A Message from the Dean

For over a century the Yale School of Music has nurtured generations of successful performers, composers, and cultural leaders. We seek students of extraordinary artistic and intellectual talent to pursue their advanced musical studies with our illustrious faculty. The School of Music thrives within an internationally distinguished university that not only cherishes its academic heritage but also values all of the fine arts. This unique setting fosters creativity, exploration, and maturation.

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

The School of Music Bulletin is far more than a collection of policies, degree programs, and faculty biographies. It is a photograph of 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 poised for the future. It is a mere glimpse of what you, as a YSM student, might expect from your time at this place.

As you plan for your graduate studies, consider the challenges and opportunities you might discover at Yale. I wish you much success in your musical pursuits.

Robert L. Blocker
The Lucy and Henry Moses Dean of Music

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 (June 2005).
Gerhard Casper, LL.M., PH.D., LL.D., Atherton, California.
Susan Crown, B.A., M.A., Chicago, Illinois.
Charles Daniel Ellis, B.A., M.B.A., PH.D., New Haven, Connecticut.
Holcombe Tucker Green, Jr., B.A., LL.B., Atlanta, Georgia.
Jeffrey Powell Koplan, B.A., M.D., M.P.H., Atlanta, Georgia (June 2009).
Maya Ying Lin, B.A., M.ARCH., D.F.A., New York, New York (June 2008).
Margaret Hilary Marshall, B.A., M.ED., J.D., Cambridge, Massachusetts (June 2010).
Linda Anne Mason, B.A., M.B.A., Belmont, Massachusetts.
Indra Nooyi, B.S., M.B.A., M.P.P.M., Greenwich, Connecticut.
Barrington Daniel Parker, Jr., B.A., LL.B., Stamford, Connecticut.
Theodore Ping Shen, B.A., M.B.A., Brooklyn Heights, New York (June 2007).
Janet Louise Yellen, B.A., PH.D., Berkeley, California (June 2006).

The Officers of Yale University

President
Richard Charles Levin, B.A., B.LITT., PH.D.

Provost
Susan Hockeld, B.A., PH.D.

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 Development
Charles James Pagnam, B.S.

Vice President and Director of New Haven and State Affairs
Bruce Donald Alexander, B.A., J.D.

Vice President for Finance and Administration
John Ennis Pepper, Jr., B.A., M.A.

Yale School of Music

Officers of Administration
Richard Charles Levin, B.A., B.LITT., PH.D., President of the University.
Susan Hockfield, B.A., PH.D., Provost of the University.
Robert Lewis Blocker, D.M.A., Lucy and Henry Moses Dean of Music.
Thomas Christopher Duffy, D.M.A., Deputy Dean of the School of Music.
Margot Fassler, M.A., PH.D., Director of the Institute of Sacred Music.
Thomas G. Masse, D.M.A., Associate Dean.
Paul Hawkshaw, PH.D., Director of the Yale Summer School of Music.

Emeriti
Robert Stevens Baker, S.M.D., L.H.D., Professor Emeritus of Music.
Beekman C. Cannon, PH.D., Professor Emeritus of Music.
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 (Adjunct) of Music.
John Warner Swallow, Professor Emeritus (Adjunct) of Music.
Keith Leroy Wilson, M.M., Professor Emeritus of Music.

Faculty
Ole Akahoshi, M.M., Lecturer in Cello.
Syoko Aki, M.M., Professor (Adjunct) of Violin.
Martin Beaver, Artist in Residence (Tokyo String Quartet).
Boris Berman, M.A., Professor (Adjunct) of Music.
Robert Lewis Blocker, D.M.A., Lucy and Henry Moses Dean of Music and Professor of Music.
Serena Blocker, B.A., Lecturer in Writing.
Dominique Bourassa, M.M., Lecturer in Body Movement.
Marguerite L. Brooks, M.M., Associate Professor (Adjunct) of Choral Conducting.
Simon Carrington, M.A., Professor (Adjunct) of Choral Conducting.
Melvin Chen, M.M., PH.D., Lecturer in Piano.
Lili Chookasian, Professor (Adjunct) of Music.
Richard Cross, B.A., Visiting Lecturer in Voice.
Allan Dean, M.M.ED., Professor (Adjunct) of Music.
Douglas Robert Dickson, M.M.A., Lecturer in Voice and Opera.
Jeffrey Douma, D.M.A., Assistant Professor (Adjunct) of Choral Conducting.
Gregory Dubinsky, M.A., Lecturer in Music History.
* Thomas C. Duffy, D.M.A., Professor (Adjunct) of Music, Deputy Dean, Director of Undergraduate Studies, and Director of University Bands.
Margot Fassler, M.A., PH.D., Professor of Musicology, Robert S. Tangeman Professor of Music History, and Director of the Institute of Sacred Music.
Claude Frank, M.M., Professor (Adjunct) of Music.
Peter Frankl, Visiting Professor (Adjunct) of Piano.
Michael Friedmann, PH.D., Professor (Adjunct) of Music.
Clive Greensmith, Artist in Residence (Tokyo String Quartet).
Anna Grinberg, A.D., Lecturer in Piano.
Shinik Hahm, M.M., Professor (Adjunct) of Conducting
June Han, D.M.A., Lecturer in Harp.
Thompson W. Hanks, Jr., Lecturer in Tuba.
Sidney Harth, Visiting Professor (Adjunct) of Violin.
Scott Hartman, M.M., Lecturer in Trombone.
Paul Hawkshaw, PH.D., Professor (Adjunct) of Music and Director of the Yale Summer School of Music/Norfolk Music Festival.
Kikuei Ikeda, Artist in Residence (Tokyo String Quartet).
Kazuhide Isomura, Artist in Residence (Tokyo String Quartet).
Martin Jean, A.MUS.D., Professor (Adjunct) of Organ.
Ani Kavafian, M.M., Lecturer in Violin.
Aaron Jay Kernis, B.M., Professor (Adjunct) of Composition.
Richard Killmer, D.M.A., Visiting Professor (Adjunct) of Oboe.
Eugene Ross Kimball, Lecturer in Sound Recording.
Ezra Laderman, M.A., Professor of Music.
Jesse Levine, Professor (Adjunct) of Music.
Judith Malafronte, M.A., Visiting Lecturer in Voice.
Thomas G. Masse, D.M.A., Lecturer in Chamber Music.
Frank A. Morelli, Jr., D.M.A., Associate Professor (Adjunct) of Music.
Thomas Murray, B.A., Professor (Adjunct) 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 (Adjunct) of Music.
Aldo Simoes Parisot, M.M., Samuel Sanford Professor (Adjunct) of Music.
Elizabeth Sawyer Parisot, D.M.A., Associate Professor (Adjunct) of Piano.
J.J. Penna, D.M.A., Lecturer in Voice and Opera.
William Porter, D.M.A., Lecturer in Organ Improvisation (fall term).
William Purvis, B.A., Lecturer in French Horn.
Markus Rathey, PH.D., Assistant Professor of Music History.
Richard Rephann, M.M., Professor (Adjunct) of Music and Director of the Yale Collection of Musical Instruments.
Mark Risinger, PH.D., Visiting Lecturer in Voice.
George Rothman, M.A., Lecturer in Conducting.
Willie Henry Ruff, Jr., M.M., L.H.D., Professor (Adjunct) of Music.
Wendy Sharp, M.M., Lecturer in Violin and Chamber Music Coordinator.
David Shifrin, B.MUS., Professor (Adjunct) of Music.
* Frank Tirro, PH.D., Professor of Music.
Eric Trudel, DIP., Lecturer in Voice and Opera.
Robert Van Sice, M.M., Lecturer in Percussion.
Jack Vees, M.F.A., Lecturer in Electronic Music.
Benjamin Verdery, B.F.A., Assistant Professor (Adjunct) of Guitar.
Marc Verzatt, Lecturer in Voice and Opera.
Nathan Williamson, M.M.A., Lecturer in Musicianship.
Ransom Wilson, B.M., Professor (Adjunct) of Music.
Doris Yarick-Cross, M.M., Professor (Adjunct) of Music.
Kyung Hak Yu, M.M., Lecturer in Violin.

Affiliated Department of Music Faculty
Kathryn Alexander, PH.D., Associate Professor of Music Composition.
David Clampitt, PH.D., Associate Professor of Music Theory.
Margot Fassler, M.A., PH.D., Professor of Musicology, Robert S. Tangeman Professor of Music History, and Director of the Institute of Sacred Music.
Michael Friedmann, PH.D., Professor (Adjunct) of Music.
John Halle, PH.D., Associate Professor of Music Composition and Director of the Center for Studies in Music Technology.
Daniel Harrison, PH.D., Professor of Music Theory.
James Hepokoski, PH.D., Professor of Music History and Director of Graduate Studies.
Robert Holzer, PH.D., Assistant Professor of Music History.
Sara Kohane, M.M., Voice Coach.
Richard Lalli, D.M.A., Associate Professor (Adjunct) of Music.
Patrick McCreless, PH.D., Professor of Music and Theory and Chair of the Department of Music.
Carole Morgan, B.MUS., Lecturer.
Robert Morgan, PH.D., Professor of the Theory of Music.
Kristina Muxfeldt, PH.D., Associate Professor of the History of Music.
Leon Brooks Plantinga, PH.D., Henry L. and Lucy G. Moses Professor of the History of Music.
Ian Quinn, M.A., PH.D., Assistant Professor.
Ellen Rosand, PH.D., Professor of the History of Music.
George Rothman, M.A., Lecturer in Conducting.
Michael Suttor, PH.D., Lecturer.
Michael Veal, M.A., PH.D., Assistant Professor of Music History.
Craig Milton Wright, PH.D., Professor of the History of Music.

Institute of Sacred Music
Wesley D. Avram, PH.D., Stephen Merrell Clement–E. William Muehl Assistant Professor of Communications.
Robert S. Baker, S.M.D., L.H.D., Professor Emeritus of Music.
Jeffrey Brillhart, M.M., Visiting Lecturer in Organ Improvisation (spring term).
Marguerite L. Brooks., M.M., Associate Professor (Adjunct) of Choral Conducting and Chair of the Program in Choral Conducting.
Mellonee Burnim, PH.D., Visiting Faculty Fellow in Ethnomusicology.
Simon Carrington, M.A., Professor (Adjunct) of Choral Conducting.
John W. Cook, PH.D., Professor Emeritus of Religion and the Arts.
Patrick Evans, D.M., Senior Lecturer in the Practice of Sacred Music.
Margot E. Fassler, PH.D., Director of the Institute of Sacred Music and Robert S. Tangeman Professor of Music History.
Siobhán Garrigan, PH.D., Assistant Professor of Liturgical Studies and Assistant Dean for Chapel.
Martin Jean, A.MUS.D., Professor (Adjunct) of Organ.
Aidan J. Kavanagh, O.S.B., PH.D., Professor Emeritus of Liturgics.
Jaime Lara, PH.D., Associate Professor of Christian Art and Architecture and Chair of the Program in Religion and the Arts.
Judith Malafronte, M.A., Visiting Lecturer in Voice.
Stephen Marini, PH.D., Visiting Professor of Religion and Literature.
Thomas Murray, B.A., Professor (Adjunct) of Organ, University Organist, and Chair of the Program in Organ.
William Porter, D.M.A., Lecturer in Organ Improvisation (fall term).
Virginia C. Raguin, PH.D., Visiting Professor of Religion and the Arts.
Markus Rathey, PH.D., Assistant Professor (Adjunct) of Music History.
Mark Risinger, PH.D., Visiting Lecturer in Voice.
Lana Schwebel, PH.D., Assistant Professor of Religion and Literature.
Bryan D. Spinks, D.D., Professor of Liturgical Studies and Chair of the Program in Liturgical Studies.
Mark Villano, m.div., M.F.A., Visiting Lecturer in Religion and the Arts.

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 Thompson-Allen, Associate Curator of Organs.

Staff
Judith A. Capone, Receptionist.
Deanne Chin, B.A., Operations Coordinator, Norfolk.
Tara Deming, Operations Manager.
Rosemary Gould, Administrative Assistant.
James Harvey, M.A., Opera Administrator
Susan Hawkshaw, PH.D., Assistant Director of Oral History, American Music.
Jeanne A. Kazzi, Admissions Assistant.
Eileen Kim, M.S., Assistant to the Dean.
Eugene Ross Kimball, Recording Engineer.
Lydia Kovi, Administrative Assistant, Business Office.
Christine Marie Lin, A.B., Ensembles Manager.
Arthur Lovelace, M.B.A., Director of Administrative Affairs.
Thomas G. Masse, D.M.A., Associate Dean.
Christopher Melillo, Operations Assistant.
Ian Mininberg, MUS.D., Alumni Director.
James Nelson, B.A., General Manager, Norfolk.
Vincent P. Oneppo, M.M., Director of the Concert and Press Office.
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., Operations Director, Center for Studies in Music Technology.
Kelly Yamaguchi-Scanlon, B.S., Senior Adminstrative Assistant and Box Office Manager.

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 is at the center of this activity, which includes the study, composition, and performance of nearly every type of music. Yale students and faculty present 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 general 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 outstanding 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 makes it possible for each student to receive close individual attention.

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 Institute of Sacred Music works as a partner with both the Yale School of Music and the Yale Divinity School, admitting students jointly with those schools. Within the School of Music, the Institute supports the programs in choral conducting, organ, and the vocal performance track in early music, song, and chamber ensemble. Composers with a serious interest in writing sacred music and music for specific liturgical traditions may also be supported by ISM. The Institute provides full-tuition scholarships to all admitted students. In addition, stipends are awarded to a small number of students selected by the faculty. Depending on the resources of the Institute, these scholarships and stipends are renewable for students who remain in good academic standing. There are also highly competitive prizes offered. A certificate is conferred on all Institute students upon graduation.

Founded in 1973 as a continuation of the School of Sacred Music at Union Theological Seminary, the Institute engages with all aspects of education and scholarship related to the history and practice of worship and the arts, as well as of sacred music. The Institute trains students for service as musicians, as leaders of communities of faith, and as scholars and teachers. In addition to working in partnership with the School of Music and the Divinity School and with other academic departments at Yale, the Institute sponsors a vital interdisciplinary program that brings musicians, presiders, and scholars together for common conversation and formation.

YSM/ISM students are fully enrolled in the Yale School of Music and meet its degree requirements. It is the belief of the Institute that students of sacred music must have not only the finest musical training available, but also exposure to theological and liturgical subjects. Music students who attend the School of Music through the Institute participate in its Wednesday-afternoon Colloquium, a seminar providing common meeting ground for all Institute students and faculty, in which they study together, grapple with major issues, and share the work of performance, ministry, and scholarship.

All organ and choral conducting faculty in the School of Music have joint appointments in ISM. In addition some music historians in the School also have joint appointments in the Institute. These faculty join with their ISM colleagues at Yale Divinity School to ensure that the debates and discussions held at the Institute are both lively and well informed.

In addition to a wide range of financial assistance for talented students, ISM offers its students opportunities for theological and liturgical study, and for summer language study at Yale. The Institute often invites student participation in its many sponsored events: publications, performances, conferences, and community outreach projects.

More information about the Institute, including a bulletin and application materials, is available on the Web site at www.yale.edu/ism/ or may be obtained by telephoning or writing directly to the Yale Institute of Sacred Music, 409 Prospect Street, New Haven, CT 06511, 203.432.5180.

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 and Festival performances.

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 December 15, 2004. Admission is extremely competitive 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.

Facilities

Most of the Yale Music campus is located in the block bounded by College, Wall, Temple, and Elm streets. The main building, Abby and Mitch Leigh Hall, at 435 College Street, will be closed for renovations during the 2004–2005 academic year. During this time, the building at 320 Temple Street will house practice facilities, and some faculty offices will be relocated to Hendrie Hall.

Stoeckel Hall at 96 Wall Street houses the Philharmonia office and library, a conference room, and faculty studios. Also in this building is the Oral History, American Music project with its extensive collection of tape-recorded and videotaped interviews with and about major figures in American music. Included are documentary oral histories about Aaron Copland, Charles Ives, Paul Hindemith, Virgil Thomson, Duke Ellington, and Steinway & Sons, and interviews with many living composers.

Hendrie Hall is headquarters for the University Bands and Glee Club, the Yale Symphony, Norfolk Summer School, and Yale Opera. It also contains practice modules, and the brass and percussion studios. 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 80 musicians. Morse Recital Hall 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 is the conductor’s studio, 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 in the Divinity School at 409 Prospect Street.

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 10 million; annual accessions are approximately 157,000 volumes.

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