Welcome to the Yale School of Music

From its beginning in 1894, the Yale School of Music has nurtured some of America’s most successful performers, composers, and cultural leaders. In the latter half of the twentieth century, the School of Music extended its influence and invitation to the finest musicians worldwide, seeking students of extraordinary artistic and intellectual talent to pursue their advanced musical studies with its illustrious faculty. These students and faculty contribute to and benefit from the international distinction of Yale University, which not only cherishes its academic heritage but also places great value on all of the fine arts.

Yale is renowned for its array of libraries, art galleries, historical collections, and theatrical presentations, and for its rich concert life. The ten other professional schools at the University and Yale College itself contribute to the vibrant social and educational environment. The city of New Haven and its surrounding towns offer an abundance of cultural and recreational opportunities through their historical villages, diverse neighborhoods, charming shops, fine restaurants, beaches, and orchards. While Yale has virtually inexhaustible cultural resources, its close proximity to New York and Boston broadens the possibilities for an enhanced student experience.

The School of Music Bulletin is far more than a collection of policies, degree programs, and faculty biographies. It reflects a community that is fully committed to the highest musical ideals. It is a blueprint for those who will assume the mantle of cultural leadership. It is a reflection of a School steeped in tradition yet shaping the future. It is a brief sampling of what you might expect from your time in this place.

Whether you intend to perform, coach, teach, research, direct, compose, publish, critique, edit, manage, or lead, consider the opportunities for a challenging and significant immersion in everything that Yale University has to offer.

The faculty and staff of the Yale School of Music wish you much success in your time here and in your musical pursuits.

Calendar

The President and Fellows of Yale University

President
Richard Charles Levin, B.A., B.Litt., Ph.D.

Fellows
Her Excellency the Governor of Connecticut, ex officio
His Honor the Lieutenant Governor of Connecticut, ex officio
George Leonard Baker, Jr., B.A., M.B.A., Palo Alto, California
Edward Perry Bass, B.S., Fort Worth, Texas
Roland Whitney Betts, B.A., J.D., New York, New York
Jeffrey Lawrence Bewkes, B.A., M.B.A., New York, New York
Peter Brendan Dervan, B.S., Ph.D., San Marino, California (June 2014)
Donna Lee Dubinsky, B.A., M.B.A., Portola Valley, California
Mimi Gardner Gates, B.A., M.A., Ph.D., Seattle, Washington (June 2013)
Paul Lewis Joskow, B.A., Ph.D., Locust Valley, New York
Jeffrey Powell Koplan, B.A., M.D., M.P.H., Atlanta, Georgia (June 2009)
Margaret Hilary Marshall, B.A., M.Ed., J.D., Cambridge, Massachusetts (June 2010)
William Irwin Miller, B.A., M.B.A., Columbus, Indiana (June 2011)
Indra Nooyi, B.S., M.B.A., M.P.P.M., Greenwich, Connecticut
Barrington Daniels Parker, B.A., LL.B., Stamford, Connecticut
Douglas Alexander Warner III, B.A., New York, New York
Margaret Garrard Warner, B.A., Washington, D.C. (June 2012)
Fareed Zakaria, B.A., Ph.D., New York, New York

The Officers of Yale University

President
Richard Charles Levin, B.A., B.Litt., Ph.D.

Provost
Andrew David Hamilton, B.Sc., Ph.D., F.R.S.

Vice President and Secretary
Linda Koch Lorimer, B.A., J.D.

Vice President and General Counsel
Dorothy Kathryn Robinson, B.A., J.D.

Vice President for New Haven and State Affairs and Campus Development
Bruce Donald Alexander, B.A., J.D.

Vice President for Development
Ingeborg Theresia Reichenbach, Staatsexamen

Vice President for Finance and Administration
Shauna Ryan King, B.S., M.B.A.

Yale School of Music

Officers of Administration
Richard Charles Levin, B.A., B.Litt. Ph.D., President of the University
Andrew David Hamilton, B.Sc., Ph.D., F.R.S., Provost of the University
Robert Lewis Blocker, D.M.A., Henry and Lucy Moses Dean of Music
Martin D. Jean, A.Mus.D., Director of the Institute of Sacred Music
Thomas G. Masse, M.B.A., D.M.A., Deputy Dean
Paul Hawkshaw, Ph.D., Director of the Yale Summer School of Music
Michael Yaffe, M.A., Associate Dean

Emeriti
Donald Robert Currier, M.M., Professor Emeritus of Music
Fenno Follansbee Heath, Jr., M.M., Professor Emeritus of Music
Charles Russell Krigbaum, M.F.A., Professor Emeritus of Music
Robert Earl Nagel, Jr., M.S., Professor Emeritus of Music
John Warner Swallow, Professor Emeritus of Music
Keith Leroy Wilson, M.M., Professor Emeritus of Music

Faculty
Ole Akahoshi, M.M., Lecturer in Cello
Syoko Aki, M.M., Professor in the Practice of Violin
Janna Baty, M.M, Assistant Professor (Adjunct) of Voice
Martin Beaver, Artist in Residence (Tokyo String Quartet)
Boris Berman, M.A., Professor in the Practice of Piano
Robert Lewis Blocker, D.M.A., Professor of Piano, and Henry and Lucy Moses Dean of Music
*Martin Bresnick, D.M.A., Charles T. Wilson Professor in the Practice of Composition
Jeffrey Brillhart, M.M., Visiting Lecturer in Organ Improvisation
Marguerite L. Brooks, M.M., Associate Professor (Adjunct) of Choral Conducting
Simon Carrington, M.A., Professor in the Practice of Choral Conducting
Lili Chookasian, Professor (Adjunct) of Voice
Richard Cross, B.A., Lecturer in Voice
Allan Dean, M.M.Ed., Professor (Adjunct) of Trumpet
Douglas Robert Dickson, M.M.A., Lecturer in Voice and Opera
Jeffrey Douma, D.M.A., Associate Professor (Adjunct) of Choral Conducting
Thomas C. Duffy, D.M.A., Professor (Adjunct) of Music and Director of University Bands
†Margot Fassler, M.A., Ph.D., Professor of Musicology and Robert S. Tangeman Professor of Music History and Liturgy
Claude Frank, M.M., Professor (Adjunct) of Piano
Peter Frankl, Visiting Professor (Adjunct) of Piano
Michael Friedmann, Ph.D., Professor (Adjunct) of Music
Clive Greensmith, Artist in Residence (Tokyo String Quartet)
Shinik Hahm, M.M., Professor in the Practice of Conducting
June Han, D.M.A., Lecturer in Harp
Scott Hartman, M.M., Lecturer in Trombone
Paul Hawkshaw, Ph.D., Professor in the Practice of Musicology and Director of the Yale Summer School of Music/Norfolk Music Festival
Wing Ho, M.M., Class of ’57 Visiting Professor of Music
Robert Holzer, Ph.D., Associate Professor (Adjunct) of Music History
Kikuei Ikeda, Artist in Residence (Tokyo String Quartet)
Kazuhide Isomura, Artist in Residence (Tokyo String Quartet)
Martin D. Jean, A.Mus.D., Professor of Organ and Director of the Institute of Sacred Music
Hyo Kang, Professor (Adjunct) of Violin
Ani Kavafian, M.S., Professor in the Practice of Violin
†Aaron Jay Kernis, B.M., Professor (Adjunct) of Composition
Eugene Ross Kimball, Lecturer in Sound Recording
Ezra Laderman, M.A., Professor of Composition
David Lang, D.M.A., Professor (Adjunct) of Composition
Jesse Levine, Professor in the Practice of Viola
Judith Malafronte, M.A., Lecturer in Voice
Ingram Marshall, M.F.A., Visiting Lecturer in Composition
Thomas G. Masse, M.B.A., D.M.A., Lecturer in Chamber Music and Deputy Dean
Robert Mealy, A.B., Professor (Adjunct) of Early Music
Walden Moore, M.M., Lecturer (Adjunct) in Organ
Frank A. Morelli, Jr., D.M.A., Associate Professor (Adjunct) of Music
Thomas Murray, B.A., Professor in the Practice of Organ and University Organist
Emily Olin, M.M., Lecturer in Voice and Opera
Peter Oundjian, Professor (Adjunct) of Music
Donald Palma, B.M., Assistant Professor (Adjunct) of Double Bass
Joan Clarice Panetti, D.M.A., Sylvia and Leonard Marx Professor in the Practice of Hearing and Chamber Music
Aldo Simoes Parisot, M.M., Samuel Sanford Professor in the Practice of Cello
Elizabeth Sawyer Parisot, D.M.A., Associate Professor (Adjunct) of Piano
William Purvis, B.A., Lecturer in French Horn
Markus Rathey, Ph.D., Assistant Professor (Adjunct) of Music History
Michael Roylance, B.A., Lecturer in Tuba
Willie Henry Ruff, Jr., M.M., L.H.D., Professor (Adjunct) of Music
Wendy Sharp, M.M., Lecturer in Violin and Director of Chamber Music
David Shifrin, B.Mus., Professor in the Practice of Clarinet and Chamber Music
Toshiyuki Shimada, B.M., Associate Professor (Adjunct) of Conducting
James Taylor, M.Dipl., Associate Professor (Adjunct) of Voice
Stephen Taylor, Diploma, Lecturer in Oboe
Christopher Theofanidis, D.M.A., Associate Professor (Adjunct) of Composition
Frank Tirro, Ph.D., Professor of Music History
Robert van Sice, M.M., Lecturer in Percussion
Jack Vees, M.F.A., Lecturer in Electronic Music and Director, Center for Studies in Music Technology
Benjamin Verdery, B.F.A., Associate Professor (Adjunct) of Guitar
Marc Verzatt, Lecturer in Voice and Opera
Annette Wegener, Lecturer in Voice and Opera
Ransom Wilson, B.M., Professor (Adjunct) of Music
Wei-Yi Yang, D.M.A., Associate Professor (Adjunct) of Piano
Doris Yarick-Cross, M.M., Professor in the Practice of Voice
Kyung Hak Yu, M.M., Lecturer in Violin

*On leave of absence, fall 2008
†On leave of absence 2008–2009

Affiliated Department of Music Faculty
Kathryn Alexander, D.M.A., Associate Professor (Adjunct) of Music Composition
Seth Brodsky, Ph.D., Assistant Professor of Music History (spring term)
David Clampitt, Ph.D., Lecturer
Richard Cohn, Ph.D., Battell Professor of the Theory of Music and Director of Graduate Studies
Margot Fassler, M.A., Ph.D., Professor of Musicology and Robert S. Tangeman Professor of Music History and Liturgy
Michael Friedmann, Ph.D., Professor (Adjunct) of Music
Daniel Harrison, Ph.D., Allen Forte Professor of Music Theory and Chair of the Department of Music
James Hepokoski, Ph.D., Professor of Music History
Gundula Kreuzer, Ph.D., Assistant Professor of Music History
Richard Lalli, D.M.A., Professor (Adjunct) of Music
Patrick McCreless, Ph.D., Professor of Music Theory
Ian Quinn, Ph.D., Assistant Professor of Music Theory and Editor, Journal of Music Theory
Ellen Rosand, Ph.D., Professor of Music History
Toshiyuki Shimada, Associate Professor (Adjunct) of Music and Conductor of the Yale Symphony Orchestra
Michael Veal, Ph.D., Associate Professor of Music
Sarah Weiss, Ph.D., Assistant Professor of Ethnomusicology
Craig Wright, Ph.D., Henry L. and Lucy G. Moses Professor of Music and Professor of Music History

Institute of Sacred Music
Teresa Berger, Dr.Theol., Professor of Liturgical Studies
Jeffrey Brillhart, M.M., Lecturer in Organ Improvisation
Marguerite L. Brooks, M.M., Associate Professor (Adjunct) of Choral Conducting
Simon Carrington, M.A., Professor in the Practice of Choral Conducting
Patrick Evans, B.M., B.M.E., M.M., D.M., Associate Professor in the Practice of Sacred Music
Margot E. Fassler, B.A., M.A., Ph.D., Robert S. Tangeman Professor of Music History
Siobhán Garrigan, B.A., S.T.M., Ph.D., Associate Professor of Liturgical Studies and Assistant Dean for Marquand Chapel
Martin D. Jean, B.A., A.Mus.D., Professor of Organ, Professor in the Practice of Sacred Music, and Director of the Institute of Sacred Music
Jaime Lara, B.A., M.A., M.Div., S.T.M., Ph.D., Lecturer in Christian Art and Architecture
Gordon Lathrop, B.A., B.D., Dr.Th., Visiting Professor of Liturgical Studies and Acting Assistant Dean for Marquand Chapel (spring)
Robin A. Leaver, D.Theol., FRSCM, Visiting Professor of Music (fall)
Judith Malafronte, M.A., Lecturer in Voice
Mark Miller, M.M., Lecturer in the Practice of Sacred Music
Walden Moore, B.M., M.M., Lecturer (Adjunct) in Organ
Thomas Murray, B.A., Professor in the Practice of Organ and University Organist
Sally M. Promey, Ph.D., Professor of Religion and Visual Culture, Professor of American Studies, and Deputy Director of the Institute of Sacred Music
Markus Rathey, Ph.D., Associate Professor (Adjunct) of Music History
Bryan D. Spinks, B.A., Dip.Th., M.Th., B.D., D.D., Goddard Professor of Liturgical Studies and Pastoral Theology
James Taylor, B.Mus., M.Dipl., Associate Professor (Adjunct) of Voice
Ted Taylor, M.M., Lecturer in Voice
Thomas H. Troeger, B.A., B.D., S.T.D., D.D., J. Edward and Ruth Cox Lantz Professor of Christian Communication

Curators
Brian L. Daley, A.A., Associate Curator of Pianos
Joseph F. Dzeda, Associate Curator of Organs
William J. Harold, B.A., Associate Curator of Pianos
Vivian M. Perlis, M.M., Senior Research Associate and Director of Oral History, American Music
Nicholas Renouf, M.M.A., Associate Curator, Collection of Musical Instruments
Susan E. Thompson, M.M., Curator, Collection of Musical Instruments
Nicholas Thompson-Allen, Associate Curator of Organs

Staff
Dana Astmann, M.A., Coordinator of Special Projects
Katy Ambrose, A.D., Recording Assistant and Netcast Coordinator
Katie Brown, M.S., Assistant to the Dean
Betsy Carr, M.S., Director of Development
Jennifer Chen, A.D., Assistant for Development and Special Projects
Deanne Chin, B.A., Operations Coordinator, Norfolk
Meryn Daly, B.F.A., Production Assistant
Tara Deming, Operations Manager
Rosemary Gould, Administrative Assistant, Registrar’s Office
Susan Hawkshaw, Ph.D., Assistant Director of Oral History, American Music
Wilma M. Heggie, Receptionist, Collection of Musical Instruments
Krista Johnson, B.A., Ensembles Manager
Jeanne A. Kazzi, Senior Administrative Assistant, Admissions Office
Eugene Ross Kimball, Recording Engineer
Lydia Kovi, Receptionist
Olivia Malin, M.M., Music Outreach Coordinator
Grant Meachum, B.S., Managing Coordinator, Yale Opera
Christopher Melillo, Operations Coordinator
John Miller, M.M., Music Outreach Coordinator
James Nelson, B.A., General Manager, Norfolk
Vincent P. Oneppo, M.M., Director of the Concert and Press Office
Monica Ong, M.F.A., Web and Publications Designer
Patricia Pappacoda, Associate Business Manager
Daniel Pellegrini, B.M., Director of Admissions
Sylvia Aiko Rider, M.M., Operations Assistant
Jason Robins, M.M., Assistant Recording Engineer
Ashley Starkins, B.A., Associate Administrator, Norfolk
Suzanne Stringer, Financial Aid Administrator and Registrar
Libby Van Cleve, D.M.A., Assistant Director of Oral History, American Music
Jack Vees, M.F.A., Director, Center for Studies in Music Technology
Elizabeth Wilford, M.Ed., Administrative Assistant, Business Office
Kelly Yamaguchi-Scanlon, B.S., Assistant to the Deputy Dean

Irving S. Gilmore Music Library Staff
Mark Bailey, M.M., Research Associate, H.S.R.
Helen Bartlett, M.L.S., Assistant Music Librarian for Technical Services
Richard Boursy, Ph.D., Archivist
Kendall Crilly, M.M., M.L.S., M.A., Andrew W. Mellon Foundation Music Librarian
Suzanne M. Eggleston, M.S., Assistant Music Librarian for Public Services
Eva M. Heater, M.M., Cataloguing Assistant
Michelle Koth, M.L.S., Catalogue Librarian
Kathryn R. Mansi, B.S., Public Services Assistant
Julie Niemeyer, M.M., Acquisitions Assistant
Karl Schrom, Record Library Supervisor
Richard Warren, Jr., Ed.M., Curator, Historical Sound Recordings

Music at Yale

Music at Yale enjoys a level of participation and excellence that is unrivaled among American universities. The School of Music stands at the center of this activity, with students and faculty presenting over four hundred public concerts and recitals every year. Although there are numerous extracurricular music groups of all types throughout the campus, the curricular study and performance of music is centered at the School of Music, the Department of Music, and the Institute of Sacred Music.

The School of Music

The Yale School of Music is a graduate professional school for students of exceptional ability who, by reason of their musical aptitude and their intellectual background, are qualified to do graduate work at this University. At Yale, students selected from all parts of the world are brought together to study with a distinguished faculty. In addition to receiving professional training in music, students are encouraged to participate in the rich intellectual life of the entire University and to develop and pursue interests in areas outside of their majors. While these intellectual pursuits are not, and should not be, formulated as a program of prescribed courses, the expansion of one’s comprehension and perception beyond mechanical craft is a basic premise of the School’s educational philosophy. School of Music programs are designed to develop students’ potentials in their special field to the highest levels of excellence while extending their intellectual horizons beyond that area of specialization.

One of the most important training activities at the School is chamber music, which is closely supervised by faculty coaches. There are also frequent opportunities for solo, small ensemble, orchestral, choral, and other types of performances. Because of this unique training, many graduates of the Yale School of Music hold positions on university faculties, in major symphony orchestras, and in leading opera companies. Others are now performing as concert artists or have found careers in various aspects of commercial music and music administration.

The School, a charter member of the National Association of Schools of Music, limits its enrollment to 200 graduate students and maintains a faculty of 65. This ratio of approximately three-to-one provides a distinctive educational environment for gifted young artists.

The Department of Music

The Department of Music works as a partner with the School of Music to provide the basic education in music at Yale. Whereas the School of Music is primarily concerned with graduate students who wish to become performers, conductors, and composers, the Department of Music teaches undergraduates in Yale College, providing instruction in music theory, music history, and music appreciation for music majors and nonmajors alike. At the same time, the department offers graduate programs in music theory and musicology leading to the Ph.D. degree. Students interested in these programs may apply directly to the Office of Admissions, Graduate School of Arts and Sciences, Yale University, PO Box 208323, New Haven CT 06520-8323. Graduate courses, all conducted as seminars, are taught by a distinguished faculty. With the consent of their advisers and the instructor of the course, students in the School of Music are welcome to enroll in both undergraduate and graduate courses offered by the department. Similarly, students enrolled in the department will often be found at the School taking lessons, playing chamber music, or taking courses in conducting, music history, or composition. The department sponsors the Yale Collegium Musicum, the Yale Bach Society, the Yale Symphony Orchestra, the Yale Group for New Music, and Yale College Opera as extracurricular musical activities.

Yale Institute of Sacred Music

The Yale Institute of Sacred Music (ISM) is an interdisciplinary graduate center dedicated to the study and practice of sacred music, worship, and the arts. It continues to fulfill the vision of a founding patron, Mrs. Robert S. Tangeman, who described the Institute as “a place where the question of music and the arts in Christianity will receive new strength through the preparation and training of individual musicians, ministers, and teachers who understand their calling in broad Christian terms and not exclusively within the limits of their disciplines.” By partnering with other University entities, and through its broad curriculum and sponsorship of various concerts, art exhibitions, colloquia, conferences, and other events, the Institute draws members of various and diverse constituencies to Yale.

Students who seek an interdisciplinary education in the musical, artistic, and liturgical traditions of communities of faith may apply to do their work in the Institute. Any student so matriculating must be fully enrolled in the relevant professional school of Music or Divinity, which confers the appropriate degree or diploma. A joint-degree program is also available, whereby an ISM student can earn both the Master of Arts in Religion from the Divinity School and the Master of Music from the School of Music in three years; normally, it is necessary for students to apply to one of the degree programs and then, if accepted, to apply to the other program in their first year at Yale. The Institute also confers a certificate on ISM students upon graduation. Institute students, therefore, pursue the same programs of study with the same faculty as students not affiliated with the Institute, but follow a curriculum emphasizing interdisciplinary study. Such students are advised by ISM faculty and select ISM elective courses (see ISM Bulletin).

Institute faculty are appointed to the Institute jointly with either the School of Music or Yale Divinity School (or both), and some have appointments in other departments at Yale. Faculty with joint appointments in the Institute of Sacred Music and Yale School of Music include two instructors in organ, one in organ improvisation, two in choral conducting, two in voice, and two in music history.

At the heart of the Institute’s program is the weekly Colloquium, a lively interdisciplinary course attended by all ISM faculty and students. Faculty and guest speakers lecture in the fall on topics pertinent to the primary fields represented in ISM: music, worship, and the arts. In Colloquium, students and faculty explore the ways in which music and the arts function within diverse Christian liturgical practices. The Institute serves to promote understanding of biblical texts as proclaimed in community, and the unique sense of identity the arts provide for worshipers in a variety of faith traditions. It sponsors biannual study tours abroad with the goal of obtaining a wealth of experiences in seeing, hearing, and learning firsthand in other cultures. In 2004 the destination was Scandinavia; in 2006 the Institute traveled to Mexico, and in 2008 to the Balkans.

Applicants to the Institute of Sacred Music must complete a separate ISM application. ISM students receive full-tuition scholarships to support their work at Yale. Additional stipends may also be awarded to outstanding students. The Institute participates in the Federal Stafford Loan Program, both the subsidized and unsubsidized versions. More information may be found on ISM’s Web site at www.yale.edu/ism; or the ISM Bulletin may be obtained by writing directly to the Institute of Sacred Music, 409 Prospect Street, New Haven CT 06511-2167, by calling 203.432.9753, or by sending an e-mail to ism.admissions@yale.edu.

Yale Summer School of Music: Norfolk Chamber Music Festival

The Yale Summer School of Music: Norfolk Chamber Music Festival offers intensive chamber music coaching and performance opportunities with renowned artist-faculty and resident and guest ensembles. Situated in the bucolic town of Norfolk amid the hills of northwestern Connecticut, the historic and beautiful Ellen Battell Stoeckel Estate provides an intimate environment for summer study. The Music Shed, built in 1906, housed performances by Rachmaninoff, Kreisler, Sibelius, Paderewski, and Caruso and still serves as the venue for all summertime School concerts and the Norfolk Chamber Music Festival.

Once admitted to the program, fellows focus on the art of studying and performing traditional and contemporary chamber music. Fellows work in string quartets, piano ensembles, woodwind and brass quintets, and small and large mixed ensembles, and meet daily with artist-faculty coaches. These coaches rotate throughout the summer, exposing fellows to a wide variety of artistic interpretations, teaching methods, and repertoires.

The program offers several courses of study. The mainstay of the summer program is the six-week chamber music session. Complementing that are one or more two-week seminars, each focusing on a particular area of the chamber music repertoire. Recent seminars have included composition and contemporary music, a guitar workshop, a seminar for advanced string quartets, and an American song seminar. Each week, students have the opportunity to perform in two or more Young Artists Recitals, and artist-faculty perform several concerts. Occasionally students join their mentors in festival concerts.

The school accepts applications from individual instrumentalists and pre-formed ensembles. All those selected to participate receive a fellowship covering the full cost of tuition. This fellowship is made possible, in part, through the generosity of the Ellen Battell Stoeckel Trust.

Applications are due by Friday, January 25, 2008. Admission is extremely competi-tive and is based on an audition tape or CD and, most importantly, a subsequent live audition.

An application and catalogue may be obtained by writing to the Yale Summer School of Music: Norfolk Chamber Music Festival, 435 College Street, PO Box 208246, New Haven CT 06520-8246, or by telephoning 203.432.1966. The summer address is Yale Summer School of Music: Norfolk Chamber Music Festival, Ellen Battell Stoeckel Estate, Routes 44 and 272, PO Box 545, Norfolk CT 06058-0545; telephone 860.542. 3000. The festival can be reached year-round at www.yale.edu/norfolk/ or by e-mail: norfolk@yale.edu.

History of the School of Music

The sum of $5,000 was presented to Yale College in 1854 by Joseph Battell “for the support, as far as it may go, of a teacher of the science of music to such students as may avail themselves of the opportunity.” The Yale Corporation approved the appointment of Gustave Jacob Stoeckel as an instructor in church music and singing, and as director of the Chapel Choir and other musical activities at Yale College, in April 1855.

Mr. Stoeckel’s active campaign to establish a department of music at Yale moved the Corporation in 1889 to create such a department. An appointment as Battell Professor of Music was given to Mr. Stoeckel in 1890, and in that year Yale’s first credit courses in music were offered. The first Bachelor of Music degrees given by Yale were awarded in 1894 to a class of four. Professor Stoeckel retired in 1894 and two new teachers were appointed to succeed him: Samuel Simons Sanford as Professor of Applied Music and Horatio Parker as Battell Professor of the Theory of Music. It was Sanford’s tireless efforts that led to the establishment of the Yale School of Music in 1894. In 1904 Professor Parker was named dean.

A new building for the School was provided in 1917 when the Albert Arnold Sprague Memorial Hall was constructed through the generosity of Mrs. Sprague and her daughter, Elizabeth Sprague Coolidge. Here the entire School was housed, including offices, studios, practice rooms, library, and an auditorium.

With the death of Horatio Parker in 1919, the deanship passed to David Stanley Smith, who continued in office until 1940. The graduate division of the School was established and the degree of Master of Music first conferred in 1932. An interim deanship was held by Richard Donovan until the appointment of Bruce Simonds in 1941. Luther Noss, a member of the faculty since 1939, became dean in 1954.

Sprague Hall was remodeled in 1954 to accommodate the rapidly growing library of the School. The need for expanded studio facilities and administrative offices was partially met in 1954 by the acquisition of York Hall, which was renovated and renamed Stoeckel Hall in honor of Yale’s first instructor in music.

The School of Music became exclusively a graduate professional school in 1958, requiring an undergraduate degree for admission and conferring only the Master of Music degree. Additional programs of graduate professional studies, leading to the degrees of Master of Musical Arts and Doctor of Musical Arts, were introduced in 1968. A Certificate in Performance was introduced in 1973, and the Artist Diploma was created in 1991.

From 1970 to 1980, Philip Nelson, a musicologist, served as dean of the School of Music. In 1973 the Institute of Sacred Music was established at Yale as an interdisciplinary graduate center for the study of music, liturgy, and the arts. In 1980 Frank Tirro, a musicologist and early music specialist, was appointed dean. American composer Ezra Laderman assumed the position of dean of the School of Music in July 1989. In the fall term of 1995, pianist Robert Blocker joined the Yale administration as the Lucy and Henry Moses Dean of Music.

Under Dean Blocker’s leadership, the School’s endowment quadrupled, and a comprehensive plan to revitalize all of Yale’s music facilities was conceived and is now well under way. Robert Blocker became provost and vice president of Southern Methodist University in July 2005. President Richard C. Levin appointed Thomas C. Duffy, deputy dean since 1999, as acting dean. In the fall of 2005, President Levin announced that the School of Music was the beneficiary of a $100 million gift from an anonymous donor, enabling the School to strengthen its programs, play a leading role in music education, explore international partnerships, and provide all students with full-tuition scholarships. In July 2006, Robert Blocker returned to Yale to serve as dean of the School of Music.

Facilities

Most of the Yale Music campus is located in the block bounded by College, Wall, Temple, and Elm streets. Abby and Mitch Leigh Hall, at 435 College Street, reopened in 2005 after a year of renovations. This beautiful building was built in 1930 in the Gothic style and has been thoroughly updated and modernized. It houses numerous faculty studios, the Dean’s Office, and three classrooms.

Hendrie Hall, at 165 Elm Street, is the center for the Philharmonia Orchestra as well as the School’s opera, brass, and percussion departments, with faculty studios, rehearsal space, and practice facilities. Hendrie also houses offices and practice space for the major undergraduate musical organizations, the University bands, Yale Glee Club, and Yale Symphony. Yale’s undergraduate music program is conducted at the Department of Music, located at 143 Elm Street.

Albert Arnold Sprague Memorial Hall, at the corner of College and Wall streets, reopened in the fall of 2003 after two years of extensive renovations. The Center for Studies in Music Technology is located in the lower level of the building, along with numerous practice rooms. The first floor houses the admissions, business, and concert offices, the registrar’s office, and the Fred Plaut Recording Studio. This fully equipped professional digital recording facility is linked directly to Morse Recital Hall, located on the second and third floors of the building. Morse Hall’s seating capacity is 680, and its stage accommodates eighty musicians. It is the School of Music’s primary performance venue and is host to the Chamber Music Society at Yale, the Duke Ellington Fellowship concerts, New Music New Haven, the Horowitz Piano Series, the Faculty Artist Series, and many student recitals. On the top floor of the building are a studio for the music director of the Philharmonia, a multimedia classroom, and a faculty office for the Institute of Sacred Music.

The Louis Sudler Recital Hall in William L. Harkness Hall, adjacent to Sprague Hall, seating audiences of 200, is available for recitals, chamber music concerts, and lectures.

Located in its own building at 15 Hillhouse Avenue, the Yale University Collection of Musical Instruments contains more than 1,000 instruments, of which the majority document the Western European art music tradition, especially the period from 1550 to 1850. Included in the holdings of the collection are the Morris Steinert Collection, the Belle Skinner Collection, the Emil Herrmann Collection, the Albert Steinert Collection, and the Robyna Neilson Ketchum Collection. Courses in the history of musical instruments are taught at the Collection, and special lectures and demonstrations as well as performance seminars are frequently presented to sessions of music history classes. The Collection maintains permanent displays, regularly mounts special exhibits, and presents an annual series of concerts, lectures, and other special events.

Two other buildings complete the music complex. Woolsey Hall is used by the School of Music and other musical organizations for concerts by large instrumental ensembles and choruses. This impressive Beaux Arts structure, built in 1901, is home to the Philharmonia Orchestra of Yale, the Yale Symphony Orchestra, the Yale Concert Band, the New Haven Symphony Orchestra, and the Yale Glee Club. The hall has an auditorium with a seating capacity of 2,695 and houses the Newberry Memorial Organ. The building provides additional organ practice rooms in the basement.

The Institute of Sacred Music has offices, classrooms, and practice rooms at Sterling Divinity Quadrangle at 409 Prospect Street. At the heart of the complex lies Marquand Chapel, the center of daily worship for the community. Extensively renovated in recent years, it is home to an E.M. Skinner organ as well as the new Baroque-style meantone Krigbaum Organ by Taylor & Boody. These instruments, the acoustics, and its flexible seating arrangements make Marquand Chapel a unique performance space at Yale.

Libraries

The Irving S. Gilmore Music Library contains approximately 80,000 scores and parts for musical performance and study; 55,000 books about music; 35,000 LP recordings and compact discs; 7,500 microfilms of music manuscripts and scores; 45,000 pieces of sheet music; 50,000 photographs; 4,000 linear feet of archival materials; 500 individual music manuscripts not forming a portion of a larger collection; and 375 active subscriptions to music periodicals. The collection has been designed for scholarly study and reference, as well as to meet the needs of performing musicians. Fundamental to both purposes are the great historical sets and collected editions of composers’ works, of which the library possesses all significant publications. Special areas of collecting include theoretical literature of the sixteenth, seventeenth, and eighteenth centuries; chamber works of all periods for various instrumental combinations; an extensive collection of musical iconography, including 35,000 photos in the Fred Plaut Archives; the Galeazzi collection of Italian manuscripts; the manuscripts and papers of Leroy Anderson, Paul Bekker, Lehman Engel, Henry Gilbert, Benny Goodman, John Hammond, Thomas de Hartmann, Vladimir Horowitz, J. Rosamond Johnson, John Kirkpatrick, Ralph Kirkpatrick, Goddard Lieberson, Ted Lewis, Red Norvo, Harold Rome, Carl Ruggles, E. Robert Schmitz, Franz Schreker, Robert Shaw, Deems Taylor, Alec Templeton, Virgil Thomson, and Kurt Weill; the manuscripts of Leo Ornstein and Hershy Kay; and the works of noted composers formerly associated with Yale University as teachers or students. The last-named area includes the complete manuscript collection of Charles E. Ives, B.A. 1898; the collection of documents concerning Paul Hindemith’s career in the United States; and the complete papers and manuscripts of David Stanley Smith, Horatio Parker, Richard Donovan, Quincy Porter, David Kraehenbuehl, and Mel Powell. The library also houses the extensive Lowell Mason Library of Church Music, noted for its collection of early American hymn and tune books. Individual manuscript holdings include autograph manuscripts of J. S. Bach, Frederic Chopin, Johannes Brahms, Robert Schumann, and Franz Liszt.

Access to the Music Library’s holdings is available through Orbis, the Yale library’s online catalogue. All of the Music Library’s published scores, books, and compact discs have been entered into the Orbis database. Access to some recordings, microforms, andmanuscript materials is only available in the specialized card catalogues in the Music Library lobby.

The holdings of the Irving S. Gilmore Music Library are complemented by other collections in the Yale library. Chief among these is the Historical Sound Recordings collection. Historical Sound Recordings currently holds more than 250,000 rarities that date back to the very beginning of sound recording and continue up to the present day. Collections in the Beinecke Rare Book and Manuscript Library at Yale, particularly the Frederick R. Koch Collection, the Speck Collection of Goethiana, the Yale Collection of American Literature, and the Osborn Collection, also hold valuable music materials. Students in the School of Music may also use the facilities of any of the other University libraries, whose total number of volumes is over 12.5 million; annual accessions are approximately 157,000 volumes.

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