Areas of Instruction

Performance

The members of the performance faculty of the Yale School of Music are internationally recognized artists and teachers. At Yale they work with students from many countries in programs that are broadly based and intensely professional. Work in both solo and ensemble performance is supplemented by a comprehensive program of study in musical analysis and history. Students participate in the Philharmonia Orchestra of Yale, New Music New Haven, Yale Opera, and the extensive chamber music program. Master classes, special seminars, and residencies of distinguished guest artists are sponsored each year by the School. Students are urged to explore courses in music literature, analysis, and bibliography as an important component of their course of study, and to take advantage of courses and activities in other areas of the University. In this extraordinarily rich musical environment Yale provides a unique opportunity for the cultivation of each individual student’s potential for artistic growth.

Strings

Syoko Aki, Sidney Harth, Ani Kavafian, Peter Oundjian, Wendy Sharp, Kyung Hak Yu, violin; Jesse Levine, viola; Ole Akahoshi, Aldo Parisot, violoncello; Donald Palma, double bass

The violin faculty encourages each student to become his or her own best teacher, first through explanation and demonstration, and eventually through critical self-awareness. No single method is stressed; rather, an approach is designed for each individual student. Rhythmic control is paramount; it is inextricably bound, both physically and emotionally, to beautiful violin playing.

The approach to viola instruction stresses the overriding importance of musical language as well as technical mastery of the instrument. The search for beauty in performance is the ultimate goal; the production of an expressive sound and an acute awareness of phrasing in interpretation are also constantly kept in mind. Independent and broad exploration of viola literature is encouraged, as are new compositions to be written for the instrument.

The method of cello instruction is based upon the belief that even the most imaginative musician is prevented from achieving the highest potential if he or she is limited by technical deficiencies. The student, therefore, concentrates first on the removal of tension, then learns to involve the entire body in cello playing and to experience the physical sensations associated with facility on the instrument. When the player and the instrument function as an efficient unit, the student begins to explore the vast subtleties of sound, phrasing, and interpretation available to those who have thoroughly mastered the cello.

The Yale School of Music offers the double bassist an opportunity to refine his or her technique and musicianship while gaining a truer understanding of the physical aspects of playing the double bass. Preparation for orchestra auditions, solo performances, and all aspects of twentieth-century writing for the double bass is emphasized in degrees corresponding to the students’ goals.

Wind Instruments

Ransom Wilson, flute; Richard Killmer, oboe; David Shifrin, clarinet; Frank Morelli, bassoon; William Purvis, horn; Allan Dean, trumpet; Scott Hartman, trombone; Thompson Hanks, Jr., tuba and brass ensemble

Wind players receive private lessons and participate in weekly seminars. They are encouraged to acquaint themselves with as broad a repertoire as possible in all fields, including performance of baroque and contemporary music. In addition to solo playing, students are required to play in chamber groups, New Music New Haven, and in the Philharmonia.

Percussion

Robert Van Sice

The percussion department offers a program with three primary areas of study: solo marimba/percussion, orchestral percussion, and contemporary chamber music. Students receive a weekly private lesson and attend an orchestral repertoire seminar. Required ensembles include the Philharmonia, New Music New Haven, and the Yale Percussion Group.

Guitar and Harp

Benjamin Verdery, guitar, and June Han, harp

The weekly guitar seminar includes performances of newly learned repertoire, chamber music coaching, ensembles, and lectures. Guest master classes are also part of the program; among recent artists are Eliot Fisk, David Russell, Manuel Barrueco, and Anthony Newman. In the two-year guitar program each student is strongly encouraged to prepare two solo recital programs, a concerto, and three or four chamber works. The final degree recital should be performed from memory.

Harpists have the opportunity to perform with a wide range of ensembles including chamber groups, the Philharmonia, and New Music New Haven.

Piano

Boris Berman, Robert Blocker, Melvin Chen, Claude Frank, Peter Frankl, Anna Grinberg, Elizabeth Sawyer Parisot, and guests

The close collaboration of piano faculty members working with one another is the unique feature of the piano department. Students have regular opportunities to play in master classes for faculty other than their major teacher, as well as to receive additional individual lessons and chamber music coachings with them. Piano faculty take turns in conducting piano seminars and master classes.

The main emphasis of the piano program is on solo performance; however, ensemble playing, accompanying, and teaching play an important role in the major’s pianistic career at Yale. This all-encompassing training is given so that the graduates are superbly equipped to make their way in the highly competitive world of music today. Piano faculty supervise multifaceted activities in which students are engaged.

During each year a piano student is expected to give one or more solo recitals, to perform with instrumentalists and/or singers, and to play chamber and contemporary music. Piano students can apply for salaried positions to teach Yale College undergraduates or piano as a secondary instrument in the School of Music.

Chamber Music

The Tokyo String Quartet and members of the performance faculty

Developing musicianship is the goal of every young and aspiring musician. The surest path to this goal is the study and performance of the masterworks of chamber music literature. Under the guidance of the Tokyo String Quartet (the quartet in residence) and other members of the faculty, chamber music is studied in depth, and traditions and stylistic differences are explored. Concerts of the Tokyo String Quartet and visiting ensembles are open to students.

Chamber music holds a place of great importance in the curriculum at Yale. An effort is made to provide each student with an opportunity to play in various ensembles. Students also have the opportunity to rehearse and perform in chamber music concerts with their faculty coaches.

Student chamber music performances take place not only at the School of Music but in various colleges on the Yale campus and in surrounding communities.

Harpsichord

Richard Rephann

A performance major is offered at the graduate level. Students in the School of Music may elect to study harpsichord as a secondary instrument; an audition and permission of the instructor are required.

Candidates for the major in harpsichord should be generally qualified as musicians and give promise as solo performers. In addition to the acquisition of a knowledge of the literature of the instrument, students must concern themselves with related vocal and instrumental music, with source materials concerning performance practices, with continuo playing, with the history of instruments, and with general problems of tuning and maintenance. The Yale Collection of Musical Instruments offers a unique resource for students interested in the study of historical instruments. Courses in the history of musical instruments are offered on a regular basis and are taught in the collection.

Organ

Martin Jean, Thomas Murray, William Porter (improvisation, fall term), and Jeffrey Brillhart (improvisation, spring).

The major in organ prepares students for careers as soloists, informed teachers, and church musicians, and for doctoral-level studies. The departmental seminar is devoted to a comprehensive survey of organ literature from all musical periods. In addition to individual coaching from the resident faculty, majors receive individual lessons from renowned visiting artists who come to Yale for one week each year. In recent years the visiting artists have included Daniel Roth, Marie-Claire Alain, Martin Haselböck, Peter Planyavsky, Dame Gillian Weir, Naji Hakim, David Craighead, Olivier Latry, Susan Landale, Ludger Lohmann, Jon Gillock, and Michael Gaillit. The visiting artist in 2004 will be Karel Paukert.

Students have the opportunity for practice and performance on an extensive collection of fine instruments at the University: the H. Frank Bozyan Memorial Organ in Dwight Memorial Chapel (von Beckerath, three manuals, 1971); the organ in Battell Chapel (Walter Holtkamp, Sr., three manuals, 1951); Marquand Chapel at the Divinity School (E. M. Skinner, three manuals, 1931); and the Newberry Memorial Organ in Woolsey Hall (E. M. Skinner, four manuals, 1928), one of the most renowned romantic organs in the world. Two-manual practice instruments by Flentrop, Holtkamp, Casavant, and other builders are located both in Woolsey Hall and at the Institute of Sacred Music, which also houses five Steinway grand pianos, a C. B. Fisk positive, a Dowd harpsichord, a two-manual Richard Kingston harpsichord, and the Ortel Organ (Flentrop, 1960).

Organ majors may enroll in the School of Music through the Institute of Sacred Music for all degree programs—M.M., M.M.A./D.M.A., Certificate in Performance, and A.D. The Institute also offers an employment placement service for organ students at Yale.

Voice and Opera

Students majoring in vocal performance at Yale are enrolled in one of two separate and distinct tracks: the opera track and the track in early music, song, and chamber ensemble. Both tracks are designed to enhance and nurture the artistry of young singers by developing in them a secure technique, consummate musicianship, and comprehensive performance experience.

The Yale community and the New Haven area offer ample opportunities for solo experience through church positions, professional orchestras, and various Yale choral and instrumental ensembles. Close proximity to New York and Boston makes attendance at performances and auditions in those cities convenient. Additionally, students have the opportunity to teach voice to undergraduates in Yale College and to nonmajors in the Yale School of Music.

Opera

Doris Yarick-Cross (artistic director and voice); Lili Chookasian and Richard Cross (voice); Douglas Dickson (opera coaching); Eric Trudel (opera coaching, Italian and French diction); Emily Olin (Russian diction); Annette Wegener (German diction); J.J. Penna (song coaching); Marc Verzatt, acting and body movement; and guests

Singers in the opera program are prepared for rigorous careers by practical studies in the art of opera performance. The program encompasses thorough musical training including languages, style, acting, body movement, recitals, and general stage skills. Full productions with orchestra, as well as performances of excerpts, are presented throughout the year to give students varied performance experience. Recent productions have included Gianni Schicchi, Suor Angelica, Le Médecin malgré lui, Die Zauberflöte, Faust, La Bohème, Falstaff, La Traviata, La Cenerentola, Così fan tutte, Les Contes d’Hoffman, Le Nozze di Figaro, Il Barbiere di Siviglia, Die Fledermaus, Albert Herring, La tragédie de Carmen, The Rape of Lucretia, The Kaiser of Atlantis, Iolanta, and the first staged Italian performance of Rossini’s Il viaggio a Reims. Repertoire is chosen with young voices in mind, and to afford the widest casting possibilities and maximum experience for all.

Private voice lessons are supplemented by intensive coaching in both operatic and song literature. Weekly seminars and voice classes stress diction, interpretation, and effective communication. Master classes by eminent artists give young musicians contact with and insight into the real world of music. Such guests have included Elly Ameling, Carlo Bergonzi, Alan Held, Régine Crespin, Franz Hans Hasl, Marilyn Horne, Evelyn Lear, Sherrill Milnes, and Renata Scotto.

Early Music, Song, and Chamber Ensemble

Judith Malafronte and Mark Risinger (voice), Simon Carrington and Marguerite Brooks (ensemble coaching), Jeffrey Douma (choral genres), Eric Trudel (Italian and French diction); Emily Olin (Russian diction); Annette Wegener (German diction); J.J. Penna (song coaching); and guests

This vocal track is designed for the young singer whose interests lie principally in the fields of early music, oratorio, lieder, contemporary music, and choral chamber ensembles.

The primary goal is to prepare the young singer for the rigors of a professional singing career through the development of a sound technique, musicianship, stylistic versatility, and performance skills. Private voice lessons are supplemented by intensive coaching in song and oratorio literature, as well as concentrated study of ensemble techniques in the chamber ensemble, Yale Schola Cantorum, directed by Simon Carrington. This ensemble tours annually and will begin a recording schedule in 2005. In addition to master classes by internationally renowned artists, weekly seminars and voice classes concentrate on performance practices, diction, and interpretation.

Orchestral Conducting

Shinik Hahm and guests

The orchestral conducting program offers intensive training to a highly gifted group of young conductors. During the two-year curriculum students train with the artistic director and also work with a group of distinguished guest mentors. Students have the opportunity to travel to observe eminent conductors in rehearsals.

Conductors frequently have the opportunity to conduct the Philharmonia and other ensembles in rehearsal and performance.

Although there is an emphasis on orchestral repertoire, students develop their technique and general musicianship. Score-reading skills and analysis classes are required. In addition, students in the program are strongly encouraged to take advantage of the diverse course offerings of the School of Music, the Department of Music, and the other divisions of the University.

Choral Conducting

Marguerite Brooks and Simon Carrington

The program prepares students for careers as professional conductors in a variety of contexts, including educational, civic, and church. A primary emphasis of the master’s degree is laying the foundation for continued work in a doctoral program. Students are expected to expand their musicianship skills and develop the broad knowledge of repertoire required of conductors.

The program for choral conductors includes individual lessons with the choral conducting faculty and lessons during regularly supervised sessions with the Repertory and Recital choruses. Attendance at a weekly seminar, Repertory Chorus rehearsals, and membership in the Yale Camerata are required each term, as is participation as a singer in either the Yale Schola Cantorum or the Repertory Chorus. First-year students conduct Repertory Chorus in two shared performances. Second- and third-year students present a degree recital with the Recital Chorus. Choral conducting students are required to study voice as a secondary instrument for two terms and are encouraged to pursue other secondary instrumental studies. Students who are enrolled in the School of Music through the Institute of Sacred Music will have additional requirements as specified by the Institute. All students are expected to avail themselves of the offerings of the University, particularly courses in the Department of Music.

Choral conductors are advised to observe rehearsals of each of the various vocal and instrumental ensembles. Further conducting experience is gained by serving as assistant conductor for one of the faculty-led choirs. Visiting guest conductors have included Harold Decker, George Guest, Sir David Willcocks, Stefan Parkman, and Robert Shaw. Both Sir David Willcocks and Krzysztof Penderecki are scheduled to visit in 2004–2005.

Composition

Martin Bresnick, Aaron Jay Kernis, Ezra Laderman, and guests

The program focuses on studies in composition, including computer music and recording techniques. In addition, composers are urged to continue to develop competency as both instrumentalists and conductors. Students are encouraged to take as many courses as possible in music history and literature and are required to complete successfully courses in the analysis of tonal and nontonal music.

Composers are expected to produce enough work in their two-year residency for one full concert. These works are interspersed during the six to eight concerts given each year under the rubric New Music New Haven.

One of the most effective features of the composition program is provided by regular visits of distinguished visiting composers who serve on the teaching faculty. Gilbert Amy, Louis Andriessen, Earle Brown, Anthony Davis, Lukas Foss, Betsy `Jolas, Leon Kirchner, Zygmunt Krause, Tania Léon, Nicholas Maw, Marlos Nobré, Roger Reynolds, Poul Ruders, Frederic Rzewski, Carlos Sanchez-Gutierrez, Roberto Sierra, Morton Subotnick, Nicholas Thorne, Charles Wuorinen, Ned Rorem, David Del Tredici, and Alvin Singleton have each taught for one term in the composition program. Visiting guest composers who have recently addressed the composers’ seminar include Samuel Adler, Milton Babbitt, Robert Beaser, John Corigliano, Vinko Globokar, John Harbison, Bruce MacCombie, Steven Mackey, Ingram Marshall, Steve Reich, James Wood, and Yehudi Wyner.

Center for Studies in Music Technology

John Halle, director; Jack Vees, operations director

The Center for Studies in Music Technology (CSMT) offers courses and supports projects in all aspects of computer applications in music composition, performance, and research. CSMT currently has facilities for sound synthesis and analysis of all types, digital recording and processing, and MIDI-based synthesis. Aside from composition projects, CSMT supports research in interactive performance systems, physical modeling of instruments, analysis of performance gesture, and music notation.

Courses of Instruction

Key to Course List
A schedule of the hours and places at which various classes are to meet will be posted before the beginning of each term.

Courses designated “a” meet in the fall term only.
Courses designated “b” meet in the spring term only.
Courses designated “a,b” are offered in both the fall and spring terms.
Courses designated “a–b” are yearlong courses. Credit for these courses is granted only after completion of two terms of work.
Courses designated with the symbol P/F will be graded on a Pass/Fail basis.
Courses designated with the symbol NP are nonperformance courses.
Courses designated with the symbol M are courses in the major.

Musicianship and Theory

MUS 500b, Hearing. 2 credits. See MUS 501a, 502a, 503a. Required of all students who pass specified preparatory courses in the Music Department.

MUS 501a, 502a, 503a, 549a, Hearing. 4 credits. Developing aural and analytic skills through the exploration of a variety of tonal styles, hearing with and without score, hearing from recordings, and hearing with attention to both pitch and nonpitch compositional elements. The goal is to connect the above to performance and to understand the structure of music. One of these sections is a degree requirement. Does not count as a nonperformance elective. A higher level of Hearing may be taken as an academic elective. Joan Panetti, Chairperson.

MUS 610a, Score Reading and Analysis. 4 credits per term. NP. An examination of repertoire from the eighteenth, nineteenth, and twentieth centuries. Appropriate analytic points of view are used to discover inherent stylistic similarities and differences in orchestration and texture. Classwork includes a substantial term paper, as well as playing scores at the piano. Permission of instructor required; enrollment limited to eight.

MUS 658a, Twentieth-Century Music: Ear Training and Analysis. 4 credits. NP. This course attempts to develop students’ ability to recognize and generate structures and processes particular to music of the twentieth century and to apply them in analysis of short pieces. The course makes use of musical examples by Schoenberg, Bartók, Debussy, Stravinsky. and others. Reading, singing, memorizing, and manipulation of these excerpts are among the course’s central activities, which also include singing (and playing), dictation, identification, improvisation, and, above all, recognition. The course also extends the ear training skills into the area of analysis, although analysis is secondary to ear training. Short pieces to be analyzed by Debussy, Bartók, Schoenberg, Webern, and others. Enrollment limited to 15. Michael Friedmann.

MUS 672a, The Yale Interdisciplinary Seminar on Rhythm. 2 credits. NP. The seminar addresses such questions as the response in humans to rhythmic activity, rhythm as a factor in emotional equilibrium, what the content of rhythm is, and dimensions that are involved in the transaction of musical rhythm in time. The seminar visits other departments of the University for discussions of rhythm in astronomy, geology, neurology, painting, and philosophy. Enrollment limited. Willie Ruff and guests.

MUS 692b, Advanced Hearing and Analysis. 4 credits. NP. For musicians who are passionate about integrating aural, analytic, and performance skills. A variety of composers and styles are explored. The workload consists of performances, short presentations, and short papers. Permission of the instructor required. Joan Panetti.

Performance

MUS 515a, 615a, 715a, 815a, Improvisation at the Organ. 2 credits. Development of improvisatory skills at the keyboard. William Porter.

MUS 529a,b, Conducting. 4 credits. A study of the art of conducting through analysis of scores, baton technique, and orchestration. Assignments include weekly conducting exercises, study of repertoire, quizzes, and a final examination. The ability to read scores and transpose is assumed. Permission of the instructor required; enrollment limited. Faculty.

MUS 530b, Intermediate Conducting. 4 credits. Continuation of the techniques utilized in Conducting 529a,b. More difficult orchestral pieces are analyzed and conducted, and score reading at the piano is stressed. A playing ensemble is made up of participants in the class. Some piano playing skills required. Prerequisite: Conducting 529a,b; thorough knowledge of theory and analysis. Permission of the instructor required. Enrollment limited to eight, determined by audition. Shinik Hahm.

MUS 531a–b, 631a–b, 731a–b, Repertory Chorus. 2 credits per term. A reading chorus open by audition and conducted by graduate choral conducting students. The chorus reads, studies, and sings a wide sampling of choral literature. Marguerite Brooks, Simon Carrington.

MUS 532a–b, 632a–b, 732a–b, Conducting Repertory Chorus. 2 credits per term. Students in the graduate choral conducting program work with the Repertory Chorus, preparing and conducting a portion of a public concert each term. Open only to choral conducting majors. Marguerite Brooks, Simon Carrington.

MUS 533a–b, 633a–b, 733a–b, Seminar in Piano Literature and Interpretation. 4 credits per term. M. For piano majors. Piano faculty and guests.

MUS 534b, Instrumental Accompanying. 2 credits. A course for piano majors, intended to broaden their experience and to provide them with the skills necessary to prepare sonatas and accompaniments. A number of selected instrumental sonatas are covered, as well as the problems involved in dealing with orchestral reductions and piano parts to virtuoso pieces. Sight reading and difficulties related to performing with specific instruments are also addressed. Students are encouraged to bring works to class that they are preparing for recitals. Elizabeth Sawyer Parisot.

MUS 535a–b, 635a–b, 735a–b, Recital Chorus. 2 credits per term. A chorus open by audition and conducted by graduate choral conducting students. It serves as the choral ensemble for four to five degree recitals per year. Marguerite Brooks.

MUS 536a–b, 636a–b, 736a–b, Conducting Recital Chorus. 2 credits per term. Second- and third-year students in the graduate choral conducting program work with the Recital Chorus, preparing and conducting their degree recitals. Open to choral conducting majors only. Marguerite Brooks.

MUS 537b, Skills of Vocal Accompanying. 2 credits. A course designed for pianists focusing on the skills required for vocal accompanying and coaching. The standard song and operatic repertoire is emphasized. Sight-reading, techniques of transposition, figured bass, and effective reduction of operatic materials for the recreation of orchestral sounds at the piano are included in the curriculum. Faculty.

MUS 538a–b, 638a–b, 738a–b, Cello Ensemble. 2 credits per term. An exploration of the growing literature for cello ensemble emphasizing chamber music and orchestral skills as well as stylistic differences. Performances planned during the year. Required of all cello majors. Aldo Parisot.

MUS 540a–b, 640a–b, 740a–b, 840a–b, Individual Instruction in the Major. 4 credits per term. M. Individual instruction of one hour per week throughout the academic year, for majors in performance, conducting, and composition. Faculty.

MUS 541a,b, 641a,b, 741a,b, Secondary Instrumental, Compositional, and Vocal Study. 2 credits per term. Permission of Dean Duffy required. Study of a secondary instrument, voice, or composition for credit. Conductors may register and receive credit in two areas. Students who register for secondary study are assesssed a fee of $100 per area per term and may be required to perform juries at the end of each term. (P/F) Faculty.

MUS 542a–b, 642a–b, 742a–b, 842a–b, The Philharmonia Orchestra of Yale. 2 credits per term. Participation, as assigned by the faculty, is required of all orchestral students. Shinik Hahm.

MUS 543a–b, 643a–b, 743a–b, 843a–b, Chamber Music and New Music New Haven. 2 credits per term. Required of instrumental majors (except organ) in each term of enrollment. In addition to regular participation in a chamber music ensemble, students are assigned to New Music New Haven, to groups performing music by Yale composers, and to other ensembles as required. Faculty and guests.

MUS 544a–b, 644a–b, 744a–b, 844a–b, Seminar in the Departmental Major. 2 credits per term. M. An examination of a wide range of problems relating to the area of the major. Specific requirements may differ by department. Required of all School of Music students except pianists who take 533, 633, 733. Faculty.

MUS 546a–b, 646a–b, 746a–b, Yale Camerata. 2 credits per term. Open to all members of the University community by audition, the Yale Camerata presents several performances throughout the year that explore choral literature from all musical periods. Members of the ensemble should have previous choral experience and be willing to devote time to the preparation of music commensurate with the Camerata’s vigorous rehearsal and concert schedule. Marguerite Brooks.

MUS 547a–b, 647a–b, 747a–b, Yale Divinity School Choir. 1 credit per term. The choir performs sacred music from many liturgical traditions in the chapel services of the Divinity School, and it presents special musical services during the academic year. By audition. Faculty.

MUS 565a, Elements of Choral Technique. 4 credits. An exploration of conducting technique, rehearsal technique, score analysis, and repertoire for the choral conductor, this course is designed for students who are not majoring in choral conducting but are interested in learning the essentials of choral technique. Repertoire from the sixteenth century to the present is explored. Jeffrey Douma.

Composition

MUS 555a, Composition for Performers. 4 credits. NP. Discussion and production of various compositional procedures, styles, types of notation, and composer-performer collaborations. Group performance and evaluation of works produced. Individual consultation and guidance as needed. Ezra Laderman.

MUS 572a, The Analysis of Music: The Composer’s Perspective. 4 credits. NP. This course is designed to provide composers (and others interested in composition) with the opportunity to evaluate and analyze important musical compositions from a creator’s point of view. Works of music have been analyzed by theorists, musicologists, ethnomusicologists, performers, and audiences for their own purposes. The goal of this course is to explore the decisive musical choices that remain after accounting for the contexts and constraints of theory, history, and sociology. We attempt to address the significance and character of what, given the histories and theories of music, is finally “composed” by a composer. Works ranging from Gregorian chant to contemporary compositions are discussed and analyzed. Students are assigned projects using the analytical methods elaborated during the term. Enrollment limited to twenty. Martin Bresnick.

MUS 651b, Orchestral Style Workshop. 4 credits. Practical exercises in orchestration. The work proceeds simultaneously in two ways: analysis and model writing based on orchestral styles of past masters; free invention and experimentation with live instruments. Enrollment limited to composers. Ezra Laderman.

MUS 652a, Instrumental Arranging. 4 credits. NP. A practical study of writing for all instruments in all combinations including orchestra, concert band, jazz, and chamber ensembles. Enrollment limited. Willie Ruff.

Voice and Opera

MUS 504a–b, 604a–b, 704a–b, Dramatic Movement for Singers. 1 credit per term. Stage movement tailored specifically for singers. Physical preparation of the body through exercises that develop strength, control, and flow of movement while releasing tensions and extending the range of movement possibilities. Emphasis is placed on stage presence and movement problems as applied to specific roles, and on transferring the class experience to the stage. Required. Faculty.

MUS 506a–b, 606a–b, 706a–b, Lyric Diction for Singers. 2 credits per term. A language course designed specifically for the needs of singers. Intensive work on pronunciation, grammar, and literature throughout the term. French/German and Italian/Russian are offered in alternating years. Required. Faculty.

MUS 507a–b, 607a–b, 707a–b, Vocal Repertoire for Singers and Pianists. 2 credits per term. A performance-oriented course that in successive terms surveys the French mélodie, German Lied, and Italian, American, and English art song. Elements of style, language, text, and presentation are emphasized. Required. Faculty.

MUS 508a–b, 608a–b, 708a–b, Opera Workshop. 3 credits per term. Encompasses musical preparation, coaching (musical and language), staging, and performance of selected scenes as well as complete roles from a wide range of operatic repertoire. Required. Doris Yarick-Cross, coaching staff, and guest music and stage directors.

MUS 509a–b, 609a–b, 709a–b, Art Song Coaching for Singers. 1 credit per term. Individual private coaching in the art song repertoire, in preparation for required recitals. Students are coached on such elements of musical style as phrasing, rubato, and articulation, and in English, French, Italian, German, and Spanish diction. Students are expected to bring their recital accompaniments to coaching sessions as their recital times approach. Faculty.

MUS 522a–b, 622a–b, 722a–b, Acting for Singers. 1 credit per term. Marc Verzatt.

History and Analysis

MUS 510a, Music History Survey. 4 credits. NP. This class or another history elective as assigned by the history department is a degree requirement and satisfies the music history proficiency. A review of Western music history from the medieval period to the present, with particular emphasis on the baroque, classical, and romantic periods. Study of the principal genres, composers, and styles in each era and consideration of individual works in light of their musical, social, religious, and political context. Frank Tirro and Gregory Dubinsky.

MUS 513a, Vienna: 1875–1900. 4 credits. NP. An examination of selected works by Brahms, Bruckner, Wolf, Schoenberg, and Mahler in the context of the social, political, and cultural circumstances that prevailed in imperial Vienna at the end of the nineteenth century. Some attention is devoted to the Edward Hanslick/Wiener Akademische-Wagner Verein conflict and the manner in which it affected the careers of the aforementioned composers. Paul Hawkshaw.

MUS 525a, History of the Organ. 4 credits. NP. This course examines the mechanical and acoustical properties of the pipe organ from its beginnings to the present, placing it in its musical, socioeconomic, and liturgical context, discussing registrational applications in select repertoire. Martin Jean.

MUS 560a, Research and Editions. 4 credits. NP. A course in music bibliography and research methods that emphasizes important printed and electronic reference tools in music and how to use them. The course also presents an overview of the issues involved in editing music, and students prepare their own performing edition of an unpublished musical work. Kendall Crilly.

MUS 561b, The Music of Satie and Les Six. 4 credits. NP. A survey course that looks at the music of Eric Satie and the group of composers known as Les Six: Poulenc, Milhaud, Honegger, Tailleferre, Auric, and Durey. A core repertory of pieces by each composer is analyzed in class. The course also addresses the larger cultural context of this music, including the artistic avant-garde in Paris in the 1920s and French aesthetics in the twentieth century. Kendall Crilly.

MUS 569b, Twentieth-Century Choral Music. 4 credits. NP. An examination of the widely varied directions taken by composers of choral music during the last century, beginning with transitional figures of the late nineteenth century and continuing to 2000. Examples of topics for exploration include the early twentieth-century English choral renaissance, the recent “neo-medieval” school, the Scandinavian school, the current interest in non-Western choral music, extended vocal techniques, and a cappella repertoire. A tentative list of composers to be considered includes Ives, Vaughan Williams, Howells, Stravinsky, Poulenc, Barber, Britten, Ligeti, Lindholm, Edlund, Penderecki, Gorecki, Tavener, Ramirez, Monk, and Golijov. Jeffrey Douma.

MUS 588a, Masterpieces of Music before 1750. 4 credits. NP. A seminar with a maximum of 20 students. Major works from the High Renaissance through the Baroque are analyzed and presented by members of the class. Each student completes a term paper that must include both historical and analytical information on a large work of the student’s choice. Likely composers for inclusion in the seminar are Josquin, Palestrina, Willaert, Lasso, Monteverdi, Corelli, Alessandro Scarlatti, Schütz, Buxtehude, Purcell, Lully, Bach, Handel, and Vivaldi. Frank Tirro.

MUS 603a, The Sacred Concerto in the Seventeenth Century. 4 credits. NP. When Ludovico da Viadana published his Cento concerti Ecclesiastici in 1602, a “new” musical style was born: the small-scale sacred concerto. The course outlines the development of this style in the seventeenth century among composers like Monteverdi and Schütz, as well as its roots in the late sixteenth century in the compositions of Willaert and G. Gabrieli. Markus Rathey.

MUS 616a, The Motets of Orlando di Lasso. 4 credits. NP. Orlando di Lasso (1532–1594) was one of the most influential composers of the sixteenth century. His masses, motets, and secular pieces were performed all over Europe and served as models for many other composers of his time and the following seventeenth century. The course outlines the development of Lasso’s compositional style by studying especially the motets. Furthermore, the liturgical, sociological, and historical contexts of the pieces are scrutinized. Markus Rathey.

MUS 620b, Russian Music, from Glinka to Gubaidulina. 4 credits. NP. This course surveys the musical history of Russia. Among the topics we discuss: the creation of Rus-sian “national character” in music, the relationship of Russian music to the West, the rise of Russian neo-classicism, Russian music in the Silver Age, the Russian avant-garde of the 1910s and ’20s, and the impact of Soviet politics and culture on Russian music. Gregory Dubinsky.

MUS 629a, Twentieth-Century Chamber Music: Analysis and Criticism. 4 credits. NP. We analyze chamber music by composers such as Ravel, Bartók, Berg, Janácek, Martin, Martinu, Honegger, Prokofiev, Lutoslawski, and Ligeti. The analytic methods used are eclectic; works are examined with a view toward appreciating their particularity, not as exemplars used to illustrate a particular theoretical system. We also try to correlate details of musical composition with the aesthetic views and interests of the composers who created them. Gregory Dubinsky.

MUS 630b, Opera in the Twentieth Century. 4 credits. NP. Originally a diversion for aristocrats, opera has been viewed as an anachronism in the technological, democratic twentieth century. The movies proved an effective, comparatively cheap medium for marketing melodrama, beating opera at its own theatrical game. Outstanding works continue to be created in this apparently superannuated genre, however. This course examines literary and musical paths explored on the twentieth-century operatic stage. We view works by Puccini, Strauss, Debussy, Berg, Janácek, Prokofiev, Britten, Legrand, Piazzolla, Adams, and Glass, and discuss topics as varied as the cross-fertilization of film and opera, the role of the orchestra, the role of the régisseur, and opera’s relationship with other forms of music theater. Gregory Dubinsky.

MUS 634a, History of Keyboard Instruments: The Twentieth Century. 4 credits. NP. A survey of the technological developments in keyboard instruments used in the twentieth century. The course reviews competition among piano manufacturers for well-known artists who would use only their product, and the artistic implications of this practice. The early twentieth-century revival of instruments from the eighteenth and nineteenth centuries, such as the harpsichord and early pianos, is also studied. At best, these “revival” instruments were historical conjectures, and the course also considers whether empirical proof can be applied to these instruments. Richard Rephann.

MUS 645b, De profundis: The Musical History of Psalm 130. 4 credits. NP. “De profundis”–“From the depths I cry to Thee”: Psalm 130 is one of the most expressive and most frequently composed texts of the Bible. Every generation of composers in Western music history interpreted it in its own way. Hence, the psalm is a good model for an overview of musical text interpretation from the late Middle Ages until the early twentieth century, from Gregorian chant to Arnold Schoenberg. Markus Rathey.

MUS 649b, The Passion in the Eighteenth Century. 4 credits. NP. The period included not only Johann Sebastian Bach with his huge oratorios but also compositions by Handel, Telemann, Graun, and many other composers who are unknown today. The course shows the broad spectrum of “Passions” between the late Baroque and the early Classic periods and scrutinizes the intellectual and spiritual contexts that shaped this history. Markus Rathey.

MUS 663b, Advanced Research and Editions. 4 credits. NP. A small research seminar that continues work begun in Research and Editions (MUS 560). Students apply the bibliographic, research, and analytical skills they have acquired to focus on a specific research topic. A topic that has recently been addressed by the class is the history of the concerto. Prerequisite: MUS 560. Kendall Crilly.

MUS 849b, 850a, 851b, Seminar for Master of Musical Arts Candidates. NP. To be elected for a maximum of three terms and 16 credits, normally during the last three terms of residency, for 4 credits, 8 credits, and 4 credits respectively. An introduction to the problems and methodology of musicology and music theory. The course familiarizes the student with the work of current musicological research and provides an opportunity to develop a thesis topic and present the results of the thesis to the seminar. Required of all M.M.A. candidates. Michael Friedmann, Paul Hawkshaw.

Special Studies

MUS 521a, English: Writing Skills and Grammar Syntax. 2 credits per term. NP. Serena Blocker.

MUS 550a, Studio Techniques and Contemporary Popular Music: Music Technology for the Practicing Musician. 2 credits. NP. An overview of pertinent technological developments and their historical contexts. Designed for students who have had little or no prior experience in this area. Jack Vees.

MUS 551b, Studio Techniques and Contemporary Popular Music. 2 credits. NP. This course combines a detailed presentation of the various elements of the Center for Studies in Music Technology (CSMT) studios along with a survey of popular music that has been shaped by the studio environment. The works of composers from Bartók to Zappa and the recordings of performers from Les Paul to Brian Eno are typical of the works that are presented. An optional workshop session is required of students who wish to do actual hands-on work at CSMT. Jack Vees.

MUS 680a–b, The Art of Recording for Music. 2 credits per term. NP. A workshop dealing with state-of-the-art digital recording techniques, equipment, studio acoustics, and compact disc production, with special emphasis placed on preparing students to use recording facilities as a musician on both sides of the microphone. The first term is devoted to a general survey of digital recording techniques through experimental recording of various student and professional musical ensembles. The second term is devoted exclusively to compact disc production. As a final project, each student produces a recording session using classmates or professional ensembles and works through the postrecording process to provide a digital tape suitable for compact disc production. Enrollment limited. Permission of instructor required. Eugene Kimball.

MUS 690a,b, Independent Study Project. 2 credits per term. NP. Second- or third-year students with the consent of the Academic Affairs Committee may elect, for one term only, to pursue individual study in specialized areas of interest, under the supervision of faculty members. An outline for proposed individual study must be completed and approved prior to the beginning of the term in which the student expects to pursue the special study. Forms are available in the Office of the Registrar. Faculty.

Yale Institute of Sacred Music

MUS 519a–b, 619a–b, 719a–b, 819a–b Colloquium. 1 credit per term. NP. Participation in seminars led by faculty and guest lecturers on topics concerning theology, music, worship, and related arts. Required of all Institute of Sacred Music students. (P/F) Margot Fassler.

Graduate-Level Courses in the Department of Music

Permission for admission to graduate courses offered by the Department of Music must be obtained from the director of graduate studies of the department. The following courses are available in the graduate department in 2004–2005 (4 credits each term).

MUSI 702a, Theory and Aesthetics: 1600–1800.  Robert Holzer.
MUSI 704b, Theory and Aesthetics: The Twentieth Century.  Robert Morgan.
MUSI 710a, Theory and Practice of Ethnomusicology.  Michael Veal.
MUSI 715a, Music in Medieval Britain: The Use of Sarum. History, Sources, Modern Survivals.  Margot Fassler.
MUSI 721b, Cycles, Returns, and Memory in Early Romantic Music.  Kristina Muxfeldt.
MUSI 801b, An Introduction to the Chant and Liturgy of the Western Church. Craig Wright.
MUSI 808a, Petrarch and the Italian Madrigal.  Ellen Rosand.
MUSI 814a, Directed Studies in the History of Music.
MUSI 814b, Directed Studies in the History of Music.
MUSI 832a, Schubert’s Goethe Songs.  Leon Plantinga.
MUSI 845b, Methodological Issues in Music History and Analysis.  James Hepokoski.
MUSI 902a, Post-Tonal Analysis I.  Michael Friedmann.
MUSI 902b, Post-Tonal Analysis II.  Ian Quinn.
MUSI 914a, Directed Studies in the Theory of Music.
MUSI 914b, Directed Studies in the Theory of Music.
MUSI 935b, The Analysis of Chromatic Music.  Patrick McCreless.
MUSI 942a, Tonality after the Common Practice.  Daniel Harrison.
MUSI 998a, Prospectus Workshop.  Robert Morgan.
MUSI 999b, Dissertation Colloquium.  Robert Morgan.

Performance Activities

Musical Organizations

The Philharmonia Orchestra of Yale

All students of orchestral instruments are required to participate in the Philharmonia Orchestra of Yale. The orchestra presents a series of six concerts each season in Woolsey Hall, playing a variety of orchestral music drawn from the standard repertoire, unusual and rarely heard pieces, and new music. The winners of the Woolsey Hall Concerto Competition perform as soloists with the Philharmonia Orchestra, as do faculty members and other well-known artists. The Philharmonia Orchestra also performs one concert of new works by Yale composers on the New Music New Haven series. In recognition of its adventurous programming, the Philharmonia has received two ASCAP awards.

Shinik Hahm assumes the post of music director of the Philharmonia Orchestra in 2004–2005, succeeding Lawrence Leighton Smith. The season will feature four concerts with Maestro Hahm and concerts under guest conductors Peter Oundjian and Krzysztof Penderecki.

New Music New Haven

New Music New Haven presents classic works of the twentieth century, experimental pieces, and premieres of new compositions written and performed by faculty, guests, and students. An important part of the concert series is the performance by the Philhar-monia Orchestra of Yale of new orchestral works by student and faculty composers.

Yale Opera

Under the artistic direction of Doris Yarick-Cross, the Yale voice and opera students perform in full-scale, mainstage productions as well as in programs of scenes. Performances during the 2003–2004 academic year were directed by acclaimed directors Vera Calabria and Marc Verzatt. Recent productions, including Gianni Schicchi, Suor Angelica, Le Nozze di Figaro, Die Zauberflöte, Faust, La Bohème, Falstaff, La Traviata, Albert Herring, Così fan tutte, Les contes d’Hoffmann, and Il barbiere di Siviglia, were presented at New Haven’s historic Shubert Performing Arts Center, while more intimate productions of Le Médecin malgré lui, The Triumph of Honor, La tragédie de Carmen, The Coronation of Poppea, The Rape of Lucretia, Iolanta, The Kaiser of Atlantis, La Cenerentola, The Long Christmas Dinner, Bluebeard’s Castle, L’Heure espagnole, L’Enfant et les sortilèges, and Riders to the Sea were given in Morse Recital Hall or Battell Chapel. In December of 1995, Yale Opera made its critically acclaimed debut in New York with Berlioz’s Béatrice et Bénédict, a semi-staged production that was given in Alice Tully Hall at Lincoln Center.

Each year, Yale Opera offers a series of public vocal master classes. In recent years, Alan Held, Elly Ameling, Sherrill Milnes, Gabriella Tucci, Marilyn Horne, Carlo Bergonzi, Renata Scotto, and Régine Crespin have conducted master classes in Morse Recital Hall.

The Yale Symphony Orchestra

The Yale Symphony Orchestra consists primarily of undergraduates, although membership is open to interested and qualified graduate or professional students, faculty, and staff. This one-hundred-piece ensemble, under the direction of visiting conductor George Rothman, performs an average of seven concerts annually in Woolsey Hall and elsewhere.

The orchestra often shares the stage with internationally recognized artists such as Yo-Yo Ma, Frederica von Stade, David Shifrin, Emanuel Ax, and Dawn Upshaw, as well as introducing undergraduate winners of the annual William Waite Concerto Competition. The Yale Symphony has presented national and world premieres of numerous works, including the European premiere of Leonard Bernstein’s Mass in 1973. The orchestra performed in Carnegie Hall in March of 1993, and in December of the same year recorded Mahler’s monumental Ninth Symphony on compact disc. A recording of Ives’s Symphony No. 2 and Bernstein’s On the Town Dances was made in 1995. In 1997 the Symphony performed Mozart’s Requiem at St. Patrick’s Cathedral in New York City and in 2001 performed Verdi’s Requiem in Carnegie Hall.

The Yale Symphony has toured France, central Europe, Great Britain, Portugal, and Korea.

The Yale Bands

The University Bands include a concert band of seventy-five select musicians, a jazz ensemble in the form of a standard eighteen-piece big band, and a marching band of one hundred students that performs at sports events throughout the year. Although the constituency of the Yale Bands is predominantly undergraduate, wind, brass, and percussion instrument majors are eligible for membership and often have the opportunity to gain conducting experience by assisting the director.

In addition to University functions, the Concert Band and its component ensembles perform locally in Woolsey Hall and Morse Recital Hall. The Concert Band has toured Europe fourteen times and performed for the Japanese Band Association in Tokyo. American tours have featured concerts at the Kennedy Center, the National Building Museum, the Miami Ives Festival, Symphony Space, and Carnegie Hall. In 1993 the Concert Band welcomed Walter Cronkite as guest narrator and in 1994 attended the commemorative ceremonies surrounding the fiftieth anniversary of the D-Day landing in Normandy, France, where the band presented its reenactment of Glenn Miller’s 1943 radio broadcast from Woolsey Hall. Most recently the Concert Band completed tours of Finland, Russia, and the Czech Republic, and presented the first concert by a Yale ensemble on the continent of Africa (Ceuta).

The Yale Jazz Ensemble performs on and off campus and has appeared in London’s finest jazz club, Ronnie Scott’s, and twice with the Mel Lewis Band in New York City’s Village Vanguard.

The Yale Glee Club

The Yale Glee Club presents several concerts during the year, both in and out of New Haven. Membership is open to all Yale students by audition, primarily to undergraduates. Qualified students at the School of Music and the Institute of Sacred Music often have the opportunity to assist the director in his work with these organizations. Members of the Glee Club are eligible to audition for the Chamber Singers, a select group of sixteen to twenty singers.

The Yale Glee Club is a ninety-voice mixed chorus devoted to the performance of a wide range of choral literature. In addition to local concerts on campus and off, the Glee Club makes a U.S. tour at midterm annually and an overseas tour every third summer. The Glee Club has traveled to Scandinavia, Germany, Poland, the Czech Republic, France, Cuba, and Puerto Rico.

Each spring, the Glee Club performs a major choral work at Yale. Throughout each year the Glee Club performs a varied repertoire in area concerts, often singing for community benefits.

The Yale Camerata

Founded in 1985 by its conductor, Marguerite L. Brooks, the Yale Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music. The group’s approximately sixty singers are Yale graduate and undergraduate students, faculty, staff, and experienced singers from the New Haven community. Admission is by audition; singers commit to an active schedule of rehearsals and performances.

The Camerata performs a widely varied spectrum of choral literature, with a special commitment to choral music of our time. The Camerata has collaborated with the Yale Glee Club, Yale Philharmonia, Yale Symphony, Yale Band, Yale Chamber Players, Yale Collegium Musicum, the New Haven Chorale, and the symphony orchestras of Hartford, New Haven, and Norwalk. The ensemble has also performed for Yale Music Spectrum and New Music New Haven. The chamber choir of the Yale Camerata has performed at the Yale Center for British Art and at Lincoln Center’s Alice Tully Hall. In 1999 the group traveled to Germany to perform the Berlioz Requiem with choirs from Germany, Japan, the Netherlands, Israel, Great Britain, and the Ukraine, and in 2001 they spent a week in residence at Saint Paul’s Cathedral in London, England. The Camerata has been heard on Connecticut Public Radio and national broadcasts of National Public Radio’s program “Performance Today.” Guest conductors have included Robert Shaw, Jaap Schröder, George Guest, and Sir David Willcocks. With the Institute of Sacred Music, the Camerata has commissioned and premiered works of Martin Bresnick, Daniel Kellogg, Stephen Paulus, Daniel Pinkham, and Ellen Taaffe Zwilich, among others. The chorus has sung first performances of works by many composers including Francine Trester, Julia Wolfe, and Kathryn Alexander.

Yale Schola Cantorum

Yale Schola Cantorum is a twenty-four-voice specialist chamber choir supported by the Institute of Sacred Music with the Yale School of Music. Simon Carrington is the conductor. Choir members are undergraduates and graduates from across the University, and each receives a stipend. Admission is by annual audition, which focuses on sight-reading and ensemble skills in addition to voice quality and technique. The choir’s repertoire concentrates on music before 1750 and from the last one hundred years. In addition to performing regularly on the Yale campus and farther afield, the choir records and tours nationally and internationally. During its first year, Schola Cantorum’s repertoire included works by Josquin des Pres, Orlando di Lasso, Schütz, Monteverdi, Bach, Charpentier, Stravinsky, Rautavaara, James MacMillan, and Yale faculty member Ezra Laderman. In May 2005 the choir will tour southern England, performing in many of the most glorious medieval and renaissance cathedrals and abbeys in the area.

The Battell Chapel Choir

The Battell Chapel Choir, conducted by a second- or third-year student, is open to all Yale students. The choir sings for Sunday services in the University Chapel during term time and offers two or three additional concerts. Members are chosen by audition and paid for singing in the choir.

The Marquand Chapel Choir

The Marquand Chapel Choir, conducted by a second- or third-year student, sings twice a week for services in the Divinity School Chapel as well as for two additional services during the year. Members of the choir, chosen by audition, receive credit for participation; section leaders may opt for payment instead of credit.

Concerts and Recitals

The Chamber Music Society at Yale

The Chamber Music Society at Yale, sponsored by the School of Music, presents its eighty-seventh season of Sprague Hall subscription concerts in 2004–2005. Continuing the tradition of presenting the finest chamber music ensembles from around the world, the season features concerts by the Tokyo, Guarneri, and Lydian string quartets, the Netherlands Wind Ensemble, and the Peabody Trio. The series will also include a concert by faculty artists and a program by winners of the School’s Chamber Music Competition. Although tickets are required, they are available free to students of the School of Music.

The Duke Ellington Fellowship Series

The Duke Ellington Fellowship, directed by Willie Ruff, offers concerts by prominent jazz musicians each year. Recent seasons have featured the Carnegie Hall Jazz Band with Jon Faddis, Dave Brubeck, Dick Hyman, Barry Harris, Kenny Burrell, William Warfield, and Clark Terry. The 2003–2004 season included concerts by The Heath Brothers and Elvin Jones. Each group presents special free concerts for children in addition to concerts for general audiences.

The Horowitz Piano Series at Yale

This series of piano recitals was established in 2000 and dedicated to the great pianist Vladimir Horowitz, whose musical archive resides at Yale. In addition to recitals by the Yale piano faculty, there are concerts and public master classes by distinguished guests each year. In past seasons, these guest artists included Radu Lupu, Ruth Laredo, Mischa Dichter, Fou Ts’ong, and Emanuel Ax. The upcoming season features recitals by Boris Berman, Peter Frankl, Claude Frank, Melvin Chen, and guest artist Yefim Bronfman.
Great Organ Music at Yale

Great Organ Music at Yale is a series of events in Woolsey Hall and Dwight Memorial Chapel. Co-sponsored by the Institute of Sacred Music, the series includes programs by the faculty, visiting artists, and other noted performers.

Faculty Artist Series

Faculty members of the School, many of whom are internationally recognized concert artists, share the point of view that part of their commitment to music and to teaching in a university involves regular and frequent performance, on campus and elsewhere. There is no admission fee for these concerts.

Collection of Musical Instruments Concert Series

A series of five concerts is presented annually by the Yale Collection of Musical Instruments. These concerts present a roster of internationally distinguished performers, including in recent seasons London Baroque, harpsichordist Corey Jamason, pianist Carsten Schmidt, cellist Anner Bylsma, ensemble project Ars Nova, violinist Jaap Schröder, and the Amsterdam Loeki Stardust Quartet, and frequently feature the use of restored instruments from the collection.

Other Local Performing Groups

These include Orchestra New England, the Yale Russian Chorus, the Slavic Chorus, the Bach Society, the Collegium Musicum, and the New Haven Chorale.

The New Haven Symphony Orchestra offers a series of eight concerts every year in Woolsey Hall and features leading artists as guest soloists.

Next: Faculty Profiles