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, Erick Friedman, 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,rst 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 deciencies. The student, therefore, concentratesrst 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 efcient 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 rene 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,ute; Richard Killmer, oboe; David Shifrin and Lawrence McDonald, 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 allelds, 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. Large brass and woodwind ensembles are also formed throughout the year. Conducting, score reading, and improvisation are considered important in the student’s development. Students are also encouraged to become acquainted with the technical aspects of other wind and string instruments.
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 Nancy Allen, 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. Thenal 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, 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 qualied 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 and Thomas Murray
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, and Naji Hakim.
Students have the opportunity for practice and performance on an extensive collection of ne 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 housesve Steinway grand pianos, a C. B. Fisk positive, and a Dowd harpsichord.
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., Certicate in Performance, and A.D. The Institute also offers an employment placement service for organ students at Yale.
Voice and Opera
Doris Yarick-Cross (artistic director and voice); Lili Chookasian (voice); Richard Cross (voice); Douglas Dickson (opera coaching); Eric Trudel (opera coaching and Italian diction); Emily Olin (Russian diction); and guests.
The voice and opera degree program in vocal performance is designed to enhance and nurture the artistry of young singers. The primary goal is to prepare the young singer for the rigors of a career through the development of a sound technique, musicianship, stylistic versatility, and performance skills.
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 Renata Scotto, Elly Ameling, Marilyn Horne, Carlo Bergonzi, Régine Crespin, Evelyn Lear, Franz Hans Hasl, and Peter Grunberg.
The opera program is intended as a practical study of the art of opera performance. It 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 Die Zauberflöte, Faust, La Bohème, Falstaff, La Traviata, La Cenerentola, Così fan tutte, Les contes d’Hoffmann, 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.
The Yale community and the New Haven area offer ample opportunities for solo experience through church positions, professional orchestras, the Yale Divinity School Choir, the Yale Camerata, the Yale Glee Club, and the Yale Philharmonia. Close proximity to New York and Boston makes attendance at performances and auditions in those cities possible. Additionally, students have the opportunity to teach voice to undergraduates in Yale College and to nonmajors in the Yale School of Music.
Orchestral Conducting
Lawrence Leighton Smith 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
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 regular 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 specied 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, and Robert Shaw.
Composition
Martin Bresnick, Ezra Laderman, Joseph Schwantner, 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.
Contemporary Music/New Music New Haven
Martin Bresnick, Thomas Duffy, Ezra Laderman, Joseph Schwantner, and guests
While some musicians elect to make a specialty of the music of our time, every serious performer of music is at times called upon to play contemporary music. Performers need to discover new techniques, to learn new musical languages, and to keep in touch with recent developments in theirelds. The contemporary music program prepares students to deal with those distinctive features that characterize the music of today.
The contemporary music program brings together composers, conductors, and performers in the exploration of recent developments in music. Throughout the year, New Music New Haven, under the direction of Martin Bresnick, performs masterworks of the twentieth century and new works by faculty, student, and guest composers.
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 MIDI3based 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 501a, 502a, 503a, 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–b, 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 658b, 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, identication, 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 688b, Hearing and Performance. 4 credits. NP. A direct continuation of Hearing, for musicians who are passionate about integrating aural, analytic, and performance skills. Hearing is a prerequisite. Students who have taken Advanced Hearing 692a may not enroll in this class. Permission of the instructor required; enrollment limited to twelve. Joan Panetti.
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 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 anal examination. The ability to read scores and transpose is assumed. Permission of the instructor required; enrollment limited. Shinik Hahm.
MUS 530b, Intermediate Conducting. 4 credits. Continuation of the techniques utilized in Conducting 529a,b. More difcult 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. Lawrence Leighton Smith.
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.
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.
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 difculties related to performing with specic 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 tove 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,gured 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, 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 perform juries at the end of each term. (P/F) Faculty.
MUS 542a–b, 642a–b, 742a–b, The Philharmonia Orchestra of Yale. 2 credits per term. Participation, as assigned by the faculty, is required of all orchestral students. Lawrence Leighton Smith.
MUS 543a–b, 643a–b, 743a–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, 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. Specic 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. 2 credits. This course is designed for students who are conducting, or have in the past conducted, an ensemble. Class time encompasses score analysis, rehearsal technique, and choral repertoire. Students are encouraged to rene and expand the vocabulary of conducting gestures in the service of the music studied. Not open to conducting majors. Marguerite Brooks.
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 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.
Voice and Opera
MUS 504a–b, 604a–b, 704a–b, Dramatic Movement for Singers. 1 credit per term. Stage movement tailored specically for singers. Physical preparation of the body through exercises that develop strength, control, andow of movement while releasing tensions and extending the range of movement possibilities. Emphasis is placed on stage presence and movement problems as applied to specic roles, and on transferring the class experience to the stage. Required. Faculty.
MUS 506a–b, 606a–b, Lyric Diction for Singers. 2 credits per term. A language course designed specically 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 melodie, 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. Brian Suits.
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 satises the music history prociency. 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.
MUS 512a, Sonatas for Violin and Piano by Mozart and Beethoven. 4 credits. NP. This course addresses the shifting roles of violin and piano in an insufciently known body of music literature. Attention is given to issues of performance such as tempo and articulation, and a range of recordings is studied to experience alternative interpretive approaches. Readings include the writings of Ratner, Rosen, Marty, and Kolisch. Violinists and pianists particularly are encouraged to participate, but the course is open to all interested students. Michael Friedmann.
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 561a, 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 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 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 or not empirical proof can be applied to these instruments. Richard Rephann.
MUS 663a, Advanced Research and Editions. 4 credits. NP. A small research seminar that continues work begun in Research and Editions (MUS 560). Students will apply the bibliographic, research, and analytical skills they have acquired to focus on a specic research topic. A topic that has recently been addressed by the class is the history of the concerto. Prerequisite: MUS 560, Music and Editions. Kendall Crilly.
MUS 800b, 850a–b, 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. Paul Hawkshaw.
Special Studies
MUS 521a–b, English: Writing Skills and Grammar Syntax. 2 credits per term. NP. Staff.
MUS 550b, 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. No studio time is required. Jack Vees.
MUS 553a, Music Technology: Advanced Individual Projects. 2 credits. NP. A course for those who have completed MUS 550b or have displayed prociency in the genre. An in-depth look at the important inuences of technology upon the creation of music in the studio. Topics include sequencing, sampling, notation, and digital signal processing. Various hardware and software packages that make these processes available to the professional musician are examined. Students complete an individual project, the scope and nature of which are determined at the beginning of the term. A project may be the creation of an original piece, or it may also include the construction of sample libraries or a study of digital processing of acoustic instruments, in order to make the course relevant to the needs and interests of performers as well as composers. Enrollment limited. Jack Vees.
MUS 624b, Organ Pedagogy. 4 credits. NP. An examination of organ pedagogical documents from the fteenth century to the present toward a view of modern-day practical application. An overview of historical performance practice coincides with a study of changing trends in organ building in Italy, Germany, and France. Martin Jean.
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 rst 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 nal 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 Ofce of the Registrar. Faculty.
Yale Institute of Sacred Music
MUS 519a–b, 619a–b, 719a–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 2002–2003 (4 credits each term).
MUSI 704b, Theory and Aesthetics: Eighteenth Century. Patrick McCreless.
MUSI 706a, Theory and Aesthetics: Twentieth Century. Robert Morgan.
MUSI 819b, The Motives of (Musical) Eloquence: Approaches to Music and Text in the Seicento.
Robert Holzer.
MUSI 821a, Monteverdi’s Late Operas in Context. Ellen Rosand.
MUSI 827b, Middle-Period Beethoven. Leon Plantinga.
MUSI 845a, Methodological Issues in Music History and Analysis. James Hepokoski.
MUSI 848b, Music in Renaissance Paris and London. Craig Wright.
MUSI 902a, Post-Tonal Analysis I. Michael Friedmann.
MUSI 902b, Post-Tonal Analysis II. Allen Forte.
MUSI 930a, Music of Sub-Saharan Africa. Michael Veal.
MUSI 941a, Theory and Analysis: Extended Tonal Techniques. Daniel Harrison.
MUSI 945b, Liturgical Drama and Its Settings in the Latin Middle Ages and the Latin New World.
Margot Fassler, Jaime Lara.
MUSI 981b, Neo-Riemannian and Other Transformational Theories. David Clampitt.
MUSI 998a, Prospectus Workshop. Ellen Rosand.
MUSI 999b, Dissertation Colloquium. Ellen Rosand.
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, playing a variety of orchestral music drawn from the standard repertoire, unusual and rarely heard pieces, and new music. The performances are conducted by artistic director Lawrence Leighton Smith, as well as celebrated guest conductors and orchestral conducting majors. In the 2001–2002 season, members of the Philharmonia joined the Moscow Chamber Orchestra and the Yale Alumni Chorus for a concert honoring Yale at 300 in Alice Tully Hall in New York. The Philharmonia was also invited to perform in the Rich Forum in Stamford, Connecticut as part of the twentieth anniversary celebration of AmeriCares. 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 members of the Philharmonia Orchestra also frequently perform smaller ensemble pieces for New Music New Haven.
New Music New Haven
New Music New Haven, directed by Martin Bresnick, 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 Philharmonia 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 2001–2002 academic year were directed by acclaimed directors Andreas Prohaska and Garnett Bruce. Recent productions, including Die Zauberflöte, Faust, La Bohème, Falstaff, La Traviata, Albert Herring, Così fan tutte, Les contes d’Hoffmann, Le nozze di Figaro, and Il barbiere di Siviglia, were presented at New Haven’s historic Shubert Performing Arts Center, while more intimate productions of 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, 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
Under the baton of Music Director Shinik Hahm, the Yale Symphony Orchestra consists primarily of undergraduates, although membership is open to interested and qualied graduate or professional students, faculty, and staff. This one-hundred-piece ensemble 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-ve 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 twelve 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 ftieth 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 Spain, Austria, and the Czech Republic, and presented therst 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’snest 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 comprises two mixed choruses—the Yale Freshman Chorus and the Yale Glee Club. Both of these organizations present several concerts during the year, both in and out of New Haven. Membership is open to all Yale students by audition, primarily to undergraduates. Qualied 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.
The Yale Glee Club is a ninety-voice 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. Last season included a performance of Verdi’s Requiem in Carnegie Hall. Throughout each year the Glee Club performs a varied repertoire in area concerts, often singing for community benets.
The Yale Camerata and Pro Musica
Founded in 1985 by its conductor, Marguerite L. Brooks, the Camerata is a vocal ensemble sponsored by the Yale Institute of Sacred Music. The group’s approximately sixty members are Yale undergraduate and graduate students, faculty, staff, and experienced singers from the New Haven community. Professor Brooks also conducts the Yale Pro Musica, a sixteen-voice chamber choir within the Camerata.
The Camerata and Pro Musica perform a widely varied range of choral literature, while making a specic commitment to choral music of our time. The Camerata performs with all major instrumental ensembles of the School and the Department of Music and has been featured on New Music New Haven programs.
Repertoire for the 2002–2003 season includes Walton’s Belshazzar’s Feast, Bach’s Cantata 140, Howells’s Requiem, Wood’s St. Mark Passion, and Mozart’s Mass in C minor.
Marquand Chapel Choir
The Marquand Chapel Choir performs choral literature from many liturgical traditions and periods on a regular schedule for the services in Marquand Chapel. The choir also presents choral works at special musical services of worship. The choir may be taken for credit. Paid section leader positions are available.
Battell Chapel Choir
The Battell Chapel Choir is a mixed ensemble of twenty-six voices that sings at Sunday morning services during the academic term and presents two concerts or musical vespers during the year. Students at the School of Music who have previous choral experience are eligible to audition. Members are paid for their services.
Concerts and Recitals
The Chamber Music Society at Yale
The Chamber Music Society at Yale inaugurates its eighty-fth season in 2002–2003. Continuing its tradition of presenting distinguished ensembles, this season features the Tokyo, Endellion, Zehetmair, and Fine Arts string quartets, the Zephyros Woodwind Quintet, a faculty organ and brass concert, and a concert featuring student chamber music groups from the School of Music selected by audition. Although tickets are required for this series, they are available free to students of the School of Music at the box ofce at 435 College Street.
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 Dave Brubeck, Elvin Jones, Dick Hyman, Barry Harris, Kenny Burrell, William Wareld, and Clark Terry. 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 Fou Ts’ong and Emanuel Ax. The upcoming season features recitals by Boris Berman, Peter Frankl, Claude Frank, and guest artist Misha Dichter.
Great Organ Music at Yale
Great Organ Music at Yale is a series of events in Woolsey Hall and Dwight Memorial Chapel including programs by the faculty, the 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 ofve 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.
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