three languages:
● French
● German
● Italian
The department requires language knowledge equivalent to one full year of collegiate study. The
equivalency exams in any of these languages are administered by the Language Learning
Research Center (LLRC) at Stony Brook, and you can sign up for an equivalency test at the
beginning of the school year, and at certain points during the year. If you pass the equivalency
test, which includes examining you on grammar and syntax, vocabulary, some reading and some
verbal skills, your language required is considered fulfilled. (Remember: for singers, you must take
two of these tests). You may pass out of one semester of language study but discover that you
have not passed out of the second semester—in that case, you will need to take the second
semester language course.
However, if you take an exam with the LLRC and do not pass, you CANNOT take the exam again
in the same language, so make sure you are prepared for the exam.
You can fulfill the language requirement in one of these ways:
● Pass the placement exam: take the placement exam detailed above, administered by the
LLRC and pass it. You’re done!
● Take a year-long language course on campus: You must earn a B or better in a language
course offered at Stony Brook. The Language Department only offers one language per
year, on a rotating basis. Typically the rotation includes French, German or Italian.
● Take an approved course at another institution after you become a student at Stony Brook
(previous language study is not accepted). The course must be approved by the Graduate
Program Director prior to you taking the class. In order to obtain this approval, you must
provide as much information about the course as possible (syllabus, bulletin description,
etc). Once you have approval for the course, you must pass it with a B or better, and
provide the Graduate Program Coordinator with a transcript for the course.
● Or, if English is not your first language and you are not a harpsichordist or singer, you can
fulfill this equivalency by demonstrating sufficient competence in English through this
method:
Satisfying the University requirement of OAE 594 and getting a grade of

B or higher in WRT200 (Grammar and Style for Writers) AND in one of
the following: WRT 201 (Writing in the Disciplines: Special Topics); WRT
302-G (Critical Writing Seminar);
WRT 303 (The Personal Essay); WRT 304 (Writing for Your Profession) or
WRT 381 (Advanced Analytic and Argumentative Writing)
VERY IMPORTANT NOTE ABOUT TAKING LANGUAGE COURSES AT STONY BROOK
The Department of European Languages offers the year-long course you might take if you choose
the second option above (taking a language course at SB and passing with a B or better).
24
However, they are actually undergraduate courses that have a graduate course number attached
for you. You must NEVER register for an undergraduate course number, because this will cost you
a lot of money. So, the courses that you take will be numbered like this:
● FRN 591 (French)
● GER 591 (German)
● ITL 591 (Italian)
even though these will actually be undergraduate first-year classes. Make sure to register for the
correct graduate designation. Information on enrolling in these classes is posted on Blackboard
(Documents-Foreign Language Instructions on Enrolling)
SINGERS: SPECIAL REQUIREMENTS AND EXCEPTIONS for languages

Singers must have three equivalency languages and must also demonstrate reading proficiency in
two languages. You fulfill your two equivalencies in the ways detailed above. However, for
singers, one of your language equivalencies CAN be fulfilled by a language course taken
previous to matriculation at Stony Brook.
You must alert the Graduate Program Director to your transcripts from your previous collegiate
studies and must show that you have taken the equivalence of a year of 111/112 (591/592)
from another school and received a B or better.
Singers must also have a reading knowledge requirement in two languages. Those languages are
● French
● German
● Italian
● Russian
A reading knowledge includes a higher level of reading competency, with emphasis on music
terminology, and does not have a verbal component.
There is only one way to pass your reading knowledge requirement, and that is by taking a Music
Department translation exam. This test is only given at the beginning of each semester, and
typically lasts 1.5 hours long.
So, for singers you have two kinds of exams:

● Equivalencies (administered by the LLRC or fulfilled by a class)
● Translation exams (administered by the Department)
AN EXCEPTION TO THE LANGUAGE REQUIREMENT FOR INSTRUMENTALISTS AND PIANISTS (BUT

NOT SINGERS OR HARPSICHORDISTS)
If you are undertaking research that requires expertise in a language other than French, German,
Italian or Spanish, you have the option to petition to use another language. However, you must
submit a petition to the GSC to get approval for this, and your petition must include these
elements:
● A fully developed research project that includes a description of the research and
justification of its relevance to the student’s research and performance goals.
25
● An annotated bibliography of the research materials that will be in the other language.
● Endorsement by your performance faculty and academic advisor, as well as the faculty
member overseeing this research.
If this petition is accepted by the GSC, the Graduate Program Director will discuss the means
through which your ability will be tested in the proposed language. Please be advised that this
might entail a testing fee.
RETURN TO DOCUMENT
Teaching:
The equivalent of two semesters of teaching is the minimum requirement for the degree. At least
one semester of classroom teaching is strongly recommended, particularly for those who may seek
college, conservatory, or university employment. If you have a teaching assistantship, this will
satisfy the teaching requirement. Unfortunately, the department is not able to offer teaching
assistantships to every student in the Doctoral program. In most cases, however, other teaching
experience will also fulfill this requirement.
In the “Teaching” section of the contract you should list all of your previous and current teaching
activities, including dates, the subjects you have taught, names of institutions for which you have
taught, and the level (college or pre-college) of students you have taught. List private teaching as
well (this may be summarized if your experience is extensive). Faculty who supervise teaching are
periodically asked to submit formal reports on the work of Teaching Assistants. The Chair of the
Music Department makes teaching assignments. Requests for particular assignments should be
submitted to the Chair.
Return to document
KEYBOARD COLLABORATION IN MORE DETAIL

DMA pianists enrolled in MUS 586/587 must play the equivalent of 2.5 recitals for
instrumentalists and/or singers. Approved performances which count towards your recital
requirement include
● A piece, or multiple pieces on someone’s degree recital

● Performance of a piece on the Library Concert series
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● Performance of someone’s jury (calculated as 1/8 of a recital)
● Performance with an undergraduate studying with a major performance faculty member
on their UG degree recital.
The procedure for getting credit for playing recitals is as follows:
● You must submit a program for each recital (graduate or undergraduate degree) or
Library Concert on which you play a piece for someone to Gil Kalish
● You must submit a list of jury repertoire and dates to Gil Kalish
● You must then take the recital programs which are approved and annotated by Gil to
Martha Zadok and input them into your register with her.
Once you have received credit for 2.5 recitals, any additional performances will be paid at some
fraction of the price for a full recital, which is $400.
Anyone who is no longer in residence but continues to play for instrumentalists and singers can
receive payment through the same system.
Harpsichordists are required to play 1 full recital for this credit, submitting their programs in the
same fashion. The remainder of the MUS 586/587 requirement is considered fulfilled when they
are concurrently signed up for MUS 584, Baroque Ensemble.
Please note: playing for graduate auditions is not part of this credit or payment system and is
handled differently. Please see Keyboard Collaboration Protocols on Blackboard for more
information about this.
Also important to remember: you will have a Keyboard Collaboration requirement for every
semester that you receive applied lessons, even following advancement to candidacy.
For singers and instrumentalists: the head piano TA will publish a set of procedures for
obtaining an accompanist (for the past couple of years we have used an online request system,
for example.) Please be in touch with Christina Dahl or Gil Kalish if you do not know who the
Head Piano TA is. In general, we can supply a collaborative pianist for your recitals, juries, and
concerto competition performances--but be aware that we do not retain staff pianists. So, your
fellow colleagues in the program (who are not specifically doing collaborative degrees) will be
your accompanists.
You can expect that they will play one or two lessons for you in preparation for a recital. It is
better for you to use the request system for pianists than trying to organize this on your own.
However, if you have difficulty obtaining a pianist, you can hire an outside pianist and the
Department will pay for this, under certain circumstances.
Return to document for Keyboard Collaboration

Return to document for Recitals
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SAMPLE REGISTRATION TABLES (instrumental, pianists,
singers, jazz students)
INSTRUMENTAL DMA STUDENT
DMA Year 1 - Fall Term DMA Year 1- Spring Term
MUS671: Directed Study in Instrumental Performance 1 credit MUS671: Directed Study in Instrumental 1 credit
Performance
MUS573: Chamber Music# 1 credit MUS573: Chamber Music# 1 credit
MUS565: Stony Brook Symphony Orchestra 1 credit MUS565: Stony Brook Symphony Orchestra 1 credit
MUS690 Practicum 1 credit MUS690 Practicum 1 credit
MUS505: Foundations of Musicianship** 2 credits MUS506: Graduate Musicianship** 2 credits
Academic Course 1* 3 credits Academic Course 2* 3 credits
MUS520: Introduction to Music Research for DMA 0 credit

Students
GRD500: Academic Honesty 0 credit
Total Credits 9 credits Total Credits 9 credits
MUS671: Directed Study in Instrumental Performance 2credits MUS671: Directed Study in Instrumental 5 credits
Performance
MUS565: Stony Brook Symphony Orchestra 1 credit MUS565: Stony Brook Symphony Orchestra 1 credit
MUS696 (DMA Essay Tutorial) or MUS696 (Lecture 1 credits MUS696 (DMA Essay Tutorial) or MUS696 (Lecture 1 credits
Recital) Recital)
Language Course (if needed) 3 If Language Course not needed

MUS 690 for 1 credit 1 MUS 690 1 credit
# MUS573 can be replaced by MUS584: Baroque Chamber Ensemble or MUS596: Contemporary Chamber Players
If you pass out of Aural Skills in either semester, take MUS671 (lessons) for 3 credits. *see discussion of possible academic courses
Language class might be required for three credits in the first or second year—this table shows a sample registration in your third
semester if you had to take a language class.
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PIANISTS
DMA Year 1 - Fall Term# DMA Year 1- Spring Term
MUS671: Directed Study in Instrumental 1 credit MUS671: Directed Study in Instrumental Performance 1 credit
Performance
MUS586: Collaborative Keyboard Performance 1 credit MUS587: Collaborative Keyboard Performance 1 credit

Students
MUS671: Directed Study in Instrumental 5 credits MUS671: Directed Study in Instrumental Performance 5 credits
Performance
MUS586: Collaborative Keyboard Performance 1 credit MUS587: Collaborative Keyboard Performance 1 credit
MUS696 (DMA Essay Tutorial) or MUS696 1 credits MUS696 (DMA Essay Tutorial) or MUS696 (Lecture Recital) 1 credits
(Lecture Recital)
MUS 690 1 credits MUS 690 1 credit
**If you pass out of Aural Skills in either semester, take MUS671 (lessons) for 3 credits.
Language class taken in the first or second year, as needed and lesson credits adjusted accordingly.
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SINGERS
DMA Year 1 - Fall Term# DMA Year 1- Spring Term
MUS671: Directed Study in Vocal Performance 1 credit MUS671: Directed Study in Vocal 1 credit
Performance
MUS579: Opera Workshop 1 credit MUS579: Opera Workshop 1 credit

Students
MUS671: Directed Study in Vocal Performance 2 credit MUS671: Directed Study in Vocal 2 credit
Performance
MUS579: Opera Workshop 1 credit MUS579: Opera Workshop 1 credit
MUS696 (DMA Essay Tutorial) or MUS696 (Lecture 1 credits MUS696 (DMA Essay Tutorial) or MUS696 1 credits
Recital) (Lecture Recital)
Language Course 1 3 credits Language Course 2 3 credits

MUS 690 1 credit MUS 690 1 credit
**If you pass out of Aural Skills in either semester, take MUS671 (lessons) for 3 credits.
*see discussion of academic courses
****** Vocal Coaching with Danny Beckwith, and Diction class when offered—this is a requirement
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JAZZ STUDENTS
MUS671: Directed Study in Instrumental Performance 1 credit MUS671: Directed Study in Instrumental 1 credit
Performance
MUS 597 Jazz Chamber Ensemble 1 credit MUS 597 Jazz Chamber Ensemble 1 credit
MUS 568 Large Jazz Band 1 credit MUS 568 Large Jazz Band 1 credit
MUS505: Foundations of Musicianship$ 2 credits MUS506: Graduate Musicianship$ 2 credits

Students
MUS671: Directed Study in Instrumental Performance 5 credits MUS671: Directed Study in Instrumental 5 credits
Performance
MUS 597 Jazz Chamber Ensemble 1 credit MUS 597 Jazz Chamber Ensemble 1 credit
MUS 568 Large Jazz Band 1 credit MUS 568 Large Jazz Band 1 credit
MUS696 (DMA Essay Tutorial) or MUS696 (Lecture 1 credits MUS696 (DMA Essay Tutorial) or MUS696 (Lecture 1 credits
Recital) Recital)
MUS 690 1 credit MUS 690 1 credit
return to document
SECONDARY AREA OF CONCENTRATION: COMBINED VIOLIN/VIOLA DEGREE

IN MORE DETAIL
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If you plan to do a combined violin/viola degree, you do not need to complete all requirements
for two degrees. You will complete the academic coursework, the foreign language requirement,
and the Lecture Recital for a single-emphasis degree.
However, you will have additional recital requirements:

● You will play at least four, but no more than seven contract recitals, splitting between
violin and viola repertoire.
● Your performance advisor will join with a performance advisor in the secondary instrument
to form your advisory team: so, if your principal teacher is a violinist, your secondary
teacher will be a violist and they will both sign off on your contract and serve on your
final oral exam committee.
● Your degree requirement to advance to candidacy in four semesters will remain in place,
as if you were getting a degree in a single instrument. However, you may be considered
for additional semesters of funding.
● Your advisors and you should figure out what the needs of both SBSO and chamber music
are in a particular year and plan your doubling accordingly.
RETURN TO DOCUMENT
THE LECTURE RECITAL EXPLAINED IN MORE DETAIL
What is the purpose of the Lecture Recital?
The Lecture Recital tests a doctoral student’s ability to speak to a highly informed audience about
the music they perform. The skills gleaned from work on the Lecture Recital can demonstrate to
your future students, employers, and colleagues inside and outside academia your ability to read
about, study, and analyze music outside of the practice room, and to explain how it informs your
technical, musical, programing and pedagogical choices.
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Students are expected to perform the chosen work at a level equal to other degree recitals, and
to present the spoken portions of their lecture with equal fluidity. The Lecture Recital consists of
approximately 30 minutes of spoken presentation, 15 minutes of playing, and 10 minutes of
questions and discussion. In preparation for the Lecture Recital, students must attend three Lecture
Recitals in the semesters prior to presenting their own, preferably in their first year. The audience
for the Lecture Recital consists of members of the Stony Brook faculty and your fellow students: a
group similar to a prospective hiring committee, and a group to whom sophisticated technical,
philosophical, and aesthetic questions and topics about music may be directed. The contents of the
Lecture Recitals are directed towards experts and your peers, not a general audience.
This is your creation – therefore you should use all the techniques available to you to formulate
your line of inquiry into the piece, and your faculty advisors are mainly there to support your own
work. When you brainstorm ideas with your performance teacher, be creative and wide-ranging
in your possible topics.
Who will advise you on your work?
Your performance teacher is your principal Lecture Recital advisor. You will be assigned a
secondary advisor from the academic faculty (either from Composition, or from
History/Theory/Ethnomusicology, or in some cases, someone from another Department on
campus).
Timeline and Registration Instructions
1) Attendance Requirement
Remember that you need to attend at least three Lecture Recitals before the semester in which
you enroll in MUS 696 and give your own. An up-to-date list of all planned Lecture Recitals is
here:
https://www.stonybrook.edu/commcms/music/events/lecture_recitals.php
2) Choosing a Lecture Recital Topic
The first aspect of this process involves your Lecture Recital advisor, who will be your performance
teacher. You and your teacher should discuss possible topics for your Lecture Recital in the
semester prior to your LR. In addition to the topic, you should make a ranking list of your top
three academic faculty choices for a person to provide support for you and your performance
advisor in developing the recital next semester. At the end of this document is a list of academic
faculty members and their areas of interest/expertise.
3) Submit a Lecture Recital Request Form
Below is a link to the Lecture Recital Request Form in which will indicate your topic, your
performance advisor, and your top three choices for the academic secondary advisor. You must
fill out this form in order to be assigned an academic secondary advisor. NOTE: Each academic
faculty member generally advises only two Lecture Recitals at most each semester. This is why the
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Graduate Program Director will need your top three choices for academic faculty support, for not
everyone will be available.
This form is due at the end of your first year of doctoral studies, at the same time that you submit
your performance contract.
https://forms.gle/bwxUssg4BaLr5o4f9
The Graduate Program Director will then send you the name of the academic faculty person who
will be advising you and your performance teacher prior to the first week of the semester, based
on availability and research interests and methods. You will then need to register for MUS 696
under the section for your performance advisor (further information on registering is below in #4
and #5).
4) Enrollment for MUS 696
You need to enroll in MUS 696 the semester you do your Lecture Recital. You can't do the Lecture
Recital without enrolling in 696, and, conversely, if you enroll in 696 you need to present, and
pass, the Lecture Recital that semester.
5) Permission to Enroll in MUS 696

You will need to obtain permission to enroll in MUS 696. Email Monica Gentile your intention to
enroll in that course and include the section number of your performance teacher. She will check
your Lecture Recital attendance and, if you have fulfilled that requirement, she will notify Martha
Zadok to grant you permission to enroll in 696 for that section. Martha will then notify you when
permission has been granted.
6) Initial Meeting on the Lecture Recital
The assigned academic faculty member will meet with you and your performance teacher via
Zoom during the first two weeks of school in the Spring 2021 semester to discuss possible
resources and avenues for investigation. After that initial meeting, the academic faculty member
can be reached during their regular office hours, or via email – but the main work for the Lecture
Recital will be your own research and sleuthing, and you should use your performance teacher as
a resource and a sounding board.
7) Lecture Recital Proposal Form
By the fourth week of classes, you will need to send the Lecture Recital Proposal form (which
includes a title and a brief description of your work) to the GSC. The GSC has a purely advisory
role, but can provide through their comments additional ideas about the direction of the recital,
further research, etc.
8) Who evaluates your Lecture Recital?

The Graduate Program Director will also identify and inform you and your performance teacher
of a second performance faculty person to attend and evaluate the Lecture Recital. This person
can view the Lecture Recital asynchronously. You should also invite your academic faculty
34
secondary advisor, but they are not required to attend and will not be evaluating the Lecture
Recital.
9) Submit Lecture Recital Information for Posting
No later than two weeks before the Lecture Recital will be performed, you must email the title,
date, time, and Zoom link of your Lecture Recital to Monica Gentile for posting on the Department
website
Academic Faculty and Interests/Expertise
Adams: China; Central Asia and the Middle East; Russia; the Balkans; Islam; Time/Temporality;
Appalachian Ballads/Fiddle and Banjo Music
Barnson: Contemporary Composition; American Music since 1980; European Music since 1950;
Serialism; Opera (any period); Spectralism; Post-Minimalism; Influence of Electronic Music on
Acoustic Music since 1920; Theories of Rhythm, Meter, and Time; String Music (any period),
especially Violin Sonatas; Music and Dance; Intertextuality (especially in the music of Berio and
Rihm); the Mass (especially Renaissance Parody Masses) Barnson is on leave for Fall 2021
Fenn: 20th/21st-Century Analysis; Sonic Art; Music Past 1920; Spatialization; Acoustics; Deep
Listening; Dance-Theatre Music; Synaesthesia
Goldstein: Music from 1750-1850; American Contemporary Music
Holt: 20th- and 21st-century popular music, Africana studies, ethnography, hip-hop studies,
performance studies
Honisch: Music of the Renaissance, Baroque, and Classical Periods; Keyboard Music (all periods),
including Harpsichord; Art Song; Source Studies; Sacred Music; Disability and Music; Sound
Studies; Music and Politics
Lochhead: Theory, Analysis and History of Music in the 20th Century and New Millennium;
Syncretisms; Technology; Aesthetics and Philosophy; Gender; Race and Ethnicity (Lochhead is on
leave Fall/Spring 2021-2022)
Minor: German Opera; Performance Studies; Wagner; Bruckner; Brahms; Mozart; Music and
Nationalism; 19th-Century Choral Music
Schedel: Notation; Gesture; Interactive Music; Electronic Music; Experimental Music; Multimedia;
Arranging; Generative Systems
Semegen: Electroacoustic Music and Analysis; A/V Mixed-Media Works; Comparative Arts
Critique; Changes in Arts and Technology after 1880; Futurism, Dada, and Bauhaus in Arts Today;
Mobile Forms, Graphic Notation, and Controlled Aleatoricism (E. Brown, H. Pousseur; J. Cage, W.
Lutoslawski)
Sheehy: Music Theory and Analysis; History of Music Theory; Music of the Long 19th Century
(~1780–1920); Jazz and Improvisation; Romanticism, Subjectivity and Selfhood
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Smith: Music of the 19th and 20th Centuries; Guitar and Lute Music; Music and Philosophy; Sound
Studies; History of Science, Music and Environmental Humanities
Tausig: Sound Studies; Music and Protest; Digital Media; Thailand, Southeast Asia, Rock and
Popular Music; Electronic Dance Music (on leave for Fall 2021)
Weymouth: Music past 1920; Electronic and Computer Music, Performance Technologies; Popular
Music; Jazz; 20th/21st-Century Analysis, especially of Xenakis, Ligeti, and Spectralists
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THE DMA ESSAY IN MORE DETAIL

MUS 695-DOCTORAL ESSAY TUTORIAL
You will enroll in this course in the semester that you revise your essay. After some introductory
work on the general craft of writing, the course will workshop students’ papers. You will benefit
not only from the comments of the instructor, but also from the comments of other students.
Several weeks before the end of the semester, the revisions will be circulated to the original
course instructor, your performance teacher, and your academic advisor. All three people will
need to sign off on a signature sheet in order for your DMA essay to be approved.
The DMA essay is not intended as a mini thesis. It must, however, demonstrate competence in
thinking and writing, and an understanding of professional-level work in the field. It should be a
substantive work, and will contain a bibliography and footnotes. The DMA essay should adhere to
these standards:
● It must articulate an issue or topic clearly and treat it in a focused, intelligent way.
● It must present the writer’s own thoughts on the chosen issue or topic in a coherent way that
communicates effectively to the reader.
● It must show the ability to use secondary sources effectively and contextualize the topic
within existing scholarship.
● It must demonstrate competence in standard scholarly citation and quotation, and in choice
and use of musical examples, diagrams or figures. Papers should also include formal
bibliographies, if appropriate.
● It must demonstrate your capacity to write clear and grammatically correct English prose.
● It must effectively organize and maintain a logical sequence of ideas.
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● It must demonstrate comprehension and competency in the methods and terminology
(historical, ethnomusicological, theoretical) appropriate to the topic.
The order in which the DMA essay gets approved is as follows:
● The instructor for MUS 695

● The original course instructor
● Your performance teacher
Once your signature sheet is signed by everyone, you submit it to the GPC. A template for the
cover sheet (with signatures) is on Blackboard (Documents—Forms for DMA and MM Students—
DMA Essay Coversheet).
An important point about the DMA essay: it must be finished by the end of the year following
your academic course. In other words, you must complete the revisions and get your signatures by
the end of the semester in which you enrolled in MUS 695. Otherwise, you will not be able to use
this work as your DMA essay, and you will be required to take another class and revise another
essay.
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CHAMBER MUSIC IN MORE DETAIL

MUS 573 is a standard chamber music course, which also includes the ESQI (Emerson Quartet
Institute). After registering for the course, you will send the head chamber music TA an email with
your proposal for a group, with personnel and repertoire. The head chamber music TA will assign
you two coaches (one primary and one secondary). It will be your responsibility to contact
coaches for coaching, and you are strongly encouraged not to wait until the end of the semester
to do so. Your grade will be based on participation, so coachings are key.
The capstone event for Chamber Music is a festival at the end of each semester, and part of your
requirement for the course is a performance on these festivals.
There are several intensives which run through Chamber Music:
● Emerson String Quartet Institute

● Trio Intensive with Colin Carr
● Sonata Seminar with Christina Dahl
● Chamber Intensive with Gil Kalish
These intensives have their own schedule and syllabi. Please
consult the MUS 573 Syllabus on Blackboard for more specific details about the program and the
intensives.
37
Harpsichordists must enroll in either Baroque Ensemble or CCP for their four semesters.
Percussionists are required to participate in chamber music activities within the percussion studio,
as well as with other studios. They must be available for participation in percussion pieces
performed as part of the annual season of the Contemporary Chamber Players, and they must
participate in small and large ensembles within the department.
The Graduate Bulletin lists genre requirements for some instruments which describe in more detail
the kind of chamber music you should be learning during the DMA:
Violin, viola, ‘cello: Every D.M.A. student must include a string quartet and a piece for mixed
ensemble larger than two on a concert or concerts during the course of their DMA
Bass: Two mixed groups larger than two.
Winds: A piece for mixed ensemble larger than two.
Brass: A piece for mixed ensemble larger than two
Piano: One piece, trio or larger
Harpsichord: Harpsichord literature is centered on music written either before 1780 or after
1920. Therefore, harpsichord students should be enrolled during their entire residency in either
Baroque Ensemble or CCP. More specifically, they should enroll in Baroque Ensemble all four
semesters with the possible replacement of one semester with CCP. This enrollment will guarantee
that every student will be performing in numerous chamber pieces having at least 4 people in a
group either for their degree recitals or public baroque ensemble concerts.
Percussion: Percussionists are required to participate in chamber music activities within the
percussion studio, as well as with other studios. They must be available for participation in
percussion pieces performed as part of the annual season of the Contemporary Chamber Players,
and they must participate on other chamber music activities, either as small ensembles (duos, trios,
etc) with other musicians in the department. Each full-time percussion student should perform at
least once in a piece with percussionists and once in a mixed ensemble piece every academic
year.
CLICK HERE TO RETURN TO THE DOCUMENT
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CLICK HERE TO RETURN TO DOCUMENT
DMA Registration and Degree Progress Checklist
Language Must be completed by end of second Indicate which language:

year. ____________
One language for all DMA except
Voice and Harpsichord ______________
Note: if a language other than French, (if needed)
German, Italian or Spanish, must be ______________
approved by written request to GSC (if needed)
Advisors: You will be meeting with your

Academic Academic Advising team in the first
week of orientation.
Advisors: Discuss with your Performance Advisor

Performance (major teacher) and work on
Performance Contract.
First Semester
Course Note Date When Completed
GRD 500 In person & on-line components
MUS 505 Waiver possible: if waived, indicate
* Theory or History Indicate which course ____________

Course
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Chamber Music Indicate which course ____________
Ensemble or Indicate which course ____________

Collaborative Keyboard
Lessons Indicate which section ____________
MUS 690 Form must be submitted end of each

semester
*Must take one of each (Theory/Analysis & History/Ethnomusicology) from approved list.
Second Semester
* History or Theory Indicate which course ____________

Course

Collaborative Keyboard
MUS 690 Form must be submitted end of each semester
*Must take one of each (Theory/Analysis & History/Ethnomusicology) from approved list.
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Third Semester
** MUS 695 or 696 Indicate which course ____________
Ensemble or Collaborative Indicate which course ____________

Keyboard
** Essay Tutorial or Lecture-Recital: Must take both in second year: order determined by alphabetic listing of last
name
Fourth Semester
** MUS 695 or Indicate which course ____________

696

Collaborative
Keyboard
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** Must take both in second year: order determined by alphabetic listing of last name
In addition, all of these performance requirements must be completed within the first four semesters (two years):
Recital 1 Discuss repertoire and recital requirements with Date completed __________
Performance Advisor.
Please note: programs from each recital—clearly
listing date and repertoire, must be emailed to
Graduate Program Coordinator.
Recital 2 Note: most of the performance components will be Date completed __________
filled out on your Performance Contract.
Recital 3 Date completed __________
# Recital 4 Date completed __________
Lecture Recital Topic of LR: ____________________ Date completed __________

LR Advisor: ____________________
First Jury This is a 10-minute jury. Discuss with Performance Date completed __________
Advisor.
Final Jury This is a 20-minute jury. Discuss with Performance Date completed __________
Advisor.
# Recital 4 may be completed after Advancing to Candidacy; the Lecture Recital and Juries must be completed in
order to advance.
Once Advanced to Candidacy:

To complete the degree: Years 3-5
Recital If not performed yet Date completed __________
#4
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Oral Discuss with both Advisors Date completed __________
Exam
Final Discuss with Performance Advisor Date completed __________

Recital
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ACADEMIC HONESTY AND ACADEMIC INTEGRITY IN MORE

DETAIL—GRD 500 AND BEYOND
The Department and the University community expect all students to adhere strictly to
fundamental principles of academic honesty and academic integrity.
What does this mean for you, and your academic work at Stony Brook?
First, you must take responsibility for the ideas and information presented in your work—from the
DMA essay to the Lecture Recital and anytime you are doing research.
If you get ideas or information from other authors or thinkers, you need to acknowledge this in
properly formatted footnotes or in-line citations. If you adopt the exact words of an author, those
words should be put into quotation marks and properly footnoted. Even if you adopt the general
ideas but not the specific wording, you must still indicate such a borrowing in an in-line citation,
footnote or endnote.
Plagiarism is the term applied to the unacknowledged use of someone else’s words or ideas.
Plagiarism is strictly forbidden. It carries serious penalties, and can even result in expulsion from
the program.
There are different methods of studying, and it may be that you learned to memorize large
chunks of material in preparation for an exam. Even if this memorization concerns notes from an
instructor, you must acknowledge and attribute these words and ideas.
Any questions about what constitutes academic dishonesty should be directed to your course
instructor or you can consult with the GPD. And, if you have a sense that something is wrong, it
probably is. Students who abuse the principles of academic honesty will be subject to a range of
disciplinary actions. All instances of academic dishonesty become part of the student’s
Departmental file.
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Academic integrity in the United States requires that students generate ideas on their own. Any
paper submitted for satisfaction of the DMA degree should represent significant and original
thought that builds upon the work of others but does not simply reiterate prior thought.
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GRIEVANCE AND APPEALS PROCEDURES OF THE UNIVERSITY, AND THE CURRENT

DEPARTMENT GRIEVANCE OPTIONS AND RESOURCES—SPRING 2021
There is a University Grievance and Appeals Procedure in the Graduate Bulletin which is currently
posted on Blackboard under the “Academic Dishonesty Policy” on the documents pages for both
Performance and MA/PhD students. This entire set of procedures will be pasted into the end of
this document.
There are several options for both students and faculty who wish to make a complaint or begin a
grievance process within the Department, and there are established entities on campus which
carry these complaints forward, as required.
Within the Department, anyone can bring a complaint directly to the Chair, the Undergraduate
Program Director, or the Graduate Program Director for advice and guidance.
In addition, starting in Fall 2021 with the new Bylaws, a faculty member will be appointed as the
Student Liaison: this faculty person will facilitate the formation of three student committees,
including an UG Student Committee, a Grad Student Committee, and an SBSO Orchestra
Committee during the first weeks of the semester. The Student Liaison will also help to connect
these committees with existing structures in the University, including our Student Senators to the
GSO.
There is a University Office of Graduate Student Advocates: they can help resolve problems
students may encounter during their graduate studies at Stony Brook. Please check out this link to
read more about GSA’s and how they can help:
https://grad.stonybrook.edu/about/advocate.php
Here is also a more generalized resource from the Chief Diversity Officer of the University:
https://www.stonybrook.edu/commcms/cdo/resources/index.php
Each year, a three-person faculty group called the Executive Committee is convened within the
Department. This committee acts as needed to advise the Chair on a range of issues, and can be
a resource for complaints or grievances where a faculty member or student does not wish to
approach the Chair or the Graduate Program Director.
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The Graduate Studies Committee is comprised of the Chair, the GPD, and three other members
of the faculty, as well as two student members. Curricular concerns or complaints can always be
raised with this group through communication with Monica Gentile.
One of the four standing committees in the Department, as articulated by our Bylaws is the
Departmental Grievance and Appeals Committee: six members, as per Graduate School
Guidelines: one faculty from each area (THE, Composition, Performance) and three graduate
students (chosen without faculty interference. This committee is convened as needed, and can be
triggered as appropriate by a request to the Chair, the GPD, the Executive Committee, or the
GSC.
Please see the end of this document for a detailed description of the procedures for bringing
complaints forward through the University Grievance and Appeals Committee.
Current Administrative Officers in the Department through summer 2021
Chair: Perry Goldstein perry.goldstein@stonybrook.edu

GPD: Christina Dahl christina.dahl@stonybrook.edu
UPD: Deborah Heckert Deborah.heckert@stonybrook.edu
Executive Committee
Judy Lochhead Judith.lochhead@stonybrook.edu
Dan Weymouth Daniel.weymouth@stonybrook.edu
Gil Kalish gilbert.kalish@stonybrook.edu
Graduate Studies Committee
Perry Goldstein
Christina Dahl
Judy Lochhead
Meg Schedel
Arthur Haas
Student Liaison: Fall 2021 (new appointment)
UNIVERSITY-WIDE OPTIONS FOR COMPLAINTS AND GRIEVANCES
Office of Equity and Access (OEA): https://www.stonybrook.edu/commcms/oea/about-

us/index.php
The primary responsibilities of the Office of Institutional Equity and Access are to:
• Ensure the University’s compliance with all state and federal regulations within the scope
of our office
• Implement policies that safeguard equal opportunity in employment and education
• Provide an internal avenue of redress through the investigation and resolution of
complaints of unlawful discrimination and discriminatory harassment, including sexual
45
misconduct (which includes, but is not limited to sexual harassment, non-consensual sexual
contact, sexual violence, domestic violence, dating violence and stalking)
• Establish campus-wide goals and internal systems to monitor recruitment activities, which
include but are not limited to hiring, training, promotion, transfer and termination
• Support the University in its proactive recruitment, hiring and retention of under-utilized
groups for all job groups and job titles
• Promote an awareness of and appreciation for diversity and sexual misconduct prevention
through sponsoring programs, providing educational and training activities, and engaging
in collaborative initiatives.
Office of the Ombuds:
Principles:
https://www.stonybrook.edu/commcms/ombuds/principles.php
Independence, Neutrality, Confidentiality, Informality
The Stony Brook University Ombuds is a member of the International Ombuds Association (IOA)
and adheres to the IOA Code of Ethics and practices in accordance with the IOA Standards of
Practice. For further reference click on the IOA website to view these documents.
Independence
The Ombuds Office operates independent from other organizational entities. The Ombuds
reports to the Chief Deputy to the President for budgetary and administrative purposes and
conveys perceived issues and trends. The Ombuds provides anonymous aggregate statistical
data and does not keep formal records.
Neutrality
The Ombuds is neutral, impartial, and unaligned in the handling of concerns and complaints. In
considering the rights and interests of all parties, the Ombuds assists parties in reaching mutually
acceptable agreements that are fair, equitable and consistent with the mission and policies of the
University. The Ombuds will not serve as an advocate for the university or an individual.
Confidentiality
The Ombuds holds the identity and all communications with those seeking assistance in strict
confidence and does not disclose confidential communications unless given permission to do
so. The only exceptions are when there is imminent risk of serious harm, or where required by
Title IX and other state and federal laws.
Informality
46
The Ombuds assists in resolving conflicts or complaints at an informal level. The Ombuds does not
participate in any formal, internal or external investigative or adjudicative procedures or make
or overturn administrative decisions. As an informal resource, the Ombuds is not authorized to
accept notice (formal complaints) for the university, except in Title IX cases, but will refer to the
appropriate office. Use of the Ombuds is voluntary.
The Ombuds Office is required to operate in accordance with the terms of reference in
the University Ombuds Office Charter.
Grievance and Appeals Procedure from the University Graduate Bulletin (also on Blackboard
under “Academic Dishonesty” in documents)
A variety of appeals and grievance procedures are available to Graduate School students and
School of Professional Development students; however grievances should be considered first at
the program level. Any appeals of a program’s ruling on a case must be made in writing within
two weeks to the Vice Provost of Graduate Education. When warranted, the VP will pass the
matter on to the Graduate Council Appeals Committee (GCAC). The VP is responsible for making
and implementing a final decision.
Grievances against a person that involve allegations of employment misconduct must be

adjudicated by Human Resource Services.
For graduate students in both schools, these appeals and grievance procedures complement other
means to address and resolve concerns such as the Graduate Student Organization, Graduate
Student Employees Union, the Graduate Student Advocate, and for graduate research assistants
the Research Foundation and the RA Union. Students encountering difficulties with programs,
Graduate School or SPD policy or procedure, or with faculty or staff, should discuss the problem
with their advisors and their graduate program directors whenever possible.
Grievances for Graduate School Program Students Program Grievance and Appeals
Committee (GAC)
Each graduate program, with active graduate student participation, is to establish a grievance
and appeals committee under the following guidelines. Any departmental guidelines beyond
these must be made available to graduate students
.•Equal proportion of graduate students and faculty.
•Faculty chosen in any way that accords with general policy of the program, but may not
include faculty named in an individual grievance case or party to it in some compromising way.
•Student members chosen by the students in the program without faculty interference, but
may not include students named in the grievance case or party to it in some compromising way.
•The committee may be of any reasonable size but not fewer than four members.
•Typically the grievance committee will be an ad hoc committee, distinct from the
Graduate Studies Committee or a standing sub-committee of the Graduate Studies Committee.
47
Allegations of academic or professional misconduct including plagiarism, cheating, disallowed
collaborations on academic class assignments and take-home exams, and/or faculty and student
disputes pertaining to authorship, will be adjudicated within the relevant program in the following
manner. An initial conference or hearing should occur within two weeks of receipt of a written
grievance.
•A resolution of the alleged grievance should be sought through a conference between the
relevant parties and the graduate program director. If it is inappropriate or impossible for
the graduate program director to mediate the dispute, this responsibility will be assumed by the
department chair.
•If the matter cannot be resolved through direct mediation, then the graduate program
director or department chair will convene a hearing of the program’s grievance committee. The
program’s grievance committee will receive written documentation of the alleged violation, and
the relevant parties will be given the opportunity to respond. After a thorough investigation, the
committee's decision on the disposition of the case will be sent to the relevant parties and to the
program director or department chair. The committee can also make recommendations concerning
penalties for violations but is not required to do so.
•The department chair or program director will accept the disposition of the case
rendered by the committee and will determine and implement penalties in cases so decided.
Appeals for Graduate School
If the relevant parties wish to appeal either the process, disposition or the penalties in a case of
alleged academic or professional misconduct, a written appeal of the program’s decision must be
presented to the Vice Provost of Graduate Education within two weeks. The VP may choose to
forward the case to the Graduate Council Appeals Committee (GCAC), who will then advise the
VP on the disposition of the case and possible penalties. The Vice Provost of Graduate Education
will determine and implement penalties for academic or professional misconduct. The VP’s
disposition of the case will be forwarded in writing to the relevant parties and to the program
director or department chair.
Graduate Council Appeals Committee (GCAC)
The Graduate Council Appeals Committee (GCAC) will consist of an equal number of graduate
students and faculty. Faculty members, including the committee chair, will be appointed by the
Graduate Council. Graduate student members will be appointed by the Graduate Student
Organization. The goal of the GCAC is to resolve and/or adjudicate grievances and appeals as
fairly and expeditiously as possible. The GCAC may consider appeals either on technical issues of
procedure or substantive conclusions of the program’s grievance committee and may suggest
other resolutions of the problem. In addition to addressing specific appeals brought to it by the
Dean of the Graduate School, the GCAC may recommend changes in policies of the program or
University. The GCAC will consider all appeals addressed to it unless the committee unanimously
denies standing. The person who is appealing a program grievance decision is responsible to
state clearly and concisely the nature of the grievance and the cause for request of an appeals
hearing. Criteria for assessing the initial standing of an appeal include those policies addressed in
this Bulletin or in published and approved program handbooks or guidelines.
Cases of academic or professional misconduct that are referred to the GCAC will be
adjudicated in the following manner.
48
•Upon receiving a written appeal, the chair of the GCAC will convene a meeting of the
full committee. This initial full meeting of the GCAC must occur within two weeks of receipt of the
appeal, or as soon as the committee can be convened if classes are not in session.
•All GCAC members will have equal access to all documents and information. The
Graduate School will appoint a faculty/staff member to assist the GCAC in obtaining,
reproducing and disseminating the relevant information.
•The proceedings of the GCAC are confidential. Since information concerning an appeal
may be of sensitive, highly personal and confidential nature, such information must not be
disseminated outside the committee, except as necessary to the Graduate Student Advocate.
•The person who is filing the appeal must communicate with the GCAC only through its
chair, and all such communications must be written. The GCAC will arrange for an interpreter or
similar assistance if it deems that such aid would be useful.
•The GCAC should attempt to reach a consensus on all issues. Upon reaching a decision,
the GCAC will issue a single written report to the Dean of the Graduate School, who will make
recommendations on all points raised in the formal appeal that the committee has agreed to
consider. The report should present the rationale for its decision(s). The substance of any dissent
must be included in the text of the report.
The Vice Provost of Graduate Education's Decision
The disposition of the Dean of the Graduate School is final.

Research Misconduct (Office of the Vice President for Research -OVPR)
The Research Integrity Officer within OVPR must be contacted regarding allegations of research
misconduct. Such cases will be reviewed in accordance with University Policy P210
(http://www.stonybrook.edu/policy/policies.shtml?ID=210).
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49
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THE COMPLETION OF THE DEGREE IN MORE DETAIL

When you reach the point where you intend to graduate, there are a series of deadlines you must
meet and hurdles you must overcome to make the final push to completion. This is a time to be
especially cognizant of all communications from the GPC. You should also be in touch with your
academic advisor and your performance teacher to make sure all your degree requirements are
fully complete and filed with the GPC.
TIME LIMIT FOR DOCTORAL DEGREES

The Graduate Bulletin clearly states: “The candidate must satisfy all requirements for the DMA
degree within seven years after completing 24 graduate level credits at Stony Brook University.”
What does this mean?
Even if you have been part-time (following the end of your support from the Grad School for six
semesters post-advancement) you will have the same time limit—seven years from the semester in
which you start the DMA to when you must complete it.
If you need more time to complete the degree, you must petition the Grad School for an extension
deadline with supporting statements from the GPD and your performance teacher.
You must maintain matriculation (in other words, be registered for at least one credit of instruction,
or full-time if you are an international student) for each fall and spring semester before and
including the semester in which you intend to graduate.
Remember that the Graduate School will pay the tuition of full-time students for three years after
advancement to candidacy as you plan your timeline for graduation.
LEAVE OF ABSENCE
You can request a Leave of Absence for a maximum of one year, renewable by petition (explicit
written request) for up to two years. Forms for requesting a Leave of Absence are available at
the Graduate School’s website.
If you are on an approved LOA, you do not have to register for those semesters in which you are
on leave. And, the time during which you are on leave does not count against your degree clock
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(the seven-year limit). However, you must register for the semester in which the degree is
awarded.
While on a Leave of Absence, you may not do any degree work. You cannot give a recital, take
lessons, appear in studio class, or fulfill any official requirements. While on an approved Leave of
Absence, you do not register for the semester, and the time you are on the leave will not count
against your overall time limit for the degree. Please note that you can only go on a Leave of
Absence for one year at a time--if you need longer you will need to re-apply.
If you go for a semester without registering and without applying for a Leave of Absence, you
will be considered to have withdrawn from the University. One withdrawn, you have to apply for
re-admission to the University and the Department and you will be required to pay a five-
hundred-dollar fee. This unofficial leave time will count against your degree clock of seven years.
APPLYING FOR GRADUATION

You must apply for graduation with the Graduate School early in the semester in which you intend
to receive the degree. If you fail to submit this application on time, you may have to wait an
additional semester to receive your degree. If for any reason the conferral of the degree has
been delayed, you will need to submit a Change of Graduation form for the appropriate
semester (you can contact the GPC for information about this). You can file for graduation online
at the Graduate School’s website:
https://goo.gl/forms/MSUtcGfHmOdAuoQP2.
And, you can get all kinds of useful information from that website regarding the process of
graduation:
https://grad.stonybrook.edu/academics/graduation_application.php
NOTIFICATION OF YOUR GRADUATION PLANS

As soon as you decide that you want to graduate, you must inform the GPD and the GPC in the
semester BEFORE you graduate. And, you must provide a Final Recital date to the GPC as soon
as you have scheduled the recital.
SUBMITTING THE PROGRAM FOR THE FINAL DOCTORAL RECITAL

You may not include any works that you previously performed on contract recitals on your Final
Recital. And, in some cases, certain studios have rules against performing chamber music on the
final (like piano). So, please consult with your performance teacher about the program for the
final. You will submit a Final Recital form to the GPC—this contains all the programs you have
played for your degree, as well as the program for the Final Recital, and this form gets
approved by the GSC.
You need to submit this form either in the semester before you intend to graduate or in the first
week of the term in which you intend to graduate.
51
Remember, if the PSC has asked you to increase your new music component on your programs, or
asked you to supply a Baroque work, you will need to cover these requirements on your Final
Recital. But, you also want to think carefully about the fact that this recital forms the basis for your
final oral exam—so consider what repertoire you have an interest in studying in depth, and
repertoire that you might be excited and/or comfortable to discuss for two hours.
SCHEDULING THE FINAL RECITAL

● The Final Recital has to be held no later than two weeks before the end of the semester.
This is so your external reviewer has time to get the recital recording or link and send
back their evaluation.
● The Final Recital must be held on campus (in post-Covid times). This is a University
requirement.
● You must notify Nick Nelson, our audio engineer, of the date and time of your recital at
least four weeks before the performance. This is so a TA can record this Final Recital for
you.
● If you need special electronics, you must notify the concert support personnel (Nick Nelson
and Meg Schedel) at least six weeks prior to your concert.
● For percussionists: all percussion Final Recital recordings must be in video format.
THE DOCTORAL DEFENSE FORM (DDD)

Although you are not giving a doctoral dissertation defense, in the eyes of the University your
Final Recital is the equivalent to the dissertation, so you must fill out and submit a Doctoral
Defense Form (abbreviated DDD) to the GPC.
The DDD is found on the Grad School website under forms:
https://grad.stonybrook.edu/academics/Forms.php?accordion=undefined
You will provide this form to the GPC, who will file it with the Graduate School. You cannot submit
the form directly to the Grad School—only the Department can do that. The GPC needs to meet
a deadline of at least three weeks prior to your Final Recital to file this form. So, you must
provide the DDD to the GPC in a timely manner in electronic format.
Some notes about filling out the form:
● Enter your Final Doctoral Recital as the Title

● Enter Music-Performance as the Program
● Enter your performance advisor (not your academic advisor) as the Dissertation Advisor.
● Do not list your instrument after your name
● Do not add anything additional to the top box (such as a recital title)
● Be sure to list any assisting musicians OUTSIDE the box that is at the top.
● Do not remove the boxes! This is a Grad School form and their format should not be
changed.
● You do not need to keep the text of “Name of Piece” and “Composer” in the form.
● Please remove parentheses when you input your information onto the form.
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SAMPLE QUESTIONS FOR THE DMA FINAL ORAL EXAM
These are typical questions that you might be asked about particular pieces on your programs.
Not all types of music are included, and not all of these questions will come up in every oral
exam, but this should give you an idea of the sorts of questions that might come up.
Questions about 17th or 18th century dance suite, such as a Bach solo violin partita, cello suite,
English suite, or Couperin ordre:
• Describe some of the dances that you have just played taking into consideration issues of
tempo and musical accent patterns and how to use them to bring out the character of the dance
form.
• What do you know about the (sarabande, courante, etc.) and do you think as modern
performers we should use knowledge of the dance itself to help influence our preparation of
the movement for performance?
• There are a number of possible editions that you could have used for this suite. Why did
you choose the one you did, and did you consult additionally any scholarly editions that could
have cast light on performance practice of this piece?
• A number of dance movements in Bach (and others) dance suites have "doubles" where the
composer has written a variation to be played either on repeats of each section or after the
"simple" is played. There is some thought that even movements not having written out variations
by the composer should have an ornamented version improvised by the interpreter. How do
you feel about this, and how would you go about creating an improvised repeat?
Questions about a Baroque chamber work, aria, etc.
• Can you talk about the groups of instruments or singers that would have been involved in
a performance of this piece when it was written? Which possible instruments would have
been playing continuo?
• What kind of score is the keyboard player looking at and how are they realizing the part?
• How much of a role have ornamentation and improvisation played in your interpretation of
this piece?
Questions about an 18th or 19th century sonata:
53
• Where does the recapitulation begin, and why? How does the recapitulation differ from the
exposition? How does the composer manipulate the material so that the piece ends in the
tonic?
• What is the logic of the modulations in the development section? (or any passage
featuring frequent changes of tonal center).
• In your prospectus, you say the organization of this piece is highly motivic. Describe one of
the motives, and show how it is used throughout the piece.
• Your prospectus mentioned that this piece was in "cyclic form." Tell us something about the
history of the idea of cyclic form; which other composers used it, what were the aesthetic
ideas that motivated it?
Questions about a 19th-century song cycle. These questions are about a particular cycle,
Schubert's "Mignon" songs:
• Is there any evidence in the autograph sources or first publications if Schubert had a
specific order in mind?
• What are the implications of the order of the songs for issues of the musical and dramatic
shape of the set?
• How does Schubert prepare the striking augmented sixth chord in m. 17?
• Are there similar harmonic devices in the other songs? Are there other harmonic and motivic
features that would suggest that Schubert thought about these songs as a cycle.
• What do these songs suggest about Schubert's position in the debates about text setting and
the nature of the Lied in the early nineteenth century? Do we know if Goethe had any reaction
to these songs?
• In terms of his own life, why might Schubert have been attracted to these specific texts and
to the source novel Wilhelm Meister's Apprenticeship?
• Are these texts typical of his choice of song texts?
• How well known was the novel in Schubert's time? Would audiences have likely known the
story and details of the character of Mignon when they heard the songs?
• Besides the many later settings by composers such as Wolf and Liszt, were there other
settings in Schubert's time?
Questions about performance practice - any piece written up to the early 20th century:
• How did this music sound when originally played? How is your performance different,
and why?
• Can you talk about the history of vibrato? Describe the use of vibrato when this piece
was written.
54
Questions about a 20th-century piece:
• Describe the pitch language of this piece.

If the music is somewhat tonal, describe the tonal language - how does it depart
from the common practice of the 18th and 19th centuries? Is the harmonic language
based on modes or scales, and if so, what are they?
• If the music is not tonal, what is the basis of pitch organization? Is it serial?
• A 12-tone piece: "You say in your prospectus that each movement uses the [12-tone] rows in
different ways. In what ways are the rows used, and what impact does this have on music as
we perceive it?"
• Form: "If, as you say, the composer felt that the ‘classical forms’ did not work for this piece,
what forms did he in fact use?"
• Does this piece make use of quotations or borrowings from other pieces, or allusions to other
musical styles (for example, jazz, popular music, the music of non-western cultures)? If so, what
is the meaning of these borrowings?
• The distinction between "modernism" and "postmodernism" is much talked about these days.
What are the qualities in this piece that lead you to see it as either modern or post-modern?
What do those terms mean in connection with this piece?
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Who Does What – Fall 2021

To help you figure out where to direct questions, we’ve compiled a list below for some of the most
often asked questions or the topics for which students often need advisement. Contact info for
various offices are also below.
People
• The Chair is the person who makes final decisions on a range of issues—if you really don’t
know where to go with questions, you can contact the Chair, or the Assistant to the Chair
(Martha Zadok)
• The Graduate Program Director deals directly with curriculum issues, questions about your
degree, and is the head of the GSC. When you have advising questions that your advisor
can’t answer, or when you are confused about requirements, the GPD is a good resource.
55
• The GPC handles all the paperwork, documents, submissions for your degree, and is an
incredible resource for deadlines, degree issues, graduation, advancing to candidacy. The
GPD and GPC work closely together on all these issues.
Registration
• Questions about what to register for should be directed to your advisor
• If you have a question about a registration hold, on SOLAR you will be able to view the
office that the hold is from, and that is the office that you would need to contact
• If you encounter issues with SOLAR, those questions should be directed to the Registrar
TA Appointment and Paycheck

• Questions about your TA assignment should be directed to the supervisors listed in your TA
Assignment Memo (sent out by Germaine Berry)
• If you have questions about your paycheck (such as the amount or withholdings), contact
Payroll in Human Resources
Health Insurance
• Questions about student health insurance should be directed to Student Health Services
• If you are a TA and have questions about the employee health insurance, contact the
Benefits area in Human Resources
Fees and Tuition Bills

• If you have a question about fees that you have been billed, or have questions about
tuition payments, contact Student Financial Services
Recital Hall Logistics and Scheduling a Recital

• If you have questions about the recital schedule process or Recital Hall logistics, contact
Michael Hershkowitz (Michael.Hershkowitz@stonybrook.edu)
Piano Tuning
• If you need piano tuning, contact Tom Malenich (Thomas.Malenich@stonybrook.edu)
Contact Information
Registrar: registrar_office@stonybrook.edu or 631-632-6175
Student Financial Services: this site has email, phone, and a live chat option:
www.stonybrook.edu/commcms/sfs/contact.php
Human Resources
• Benefits: hrsbenefits@stonybrook.edu or 631-632-6180
• Payroll: state_payroll@stonybrook.edu or 631-632-6198
Student Health Services: There are different contact numbers depending on what a student
needs – that can be found here:
www.stonybrook.edu/commcms/studentaffairs/shs/about/contact.php
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General Housekeeping Information – Fall 2021
Copy Machine Use – for TAs

The copy machine located in the main office is available for use by TAs for copying that is
related to the courses for which they are teaching or assisting with. IMPORTANT: All copying must
be completed by 5pm, as the office will NOT remain open past 5pm for you to complete your
copying. We also advise that you do not wait until the day of to make your copies, as there are
many people in the department and only one copier.
If you have not yet done so, please provide Martha Zadok with your NetID so that she can grant
you access to the copier.
Lockers
A limited number of lockers are available for student use, and these are located in the basement.
These are not large enough to secure large instruments with their cases, but may be of use for
students if they wish to have a secure location for smaller items. Students interested in this should
see Susan Kaiserman in the main office. Note: Once a student has access to a locker, that
combination should NOT be shared with other students.
Mailboxes – for Faculty and Staff

Each faculty and staff member has a mailbox, which is located in the Main Office on the third
floor. IMPORTANT: If you come to the office to submit something for a staff member, and they
are unavailable, please do NOT leave the item with anyone else. Instead, leave the item in the
staff member’s mailbox to ensure they will receive the item.
Mailboxes – for Graduate Students

Each Graduate student has a mailbox, which is located in the Student Lounge on the second floor.
Main Office Hours

The Music Department Main Office hours are Monday through Friday, 9am to 5pm, with the
exception of certain holidays.
Parking Permits for TAs

Students with TAs are allowed to request a Faculty/Staff parking permit. Go to Parking Services
website (https://www.stonybrook.edu/commcms/transportation-and-parking/parking-
services/permits/index?accordion=panel-d11e471) and click on Faculty/Staff for more
information.
Public Practice Rooms

There are two public practice rooms (1313 and 1314) located on the first floor. Students may
reserve these rooms 1 hour per visit by using the sign-up sheet posted on the door.
Room Reservations
57
Ensemble Rooms 3317 and 3319 – these are rehearsal rooms for groups of three or more, and
are not intended for the use of private lessons. Sign-up sheets are posted on the doors each
Thursday for the following week.
Cabaret Theatre (in the basement of Staller) – sign-ups for this will be online.
Often students will need to reserve classrooms or one of the Ensemble Rooms further in advance
(such as for Lecture Recitals, Colloquiums, etc.). Please contact the following people according to
the room you need:
Martha Zadok – to reserve classrooms or the rehearsal rooms that are located in the basement
Susan Kaiserman – to reserve rooms 3317 or 3319 if the sign-up sheets are not yet posted
NOTE: If the room you want to reserve is being used by faculty, it is YOUR responsibility to check
with them, etc. (work with Martha, Susie or Germaine to update this further).
Student Lounge
The Student Lounge is located on the second floor and is open weekdays between 9am and 5pm,
with the exception of certain holidays.
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58

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STONY BROOK UNIVERSITY

Overview of the DMA

The First Year of the DMA

Second Year of the DMA

Third Year and Beyond-Advancing to Candidacy

5. Additional Information and Important Details

IMPORTANT PEOPLE AND USEFUL RESOURCES

Department of Music Administration and Staff, and Important Committees

The Chair of the Department: Perry Goldstein thru 08/21

The Graduate Studies Committee (GSC)

The Performance Studies Committee (PSC)

Admissions and Advising Committee

Who does what??

How does the Music building work?

THE FIRST YEAR OF STUDY IN THE DMA

G4—9 graduate credits exactly

BASIC FORMAT FOR REGISTRATION IN YOUR FIRST TWO SEMESTERS

Singers have an additional requirement in the first year:

Michael Hershkowitz is the Concert Manager (michael.hershkowitz@stonybrook.edu) and he will

OUR NEW MUSIC EMPHASIS

DIVERSITY, EQUITY, AND INCLUSION

Analysis/Theory course numbers:

● MUS 502 Proseminar in Tonal Analysis

History/Ethnomusicology course numbers:

• MUS 500 Introduction to Music Research

MUS 520 MUSIC RESEARCH

MUS 505 and 506 MUSICIANSHIP

MUS 509 PIANO PROFICIENCY (Piano for singers and composers)

MUS 690 PRACTICUM

FOREIGN LANGUAGE REQUIREMENTS

MUS 599—INDEPENDENT STUDIES (explained)

STONY BROOK SYMPHONY ORCHESTRA (MUS 565)

STONY BROOK LARGE JAZZ ENSEMBLE (MUS 568)

OPERA WORKSHOP (MUS 579)

COLLABORATIVE KEYBOARD (MUS 586 AND MUS 587)

● MUS 573 Graduate Chamber Music

THE LAST STEPS IN YOUR FIRST YEAR—THE DMA

Secondary area of concentration: combined Violin/Viola degree

University website for residency questions:

THE SECOND YEAR OF STUDY IN THE DMA

● MUS 671 Lessons

THE LECTURE RECITAL

THE DMA ESSAY

Click here for more detail about the DMA essay.

RECITALS IN THE SECOND YEAR

YOUR THIRD YEAR AND BEYOND

● You must have completed or waived MUS 520 (Music Bibliography)

ADVANCING TO CANDIDACY AND MAINTAINING FULL-TIME

MUS 699 is for students living in the NY region

Full-time lessons are defined as around 14 lessons per semester.

Partial lessons are defined as 7 lessons or fewer per semester.

SBSO OBLIGATION AND YOUR DISSERTATION RESEARCH SECTION

KEYBOARD COLLABORATION AND YOUR DISSERTATION RESEARCH

SAMPLE REGISTRATION FOR G5 STUDENTS

● MUS 671 lessons for 1 credit

• MUS 671 for 1 credit

• MUS 701 for 9 credits

YOUR FINAL RECITAL AND ORAL EXAM

THE FINAL ORAL EXAM

Click here for sample questions on a Final Oral Exam.

Materials for the Exam

THE FINAL RECITAL

AFTER THE FINAL RECITAL

MUS505: Foundations of Musicianship 2 credits MUS506: Graduate Musicianship 2 credits

MUS505: Foundations of Musicianship 2 credits MUS506: Graduate Musicianship 2 credits

MUS505: Foundations of Musicianship 2 credits MUS506: Graduate Musicianship 2 credits