Degrees

Students are admitted jointly to the Institute and either the Yale School of Music or the Yale Divinity School. Each degree candidate must complete all the course requirements of that school as well as the curriculum of the Institute. A description of the degrees offered is included here.

Yale School of Music

Master of Music
A two-year postbaccalaureate degree in musical performance, this program includes intensive study of a primary discipline (e.g., keyboard, conducting, composition), augmented with theoretical and historical studies.

Master of Musical Arts
A three-year degree in musical performance, which is considered predoctoral residence, this program is designed to provide intensive training in performance or composition. Two years of residence in the M.M. program count toward this degree. However, students who have earned the M.M. degree at another university are expected to spend two years in residence at Yale for the M.M.A. degree.

Doctor of Musical Arts
This degree is awarded to those who have earned the Master of Musical Arts degree and have demonstrated exceptional competence as performers, as well as deep intellectual curiosity about all areas of music, its history, theory, styles, and sources. Following receipt of the Master of Musical Arts degree, candidates must demonstrate distinguished professional musical achievement and return to Yale after at least two years for a comprehensive oral examination and a final public performance.

Artist Diploma
This diploma is offered to applicants who hold a master’s degree or the professional equivalent. Although a fundamental knowledge of musicianship and the history of western music is presumed, candidates will be tested in these areas when they enter the program. Minimum performance requirements for each year of residence are one solo recital, one major ensemble performance, and one performance of a work for soloist and orchestra. Students who have completed the Master of Music degree at Yale may complete the work in one academic year; those who have earned the M.M. or its equivalent elsewhere will be in residence for two years.

Yale Divinity School

Master of Arts in Religion
This two-year program offers the opportunity to prepare for new and special forms of ministry that do not require ordination. Students may elect to complete either a comprehensive program that introduces the basic theological disciplines, or a concentrated program of study in preparation for one of the many forms of lay ministry or service.

The Comprehensive Master of Arts in Religion (M.A.R.)

The Comprehensive M.A.R. Program emphasizes general studies in the basic theological disciplines without stressing ordination as a goal. Institute students in this program use their electives for further graduate-level study in music and the arts. Some matriculate in doctoral p,ograms in religious studies or musicology.

The Concentrated Master of Arts in Religion (M.A.R.)

Students may apply for the Concentrated M.A.R. Program in Religion and the Arts (either the visual arts or literature) or in Liturgical Studies. Basic course work at the Divinity School is integrated with studies on the graduate level within the professional schools and the Graduate School department appropriate to the concentration. Undergraduate preparation in the concentration sufficient for work on the graduate level is required.

Extended Degree Program: An extended degree program is offered for selected students in the concentrated M.A.R. programs. This allows students to take up to six additional three-hour courses during a third academic year in the program.

No more than fifteen students will be admitted to this program each year. An application for admission to the extended degree program must include both a statement explaining why the student wishes to extend a concentrated M.A.R. program and a letter of recommendation from at least one faculty member in the field in which the degree program is concentrated. Applicants will be selected by a committee appointed by the dean; the committee shall consist of one faculty member from each teaching group related to a concentrated M.A.R. program.

Applications for admission to the extended concentrated M.A.R. program are due by September 15 of the third term of a student’s concentrated M.A.R. program. Admission decisions will be announced by October 1 of that term.

Master of Divinity
This three-year program (sometimes including a fourth year of internship) is designed as a preparation for the ordained ministry. Its comprehensive plan of studies includes intensive work in the areas of Bible, theology, history, religion, and culture, and the practice of ministry. Institute students in this program use their electives for further graduate-level study in music and the arts.

Master of Sacred Theology
This one-year program is available to graduates of theological schools who have completed the Master of Divinity degree. It is designed to provide advanced training for a specialized form of service. The area of specialization should be proposed at the time of application.

Joint Degrees and the Double Major
Institute music students may, in the first year of study, decide to audition for rigorous programs that are designed for church musicians. Those pursuing a joint degree will complete requirements for the Master of Arts in Religion (either concentrated or comprehensive) and the Master of Music; the double major is for a music student wishing to major concurrently in organ and choral conducting. For further discussion, please see "Programs of Study" below.

Programs of Study

The Institute of Sacred Music and the School of Music

Program in Choral Conducting
Marguerite L. Brooks, Chair

Mission
The program prepares students for careers as professional conductors in many contexts, particularly educational, civic, and church settings. 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.

Faculty
Marguerite L. Brooks

Degrees and requirements
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 and membership in the Yale Camerata are required each term. 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 choruses, and by directing the Battell Chapel and Marquand Chapel choirs. Visiting guest conductors have included Harold Decker, George Guest, Sir David Willcocks, and Robert Shaw. Stefan Parkmann of the Swedish Radio Choir is scheduled to visit in 2002–2003.

Courses: Fall 2001
Individual Instruction in the Major. Marguerite L. Brooks.
Choral Conducting Seminar. Marguerite L. Brooks.
Repertory Chorus: Conducting. Marguerite L. Brooks.
Repertory Chorus: Voice. Marguerite L. Brooks.
Recital Chorus: Conducting. Marguerite L. Brooks.
Recital Chorus: Voice. Marguerite L. Brooks.
Elements of Choral Technique. Marguerite L. Brooks.
Yale Camerata. Marguerite L. Brooks.
Passions and Requiems. David H. Connell.
Yale Glee Club. David H. Connell.

Spring 2002
Individual Instruction in the Major. Marguerite L. Brooks.
Choral Conducting Seminar. Marguerite L. Brooks.
Repertory Chorus: Conducting. Marguerite L. Brooks.
Repertory Chorus: Voice. Marguerite L. Brooks.
Recital Chorus: Conducting. Marguerite L. Brooks.
Recital Chorus: Voice. Marguerite L. Brooks.
Yale Camerata. Marguerite L. Brooks.
The Musician's Faust. David H. Connell.
Yale Glee Club. David H. Connell.

Fall 2002
Individual Instruction in the Major. Marguerite L. Brooks.
Choral Conducting Seminar. Marguerite L. Brooks.
Repertory Chorus: Conducting. Marguerite L. Brooks.
Repertory Chorus: Voice. Marguerite L. Brooks.
Recital Chorus: Conducting. Marguerite L. Brooks.
Recital Chorus: Voice. Marguerite L. Brooks.
Yale Camerata. Marguerite L. Brooks.
Elements of Choral Technique. Marguerite L. Brooks.
Psalms: A Survey.
Yale Glee Club.
Divinity School Choir. Marguerite L. Brooks.

Spring 2003
Individual Instruction in the Major. Marguerite L. Brooks.
Choral Conducting Seminar. Marguerite L. Brooks.
Repertory Chorus: Conducting. Marguerite L. Brooks.
Repertory Chorus: Voice. Marguerite L. Brooks.
Recital Chorus: Conducting. Marguerite L. Brooks.
Recital Chorus: Voice. Marguerite L. Brooks.
Yale Camerata. Marguerite L. Brooks.
Yale Glee Club.
Divinity School Choir. Marguerite L. Brooks.

Program in Organ
Thomas Murray, Chair

Mission
The major in organ prepares students for careers as informed church musicians, soloists, and teachers, and for doctoral-level programs. The departmental seminar is devoted to a comprehensive survey of organ literature from the seventeenth century to the present. For one week each year the department invites a visiting artist/teacher to be in residence. These have included Daniel Roth, Marie-Claire Alain, Catharine Crozier, Peter Planyavsky, Martin Haselböck, Thomas Trotter, Naji Hakim, David Craighead, Olivier Latry, Susan Landale, and Ludger Lohmann. Typically they teach a week of individual lessons and an organ seminar and perform an organ recital. The visiting artist in 2002–2003 will be Jon Gillock. Additionally, other recitalists perform annually in the "Great Organ Music at Yale" series. During the 2000–2001 academic year, the Institute of Sacred Music sponsored a twelve-day organ tour of Northern Europe. (Please see the ISM Web site for details: http://www.yale.edu/ism/.)

Students have the opportunity for practice and performance on the extensive collection of fine instruments at the University: the H. Frank Bozyan Memorial Organ in Dwight Memorial Chapel (Rudolph von Beckerath, three manuals, 1971); the organ in Battell Chapel (Walter Holtkamp, Sr., three manuals, 1951); the organ in 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 famous romantic organs in the world. Two-manual practice instruments by Flentrop, Holtkamp, Casavant, and others are located 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).

Faculty
Martin Jean, Thomas Murray, William Porter (Organ Improvisation)

Degrees and requirements
Students may enroll in the School of Music through the Institute of Sacred Music for all programs—M.M., M.M.A./D.M.A., and Artist Diploma. In addition to the general requirements for the Master of Music degree, an organ major enrolling through the Institute of Sacred Music will elect any two of the following courses:

REL 783, Feasts and Seasons (Divinity School)
REL 782, Foundations of Christian Worship (Divinity School)
REL 847, House of the Lord (Divinity School)
REL 600, Old Testament I (Divinity School)
REL 601, New Testament I (Divinity School)
MUS 670, Parish Musician (School of Music)
MUS 556, Psalms: A Survey (School of Music)

Additionally, an organ major enrolling through the Institute of Sacred Music will elect the ISM Colloquium each term (MUS 519a-b).

Courses: Fall 2001
Instruction in the Major. Thomas Murray.
Instruction in the Major. Martin Jean.
Organ Seminar. Thomas Murray.
Improvisation at the Organ II. William Porter.

Spring 2002
Instruction in the Major. Thomas Murray.
Instruction in the Major. Martin Jean.
Organ Seminar. Thomas Murray.
History of the Organ. Martin Jean.
Improvisation at the Organ I. William Porter.
Improvisation at the Organ III. William Porter.

Fall 2002
Instruction in the Major. Thomas Murray.
Instruction in the Major. Martin Jean.
Organ Seminar. Thomas Murray.
Improvisation at the Organ II. William Porter.

Spring 2003
Instruction in the Major. Thomas Murray.
Instruction in the Major. Martin Jean.
Organ Seminar. Thomas Murray.
History of the Organ. Martin Jean.
Improvisation at the Organ I. William Porter.
Improvisation at the Organ II. William Porter.

The Institute of Sacred Music and the Divinity School

Program in Liturgical Studies
Bryan D. Spinks, Chair

Mission
The program offers a basic education in historical, theoretical, and practical aspects of liturgical studies. Thus it pertains both to the training of concentrators in the field who are preparing for Ph.D. programs in religious studies and liturgics, as well as to the education of those with vocations to the churches: musicians and ministers. A substantial number of electives supplement the core course of study, ensuring that students may gain a broad understanding of liturgy and approaches to its study and encounter a variety of traditions. The faculty stress connections with biblical study, church history, and with the practice of sacred music and other religious art forms.

Faculty
Horace Allen, Margot E. Fassler, Siobhán Garrigan, Jaime Lara, Bryan D. Spinks, James F. White

Degrees and requirements

Master of Sacred Theology. If not previously taken, the following three core courses, or their equivalent, are required: Foundations of Liturgical Study, REL 782; either The English Reformation and the Evolution of the Anglican Books of Common Prayer, REL 787, or Parish Worship: Planning and Presiding, REL 934; and a course in ritual studies or liturgical theology, which may be a reading course. Students write either a thesis (one- or two-term option) or an expanded course paper. In addition, students at the Institute present discussion of their work to the Institute Colloquium. Eight full courses are required to complete the degree, six of which must be in the area of concentration, and two of which may be thesis work.

Graduates of theological schools of recognized standing who have obtained the B.D. or M.Div. degree may be admitted to a program of studies leading to the Master of Sacred Theology (S.T.M.) degree.

The work for this degree may be regarded as a fourth year of preparation for the Christian ministry. The S.T.M. program may also be used as a year of specialized work in one of the theological disciplines or as preparation for doctoral studies. The schedule of courses may involve offerings in other schools or departments of the University.

Each candidate is required to plan, submit for approval, and pursue an integrated program designed to serve either of the purposes stated above. A minimum of three-fourths of the courses taken must be related to a designated field of concentration.

A candidate for the S.T.M. degree must complete the equivalent of at least twenty-four term hours of graduate study beyond the B.D., M.Div., or equivalent degree. Only course work graded High Pass or above is credited toward the S.T.M.ødegree. A thesis, major paper in a regular course, or other acceptable project in the selected field of study is required. It must demonstrate the ability to do independent research. Students writing theses or projects are required to register in REL 999, S.T.M. Thesis or Project.

The work for the degree may be taken in one year, or distributed over two, three, or four years; it must be completed within four years of matriculation. In the case of students who wish to extend their studies, nine term hours is the minimum course load that can be regarded as a full-time program of studies. Normally, no work taken prior to matriculation will be counted toward the degree nor will credit be transferred from other schools unless approval to utilize a course to be taken elsewhere has been given in advance.

Master of Arts in Religion. Six courses in the field are required. One of these six must be Foundations of Liturgical Study, REL 782, the core course of the program. Students must also take: The English Reformation: Liturgical Tradition and the Evolution of the Anglican Books of Common Prayer, REL 787, or Parish Worship: Planning and Presiding, REL 934, or another course with a strong practical component; and a course in ritual studies or in liturgical theology (either of which may be a reading course). The other three courses are electives in the field (see below). Students write a final paper, which may be prepared in an independent study of either three or six credit hours. Institute students present the results of the work on this final paper in Colloquium. The remaining courses are taken in Bible, theology, and church history, and in courses in Christianity and culture in Area III of the curriculum, according to the student's needs as determined in consultation with faculty in the area of concentration.

Master of Divinity. Master of Divinity students enrolled through the Institute may concentrate in liturgics for the purpose of the Institute Certificate, although the Divinity School does not formally recognize concentrations within the M.Div. degree. Students who do so take three core courses (see above), two electives in liturgical studies, write a final paper, and present the results of their work in Colloquium.

Courses: Fall 2001
Foundations of Christian Worship. Bryan D. Spinks, Jaime Lara, Margot E. Fassler, R. William Franklin.
Christian Mysticism from Augustine to John of the Cross: Theories of Ascent through Scripture, Music, and Practice. Margot E. Fassler.
The English Reformation and the Evolution of the Anglican Books of Common Prayer. Bryan D. Spinks.
Word in Worship: Preaching, Praying, and Singing the Lectionary. Horace T. Allen.

Spring 2002
Christian Marriage. Bryan D. Spinks.
Prayers of the Eucharist: Early, Reformation, and Contemporary. Bryan D. Spinks.
North American Protestant Liturgical Traditions and Cultures. Horace T. Allen and James F. White.

Fall 2002
Foundations of Christian Worship. Bryan D. Spinks, Siobhán Garrigan, Jaime Lara, Margot E. Fassler, Martin Jean.
Word in Worship. Horace T. Allen.
The English Reformation and the Evolution of the Anglican Books of Common Prayer. Bryan D. Spinks.

Spring 2003
Worship of North American Protestants. James F. White.
Liturgical Theology. Siobhán Garrigan.
Introduction of Ministry. Bryan D. Spinks, David Bartlett, David Kelsey.
The Churches of the East. Bryan D. Spinks.
Christian Initiation. Bryan D. Spinks.

Program in Religion and the Arts
Jaime Lara, Chair

Mission
The program enables students to pursue concentrated study in either literature or the visual arts. Courses in these areas are taken not only at the Divinity School, but elsewhere in the University: in the Graduate School (e.g., the departments of English, Comparative Literature, American Studies, History of Art) or, with permission of the instructor, in the schools of Art and Architecture. In addition, students study the traditional curriculum of divinity: Bible, theology, history of Christianity, liturgics. Programs are developed individually, in light of the student's particular background, interests, and professional goals. Students are encouraged to attain reading proficiency in a second language relevant to their field of study.

Graduates of this program, who receive either the concentrated Master of Arts in Religion degree or the Master of Divinity degree, follow a variety of career paths: some pursue doctoral study in one of the arts, while others go on to teach on the secondary level or to serve the church as ordained clergy.

Faculty
Margot E. Fassler, Jaime Lara, Lana Schwebel

Degrees and requirements

Master of Arts in Religion, Concentration in Religion and the Arts. In the program in Religion and the Arts, concentrating in either literature or the visual arts, the student devotes at least twenty-one term hours to courses in literature or art, some of which are to be earned elsewhere in the University. At least fifteen term hours are required in Bible, theology, and history. The program allows twelve term hours as electives, three of which are applied toward the Institute project.

Students with sufficient foreign language expertise may also take courses in foreign language departments. Faculty permission is required for courses outside the Divinity School. Admission to studio art courses depends entirely on the permission of the faculty member and is customarily granted only to those with strong portfolios. Students will develop their concentrated programs in close collaboration with their advisers.

Courses: Fall 2001
Iconography of Christian Art. Jaime Lara.
Sixteenth-Century Mexico. Jaime Lara, Mary Miller.
Grief and Consolation in Medieval Literature. Carl James Grindley.
Creative Writing Workshop: Spiritual and Religious Poetry and Prose. Carl James Grindley.

Spring 2002
Dante through the Centuries. Carl James Grindley.
Classics of Spiritual Poetry in the English Literary Tradition. Carl James Grindley.

Fall 2002
Iconography of Christian Art. Jaime Lara.
Afterlife of the Apocalypse in Art and Architecture. Jaime Lara.
Christian Allegory. Lana Schwebel.
Religious Drama in the Late Medieval and Early Modern Periods. Lana Schwebel.

Spring 2003
The House of the Lord. Jaime Lara.
Liturgical Drama and Its Settings in the Latin Middle Ages and the Latin New World. Margot E. Fassler and Jaime Lara.
Christian Allegory. Lana Schwebel.
Milton. Lana Schwebel.

The Joint-Degree and Double-Major Programs
At the completion of the first term in residence at Yale, students may make application to the joint-degree program, the Master of Music in performance combined with either the concentrated Master of Arts in Religion in Liturgical Studies or the comprehensive Master of Arts in Religion. This program has the advantage of reducing by one year the total time necessary to receive two degrees. That is, these two degrees may be completed in three concurrent rather than four successive years. If accepted into the program, the student is enrolled in both the Divinity and Music schools, beginning with the second year of study, working toward degrees in each school.

Another option for Institute students enrolled through the School of Music is the double-major degree in performance. For example, first-year students enrolled in the organ program may apply to audition for the choral conducting program or vice versa. Although study in these two programs would be undertaken concurrently and be completed in three years, the end result would be a single Master of Music degree with a double major in organ and choral conducting. As this program is not formally recognized by the Institute and School of Music, support from the major teachers must be secured and separate application made to the Academic Affairs Committee of the School of Music.

Only qualified students whose career goals and abilities prepare them for entering such rigorous programs will be considered. Further information about course work for these interdisciplinary areas may be obtained by contacting the Office of Admissions of the Institute.

Research Fellows
Each year the Institute may welcome as research fellows a number of scholars, church musicians, pastors, artists, or otherwise professionally qualified persons who have clearly articulated research projects. Appointment may be for one term or an academic year. Research fellows have access to the libraries of the University and may audit classes with the permission of the instructor. They are not candidates for degrees and receive no academic credit. Regular tuition will be charged, but under certain circumstances the tuition may be waived. In this case, there is a fee of $150 per term. Research fellows are encouraged to participate as fully as possible in the life of the Institute, particularly the Colloquium, where they may be invited to share the results of their works in progress. Inquiries about appointment to this program should be addressed to the Office of Admissions of the Institute.

The Institute of Sacred Music Colloquium

Colloquium is central to the purpose of the Institute and to the faculty's involvement in, and personal attention to, how ISM students are trained. Colloquium is the meeting ground for all Institute students and faculty, the place where they study together, grapple with major issues, and share the work of performing, ministry, and scholarship.

The Institute of Sacred Music Colloquium is a course, taken for credit, that meets every Wednesday from 3.30 until 5 p.m., with informal discussion from 5 to 5.30 p.m. It is divided into two term-long parts, with responsibility for the fall term resting primarily with the faculty and for the spring term primarily with the students.

In 2001–2002 the class focused on symbolism in the liturgy, in all its diverse aspects—music, architecture, Word, and performance. After introductory lectures by Yale faculty members Margot Fassler and Wesley Avram, students heard noted authors, artists, and scholars, including Richard Giles, Frank Burch-Brown, Joanna Ziegler, Gordon Lathrop, Joseph Bassett, Nathan Mitchell, James Parkinson, and Eric Chafe, who made presentations on successive Wednesdays in their respective disciplines. A number of students opted for extra credit, writing papers reflecting on and synthesizing the interdisciplinary experience. The subject for 2002–2003 is "The Contemporary Church and —" which will again elicit presentations that cut across disciplinary and sectarian lines. The program, in preparation at press time, is being planned to include presentations by Lee Hoiby, Teresa Berger, Dick Vosco, Belvin Butler and Janet Campbell, Brian Wren, Frank Stoldt and Michael Burk, Robert Batastini, Jimmy Abingdon, Rick Fabian, John Buchanan, and John Sherer.

Enrollment in the spring-term Colloquium, for one credit, is required of and open only to Institute students. In the opening weeks, workshop presentations or roundtable discussions are offered by small groups of students and/or faculty on topics of mutual interest, e.g., Institute field placement, the Parish musician, theology through the arts. In the final weeks, graduating students bring the work of their degree papers or recitals to the group in thirty-minute formal presentations, each followed by a brief discussion period. All students are assigned tutors who advise in preparing these formal presentations, and each student discusses the work with a faculty committee at the end of the term.

The two credits received by Institute students who attend the fall- and spring-term Colloquium do not count toward the credits needed for their degree requirement. Students who choose the two- or three-credit options in the fall-term Colloquium will have those extra credits count toward their degree requirement.

All Institute students are challenged through Colloquium to communicate the results of performance or of scholarship to the whole group in well-informed, articulate fashion. The faculty believe that the ability to present the materials of one's discipline successfully in a public lecture or lecture/recital should be mastered by Institute students, all of whom train for leadership roles either in the churches, in civic life, in administration, or in academia.

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