Peabody Conservatory Catalog 2009-10

7/23/09 11:03:52 AM
ac a d e m i c c ata l o g 2 0 0 9 – 2 0 1 0
Johns Hopkins University P e a b o d y C o n s e r vat o r y 2 0 0 9 - 2 0 1 0

Peabody Institute
One East Mount Vernon Place
Baltimore, MD 21202-2397
Peab_catcover092.indd 1-2
THE PEABODY CONS E RVATORY
OF THE JOHNS HOPKINS UNIVERSITY
Academic Year 2009–2010
Conservatory Admissions Office

Phone: 410-659-8110 or 800-368-2521 (Outside Maryland)
www.peabody.jhu.edu
Academic Calendar
First Semester 2009–2010

Fall semester payment postmark date; August 12
late payment fee applied after this date
Orientation begins
Residence Hall opens August 23
Residence Hall move-in day August 25
Registration
All students: 8:30 am–12:00pm September 1
All students: 1:30–5:00pm
Late fee applied for late confirmation and registration September 2
Classes and lessons begin September 3
Convocation, noon September 3
Labor Day Holiday (no classes, lessons, or ensembles) September 7
Last day for course drop/add without fee September 11
Degree recital lottery – Concert Office September 16
Last day for late registration September 18
Last day to add a course for fall semester September 18
Degree recital registration for fall semester recitals September 23 &
September 28
Last day to drop a fall semester course with deletion September 25
All work for spring and summer incompletes due to faculty September 25
Mid-term holiday begins (no classes, lessons, or ensembles) October 11–13
Classes, lessons and ensembles resume October 14
Grades to remove spring and summer incompletes due to October 14
Registrar
Last day to withdraw from a course with an automatic “W” October 16
Last day to change a course to Audit October 16
Application deadline for spring semester diploma program November 1
Last day to withdraw from any fall semester course November 13
Deadline for leave-of-absence return notification to November 15
Office of Academic Affairs
Course selection for spring 2009 semester for undergraduates November 16-27
Course selection for spring 2009 semester for graduate students November 17–27
Thanksgiving Vacation (no classes, lessons, or ensembles) November 25–29
Classes, lessons and ensembles resume November 30
Application deadline for regional and February auditions November 30
Spring semester payment postmark date; December 9
late payment fee applied after this date
Last day of classes, lessons, ensembles for fall semester December 15
Fall semester course examinations December 16–18
First semester ends December 18
Residence Hall move-out deadline for non- December 19
continuing students, noon
Residence Hall closes December 19
Fall grades due to Registrar, noon December 22
Second Semester 2009–2010
Registration
Residence Hall opens January 15
Registration for new students January 15
Martin Luther King Jr. Holiday (no classes, lessons, or ensembles) January 18
Classes, lessons and ensembles begin January 19
Degree recital lottery—Concert Office January 26
Degree recital registration for graduating students only January 28
Petition to graduate in May 2010 due to Registrar January 28
Last day to drop or add courses or reconfirm registration January 29
without fee
Last day for late registration January 29
Last day to add a course for spring semester January 29
Last day to register for spring semester degree recital January 29
without a fee
Degree recital registration for graduating students only February 1 & 4
Degree recital registration for students with Degrees in Progress February 8 & 10
Last day to drop a course with deletion February 12
All work for fall semester Incompletes due to faculty February 12
Dissertation submission deadline for May graduation February 12
Audition/Ensemble/Masterclass Week (no classes or lessons) February 15–19
Classes, lessons and ensembles resume February 22
Grades to remove fall semester Incompletes due to Registrar February 22
Last day to drop course with automatic “W” February 26
Last day to change course to Audit February 26
Spring Vacation begins (no classes, lessons, or ensembles) March 14–21
Classes, lessons and ensembles resume March 22
Deadline for MM/DMA document submission for May graduation March 29
Last day to withdraw from any spring semester course April 2
Application deadline for May auditions April 15
Deadline for leave-of-absence return notification to Office April 15
of Academic Affairs
Course selection for fall semester 2010 for all returning April 19–30
graduate students; juniors and seniors
Course selection for fall semester 2010 for all returning students April 20–30
Last day of classes and lessons May 10
Reading/examination preparation day May 11
Spring semester course examinations May 12–14
Juries and final auditions May 17–20
Second semester ends May 20
Spring grades due to Registrar, noon May 20
Commencement May 27
Residence Hall closes, noon May 28
Graduate Summer Session 2010
Classes begin June 28
Classes end July 30
Audition Calendar
Application deadline November 30
Auditions for admission February 15–19
Application deadline for late auditions April 15
Final auditions for fall semester 2010 admission May 17–20
Cover photo: Gary Thomas (right), director of Jazz Studies and Richard and
Elizabeth Case Endowed Professor in Jazz, works with students in Peabody’s Max
Corzilius Jazz Studio.
Photo: Will Kirk, Homewood Imaging and Photographic Services
Table of Contents
9 General Information
9 The Preparatory
10 The Campus
11 Facilities
13 The Internet and Technology at Peabody
14 Baltimore Area Cultural Activity
14 Peabody Concerts, Lectures, and Master Classes
14 Distinguished Visiting Faculty
14 Trio in Residence
15 Competitions
16 Honorary and Professional Organizations
16 Career Counseling and Placement
16 Partnership between the Yong Siew Toh Conservatory and the
Peabody Institute
17 Study Abroad Program
17 Conducting Fellows Program
18 Student Data 2008–2009
19 Procedural Information
19 Studio Assignments
19 Recitals
20 Official Dress and Equipment
20 Outside Instruction and Public Performance
20 Inter-Institutional Academic Arrangements
21 Peabody/Homewood Double Degree Program
21 Transcripts
22 Administrative Regulations
22 Academic Code of Conduct and Student Conduct Code
22 Grading System and Regulations
23 Academic Standing and Satisfactory Progress
24 Outside Sources of Financial Aid
24 Definition of Full-Time Status and Credit Limits
24 Dean’s List Criteria
24 Graduation Eligibility
24 Attendance and Absences
25 Auditing
25 Course Changes and Withdrawals
25 Change of Major
25 Change of Studio Teacher
25 Interruption of Degree Work
27 Student Rights and Responsibilities
27 Graduation Rates
28 University Policies
33 Degrees and Programs
33 Bachelor of Music Degree
33 Admission Requirements
33 Degree Requirements
34 Common Curriculum Components
40 Curricula
40 Performance Majors
47 Jazz Performance Majors
48 Composition Majors
50 Computer Music Majors
51 Music Education Majors
58 Music Education Certification Program
59 Performance/Recording Arts and Sciences Majors
67 Bachelor of Music with JHU Concentration
68 Five-Year BM/MM Program
69 Master of Music Degree
70 Program Components
72 Curricula
81 Performance/Pedagogy Majors
83 Computer Music Majors
85 Music Education Majors
86 Musicology Majors
88 Music Theory Pedagogy
89 Master of Arts in Audio Sciences Degree
90 Concentration in Recording and Production
91 Doctor of Musical Arts Degree
92 Curriculum Components—Requirements and Examinations
96 Curricula
96 Conducting Majors
104 Performer’s Certificate
104 Certificate Requirements
104 Curricula
108 Graduate Performance Diploma
108 Diploma Requirements
109 Curricula
110 Artist Diploma Program
110 Diploma Requirements
110 Curriculum Components
111 Extension Study
112 Conservatory Faculty
1 14 Course Listings
114 Brass
114 Chamber Music
115 Composition
116 Computer Music
117 Conducting
1 18 Early Music
121 Ensemble Arts
122 General Studies
122 Guitar
123 Harp
124 Humanities—Liberal Arts
126 Humanities—Languages
127 Jazz
129 Large Ensembles
130 Music Education
133 Music Theory
137 Music Theory—Ear-Training/Sight-Singing
138 Music Theory—Keyboard Studies
138 Musicology
143 Opera
144 Organ
144 Pedagogy
145 Percussion
145 Piano
146 Recording Arts
149 Small Ensembles
149 Strings
150 Voice
152 Woodwinds
153 Recitals
1 54 Student Life
154 Residence Hall
154 Dining Hall
154 Health Services
154 Counseling Center Services
154 Health Insurance
155 Shuttle Bus
155 Peabody Escort Van
155 Student Activities
155 Religious Activity
155 Athletic Facilities
1 56 Financial Information
156 Tuition and Fees
157 Schedule of Payments
158 Federal Aid Programs
159 Loan Programs and Grants
160 Federal Work Study
160 Institutional Aid Programs
161 Endowed Scholarships, Prizes and Awards
163 Peabody Career Development Fund
163 Assistantships
164 Employment
1 65 Administration
165 Peabody Institute
166 The Johns Hopkins University
168 Index
General Information
George Peabody believed in the power Mennin, Ernst Krenek, Benjamin Lees,
of the artist to open the minds and enrich Earle Brown, and Hugo Weisgall; violin-
the lives of others. The Peabody Institute, ists William Kroll, Louis Persinger, Oscar
which he founded in 1857, is the practical Shumsky, and Roman Totenberg; cellists
embodiment of this belief. From its begin- Aldo Parisot and Zara Nelsova; pianists
nings, it has brought together a commu- Harold Bauer, Ernest Hutcheson, Miec-
nity of artists, teachers, and scholars to zyslaw Munz, Reginald Stewart, and Erno
train other artists and to spread, by their Balogh; scholars Nadia Boulanger, Otto
precept and example, an understanding of Ortmann, and Nicolas Slonimsky. The
what the arts can do to uplift the quality Conservatory’s present faculty is in the
of human life. same distinguished tradition, and includes
Today, the Peabody Institute concen- prizewinners in the Moscow Tchaikovsky
trates primarily upon music. Through Competition, Queen Elisabeth of Belgium
its constituent divisions, the Preparatory Competition, the ASCAP Deems Taylor
and the Conservatory, it trains musi- Awards, as well as Guggenheim fellows
cians of every age and at every level, from and Fulbright grantees.
small children to seasoned professionals, Peabody’s teachers and alumni appear as
from dedicated amateurs to winners of soloists and recitalists across the country
international competitions. It challenges and around the world, conduct workshops,
all its students to aspire to their highest lecture in colleges and universities, make
potential as artists and human beings. It recordings, and serve as jurists for interna-
seeks to promote a respect for music as a tional competitions from Texas to Tokyo,
discipline of the mind and spirit, a joyful from Brussels to Moscow. Near and far,
affirmation of life, and a passionate com- its graduates are active in orchestras, in
mitment to an ideal. By connecting its arts organizations, and as teachers at all
students with the great traditions of the levels from precollege through postgradu-
past, Peabody gives them the key with ate education. Among its most illustrious
which to unlock the future. The Peabody alumni are pianist Andre Watts, vocal-
Conservatory strives to provide aspiring ists James Morris and Richard Cassilly of
artists with the skills to pursue profes- the Metropolitan Opera, and the Pulit-
sional careers in music as well as with the zer Prize–winning composer Dominick
education to become leaders in the cul- Argento.
tural life of their communities.
Peabody Conservatory has become an Accreditation Statement
acknowledged leader in the cultural life The Peabody Conservatory of Music is
of Maryland and has built a reputation accredited by the National Association of
that is truly international. As a division Schools of Music and, as a division of The
of The Johns Hopkins University, Pea- Johns Hopkins University, by the Middle
body takes its place beside the university’s States Commission on Higher Education,
other world famous centers of research 3624 Market St., Philadelphia, PA 19104-
and learning in the sciences, humanities, 2680; 267-284-5000.
and medicine, poised to define the con-
tribution of music in our lives in the 21st The Preparatory
century. Founded in 1894, the Peabody Prepara-
Among the leading musicians who have tory is the pre-college complement to the
served on the Peabody faculty are compos- Peabody Conservatory. Like the Conserva-
ers Henry Cowell, Elliott Carter, Peter tory, the Preparatory also has a dual mis-
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sion: to provide a broad-based performing the Library of Congress in Washington.
arts education to all who are desirous of Adjoining the library building is Leakin
high quality performing arts study and Hall, built in 1927, which serves as the
to provide an accelerated curriculum for headquarters of the Institute’s Preparatory
talented pre-professional musicians and department and contains studios for the
dancers. use of both Conservatory and Preparatory
With a student body of approximately faculty.
2,000, ranging in age from 2 months More recent additions include the resi-
to 83 years, the Preparatory also spans a dence hall structure, which was designed
wide geographical area including a main by Edward Durrell Stone, architect of the
campus downtown and several satellite Kennedy Center for the Performing Arts
branches throughout the Greater Balti- in Washington, and the Arthur Friedheim
more region. The curriculum in Early Library building, which includes two
Childhood, Music, Dance, and Adult floors of classrooms and practice rooms.
Education has been developed to provide The Peabody Inn is housed in a townhouse
a solid instructional base while allowing complex that has become the home for
for each student to develop his or her full the Peabody Elderhostel program. Pea-
potential. In addition to a wide range of body’s Elderhostel, which is among the
courses, the school offers a rigorous pre- most popular in the country’s extensive
conservatory program and graduated levels Elderhostel network of lifelong learn-
of performance opportunities. The student ing vacations for senior citizens, features
body of the Preparatory is as diverse as its music classes and the rich performance
curriculum, ranging from pre-school chil- offerings given daily by Peabody students
dren and their families to high school and and faculty.
adult students. The Preparatory provides In spring 2004, the Peabody Insti-
a special environment for learning about tute completed a $26.8 million major
the arts, supporting students with special construction project that has fundamen-
talents and fostering a love of music and tally restored and enhanced its campus,
dance. integrating the historic 19th-century
buildings into a harmonious whole. A
The Campus Grand Arcade cascades down from the
main entrance to the Peabody Plaza by
As the first music conservatory estab- means of a graceful staircase that provides
lished in America, the Peabody Institute an elegant counterpoint to the original
occupies a cherished historic structure on famed circular stairway. The construction
Mt. Vernon Place, the cultural heart of project created the Cohen-Davison Family
Baltimore. More than a hundred years of Theatre, a new 95-seat lecture/recital hall,
sustained growth has resulted in expan- a percussion studio, improved box office,
sion throughout an entire city block of concert and ensemble offices, and 12 new
six interconnected buildings. The origi- practice rooms.
nal Conservatory and Peabody Library
buildings face Mt. Vernon Place and are Security
two of the city’s foremost architectural The Peabody campus is protected by
landmarks. The Conservatory building the Peabody Campus Security Department
was completed in 1866. The library build- 24 hours a day. Guided by its community-
ing, completed in 1878, is famed for its based philosophy, the department is
tiered cast-iron balconies and spectacular headed by a director and staffed by 12
open space. It is acknowledged to be the uniformed officers, commissioned by the
masterpiece of the American architect state of Maryland with full arrest powers.
Edmund G. Lind, and served as a model The department also provides a van escort
for the domed main reading room of service which operates in the evenings to
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transport members of the community to and an 11-course baroque lute by Mar-
and from campus within approximately a tin Shepherd. Students also have access
12-block area. to Renaissance and baroque guitars, a
The entrances to campus are secured at vihuela, and a cittern as well as a full con-
all times, and community members may sort of recorders by Adriana Breukink.
enter at any time by use of their indi-
vidual “card-key access” identification and Libraries. One of the oldest music col-
sign-in at the main entrance. Most campus lections in the United States, the Arthur
buildings are open seven days a week from Friedheim Library traces its history from
6 a.m. to 2 a.m. The practice rooms in the establishment of an orchestral library
the library building and the basement are when Peabody first opened its doors in
available 24 hours a day. 1868. Since then it has grown from a
library of a dozen or so sets of orchestral
Facilities parts to a major regional collection of over
120,000 volumes. Among the strengths
Performance. The Miriam A. Friedberg of the collection are performance materials
Concert Hall, with seating for 695, com- for solo players and chamber ensembles,
bines modern technical facilities with orchestral scores, music reference books,
its resplendent historic architecture. The scholarly editions, books of musical biog-
Conservatory’s other performance halls raphy, music history and music theory,
are Leith Symington Griswold Hall, a recordings, and music periodicals.
renovated concert and rehearsal space with The Arthur Friedheim Library opened
a seating capacity of 150 and a three- in February, 1990 and in May of the same
manual tracker-action Holtkamp concert year was dedicated to the memory of the
organ; the 95-seat Cohen-Davison Family great pianist and student of Liszt, Arthur
Theatre; and Hilda and Douglas Goodwin Friedheim, by his son Eric Friedheim,
Hall, the primary facility for Preparatory whose generous gift made possible the
recitals and for many Conservatory reper- attractive new facility. Modern and well-
tory classes and recitals. equipped, the Arthur Friedheim Library
The Conservatory maintains a collection is accessible to all students with abundant
of string, woodwind, brass, and percussion and comfortable study space. The open
instruments available for use in instru- stack library collection includes over
mental classes. Its collection of baroque 90,000 scores and books. An audio-visual
instruments includes two French double center on the plaza level incorporates a
harpsichords by William Dowd, a Flem- collection of over 25,000 sound record-
ish single harpsichord by Rodney Regier, ings, a videotape library, 25 study carrels
a virginal, fortepiano, clavichord, several variously equipped for audio, video and
baroque flutes, oboes, bassoon, viols, vio- computer use, and a microfilm reader-
lins, viola, cello, and bows. In 2007 the printer.
Conservatory acquired a matched baroque Located on the first floor of the Arthur
string quartet by Juraj Vancik, a cornetto Friedheim Library, the Archives of the
by Christopher Monk, and a theorbo by Peabody Institute serves as the official
Ed Greenhood. repository for the historical records of
The collection of Renaissance instru- the Institute and also collects the papers
ments includes full consorts of recorders, and records of musicians and musical
gemshorns, krummhorns, five lutes, two organizations of the greater Baltimore
flutes, sackbuts, viols, and percussion. metropolitan area. The generous gift of P.
Acquisitions during 2007 included a William and Vera Ruth Filby established
Renaissance long drum by Ben Harms, the Rare Book Room in the Music Library
tenor and bass sackbuts by Von der Heide, of the Peabody Conservatory in 1990. The
an Italian harpsichord by Robert Duffy, collection contains over 1,000 volumes
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including music scores, individual manu- the Recording Studios for special projects
scripts, personal papers and artifacts, and and audition tapes on an hourly fee basis.
books on music dating from the 16th cen- A price schedule is available on request
tury to the present. and is published on the Peabody Record-
The Peabody community also has access ing Studio web page. As a special service
to the Johns Hopkins Sheridan Libraries to students, and on request, CDs of all
collection. The majority of the Sheridan major events are placed in the Peabody
collection is contained in the Milton S. Listening Library for 30 days after each
Eisenhower Library on the Homewood concert.
Campus. Not only is it the primary In addition to producing recordings for
research, teaching, and cultural resource of archival use and broadcast, the Studios are
the university, but the quality and quan- the working laboratories for the students
tity of its collections and services rank it in the Recording Arts and Sciences degree
as one of the major research libraries in the programs. Additionally, there are classes
country. Peabody students have borrow- in recording technology and production
ing privileges for over 2.6 million books available for non-recording majors on the
and more than 30,000 print and elec- undergraduate and graduate levels. Any
tronic journal subscriptions, over 600,000 student interested in the recording arts
e-books, over 7,000 videos and DVDs. degree program or classes should call the
These materials are accessible through the Recording Office. More information can
interconnected catalog for the Friedheim be found at www.peabody.jhu.edu/record-
and Sheridan libraries, and Sheridan mate- ingarts.
rials can be delivered to the circulation
desk at the Friedheim library. Computer Music Studios. The Computer
Music Studios serve as a working labora-
Recording Studios. The Peabody Recording tory for music composition and research,
Studios record all concerts, degree recitals, as well as a center for courses, demonstra-
and special events at Peabody, utilizing tions, and public programs. Many projects
advanced techniques and state-of-the-art use both analog and digital facilities.
equipment. Studio 220, the main Con- Peabody’s activity in electronic music
servatory studio facility, is directly linked began in the summer of 1967. When the
to the Miriam A. Friedberg Concert Hall. Peabody Electronic Music Studio opened
Studio 203, also located in the Conserva- officially in 1969, it was the first such
tory building, is the primary studio for studio in Maryland, and one of the first in
events in Griswold Hall. Both studios are the country to be located in a conservatory.
fully digital and surround capable, as well Over the years, its facilities have been sys-
as being interconnected, permitting data tematically updated and expanded, espe-
transfer between the facilities. Two other cially after the affiliation with the Johns
recording control rooms, Studio 3036 and Hopkins University. In addition to Pea-
Studio 2002, are located in the Leakin body courses in computer music, Conser-
Hall building and provide services to vatory students have access to university
Goodwin Hall and East Hall. courses in computer science, electronics,
The Recording Studios record most and related fields.
events direct to CD with hard disc
backup. Master recordings for all events Computer Music Consort. The Computer
are permanently stored in the Peabody Music Consort is a professional ensemble
Archives. Each student is entitled to one in residence at the Computer Music
free CD of his/her degree recital, with Department dedicated to the performance
additional copies available on a fee basis. of the digital arts. The Consort aims to
Students, faculty, and staff may also use bring the best current computer music
and multimedia performance to the pub-
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lic in unique and original ways. Activity Monitoring is through a Dynaudio 5.1
includes performances (many of which studio monitor system.
involve “live” performers plus tape, real- 3. The Digital Arts Studio is a multiuser
time electronics, and mixed media pre- facility supporting a variety of digital
sentations), lectures, and commissions for arts applications. A number of worksta-
new works in the medium. The Consort tions for MIDI, digital audio, video,
frequently invites guest composers and and multimedia are available, as well
performers to participate in its events. as general purpose computers for pro-
gramming, Internet access, and general
Facilities. The Computer Music Depart- use.
ment is located on the third floor of the 4. The Digital Performance Studio is an
historic Conservatory building. There are experimental rehearsal space/practice
two fully equipped studios, one devoted room. The MIDI system here includes a
to teaching and the other to production Yamaha Disklavier grand piano as well
work. There is a digital performance studio as other performance-oriented synthe-
optimized for solo or chamber music plus sizers. This space is easily reconfigured
electronics rehearsals, and a digital arts and may be used for rehearsal as well as
studio of workstations for use by computer research and composition.
music and composition students. The 5. Workstations. The department supports
departmental studios feature a wide variety a network of computers optimized for
of music technologies, including MIDI, music-making and research. A wide
Direct Digital Synthesis, Digital Audio variety of platforms are supported,
Workstations, SMPTE synchronization and including Windows, Macintosh, Unix,
digital multi-track recording. and Linux. A wireless network allows
1. The Teaching Studio is intended primarily the easy integration of student laptops.
for introductory-level and non-major A wide variety of commercial and non-
students but is also used as an additional commercial software applications for
production facility by departmental music are available for MIDI, audio,
graduate students and faculty. The room and video recording, editing and play-
doubles as the department’s primary back as well as tools for programming
classroom, and for this reason features and software for music notation.
a high-quality data projection system
for computer and video demonstrations. The Internet and Technology at Peabody
This studio also houses the department’s The Peabody campus is interconnected
vintage Moog synthesizers, which are to other divisions of The Johns Hopkins
carefully maintained for historical and University through a high-speed network.
pedagogical purposes. Multichannel Most rooms on campus and all residence
A/D and D/A conversion systems along halls are wired for Ethernet access. Most
with a 24x8 console are available, as public and teaching spaces on campus are
well as a quadraphonic sound system wired for secure Ethernet and/or WiFi.
featuring Meyer 833 studio monitors. Members of the Peabody community
2. The Production Studio is intended for use are identified by the Johns Hopkins Enter-
by computer music graduate students prise Directory (JHED). The issued JHED
and faculty. It is a fully professional ID is used for email accounts through
production facility designed for high- Johns Hopkins Enterprise Messaging
end composition and research. A state- (JHEM). Students must maintain these
of-the-art all-digital console is at the accounts (through use or forwarding) for
heart of this studio. The digital board is all electronic correspondence from the
interfaced with a 24-channel A/D and Conservatory. The JHED ID is also used
D/A conversion system to the Macin- for WiFi access and personal webspace.
tosh-based digital audio workstation. Students must also use the JHED ID for
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access to the Integrated Student Informa- reduced rates. In addition, further cultural
tion System (ISIS): the official web-based opportunities are available in Washington,
interface for course registration and aca- D.C., which is less than an hour away
demic records. from Baltimore by train or automobile.
Computers for student use are avail-
able in the Friedheim Library, a computer Peabody Concerts, Lectures, and Master Classes
resource room in 205 Leakin Hall, and The extent of Peabody’s concert year
in the Unger Lounge Computer Center. is seen in its Concert Calendar, which
Information about Peabody can be found includes performances by the Peabody
on the Internet in the appropriate direc- Symphony Orchestra and Concert Orches-
tories of The Johns Hopkins University tra; the Wind Ensemble; Chamber Winds;
website (www.jhu.edu) or at Peabody’s Camerata contemporary music ensemble;
own site on the World Wide Web (www. Renaissance Ensemble; Chorus and Con-
peabody.jhu.edu). cert Singers; Opera Theatre and Chamber
Opera; the Sylvia Adalman Artist Recital
Information Systems Usage Policy: Use of
Series; organ, jazz, and computer music
the Peabody Information Systems is gov-
concerts; and special events. These events
erned by the “Guidelines for the Use of
feature student ensembles and soloists,
Computing and Networked Information
Peabody’s internationally acclaimed fac-
Resources” and the “Policies for Student
ulty, and guest artists. Peabody also pres-
Use of Shared Information Technology
ents a Thursday Noon Recital Series while
Resources” of the Johns Hopkins schools
school is in session with student soloists
of Arts and Sciences, Business, Education,
and chamber ensembles. Individual stu-
and Engineering. The guidelines are avail-
dents and ensembles present over 600 con-
able for review on the Peabody website
certs yearly at Peabody, and make frequent
(www.peabody.jhu.edu/ITpolicies).
appearances throughout Maryland and
Baltimore Area Cultural Activity adjoining areas.
Baltimore’s arts organizations include Each season the musical and intellectual
the Walters Art Museum (directly across environment at Peabody is enriched by
the street from Peabody’s Schapiro House master classes, lecture recitals, and semi-
on North Charles Street), the Baltimore nars given by many of the world’s out-
Museum of Art (adjacent to the Home- standing artists and teachers.
wood campus of The Johns Hopkins Uni- Distinguished Visiting Faculty
versity), Center Stage, the Hippodrome Distinguished visiting faculty come to
Theatre, the Maryland Institute College of Peabody several times during the school
Art, the Maryland Historical Society, the year to interact with students on a master
National Aquarium, the Science Center class and private lesson basis as mutually
and Planetarium, and many smaller gal- determined by the department faculty in
leries and theaters—all within minutes of consultation with the dean.
the Conservatory.
The Baltimore Symphony Orchestra Visiting Composers
presents a full season of concerts in Joseph A grant from Randolph S. Rothschild
Meyerhoff Symphony Hall. Numerous underwrites the cost of visiting composers
professional chamber music and cho- each academic year.
ral groups present concert series at the
Hopkins Homewood campus, Goucher Trio in Residence
College, the Walters Art Museum, the The Peabody Trio serves as the resident
Baltimore Museum of Art, and other faculty ensemble of the Peabody Conserva-
Baltimore locations. Peabody students tory, a position they have held since 1989.
may attend most concerts and recitals at Since winning the prestigious Naumburg
14
Chamber Music Award that same year, the to first- and second-place winners and a
Trio has performed throughout the U.S., public performance, where practical, of the
Canada, Europe, Japan, and Israel to criti- winning composition.
cal acclaim. Summer festival appearances
have included Tanglewood Music Center, The Sylvia L. Green Voice Competition was
the Ravinia Festival, Skaneateles Festival, founded in 1986 by Beth Green Pierce.
and the “Music in the Vineyards” Festival This biennial competition was established
in Napa, California. The Peabody Trio in memory of Mrs. Pierce’s mother, Syl-
has been ensemble-in-residence at Yellow via L. Green. Its first and second prizes
Barn music school and festival since 1998. include a cash award and a performance
The Trio has also been heard in numerous for the first-prize winner with one of the
radio broadcasts, including St. Paul Sun- Peabody symphony orchestras.
day Morning, Morning Pro Musica, NPR’s The Macht Orchestral Composition Competi-
Performance Today, CBC, Radio Canada, tion was endowed in 2000 by the Macht
and the WQXR Listening Room in New Philanthropic Fund. This annual com-
York. petition for composition majors was
Equally committed to the performance established to provide a premiere public
of new music and the classics of the rep- performance for new works for orchestra.
ertoire, the Peabody Trio has been praised Entries must have been written during a
for its interpretations of music ranging student’s period of enrollment at Peabody
from the works of Haydn to Charles and received an orchestral reading session.
Wuorinen. They have worked with such A cash prize and a performance of the win-
composers as Shulamit Ran, Zhou Long, ning work at a Peabody public concert are
Bright Sheng, Charles Wuorinen, and awarded to the winner.
Leon Kirchner.
As faculty, members of the Peabody The William L. Marbury Prize is awarded
Trio teach majors, coach Conservatory each year to an outstanding undergradu-
ensembles, and hold a weekly seminar in ate violin student in a juried competition,
the performance of chamber music. and includes a major public performance
at Peabody, as well as a cash prize. This
Competitions competition was endowed by the law firm
of Piper and Marbury (now DLA Piper)
The Yale Gordon Concerto Competition, in memory of Mr. William L. Marbury,
endowed by the Peggy and Yale Gordon former chairman of the Peabody Board of
Trust, was established by the late Yale Trustees.
Gordon, who wished to encourage the
development of talented young musi- The Prix d’Eté Competition was endowed
cians. A cash prize, a performance with by Walter Summer in 1994. This annual
orchestra, and solo appearances at Shriver competition encourages Peabody student
Hall and other venues are awarded to the composers to create chamber music that
winner of this competition, which rotates explores new instrumental, vocal, dance,
annually in the areas of strings, piano, and computer, and multimedia horizons. The
orchestral instruments. Prix d’Eté is open to undergraduate, grad-
uate, and recently graduated (within two
The Virginia Carty DeLillo Composition Com- years) composition students of Peabody
petition is a contest for composition majors Conservatory. Significant involvement
who may submit works in any medium. of electronic and computer technologies
This biennial competition, offered in is required in odd years; technology is
odd-numbered years, was made possible optional in even years. The first-prize win-
through a bequest of former dean Virginia ner receives a cash prize and gives a perfor-
Carty deLillo. Awards include cash prizes mance of the work.
15
The Harrison L. Winter Piano Competition service. Juniors and seniors who have
was established in 1990, the Winter Com- achieved at least a 3.65 grade point aver-
petition encourages the development of age are eligible to be inducted into the
young pianists. It was endowed by gifts Golden Key Society, Induction occurs
in memory of Judge Winter from his fam- annually in the spring on the Homewood
ily, friends, and former law clerks. The campus of The Johns Hopkins University.
first-prize winner receives a cash prize and
a performance with the orchestra. The Career Counseling and Placement
second-prize winner receives a cash prize. Peabody’s Career Counseling and Place-
This major competition, which is a tribute ment service aids students and alumni
to a former chairman of Peabody’s Board as they plan their careers and search for
of Trustees, is held on a two-years-on, one- professional employment. To this end, the
year-off basis. office maintains personal files of confiden-
tial references for students and alumni,
Honorary and Professional Organizations copies of which are sent on request to
prospective employers or graduate schools
Pi Kappa Lambda is a national honorary for a nominal charge. The office offers con-
society for outstanding juniors, seniors, sultation and information on career path,
and graduate students, elected annually by the job search, cover letters, resumes, and
the faculty according to the by-laws of Pi other career-related topics.
Kappa Lambda. It is the music profession’s The Career Counseling Office is a
equivalent of Phi Beta Kappa. repository of information on jobs in music
MENC (Music Educators National Confer- across the U.S., musical and non-musical
ence) is a national professional organiza- work in the Baltimore area, competitions
tion of music teachers whose membership in the U.S. and abroad, grants and awards,
includes elementary and secondary school summer festivals, and events of interest.
music teachers as well as those involved in All announcements received are noted in
teacher education at colleges and universi- the semimonthly Job Vacancy Bulletin
ties throughout the country. Its official published by the office for the benefit of
publication, the Music Educators Journal, Peabody students and alumni. The com-
features excellent articles and is considered plete newsletter is available on campus,
a major source of information about issues and the text portion can be found at www.
and developments in the field of music peabody.jhu.edu/jvb.
education. Membership is open to all The Office of Career Counseling and
music education majors. Placement publishes lists of places to teach
and informal and formal recital venues in
CLEA (Consortium for the Liberal Educa- the Baltimore/Washington, D.C. area. The
tion of Artists) is a representative national office operates a Musician Referral Service
association whose mission is to strengthen which refers qualified students and alumni
the liberal education of college students to callers from outside Peabody seeking
enrolled in institutions dedicated to the music for concerts, weddings, parties, or
training of performing artists. Through other events.
the cross-disciplinary collaboration of
administrators, faculty, and students, Partnership between the Yong Siew Toh
CLEA supports projects providing student Conservatory of the National University of
artists with opportunities to bridge art Singapore and the Peabody Institute of
and its broader communities. The Johns Hopkins University
The signing of an agreement between
The Golden Key Society is a national honor- the National University of Singapore and
ary organization that stresses academic The Johns Hopkins University on Novem-
excellence, leadership, and community ber 26, 2001, created the first collabora-
16
tion of its kind between a top American Conducting Fellows Program
conservatory of music and a leading In 2007–2008, the Baltimore Sym-
university in the Asia Pacific region. The phony Orchestra with Music Director
Peabody Institute embraced the opportu- Marin Alsop and the Peabody Conserva-
nity to provide artistic advice and conser- tory launched a Conducting Fellows Pro-
vatory expertise in the development of a gram, a collaborative project that supports
new conservatory in Singapore—the Yong the musical and leadership development
Siew Toh Conservatory of Music, National of young conductors. An outgrowth of the
University of Singapore. This partnership American Symphony Orchestra League’s
brings a fresh infusion of international American Conducting Fellows Program
dialog and opportunities to Peabody’s Bal- launched in 2002, the Baltimore project
timore campus as its musicians, scholars, offers conductors in the early stages of
and administrators lend the wisdom of the their careers an opportunity to hone their
Institute’s accumulated knowledge to the skills before assuming a role with a profes-
development and growing reputation of sional orchestra.
Yong Siew Toh Conservatory. Combining The BSO and Peabody together have
Singapore’s vision with Peabody’s know- designed a program that takes advantage
how, Yong Siew Toh has already gradu- of the two institutions’ vast resources—
ated its first class of musicians and is an training not only in theory, music history,
international benchmark for excellence for and baton technique, but also a broad
Southeast Asia and the world. The collab- curriculum in subjects such as psychology,
oration continues to provide unparalleled public speaking, foreign language, and
opportunities to Peabody and Yong Siew political science, plus practical on-thejob
Toh students. There is a vibrant exchange training and real-time feedback from
program between the schools, and faculty Marin Alsop, professional orchestra musi-
from each institution give master classes cians, and administrators.
and lessons every year. Conducting fellows will be chosen every
two years through a competitive audition
Study Abroad Program process created by Peabody and the BSO.
Peabody currently
facilitates three interna-
tional exchanges with
the Yong Siew Toh Con-
servatory of the National
University of Singapore,
Paris Conservatory, and
Royal Academy in Lon-
don. Interested students
should approach the
International Student
Coordinator and fill out
an application, and then
proactively work through
application details with
the offices of Financial
Aid, International Stu-
dents, Ensembles, and
Academic Affairs.
17
Student Data 2008–2009
Geographical Distribution
United States
Alabama . . . . . . . . . 4 Kentucky . . . . . . . . . 2 Oklahoma . . . . . . . . 2
Alaska . . . . . . . . . . . 1 Maine . . . . . . . . . . . 2 Oregon . . . . . . . . . . 3
Arizona . . . . . . . . . . 1 Maryland . . . . . . . 179 Pennsylvania . . . . . 42
Arkansas . . . . . . . . . 1 Massachusetts . . . . . 19 South Carolina . . . . . 8
California . . . . . . . 34 Michigan . . . . . . . . . 8 South Dakota . . . . . . 2
Colorado . . . . . . . . . 2 Minnesota . . . . . . . . 6 Tennessee . . . . . . . . . 4
Connecticut . . . . . . 17 Mississippi . . . . . . . . 1 Texas . . . . . . . . . . . 18
D.C. . . . . . . . . . . . . 9 Missouri . . . . . . . . . 6 Vermont . . . . . . . . . 3
Delaware . . . . . . . . . 6 Nevada . . . . . . . . . . 1 Virginia . . . . . . . . . 42
Florida . . . . . . . . . . 8 New Hampshire . . . . 5 Washington . . . . . . . 4
Georgia . . . . . . . . . . 9 New Jersey . . . . . . . 25 West Virginia . . . . . . 1
Illinois . . . . . . . . . . 8 New Mexico . . . . . . . 2 Wisconsin . . . . . . . . 4
Indiana . . . . . . . . . . 2 New York . . . . . . . 46 Puerto Rico . . . . . . . . . . 1
Iowa . . . . . . . . . . . . 1 North Carolina . . . . . 9
Kansas . . . . . . . . . . . 1 Ohio . . . . . . . . . . . 15
Foreign Countries
Australia . . . . . . . . . . . . . 1 Indonesia . . . . . . . . . . . . 2 Russia . . . . . . . . . . . . . . . 4
Brazil . . . . . . . . . . . . . . . 1 Israel . . . . . . . . . . . . . . . 2 Singapore . . . . . . . . . . . . 5
Bulgaria . . . . . . . . . . . . . 1 Italy . . . . . . . . . . . . . . . 1 Spain . . . . . . . . . . . . . . . 4
Canada . . . . . . . . . . . . . 14 Japan . . . . . . . . . . . . . . . 3 Taiwan/ROC . . . . . . . . 23
Costa Rica . . . . . . . . . . . 1 Korea . . . . . . . . . . . . . 55 Turkey . . . . . . . . . . . . . . 4
China (P.R.C.) . . . . . . . . 8 Malaysia . . . . . . . . . . . . . 1 United Kingdom . . . . . . 2
Croatia . . . . . . . . . . . . . . 1 New Zealand . . . . . . . . . 1 Venezuela . . . . . . . . . . . . 1
Cyprus . . . . . . . . . . . . . . 1 Phillipines . . . . . . . . . . . 1 Vietnam . . . . . . . . . . . . . 2
France . . . . . . . . . . . . . . . 1 Poland . . . . . . . . . . . . . . 3
Hong Kong . . . . . . . . . . 3 Romania . . . . . . . . . . . . . 1
Classification of Students by Program

Candidates for the BM degree . . . . . . . . . . . . . . . . . . 324
Candidates for the MM degree . . . . . . . . . . . . . . . . . . 201
Candidates for the MA degree . . . . . . . . . . . . . . . . . . . . 13
Candidates for the DMA degree . . . . . . . . . . . . . . . . . . 39
Candidates for the Performer’s Certificate . . . . . . . . . . . 4
Candidates for the Graduate Performance Diploma . . . 69
Candidates for the Artist Diploma . . . . . . . . . . . . . . . . . 8
Graduate Extension Students . . . . . . . . . . . . . . . . . . . . 12
Non-Resident Graduate Students . . . . . . . . . . . . . . . . . 42
Cooperative and Visiting Students . . . . . . . . . . . . . . . . 65
Undergraduate Extension Students . . . . . . . . . . . . . 2
779
18
Procedural Information
Degree and Program Classification minutes of stage time, with the sole excep-
Application deadlines for all classification of Artist Diploma piano recitals, as
tions are: noted below. The 70-minute limit includes
December 1: Admission/Scholarship all stage and personnel changes from the
beginning to the end of the recital. Specific
April 15: Admission, except for DMA requirements for the length of performance
and Artist Diploma, for which audi- time vary by degree as follows.
tions and interviews are held only dur-
ing February Audition Week. Minimum Performance Time (in minutes)
for Undergraduate Junior Recitals
In general, there is no midyear admis-
sion to a degree program except for cur- Guitar 25-30
rent Peabody students beginning a higher Violin 25-30
degree. Students may seek midyear admis- Voice 25-30
sion to Extension study subject to course Jazz 30
and teacher availability.
Minimum Performance Time (in minutes)
Studio Assignments for Undergraduate Senior Recitals
Studio assignments are arranged prior Orchestral Strings 50-60
to matriculation on the basis of student Woodwinds and Brass 50-60
request and teacher availability. Students Harp and Percussion 50-60
may contact teacher directly during the Guitar and Organ 50-60
admissions process to make their wishes Early Music 50-60
known. Once students matriculate into Piano 50-55
the Conservatory, they may only change Jazz 50-55
studios with the oversight of the Associate Harpsichord 50
Dean for Academic Affairs and the agree- Voice 45
ment of all faculty involved.
Minimum Performance Time (in minutes) for
Recitals MM, GPD, and DMA Graduate Recitals
Public recitals are required for the com- Orchestral Strings 50-60
pletion of all undergraduate and gradu- Woodwinds and Brass 50-60
ate performance degrees and diplomas. Percussion 50-60
Peabody presents over 350 degree recitals Guitar and Organ 50-60
each year along with hundreds of other Harp 60
kinds of concerts. To accommodate all Early Music 60
students with the most equitable division Harpsichord 60
of resources, all degree recitals must be Piano (MM and DMA) 50-55
scheduled, prepared and performed within Piano (GPD) 55-60
the guidelines set by the Concert Office. Jazz (GPD) 55-60
All degree recitals must be on campus. Voice 50-55
Exceptions are rarely made and only made
with the written permission of the teacher Performance Time (in minutes) for
and the Associate Dean of Academic AD Graduate Recitals
Affairs. Grades given for off-campus recit- Piano 70
als may not be contested. Voice 55-60
All degree recitals, including lecture-
recitals, will be limited to a total of 70
19
An Artist Diploma piano recital is the mance outside the Conservatory, with the
only degree recital that exceeds 60 min- permission of the teacher.
utes of music, and as such, may contain
an intermission at the discretion of the Inter-Institutional Academic Arrangements
student and his or her teacher. Within the university system, inter-
All recitals must be scheduled through divisional registration (IDR) without
the procedures established by the Con- extra cost extends for Peabody students to
cert Office and in strict observation of courses offered by the Krieger School of
the established deadlines. The program Arts and Sciences, the Whiting School of
for each recital to be presented must Engineering, the Carey Business School,
be printed on the form provided by the and the School of Education. Students
Concert Office and signed by the major enrolled in the schools of Arts and Sci-
teacher. All degree recitals are recorded, ences or Engineering may, similarly, reg-
with tapes kept in the Peabody Archives. ister for an unlimited number of classes,
Each student is entitled to one free CD on a space-available basis, at the Peabody
of his/ her degree recital, with additional Conservatory. The granting of credit for
copies available on a fee basis. Conservatory study must be approved by
For more information, check the guide- the deans of the appropriate Johns Hop-
lines in the Student Handbook or the kins University divisions.
webpage for the Concert Office at http:// Reciprocal arrangements also have been
www.peabody.jhu.edu/84. made with several Baltimore colleges
whereby full-time sophomores, juniors,
Official Dress and Equipment and seniors may take one course per
Students performing in Peabody ensem- semester for credit in academic classroom
bles are required to own professional concert courses, subject to course availability and
attire. Detailed information about concert observance of all regulations of the host
attire can be found on the website of the institution.
Ensemble Office: http://www.peabody.jhu. Students requesting cross-registration
edu/ensembleoffice. must complete appropriate forms which
All Peabody students should own are available in the Office of the Conserva-
proper concert attire by the beginning tory Registrar. Credit sought for any other
of the school year. They also should be courses taken outside the Conservatory
equipped with their own music stands during the period of a student's enroll-
for small ensemble rehearsals and practice ment must be approved in writing by the
room purpose Associate Dean for Academic Affairs.
Music and dance instruction is also
Outside Instruction and Public Performance available through the Peabody Prepara-
Peabody facilities may not be used for tory. Students wishing to take non-credit
private teaching of lessons except as con- private music lessons through the Prepara-
nected in some way with Conservatory or tory must go through placement inter-
Preparatory programs. A student must views/auditions. Lessons are scheduled on
secure the approval of his or her teacher to a space-available basis. Students in the
appear as soloist or ensemble member on Krieger School of Arts and Sciences or the
programs presented under auspices other Whiting School of Engineering desiring
than the Conservatory's. Peabody reserves to take individual instruction pay 75 per-
the right to prohibit such participation cent of the Preparatory individual tuition
if it is considered detrimental to either as listed in the current Preparatory cata-
the student or the school. Students in the log. Students in all other JHU divisions
harpsichord program are permitted to use desiring to take individual instruction pay
the school's instruments for public perfor- 100 percent of the Preparatory individual
20
instruction tuition as listed in the current do not receive Peabody merit scholarships
Preparatory catalog. Non-Peabody stu- or any other form of financial aid from
dents desiring to take any music or dance Peabody. Double Degree students must
class in the Preparatory are subject to full enroll at a minimum in private lessons and
tuition as listed in the current Preparatory large ensembles to maintain their status as
catalog. Peabody degree candidates in the Double
Degree Program. Additional information
Peabody/Homewood Double Degree Program regarding the Double Degree Program is
Peabody and the Homewood schools available from the Office of Admissions
of The Johns Hopkins University offer and in the Office of Academic Affairs.
the opportunity for a limited number
of students to pursue simultaneously a Transcripts
Bachelor of Music degree and either a Requests for transcripts involve two
Bachelor of Arts degree from the School offices of the Conservatory: the Business
of Arts and Sciences or a Bachelor of Sci- Office and the Registrar’s Office. A fee is
ence degree from the Whiting School of charged for each official or unofficial copy
Engineering Students must be admitted of any academic transcript. Transcripts
independently to Peabody and one of the may not be released prior to payment
Homewood schools and be invited to par- of the transcript fee and all outstanding
ticipate in the Double Degree Program. monies owed the Conservatory. After pay-
Students who have begun their junior ment of the fee at the Business Office,
year of study are not eligible to enter the written requests may be submitted to the
Double Degree Program nor may stu- Registrar’s Office. Unofficial transcripts
dents transfer into the program midyear. are sent to students. Official transcripts,
Typically, the Double Degree Program carrying the school seal and the signature
takes five years to complete. of the Registrar, are sent to institutions
Administrative services such as regis- and agencies.
tration, financial aid, and health care are Official financial aid transcripts should
provided to Double Degree students by be requested directly from the Financial
the Homewood schools. Consequently, Aid Office.
students in the Double Degree Program
21
Administrative Regulations
Academic Code of Conduct and Grading System and Regulations
Student Conduct Code Letter grades are given for private les-
The Peabody Conservatory of The Johns sons, class work, ensembles, juries, and
Hopkins University, its faculty, staff, and recitals. For the purposes of assessing aca-
students are committed to encouraging demic progress, letter grades are assigned
academic honesty and ethical conduct. grade points as follows:
Membership in the Peabody community is
contingent upon adherence to high stan- A 4.00
dards of personal and professional ethics. A– 3.67
The effective practice of an ethical code B+ 3.33
of conduct requires the support of each B 3.00
member of the Peabody community. Each B– 2.67
person is entrusted with two essential C+ 2.33
responsibilities: to live honorably within C 2.00
the established codes of conduct, and to C– 1.67
hold other members of the community to D 1.00
the same high standard of conduct. F 0.00
Students enrolled in the Peabody Con- No grade points are assigned for the fol-
servatory assume an obligation to conduct lowing non-credit designations:
themselves in a manner appropriate to an
institution of higher education. A student AU Audit
is obliged to refrain from acts which he I Incomplete
or she knows, or under the circumstances IP In progress
has reason to know, threaten the academic W Withdrawn
integrity of the Conservatory. Violations Grade point averages (GPA) are com-
of academic integrity include, but are not puted each semester and reported as term
limited to cheating, plagiarism, misrepre- and cumulative GPA. A GPA is deter-
sentation of work, multiple submissions of mined by multiplying the grade points for
the same work, falsification of an approval each earned grade by the number of cred-
signature, knowingly furnishing false its for the course; the product is called the
information to any agent of the Conserva- number of quality points. For example,
tory for inclusion in the academic records, a B– in a three-credit course earns 8.01
and falsification, forgery, alteration, quality points (2.67 x 3 credits). A GPA is
destruction, or misuse of official Conser- the total number of quality points divided
vatory documents or shared information by the total number of attempted credits.
technology resources. Procedures for the Some classes are not assigned letter
adjudication of alleged violations of the grades and are therefore not calculated
academic and student codes of conduct in a GPA. Such classes include Artist
may be found in the Student Handbook. Diploma recitals, portfolios, disserta-
tions, graduate review courses, remedial
undergraduate courses, English as a Sec-
ond Language courses. These classes are
graded as follows:
NCR No credit
P Passing
22
Satisfactory Academic Progress Peabody in any capacity until such time as
Completed undergraduate courses result he or she is readmitted. The Conservatory
in one of ten possible grades: A, A–, B+, reserves the right to exclude at any time a
B, B–, C+, C, C–, D or F. The grade of A student whose academic standing or gen-
indicates genuinely outstanding perfor- eral conduct is considered unsatisfactory
mance. The grade of D is a passing grade
for coursework but indicates the need for Graduate
marked improvement to remain in the Completed courses result in one of ten
program. possible grades: A, A–, B+, B, B–, C+,
To maintain satisfactory academic prog- C, C–, D or F. The grade of A indicates
ress, undergraduate students must: genuinely outstanding performance. The
grade of C– is a passing grade for course-
1. Achieve a cumulative and current
work but indicates the need for marked
grade point average of at least 2.00
improvement to remain in the program.
2. Earn a grade of at least B- in major area The grades D and F are not acceptable at
enrollments (lessons, juries, recitals, the graduate level.
hearings) To maintain satisfactory academic prog-
3. Satisfactorily complete 30 credits each ress, graduate students must:
year 1. Achieve a cumulative and current
The Associate Dean for Academic grade point average of at least 3.00
Affairs reviews all transcripts every semes- 2. Earn a grade of at least B- in major area
ter and identifies those students who are enrollments (lessons, juries, recitals)
not meeting the stated minimum GPA 3. Satisfactorily complete enough credits
and or major area grade benchmarks. each year as follows: Master of Music
Students who fall below one or more of and Doctor of Musical Arts students
the stated benchmarks will be brought must satisfactorily complete 18 credit
to the attention of the Undergraduate hours per academic year, while Gradu-
Committee at its meeting in January (for ate Performance Diploma and Artist
fall semester grades) or May (for spring Diploma students must satisfactorily
semester grades). complete 8 credits per academic year.
The Undergraduate Committee is
tasked with upholding the standards The Associate Dean for Academic
of satisfactory academic progress. They Affairs reviews all transcripts every semes-
committee may place students on warn- ter and identifies all students who are not
ing for dismissal when they do not meet meeting the stated minimum GPA and/
the minimum benchmarks. A student or major area grade benchmarks. Stu-
that has been warned for dismissal is still dents who fall below one or more of the
eligible for Financial Aid for one proba- stated benchmarks will be brought to the
tionary semester until the Undergraduate attention of the Graduate Committee or
Committee can re-evaluate the student's the Doctor of Musical Arts Committee
academic progress at the conclusion of the at meetings in January (for fall semes-
subsequent spring or fall semester. The ter grades) or May (for spring semester
Undergraduate Committee may dismiss grades).
without prior warning any student who The Graduate Committee and the
does not meet the minimum benchmarks. Doctor of Musical Arts Committee are
A student who is dismissed on academic tasked with upholding the standards of
grounds may apply for readmission only satisfactory academic progress. The com-
after one full semester, but Peabody is mittees may place students on warning
under no obligation to grant readmission. for dismissal when they do not meet the
A dismissed student may not enroll at minimum benchmarks. A student that has
23
been warned for dismissal is still eligible and three credits of academic coursework
for Financial Aid for one probationary each semester. Academic credits in excess
semester until the Graduate Committee of three will entail additional per-credit
can re-evaluate the student's academic hour fees. The credit limits for gradu-
progress at the conclusion of the next ate degrees reflect Peabody's educational
spring or fall semester. The Graduate philosophy that graduate students should
Committee may dismiss without prior focus on the intense challenges specific
warning any student who does not meet to their major area and related academic
the minimum benchmarks. A student who studies.
is dismissed on academic grounds may In addition to lessons, ensembles, recit-
apply for readmission only after one full als, and audited courses, students enrolled
semester, but Peabody is under no obliga- in graduate degree programs (MM and
tion to grant readmission. A dismissed DMA) may enroll for a maximum of nine
student may not enroll at Peabody in any credit hours of Music Theory and Musicol-
capacity until such time as he or she is ogy coursework each semester. Undergrad-
readmitted. The Conservatory reserves uate language classes, pedagogy classes,
the right to exclude at any time a student departmental classes and any elective
whose academic standing or general con- coursework not offered as Music Theory
duct is considered unsatisfactory. or Musicology will be excluded from the
credit limit. Any combination of Music
Outside Sources of Financial Aid Theory and Musicology credits in excess
Maintenance of good academic stand- of nine hours will entail per-credit charges
ing and satisfactory academic progress are added to the cost of yearly tuition.
requirements for continued eligibility for
financial assistance from federal and state Dean's List Criteria
sources. The criteria for inclusion on the Dean’s
List are:
Definition of Full-Time Status and
Credit Limits 1. Full-time status in an undergraduate
degree program
Students at the Conservatory are consid-
2. A semester grade point average of 3.67
ered full time if they carry the following
or higher
number of credit hours per semester:
3. No Incomplete grades for the semester
Undergraduate Programs:
Bachelor of Music 13 Dean’s List students with a semester grade
Performer's Certificate 13 point average of 3.90 or higher will be
designated “High Honors.”
Graduate Diploma Programs:
Graduate Performance Diploma 4 Graduation Eligibility
Artist Diploma 4 To be approved for graduation, students
must have resolved any and all outstand-
Graduate Degree Programs:
ing charges of misconduct and violations
Master of Music 9 of academic ethics, in addition to satisfy-
Doctor of Musical Arts 9 ing all degree requirements and settling
Students enrolled in degree programs all financial obligations.
may register for as many credits as is
appropriate for their plan of study. GPD Attendance and Absences
and AD programs are for full-time stu- Classes and Lessons. Regular and prompt
dents only. Students in these programs attendance in classes and lessons is
are allowed to register for lessons, recitals, expected of all students. A statement
unlimited ensembles, and between one of individual class attendance policy is
24
provided in each class at the beginning plete a change of major form available in
of each semester. It is expected that ill- the Admissions Office.
ness claimed as reasons for absence will be
appropriately documented. Change of Studio Teacher
All students who are absent from class In general, a student is expected to
for an extended period of time, or for a remain with the same studio teacher for
personal or medical emergency, should the duration of a program. In instances
contact the Office of Academic Affairs, where there are compelling reasons for
provide documentation, and ask that requesting a change, a student may do so
their teachers be notified. These notifica- by contacting the Associate Dean for Aca-
tions do not signify approval but are sent demic Affairs. All studio changes require
to instructors as a courtesy. The student the signature of both the current and new
remains responsible for making up all major teacher, followed by the signature of
missed work and for securing the permis- the Associate Dean for Academic Affairs.
sion of the instructors for absences. If no studio teacher at Peabody Conser-
vatory is willing to accept a student, the
Performance Groups. Regulatory guidelines student may be required to withdraw.
for ensemble attendance are published in
the Student Handbook. Interruption of Degree Work
A leave of absence is an approved inter-
Auditing ruption of a degree program that is subject
Full-time students may audit any Con- to a fixed duration and/or specific require-
servatory class, upon permission of the ments for return. A withdrawal is a com-
instructor. Part-time students must pay plete departure from the Conservatory and
the regular cost for each course of study, its degree programs. A withdrawal can
unless otherwise specified. only be reversed through the mechanisms
of reaudition and petition of the relevant
Course Changes and Withdrawals academic committee. Students who do not
The Registrar's Office must approve all return from a leave of absence will be con-
course additions, withdrawals, or changes. sidered withdrawn from the Conservatory.
Courses or lessons dropped within the first
four weeks of a semester will be deleted Voluntary Leave of Absence. A student may
from the student's registration. With- request a leave of absence by writing to
drawals do not become effective until the the Associate Dean for Academic Affairs.
properly signed forms are received in the The Peabody Conservatory is not obliged
Registrar's Office. For courses dropped to grant a leave of absence. Students
after the fourth week of the semester an should present compelling personal or
automatic grade of W will be recorded. professional reasons for the interruption of
The deadline for changing sections or studies when requesting a leave of absence.
withdrawing from classes is the end of the A leave of absence is not granted retro-
10th week of the semester. Exact deadline actively. Students must request the leave
dates are listed in the Academic Calendar. of absence in writing before postponing
their studies. Moreover, voluntary leave of
Courses may not be changed from
absence is subject to the following condi-
Credit to Audit after the sixth week of the
tions:
semester.
• The student must be a current student
Change of Major who has matriculated into the Conser-
Students requesting a change of major vatory.
must qualify through auditions and inter- • The student must be taking lessons or
views with appropriate faculty. To initiate coursework to fulfill the requirements
a change of major, a student must com- of a degree program.
25
• DMA students who have completed individuals or to preserve the integrity
their coursework are no longer eligible of the university's learning environment.
for a voluntary leave of absence. Such a decision may be based on behavior
• The student may not be in immedi- and/or communication that:
ate jeopardy for dismissal on academic • Harms or threatens harm to the health
grounds. or safety of the student or others
• An international student must make • Causes or threatens to cause significant
arrangements regarding his or her visa damage to the property or resources of
with the International Student Advisor. the university
• A student who receives Financial Aid • Evidences chronic and/or serious drug
must make the appropriate arrange- or alcohol abuse
ments with the Financial Aid office. • Significantly disrupts the functioning
• The student must be given clearance of the university community
for all financial obligations, including • Reflects disorganized or altered think-
but not limited to tuition, instrument ing incompatible with successful par-
loans, library fines, and residence fees. ticipation in the academic program
If a voluntary leave of absence has If an involuntary leave of absence is
been granted, the leave will be made for required, the leave will be made for an
an agreed-upon fixed duration of one indefinite duration that may not exceed
semester or one year. During that time, a one year without requesting an extension
student may not be enrolled as a full-time and providing the appropriate docu-
student at another institution. Any credits mentation from a licensed professional.
earned at another institution during the A student wishing to return from an
leave of absence must be approved for involuntary leave of absence must notify
transfer by the Associate Dean for Aca- the Office of Student Affairs in writing
demic Affairs in consultation with depart- of the intent to return. An assessment
ment chairs. of the student's fitness for return will be
A student on a voluntary leave of required as a condition of returning from
absence must notify the Office of Aca- an involuntary leave of absence and study
demic Affairs in writing of the intent to at the Conservatory may only resume at
return by November 15 for re-enrollment the scheduled start of a semester.
the following spring semester, or by April
15 for fall re-enrollment. A tuition deposit Extended Leave. Any student on a volun-
of $50 will be required at that time to tary or involuntary leave of absence must
reserve space on the major teacher's ros- report his or her status to the Conserva-
ter; however, a student requesting a leave tory by the middle of the second semester
of absence is not guaranteed a space in a of leave to either make arrangements to
teacher's studio upon return to school. return or to extend the leave of absence.
Students who are granted an extension to
Involuntary Leave of Absence. In situations a leave of absence beyond the originally
where a leave of absence is indicated due stipulated year must petition the appro-
to circumstances as described below, the priate academic committee for readmis-
Associate Dean for Student Affairs will sion and certification of previously earned
encourage the student to initiate a vol- credits toward the degree program. This
untary leave of absence. If the student process may include reauditioning and/or
declines to do so, the Associate Dean may placement tests in specific areas.
require an involuntary leave of absence. Students who do not report their status
This step will be taken when necessary to by the end of the second semester of leave
protect the safety of the student or other will be considered to have abandoned their
26
degree program and to have withdrawn provide medical documentation to the
from the Conservatory without following school to support such a request. Medical
the proper withdrawal procedures. The leaves of absence cannot exceed an aggre-
Peabody Conservatory has no obligation gate of one year.
to former students who abandon degree
programs, and former students can only Withdrawal and Readmission. Requests for
return to the Conservatory by reaudi- total withdrawal from degree programs
tioning and petitioning the appropriate must be initiated in the Office of Aca-
committee for certification of previously demic Affairs. Students must make
earned credits. arrangements for all financial obligations,
including but not limited to tuition,
Special Circumstances for Leave of Absence. Doc- instrument loans, library fines, and resi-
toral students may only take a voluntary dence fees.
leave of absence while completing their Former degree candidates who have
residency. Once a DMA candidate has withdrawn from the Conservatory must
completed the required coursework, he submit a written request for readmis-
or she may no longer exercise the leave sion to the Associate Dean for Academic
of absence option, but must continue Affairs. Final decisions on readmission
to enroll for Consultation through the will be made by the Associate Dean in
semester of completion of degree require- consultation with the appropriate aca-
ments in order to maintain standing in demic committee and the major teachers
the program. If a student interrupts his who may request an audition.
or her program by failing to register for
Consultation or failing to pay the Degree- Student Rights and Responsibilities
in-Progress (DIP) fee for more than one Students are responsible for understand-
year, the student must petition the DMA ing all academic regulations and require-
Committee for readmission. If a petition is ments for graduation, as set forth in this
approved, all retroactive fees must be paid catalog and the Student Handbook, and
in order for the reinstatement of status to are responsible for completing the appli-
become effective. Any DMA candidate cable requirements for graduation. The
who fails to register for Consultation will Peabody Institute of necessity reserves the
be dropped from the program right to change any provision, require-
Double Degree students may request a ment, policy, or regulation published in
leave of absence from the Double Degree the catalog within a student's term of resi-
program, but they cannot be granted leave dence. However, it may be assumed that,
from only the Homewood or Peabody por- except under the most unusual circum-
tion of the program. A leave of absence for stances, the regulations in force during a
Double Degree students is subject to the student's term of residence are those stated
guidelines of the advising office for the in the catalog of the year in which that
Krieger School of Arts and Science or the student's matriculation was begun.
Whiting School of Engineering.
Graduation Rates
International students who request a
In compliance with the federal Student
leave of absence should be aware that fed-
Right-to-Know Act of 1990 (Public Law
eral law governing the visa status of F-1
101-542, Sec 668 46), Peabody Conserva-
students requires them to leave the United
tory of The Johns Hopkins University
States for the duration of their leave of
provides the following information to
absence, unless the leave is granted for rea-
prospective and currently enrolled under
sons of illness or other medical conditions.
graduates:
Students wishing to remain in the United
States during their leave of absence must
27
Entering Freshman Class, ing the administration of its educational
September 2002: 77 policies, admission policies, scholarship
returning as sophomores 60 78% and loan programs, and athletic and other
graduating within 4 years 41 53% university-administered programs or in
graduating within 5 years 47 61% employment.
Questions regarding Title VI, Title IX,
Questions about graduation data should and Section 504 should be referred to the
be addressed to the Conservatory Regis- Office of Institutional Equity, 130 Gar-
trar, 410-659-8100. land Hall, 410-516-8075, 410-516-6225
(TTY).
University Policies
Policy on the Reserve Officer Training Corps
Completion of Program Defense Department policies regard-
The awarding of degrees and certificates ing sexual orientation in ROTC programs
of satisfactory completion is dependent conflict with university policy. Because
upon satisfaction of all current degree and ROTC is a valuable component of the
instructional requirements at the time of a university that provides an opportunity for
student's matriculation, compliance with many students to afford a Hopkins educa-
university and divisional regulations at the tion, to train for a career, and to become
time of the award, as well as performance positive forces in the military, the univer-
meeting bona fide expectations of faculty. sity, after careful study, has continued its
No member of the faculty is obliged to ROTC program, but encourages a change
provide students or graduates with an in federal policy that brings it into confor-
evaluation or letter of recommendation mity with the university's policy.
which does not accurately reflect that fac-
ulty member's true opinion and evaluation Anti-Harassment Policy Preamble
of academic performance and conduct. The Johns Hopkins University is com-
The Johns Hopkins University does mitted to providing its staff, faculty and
not guarantee the awarding of a degree or students the opportunity to pursue excel-
a certificate of satisfactory completion of lence in their academic and professional
any course of study or training program to endeavors. This can only exist when each
students enrolled in any instructional or member of our community is assured an
training program. atmosphere of mutual respect. The free
and open exchange of ideas is fundamental
Notice of Nondiscriminatory Policy to the university's purpose. It is not the
as to Students university's intent in promulgating this
The Johns Hopkins University admits policy to inhibit free speech or the free
students of any race, color, gender, reli- communication of ideas by members of
gion, age, national or ethnic origin, dis- the academic community.
ability, marital status or veteran status
to all of the rights, privileges, programs, Policy against Discriminatory Harassment
benefits, and activities generally accorded 1. The university is committed to
or made available to students at the uni- maintaining learning and working
versity. It does not discriminate on the environments that are free from all
basis of race, color, gender, marital status, forms of harassment and discrimina-
pregnancy, ethnicity, national origin, age, tion. Accordingly, harassment based
disability, religion, sexual orientation, on an individual's gender, marital
gender identity or expression, veteran status, pregnancy, race, color, ethnic-
status, or other legally protected charac- ity, national origin, age, disability,
teristic in any student program or activity religion, sexual orientation, gender
administered by the university, includ- identity or expression, veteran status,
28
or other legally protected characteristic employment or participation in an
is prohibited. The university will not education program
tolerate harassment, sexual harassment • submission to or rejection of such
or retaliation in the workplace or edu- conduct by an individual is used as
cational environment whether commit- the basis for personnel decisions or
ted by faculty, staff, or students, or by for academic evaluation or advance-
visitors to Johns Hopkins while they ment
are on campus. Each member of the
• such conduct has the purpose or
community is responsible for fostering
effect of unreasonably interfering
civility, for being familiar with this
with an individual's work or aca-
policy, and for refraining from conduct
demic performance or creates an
that violates this policy.
intimidating, hostile or offensive
2. For purposes of this policy, harassment working or educational environ-
is defined as: a) any type of behavior ment
which is based on gender, marital
status, pregnancy, race, color, ethnic- Sexual harassment may include, but
ity, national origin, age, disability, is not limited to, unwelcome sexual
religion, sexual orientation, gender advances; demands/threats for sexual
identity or expression, veteran status, favors or actions; posting, distributing,
that b) is so severe or pervasive that it or displaying sexual pictures or objects;
interferes with an individual's work suggestive gestures, sounds or stares;
or academic performance or creates an unwelcome physical contact; sending/
intimidating, hostile or offensive work- forwarding inappropriate e-mails of a
ing or academic environment. sexual or offensive nature; inappropriate
jokes, comments or innuendos of a sexual
3. Harassment when directed at an natures; obscene or harassing telephone
individual because of his/her gender, calls, e-mails, letters, notes or other forms
marital status, pregnancy, race, color, of communication; and any conduct of
ethnicity, national origin, age, dis- a sexual nature that may create a hostile
ability, religion, sexual orientation, working or educational environment.
gender identity or expression, personal
appearance, veteran status, or any 5. Retaliation against an individual who
other legally protected characteristic complains of discriminatory harass-
may include, but is not limited to: ment under this policy is strictly pro-
unwanted physical contact; use of epi- hibited. Intentionally making a false
thets, inappropriate jokes, comments accusation of harassment is also prohib-
or innuendos; obscene or harassing ited.
telephone calls, e-mails, letters, notes Responsibilities under this Policy
or other forms of communication; and, The university is committed to enforce-
any conduct that may create a hostile ment of this policy. Individuals who are
working or academic environment. found to have violated this policy will be
4. Sexual harassment, whether between subject to the full range of sanctions, up to
people of different sexes or the same and including termination of his/her uni-
sex, is defined to include, but is not versity affiliation.
limited to, unwelcome sexual advances, 1. All individuals are expected to conduct
requests for sexual favors, and other themselves in a manner consistent with
behavior of a sexual nature when: this policy.
• submission to such conduct is 2. Staff, faculty and/or students who
made implicitly or explicitly a believe that they have been subject to
term or condition of an individual's discriminatory harassment are encour-
29
aged to report, as soon as possible, Nonimmigrant Alien Students
their concerns to the Office of Institu- The Peabody Institute enrolls nonimmi-
tional Equity, their supervisors, divi- grant alien students and encourages appli-
sional human resources or the Office of cations from qualified foreign students.
the Dean of their school. The univer-
sity provides a network of confidential University Policy on Alcohol and
consultants by which individuals can Drug Abuse
discuss concerns related to discrimina- The Johns Hopkins University rec-
tory harassment. ognizes that alcoholism and other drug
3. Individuals who witness what they addiction are illnesses that are not eas-
believe may be discriminatory harass- ily resolved by personal effort and may
ment of another are encouraged to require professional assistance and treat-
report their concerns as soon as possible ment. Faculty, staff and students with
to the Office of Institutional Equity, alcohol or other drug problems are
their supervisors, divisional human encouraged to take advantage of the diag-
resources, or the Office of the Dean of nostic, referral, counseling and preventive
their school. services available through the university.
Procedures have been developed to assure
4. Complainants are assured that reports confidentiality of participation, program
of harassment will be treated in a con- files and medical records generated in the
fidential manner, within the bounds course of these services.
of the university's legal obligation to Substance or alcohol abuse does not
respond appropriately to any and all excuse faculty, staff or students from
allegations of harassment. neglect of their employment or academic
5. Managers, including faculty manag- responsibilities. Individuals whose work
ers, who receive reports of harassment or academic performance is impaired as
should contact human resources or the the result of the use or abuse of alcohol or
Office of Institutional Equity for assis- other drugs may be required to participate
tance in investigating and resolving in an appropriate diagnostic evaluation
the issue. and treatment plan. Further, use of alcohol
or other drugs in situations off campus or
6. Managers, including faculty managers, removed from university activities that
are required to implement corrective in any way impairs work performance is
action where, after completing the treated as misconduct on campus. Stu-
investigation, it is determined correc- dents are prohibited from engaging in the
tive action is indicated. unlawful possession, use or distribution of
7. The university administration is alcohol or other drugs on university prop-
responsible for ensuring the consistent erty or as a part of university activities.
application of this policy. It is the policy of The Johns Hopkins
University that the unlawful manufacture,
Procedures for Discrimination Complaints distribution, dispensation, possession or
Brought Within Hopkins use of controlled substances is prohibited
Inquiries regarding procedures on dis- on the university's property or as a part
crimination complaints may be directed to of university activities. Individuals who
the Vice Provost for Institutional Equity, possess, use, manufacture or illegally
or the Director for Equity Compliance & distribute drugs or controlled dangerous
Education, 130 Garland Hall, 410-516- substances are subject to university disci-
8075, 410-516-6225 (TTY). plinary action, as well as possible referral
for criminal prosecution. Such disciplinary
action of faculty and staff may, in accor-
30
dance with this policy, range from a mini- Firearms
mum of a three day suspension without The possession, wearing, carrying,
pay to termination of university employ- transporting, or use of a firearm or pellet
ment. Disciplinary action against students weapon is strictly forbidden on university
may include expulsion from school. premises. This prohibition also extends
As a condition of employment, each to any person who may have acquired
faculty and staff member and student a government-issued permit or license.
employee must agree to abide by this Violation of this regulation will result in
policy, and to notify the divisional human disciplinary action and sanctions up to and
resources director of any criminal convic- including expulsion, in the case of stu-
tion related to drug activity in the work dents, or termination of employment, in
place (which includes any location where the case of employees. Disciplinary action
one is in the performance of duties) within for violations of this regulation will be
five (5) days after such conviction. If the the responsibility of the divisional student
individual is supported by a federal grant affairs officer, dean or director, or the vice
or contract, the university will notify the president for human resources, as may be
supporting government agency within ten appropriate, in accordance with applicable
(10) days after receiving notice. procedures. Any questions regarding this
policy, including the granting of excep-
Smoke-free Environment tions for law enforcement officers and for
The Johns Hopkins University is a persons acting under the supervision of
smoke-free environment, and, as such, authorized university personnel, should be
prohibits smoking in all its facilities. addressed to the appropriate chief campus
security officer.
Campus Violence
The Johns Hopkins University is Availability of Annual Security Report
committed to providing a learning and In accordance with the Crime Aware-
working environment that is safe to all ness and Campus Security Act of 1990,
members of the university community. (Pub.L. 102-26), as amended, and the
The university will not tolerate violent regulations promulgated there under,
acts on its campuses, at off-campus loca- the university issues its Annual Security
tions administered by the university, or Report which describes the security ser-
in its programs. The policy of “zero toler- vices at each of the university's divisions
ance” extends not only to actual violent and reports crime statistics for each of
conduct but also to verbal threats and the campuses. The report is published on
intimidation, whether by students, faculty, the university's web page (www.jhu.edu).
staff, or visitors to the university. Students, faculty, and staff may obtain a
The university urges individuals who copy from the web page or the university's
have experienced or witnessed incidents Security Department, 14 Shriver Hall,
of violence to report them to Campus 410-516-4600.
Security. Alternatively, students are urged
to report concerns about violence to the Photography and Film Rights
divisional office responsible for student The Peabody Institute reserves the right
matters, faculty to the divisional office from time to time to take photographs
responsible for faculty matters, and staff to of and film faculty, staff, and students
the applicable human resources offices. engaged in teaching, rehearsals, and per-
The university will not permit retali- formances and other activities at Peabody
ation against anyone who, in good faith, for use in Peabody publications such as
brings a complaint of campus violence or catalogs, concert calendars, posters, fliers,
serves as a witness in the investigation of a media advertising, admissions recruitment
complaint of campus violence. and development brochures, as well as on
31
the Peabody website or for distribution Faculty, students and staff who do not
to state or national media for promotional wish their photographs used in the man-
purposes. ner described in this policy statement
Classes and private lessons will only should contact the Peabody Communica-
be photographed with the permission of tions Office at 410-659-8100.
the faculty member; performances and Faculty and students are advised that
rehearsals will only be photographed with persons in public places are deemed by law
the permission of the conductor or director to have no expectation of privacy and are
in charge of the event. Such photographs subject to being photographed by third
will be retained in the Peabody files and parties. Johns Hopkins University has no
archives and may be used by Peabody control over the use of photographs or film
without time limitations or restrictions. taken by third parties, including, without
Faculty, students, and staff are made aware limitation, the news media covering uni-
by virtue of this policy that the university versity activities.
reserves the right to alter photography and
film for creative purposes.
32
The Bachelor of Music Degree
The Bachelor of Music degree program at and the Peabody website at www.pea-
Peabody Conservatory is designed to offer body.jhu.edu/admissions.
gifted students the training to prepare 4. An individual may not apply for
themselves for careers in performance, com- admission to a particular degree or
position, computer music, music education, diploma program more than twice.
recording arts, and related areas of profes-
sional activity. Successful applicants matriculating into
Bachelor of Music degree program must
Admission Requirements meet the following criteria:
Students applying for the Bachelor of 1. The student must be a graduate of an
Music degree program should meet the accredited high school or present evi-
following criteria: dence of equivalent study.
1. Each applicant from the United States 2. International students admitted to
must present SAT or ACT scores Peabody must take responsibility to
improve their English. General admis-
2. Each applicant whose native language sion requirements as listed for specific
is not English must present a score degrees and programs are identical for
from the Test of English as a Foreign all applicants. However, immigration
Language (TOEFL). Scores of at least regulations, varying educational back-
550 from the basic paper test, at least grounds, and financial considerations
213 from the computer-based version, make special procedures necessary in
or 79 from the Internet-based test are order to help meet the needs of indi-
expected of undergraduate applicants. vidual students. The detailed instruc-
3. Undergraduate applicants are urged to tions sent to each applicant should be
perform their auditions during a per- studied with utmost care.
sonal visit to Peabody, ideally during
the February audition week reserved by Degree Requirements (BM)
the school exclusively for that purpose. A minimum of 122 semester hours, exclud-
With the exception of piano, those ing ensembles, is required for the attain-
undergraduate applicants living over ment of the Bachelor of Music degree.
300 miles to the west of Baltimore or Residence is normally four years, during
over 150 miles to the north or south which time a student must maintain full-
may audition by submitting a CD time status for at least four semesters,
recording. The CD must be a high accumulating no fewer than 60 credit hours
quality recording containing only audi- during those four semesters.
tion material. Full information about Transfer students must fulfill a two-year
the time, place, and circumstances of full-time requirement and obtain a mini-
the recording must be included. It is mum of 60 hours at Peabody in order to
also possible to play for a traveling receive the Bachelor of Music degree. The
admissions representative who will applied level of transfer students is deter-
record the audition and present it to mined by the department at the time of
the appropriate faculty during the the audition and validated by the year-end
February audition period. Refer to the departmental jury. Required music course
Academic Calendar for dates. Detailed credits may be established through verify-
audition repertoire requirements are ing examinations taken at Peabody. Elective
available from the Admissions office music course credits with a grade of C or
33
better may be transferred pending approval 209—The purpose of the 209 jury taken
of the Associate Dean for Academic Affairs. at the end of the sophomore year (4th
Ensemble credits do not transfer. Transfer semester or credit hour equivalent) is
students must participate in ensembles for to assess the student's overall progress
at least two years. See the Student Hand- and to determine whether or not he or
book for details. Liberal arts credits with she should be advised to continue in
a grade of C or better may be transferred the chosen curriculum.
from an accredited college or university On the basis of this jury and the stu-
without examination, pending approval by dent's overall record, the jury commit-
the Associate Dean for Academic Affairs in tee makes recommendations for the
consultation with the chair of the Humani- student's remaining years of under-
ties Department. graduate study. It is in the student's
best interests that a careful professional
Common Curriculum Components assessment and subsequent recommen-
Major Area Study dation be made.
Each student taking applied music 309—The 309 jury is taken at the end of
must demonstrate satisfactory progress as the junior year. A half or full recital
determined by the faculty in the major may be accepted in fulfillment of the
and minor applied area. Study in the 309 requirement, if juried by the
major field must continue through the majority of the department. Where the
last semester of enrollment. For most stu- 309 also includes technical examina-
dents, this will consist of eight semesters tion and/or orchestral excerpts, stu-
of major field study. It is not expected dents shall present those during the
that entering freshmen will be granted regular jury period.
advanced placement in applied study. 395—The 395 is the recital for the Per-
Freshmen exhibiting extraordinary prog- former's Certificate. Candidates for
ress and extensive repertoire may, however, the Bachelor of Music degree in Music
complete their four performance examina- Education also perform this recital in
tions in three years upon recommendation their junior year and qualify for the
of the major teacher and approval by the Performer's Certificate.
Associate Dean for Academic Affairs. 495—The 495 is the senior recital.
Advancement and assessment is accom-
plished by individual lesson grades and Students majoring in Composition and
a graded departmental examination. The Computer Music Composition receive pri-
progress of each student is monitored by vate lessons with a member of the Com-
the department at intervals not greater position Department. Weekly seminars
than two semesters. Each student must are scheduled with the entire Composition
play a performance jury for credit in his or Department in attendance, providing
her major applied area by the end of each ongoing departmental evaluation for each
school year. A student who does not play student. Every composition student will
a jury or a recital is not considered to be be assessed at the end of the sophomore
making satisfactory academic progress. A year in a portfolio review process that is
graduation recital is required of all degree the equivalent of a 209 jury.
candidates. Some departments require a
half-recital in the junior year. Pedagogy
In addition to pedagogy courses offered in
109—The freshman jury is considered an specific majors, studio repertoire and mas-
advising aid to the student and his or ter classes provide for regular discussions
her teacher in planning the following on principles of pedagogy, enabling all
year’s study.
34
performance majors to achieve competency Undergraduate voice majors who are cast
in this area. in certain major opera roles determined by
a faculty committee in advance may elect
Large Ensembles to substitute the performance for that
All undergraduates participate in semester’s large ensemble requirement. All
performing ensembles, for which speci- other non-orchestral BM candidates have a
fied blocks of time are set aside each day. four-semester choral requirement.
Bachelor of Music candidates majoring in
orchestral instruments must participate in Small Ensembles
at least one of the following large ensem- String and percussion majors are
bles during each semester of enrollment required to enroll for four semesters
for major study: the Peabody Symphony of chamber music. Woodwind and
Orchestra, Peabody Concert Orchestra, brass majors have a two-semester small
or Peabody Wind Ensemble. Audition ensemble requirement. To earn credit, a
excerpts for the fall hearings are available minimum of 10 certified coaching hours
by late spring or early summer of each and a performance must be completed.
year, and students are urged to prepare After completing the Sight-reading course
themselves thoroughly during the inter- in their freshman year, piano majors ful-
vening summer months. Large ensemble fill accompanying and chamber music
auditions are held during Orientation requirements specified in the curriculum.
Week, and they are heard by the conduc- There is no limit to the number of
tors and departmental coordinators. Other credits that can be earned for ensemble
faculty members are invited to attend. participation. However, ensemble credits
Composition majors have a four-semester beyond those required cannot be counted
requirement in one of the above-men- as elective credits. Detailed guidelines for
tioned ensembles or the Peabody/Hopkins large and small ensemble participation are
Chorus or Peabody Singers, depending on found in the Student Handbook.
the student's primary applied performance The major area requirements for most
area. All voice and organ BM candidates performers are found in the following
have a six-semester choral requirement. grid.
Major Area One Two Three Four Total

Major Lesson 4 4 4 4 4 4 4 4 32
Departmental Examination 1 1 1 3
Recital 2 2
Large Ensemble 2 2 2 2 2 2 2 2 16
Small Ensemble [1] [1] 1 1 2–4
52–54
Note that composers, pianists, guitarists, and vocalists, early music majors, computer music
majors, and jazz majors have different ensemble requirements.
35
Supportive Courses in Music Students who are not able to show profi-
ciency in ear-training will be placed into
Thursday Noon Recital Series a special ear-training review section for
Thursday Noon Recital Series provides which no credit is given, in addition to
a weekly program throughout the aca- Ear-training/ Sight-singing I.
demic year. Students have the opportunity Keyboard Studies classes are coordi-
to hear a variety of solo and chamber nated with the first two years of music
works, as well as occasional guest per- theory and ear-training classes. Auditions
formances of music outside the classical held during fall Orientation determine
tradition. No classes or lessons that enroll placement in sections which are grouped
first-year undergraduates are scheduled according to piano and music theory back-
during the Thursday Noon hour, and all ground. Advanced placement is possible,
members of the campus community are based on the audition.
encouraged to attend. All first-year stu-
dents (freshmen and transfer students) will Musicology
be required to attend 10 Thursday Noon The academic discipline of musicol-
recitals in their first and second semesters ogy investigates the varied relationships
of residency at Peabody. All second-year between musical traditions and the cultures
students (sophomores and second-year that create and sustain them. The discipline
transfer students) will be required to com- necessarily combines historical and cultural
plete a concert attendance project during research with analysis of music.
their third and fourth semesters. All undergraduate degree programs
at Peabody, with the exception of jazz,
Music Theory/Ear-training/
require a four-semester sequence of courses
Keyboard Studies
(History of Music I, II, III, IV) covering
The music theory program is a three-
all periods of Western art music from
year requirement for all students. Entrance
classical antiquity to the present. The
into Music Theory 1 presumes a firm
courses may be taken in any order and at
knowledge of the fundamentals of music,
any time, though students are encouraged
i.e., rhythm, meter, scales, intervals, keys,
to enroll in their third and fourth years of
triads, and inversions. Entering students
study. One semester of Music and Culture
who are not strong in this area are encour-
may be substituted for one music history
aged to review their preparatory work
course. Jazz majors are required to take
during the months prior to the begin-
two of the five available offerings.
ning of the freshman year. Those who
Transfer credits will be considered for
are not able to show proficiency in these
approval by the chair of the Musicol-
areas will be placed in a remedial section.
ogy Department on a case-by-case basis.
Advanced placement in music theory is
Undergraduates may not apply more
possible; students with strong music the-
than two courses from other institutions
ory backgrounds may take the Advanced
towards their Peabody undergraduate
Placement Undergraduate Exam in
degrees, and they must receive at least a
Music Theory during Orientation, which
“B” in any courses transferred. Advanced
includes part-writing, analysis, and coun-
Placement courses in musicology or music
terpoint. Samples of this examination are
history cannot be counted toward the
available from the Admissions Office or at
undergraduate musicology curriculum.
www.peabody.jhu.edu/theory.
The distribution of supportive courses
Ear-training and sight-singing classes
in music for most majors can be found in
are coordinated with the music theory sec-
the following chart:
tions during the first two years of study.
36
Supportive Courses One Two Three Four
Thursday Noon Recital Series ½ ½ 1
Thursday Noon Alternate Project ½ ½ 1
Ear–training I–II 2 2 2 2 8
Keyboard Studies I–II 2 2 2 2 8
Music Theory 1–5 3 3 3 3 3 15
Music Theory 6 / Elective 3 3
Basic Conducting 1 1
Musicology: four of five offerings 2 2 2 2 8
45
General Studies All Peabody undergraduates are encour-

aged to fulfill humanities requirements
Humanities with courses offered on the Homewood
Peabody's humanities courses serve a campus (the Krieger School of Arts and
vital role in the undergraduate curricu- Sciences at Johns Hopkins University).
lum. Studies in liberal arts and language
complement the structured musical train- Liberal Arts
ing of the Conservatory, bridging the Students in Peabody's liberal arts
focused life of musical endeavor and the courses confront issues of relevance to
broader, ever-changing world from which their lives as artists, teachers, and citizens
that life draws shape and meaning. The in the 21st century. Most of the liberal arts
humanities curriculum contributes richly courses are interdisciplinary, encouraging
to the undergraduate experience at Pea- students to formulate, explore, and express
body. It is essential to Peabody's highest their ideas. These classes rely heavily on
educational goals, uniquely challenging student input and class participation;
Peabody students to aspire to their full they demand creative thought within the
potential as responsible and productive context of disciplined study. Writing is
artists and members of the human com- emphasized in liberal arts courses.
munity.
A flexible humanities curriculum Foreign Languages
accommodates the individual needs of Knowledge of foreign languages opens
undergraduates with varied backgrounds, personal and professional opportunities for
skills, interests, and goals. The program our students. Classes in French, German,
also recognizes the unique situations of and Italian are offered on the Peabody
transfers and international students. campus and other languages are offered on
Each fall the Humanities Seminar helps the Homewood campus. Examinations for
new undergraduates transition into aca- advanced placement in these languages are
demic study at Peabody; in subsequent given during Orientation Week. While
semesters students complete their humani- only voice students are required to take
ties distribution requirements by selecting foreign language in fulfillment of their
courses from three different study areas: degree requirements, All students are
Global Perspectives, Language and Litera- encouraged to pursue foreign language as
ture, and Historical/Philosophical Studies. part of their humanities studies.
37
The JHU Digital Portfolio ties Department chair in consultation
A portfolio requirement leads students with the Associate Dean for Academic
to reflect critically on their work in the Affairs. Superior scores of either a 4 or a
humanities and to make deliberate links 5 on the Advanced Placement Examina-
between musical and academic study. tions administered by the College Board
Through the years of their undergraduate or a 6 or 7 on the International Bac-
study, students assemble work that best calaureate Exam are accepted for credit
represents the effort and achievement of in most required study areas. Transfer
their humanities coursework for inclusion credits that fulfill humanities distribution
in their personal digital portfolio. The requirements are also accepted. Relevant
portfolio project puts broad perspective on documentation must be forwarded to
undergraduate studies in humanities; as a the Peabody Registrar's Office; students
marketing tool, it helps students as they should then confer with the Humanities
enter competitive fields of professional Department chair to review their situa-
endeavor and as they seek further opportu- tion.
nities for study. The Humanities Depart- The Humanities curriculum requires
ment works in partnership with The Johns courses in three study areas: Language
Hopkins University School of Education and Literature (LL), Global Perspectives
on this initiative. (GP), and Historical/Philosophical Stud-
ies (HP). The distribution of courses for
AP and Transfer Credits for Humanities most majors may be found in the follow-
Classes ing chart:
Advanced Placement and transfer
determinations are made by the Humani-
General Studies One Two Three Four

Humanities Seminar 4 4
Humanities electives GP
Humanities electives HP
3 3 3 3 3
Humanities electives LL 9 24
Humanities elective HE
Humanities-approved elective
28
English as a Second Language (ESL) of classes. Students placed in ESL courses

Peabody offers intensive English as must successfully complete these courses
a Second Language (ESL) courses for in order to fulfill the requirements for the
students whose English language skills Bachelor of Music degree program. Some
are not at college level. All incoming Peabody courses require ESL courses as a
international students will be tested and prerequisite. The ESL requirement may
interviewed to determine their level of extend the length of a student's program.
English proficiency during the fall semes- Intensive English study over the summer
ter Orientation Week at Peabody. This months is strongly recommended for ESL
testing must be completed before the start students.
38
Electives and Other Guidelines to petition the appropriate department
and the Undergraduate Committee before
Electives. Unless otherwise specified, the enrolling for a third time. The appropriate
term elective means class elective. Addi- department may require additional prereq-
tional lessons and additional ensembles do uisites to the course failed.
not count as electives. However, non-Jazz Students who pass a class with a grade
majors who successfully audition for the of B or lower may repeat a class, space
Peabody Jazz Orchestra or the Peabody permitting, once to improve their skills
Improvisation and Multimedia Ensemble and grade. In such cases the grade for
may petition to apply one semester (2 the second attempt does replace the first
credits) of one of the Jazz large ensembles grade, which is changed to R (repeated),
as elective credit. The Associate Dean for even if the grade for the second attempt is
Academic Affairs, in consultation with the lower. If the student fails a repeat of a class
Director of the Ensemble Office, will make that he or she has previously passed, both
the final decision about the appropriate- grades will stand and both grades will be
ness of an undergraduate petition to count computed in the student's GPA, but the
a Jazz large ensemble for elective credit. passing grade on the first attempt will ful-
Questions about the appropriateness of all fill the student's curricular obligation to
other courses for elective credit should be pass the class.
directed to the Registrar. The policy to repeat a class that has
Repeated courses. Undergraduate students already been passed is an opportunity for
who fail a required course must retake students to improve their skills. However,
the course for credit. On completion of a this opportunity only exists in sections
second attempt, the second grade does not that are not filled to capacity. No student
replace the first failing grade. Rather, both repeating a class should displace a student
grades are equally computed in a student's who is taking the same class for the first
GPA. Any student who fails a single time.
course more than once will be required
39
Bachelor of Music Curricula
Performance
Guitar
MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Half Recital 171 • 309 1
Recital 190 • 495 2
Chorus 910 • 511, 512 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
62
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
52
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6
TOTAL 148
* Strongly Suggested: Lute Tablature and Notation 530 • 431-432
40
Early Music Instruments: Harpsichord
MAJOR AREA
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Organ Minor 010 • 100 2
Voice Minor* 010 • 100 2
Baroque Ensemble 950 • 527–528 7
Baltimore Baroque Band 910 • 527–528 8
56

Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Continuo I–II 530 • 315–445 4
Harpsichord Literature 530 • 421–422 2
Harpsichord Tuning 370 • 492 2
Baroque Ornamentation 530 • 441–442 4
Basic Conducting 330 • 311 1
53
GENERAL STUDIES
28
ELECTIVES
Electives xxx • xxx 6
TOTAL 143
* Or other instrument with the permission of the Department.
41
Early Music Instruments: Viola da Gamba, Baroque Flute, Recorder, Baroque Oboe,
Baroque Violin/Viola, Baroque Cello, Renaissance Lute, Baroque Lute, Theorbo
MAJOR AREA
Recital 190 • 495 2
Minor Lesson 010 • 100 4
Early Music Large Ensemble 910 • 527–528 12
60

Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Major Instrument Literature xxx • xxx 4
49
GENERAL STUDIES
28
ELECTIVES
TOTAL 140
VARIATIONS:
— for Lute Majors 145 credits
Lute Tablature and Notation 530 • 431-432 4
Continuo I–II 530 • 315–445 4
No Elective Required -3
— for Viola da Gamba Majors 144 credits
42
Continuo I–II 530 • 315–445 4
Viola da Gamba Consort 530 • 353–354 [4]
[Substitutes for 4 credits of Baroque Ensemble]
— for Baroque Cello Majors 144 credits
Continuo I–II 530 • 315–445 4
Strings, Brass, Woodwinds, Harp, Percussion
MAJOR AREA
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
55
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
45
GENERAL STUDIES
28
ELECTIVES
TOTAL 134
43
VARIATIONS:
— for Strings and Percussion: 136 credits
Small Ensemble 950 • 531–532 +2
— for Violin & Viola: 134 credits
Junior Recital 115, 113 • 309 [2]
[Replaces 309 jury]
— for Flute: 134 credits
Piccolo Class 530 • 463–464 [2]
[Taken as a required elective]
Organ
MAJOR AREA
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
61
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530.315 2
Organ Literature 530 • 423–424 6
59
GENERAL STUDIES
28
44
ELECTIVES
TOTAL 151
Piano
MAJOR AREA
Recital 190 • 495 2
49
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
60
GENERAL STUDIES
28
ELECTIVES
TOTAL 143
* Recommended Electives include:
Second Semester of Piano Pedagogy (530 • 668)
Basic Conducting (330 • 311)
45
Voice
MAJOR AREA
Major Lesson 100 • 10x 24
Vocal Coaching 186 • 411–412 4
Recital 190 • 495 2
Opera Performance Electives 910 • 54x 3
48
Ear–training I–II 710 • 123–124–223–224 8
Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 15
Singing in English – English Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Mélodie 530 • 483–480 5
Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
67
GENERAL STUDIES
Italian I 250 • 111-112 6
German I 240 • 111-112 6
French I 230 • 111-112 6
Humanities elective GP 260 • xxx 3
28
ELECTIVES
TOTAL 149
* Second year language or Vocal Literature elective strongly recommended
46
VARIATION
Early Music Concentration 156 credits
Early Vocal Literature 530 • 543–544 4
Historical Diction for Singers 530 • 559 2
Renaissance Ensemble 950 • 529–530 6
Baroque Ensemble 950 • 527–528
Minus German Lieder 530 • 481 -2
Minus French Mélodie 530 • 480 -2
Minus Chorus in 3rd year 910 • xxx
Minus one Opera Performance 910 • 54x
Jazz Performance
The Bachelor of Music degree program in jazz performance is designed to provide
students with the necessary performance skills to pursue a career in jazz. This goal will
be pursued through private study, improvisation workshops, ensemble rehearsals and
performances, master classes with prominent guest artists, plus class work in jazz theory,
arranging and composition. Virtually all classes in the program include performance
activity, generally in small combos. Large ensembles, required each semester of enroll-
ment in the program, will provide performance experience with literature encompassing
all of the jazz idioms.
Students applying for admission into the jazz performance program must pass
entrance auditions on their major instrument of study. A certain number of scholarships
are available on a competitive basis.
A general placement test in music theory, dictation, and ear-training will be admin-
istered in accordance with standard Peabody practice. Auditions are held on campus in
Baltimore in February and May according to the Conservatory audition schedule. Due
to the interactive nature of these auditions, it is not possible to audition at off-campus
audition sites.
Jazz Performance
MAJOR AREA
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 16
57
47
Jazz Fundamentals 710 • 127-128 4
Ear–training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
48
GENERAL STUDIES
28
ELECTIVES
TOTAL 142
* Recommended Electives include:
Introduction to Web Page Design (350 • 465)
Music Notation Software (350 • 871)
Instrumentation & Arranging (710 • 412)
Composition
The undergraduate composition program stresses musical, technical, and conceptual
development as fundamental to the creative process. Diversity of compositional styles
and aesthetic viewpoints is welcomed and encouraged. During the first two years compo-
sitions for solo instruments, voice, and smaller chamber groups are emphasized. Works
of greater scope, including chorus, large chamber ensembles, and small orchestra, are
suggested for the remaining study period.
Composition students have numerous opportunities to hear their works performed in
recitals scheduled by the Composition Department or by individual teachers and stu-
dents in readings by the Peabody Orchestras, the Opera Workshop, and other Peabody
ensembles, by paid performers during Composition Seminar, and informally through
personal contact with the many excellent performers at Peabody. Many of these perfor-
mances are recorded for later listening and study. In the senior year, every composition
48
major is required to present a complete recital of compositions he or she has composed at
Peabody.
Composition majors are required to take four semesters of minor study of voice or an
instrument, which may include performance in computer music, with at least two con-
secutive semesters on the same instrument.
Composition
MAJOR AREA
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Applied Minor 010 • 100 4
55
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Introduction to Computer Music 350 • 463–464 6
63
GENERAL STUDIES
28
ELECTIVES
TOTAL 152
49
Computer Music
The undergraduate computer music program offers majors in either composition or
performance. The program is designed for students wishing to combine music and tech-
nology to enhance their career opportunities both within the music profession and in
related fields outside the profession.
Computer Music
MAJOR AREA
Depart. Seminar: Composition 310 • 545–546 8
Depart. Seminar: Computer Music 350 • 545–546 8
Recital 190 • 495 2
55
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Introduction to Programming 350 • 466 3
Studio Techniques 350 • 835 3
69
GENERAL STUDIES
28
ELECTIVES
TOTAL 155
50
Music Education
The Peabody music education major is designed for the gifted performer who also
has a special interest in sharing his or her musical expertise through teaching music in
elementary or secondary schools. The aim of the professional preparation program is to
impart to prospective teachers the knowledge, skills, and attitudes that are necessary to
the effective teaching of music.
Graduates of the program will be certified to teach music K-12 in Maryland and in all
other states with which Maryland shares reciprocity.
All students accepted into the music education program must fulfill specific liberal
arts requirements (32 credits) as mandated by state and national accrediting agencies. To
the extent these requirements are not satisfied within the liberal arts core course of study
required for all Peabody undergraduates, students elect courses in communications, soci-
ology, history, literature, US history, cultural anthropology, math, and science. Students
who enroll in liberal arts courses at institutions other than Peabody should receive prior
approval from the coordinator of music education. All Advanced Placement credits to
be used toward fulfilling the liberal arts requirement for music education students must
have a score of 4 or 5. The Music Education Department will determine which credits
may be accepted.
Orchestral instrument music education students qualify for the Performer’s Certifi-
cate in their performance major area. Coursework for the Performer’s Certificate requires
additional study beyond the four-year degree for voice majors.
Music Education: Guitar
MAJOR AREA
Recital 190 • 395 2
Chorus 910 • xxx 8
61
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Guitar Pedagogy 530 • 637–638 4
52
51
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
27
GENERAL STUDIES
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31
TOTAL 171
Music Education: Orchestral Instruments
MAJOR AREA
Departmental Examination xxx • 109–209 2
Recital 190 • 395 2
Applied Minor xxx • xxx 1
53
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
44
MUSIC EDUCATION
Class Woodwinds – Brass 510 • 211–212 5
52
Class Percussion 510 • 223 1
Conducting I :Choral–Instrumental 510 • 237–238 4
Conducting II: Choral–Instrumental 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Instrumentation and Arranging 710 • 412 3
40
GENERAL STUDIES
31
TOTAL 168
Music Education: Piano
MAJOR AREA
Recital 190 • 395 2
47
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
58
53
MUSIC EDUCATION
32
GENERAL STUDIES
31
TOTAL 168
Music Education: Voice
MAJOR AREA
Recital 190 • 395 2
46
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Singing in English – English/American Song 530 • 475–476 4
54
Singing in French – French Mélodie 530 • 483–480 5
67
MUSIC EDUCATION
27
GENERAL STUDIES
Italian I 250 • 111-112 6
German I 240 • 111-112 6
French I 230 • 111-112 6
31
TOTAL 171
55
Music Education: Jazz Performance
MAJOR AREA
Recital 190 • 495 2
Large Ensemble 910 • 537–8 14
55
Music Theory 1–2 710 • 111–112 6
48
MUSIC EDUCATION
27
GENERAL STUDIES
31
T O T A L 161
56
Music Education: Composition
MAJOR AREA
Recital 190 • 495 2
55
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
62
MUSIC EDUCATION
Conducting I :Choral–Instrumental 510 • 237–238 4
Conducting II: Choral–Instrumental 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
40
GENERAL STUDIES
31
TOTAL 188
57
Music Education: Certification Program
The certification program is designed for individuals who hold a Bachelor of Music
degree from an accredited institution and who wish to become certified by the state of
Maryland to teach in the public schools.
An interview with the Music Education faculty should be arranged to gain admis-
sion. Individuals will be asked to supply an official transcript from their undergraduate
degree and may be asked to complete a basic musicianship skills test. Prior to entering
the program, accepted candidates must complete either Praxis I exams, SAT, or GRE
and submit passing scores to the Music Education division of the Professional Studies
Department.
Special tuition rates apply. For more information, consult the Tuition and Fees sched-
ule in this catalog. Enrollment for 9 credits is considered full time for this program.
Instrumental Music Certification
MUSIC EDUCATION
Human Growth and Development* 882 • 411
Methods I: Instrumental Music 510 • 312 3
Methods II: Instrumental Music 510 • 313 3
27
Vocal/General Music Certification
MUSIC EDUCATION
21
58
Performance/Recording Arts and Sciences Majors
The Bachelor of Music in recording arts and sciences program is designed to meet
the expanding need for skilled audio technicians, producers, and engineers who possess
both technical expertise and a sophisticated knowledge of music. A five-year dual-degree
program, Recording Arts combines an applied performance major with a technical
education in recording technology. Relevant studies in electrical engineering, math, sci-
ence, and computer science are taken at the Whiting School of Engineering of The Johns
Hopkins University on the Homewood campus.
The Recording Arts curriculum includes extensive practical experience, ranging from
jazz, rock, and pop music to grand opera and major choral and orchestral works. In
addition to regular laboratory sessions with live musical groups of all styles, students
participate in recording a wide variety of Peabody events, many of which are open to the
public. All recording majors, with the exception of first-semester freshmen, are expected
to work in the Recording Studios throughout the course of their enrollment as part of
the College Work Study program. In the fifth year, students complete an internship with
local radio, television, and recording companies. The place of internship requires prior
approval from the Recording Arts coordinator.
The degree recital should be performed in the fourth year of the program. If all require-
ments have been met, students may then receive the performance diploma in May of the
fourth year prior to completion of the recording internship. Students who also wish to
obtain a Bachelor of Science degree in electrical engineering from the Whiting School of
Engineering may apply to the Peabody/JHU Double Degree program in their fourth year.
Students must fulfill requirements for the performance degree at Peabody before entering
the Double Degree program. Simultaneous enrollment in three majors is not permitted.
Due to credit and scheduling conflicts, it is not possible to combine the recording arts
major with the music education major or any Double Degree program in electrical engi-
neering or arts and sciences at the Homewood campus of The Johns Hopkins University.
Recording Arts: Composition
MAJOR AREA
Recital 190 • 495 2
55
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
55
59
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
28
ELECTIVES
One Professional Elective* xxx • xxx 3
TOTAL 197
Recording Arts: Guitar
MAJOR AREA
Half Recital 171 • 309 1
Recital 190 • 495 2
Chorus 910 • 511, 512 8
62
60
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
50
RECORDING ARTS
56
GENERAL STUDIES
28
ELECTIVES
TOTAL 199
* S tudents choose one advanced elective from Peabody or WSE
in consultation with the department.
61
Recording Arts: Jazz Performance
MAJOR AREA
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 16
57
Music Theory 1–2 710 • 111–112 6
46
RECORDING ARTS
56
GENERAL STUDIES
28
62
ELECTIVES
TOTAL 190
* S tudents choose one advanced elective from Peabody or WSE
Recording Arts: Orchestral Instruments
MAJOR AREA
Recital 190 • 495 2
55
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
43
RECORDING ARTS
56
63
GENERAL STUDIES
28
ELECTIVES
TOTAL 185
* Students choose one advanced elective from Peabody or WSE
VARIATIONS: +2
— for Strings and Percussion: 187 credits
Small Ensemble 950 • 531–532 [2]
— for Violin & Viola: 185 credits
Junior Recital 115, 113 • 309
[Replaces 309 jury] [2]
Piccolo Class 530 • 463–464
Recording Arts: Organ
MAJOR AREA
Recital 190 • 495 2
61
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Continuo I: Figured Bass 530.315 2
64
57
RECORDING ARTS
56
GENERAL STUDIES
28
ELECTIVES
TOTAL 205
Recording Arts: Piano
MAJOR AREA
Recital 190 • 495 2
49
65
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
58
RECORDING ARTS
56
GENERAL STUDIES
28
ELECTIVES
TOTAL 194
66
Concentrations
Bachelor of Music with JHU Liberal Arts Bachelor of Music with JHU Engineering
Concentration Concentration
Peabody students wishing to earn a Peabody students wishing to earn a
Bachelor of Music with a liberal arts con- Bachelor of Music with an engineering
centration must complete six courses at concentration must complete six courses
the Krieger School of Arts and Sciences on in the Whiting School of Engineering on
the Homewood campus with at least three the Homewood campus with at least three
at the 200 level or higher. At least one of at the 200 level or higher.
the courses must be an expository writing All students planning a BM with an
course or a writing-intensive course. engineering concentration must have their
Language courses at the 100 level in proposed program of study approved by
the Krieger School of Arts and Sciences the chair of the Humanities Department
cannot be used to fulfill the requirements of the Peabody Conservatory of Music.
for the liberal arts concentration. Music Courses taken in the Whiting School
courses offered at the Krieger School of of Engineering to satisfy a major require-
Arts and Sciences cannot be used to fulfill ment in a Peabody program of study may
the requirements for the liberal arts con- not be used toward an engineering con-
centration. centration.
All students planning a BM with a The following statement will appear
liberal arts concentration must have their on the transcript of any Peabody student
proposed program of study approved by who successfully completes an engineering
the chair of the Humanities Department concentration: Engineering concentration
of the Peabody Conservatory of Music. completed on the Homewood campus of
The following statement will appear The Johns Hopkins University.
on the transcript of any Peabody student
who successfully completes a liberal arts
concentration: Liberal Arts concentration
completed on the Homewood campus of
The Johns Hopkins University.
67
Five-Year BM/MM Program
Qualified Peabody undergraduates have Undergraduate students may apply for
the option of applying to complete a mas- admittance to the BM/MM program in
ter’s degree in one additional year of study the academic year in which they are sched-
after they complete their bachelor’s degree. uled to perform their 309 jury or junior
The selection process takes place in the recital (or, for composition majors, in their
junior year and includes academic and per- junior year) by submitting an application
formance elements. Students selected for by April 1 of that year.
the program maintain their initial finan- Admittance into the BM/MM program
cial assistance levels throughout the five guarantees the extension of the student’s
years of study. initial merit scholarship award for a fifth
Admittance to the BM/MM program year of study.
is limited to outstanding performers with Admittance into the BM/MM program
excellent academic records. Minimum includes the proviso that a student’s fourth
standards for applying are an average of A- and fifth years of performance or composi-
and above in all major lessons and juries, tion study be with a single studio teacher
and grades of B+ or higher in each of the unless there are circumstances that require
following areas: two or more semesters special arrangements to be made by the
of the core music history courses; four or Associate Dean for Academic Affairs.
more semesters of the core music theory Students who wish to complete a BM in
courses; two or more semesters of ear performance or composition and then earn
training/sight-singing courses; and two or an MM in musicology, music theory peda-
more semesters of keyboard skills courses. gogy, or performance/pedagogy are also
In addition, successful applicants will eligible to apply for this program.
have a minimum cumulative grade point
average of 3.50 and will have attained the
Dean’s List (a cumulative GPA of 3.67 or
higher) for a minimum of four semesters.
68
The Master of Music Degree
The program leading to the degree of 4. All entering students take placement
Master of Music provides for intensive examinations in music theory, music
development of performance skills, exten- history, and sight-singing at the time of
sive knowledge of the literature in the their auditions.
major field of study, and achievement of a Successful applicants matriculating into
broadened knowledge of the art. the Master of Music degree program must
Admission Requirements meet the following criteria:
Students applying for the Master of 1 A Bachelor of Music degree or the
Music degree program must meet the fol- equivalent from an accredited institu-
lowing criteria: tion. Evidence of a degree recital in
the senior year must be submitted in
1. A GPA of at least 3.0 – exclusive of
the form of a degree recital program or
performance credits – in post-secondary
credit listed on the student’s transcript.
studies from an accredited institution.
Students holding a Bachelor of Arts
The grades must reflect credits earned
degree must satisfy the requirements of
in pursuit of a bachelor degree or the
the Peabody Bachelor of Music degree,
equivalent, which must be earned prior
demonstrated by examination or by
to matriculating in the program.
completion of additional undergraduate
2. Each applicant whose native language courses. As a rule, an applicant must
is not English must present a score have achieved an undergraduate GPA
from the Test of English as a Foreign of at least 3.0, exclusive of performance
Language (TOEFL). TOEFL scores of at credits. Applicants must demonstrate
least 550 from the basic paper test, at good musicianship, solid academic
least 213 from the computer-based ver- skills, and substantive musical knowl-
sion, or 79 from the Internet-based test edge through performance and written
are expected of applicants. examinations.
3. All entering students must pass a per- 2. International students admitted to
sonal audition, interview, or examination Peabody must take responsibility to
in the major field. CDs are acceptable improve their English in preparation
only for international applicants who for their Peabody coursework. Non-
cannot audition in person at Peabody. native speakers of English are urged to
Acceptance into a graduate program take a summer language course at one
is conditional until the satisfactory of the many U.S. institutions that offer
performance of a personal audition and ESL, including Johns Hopkins Uni-
successful completion of the written versity, prior to their first semester at
entrance examinations to be taken in Peabody. The Conservatory reserves the
September. The September validating right to require non-native speakers of
auditions have the same criteria as the English to complete ESL courses before
February auditions. Applicants should enrolling in required coursework in
prepare sufficient material to perform a musicology and/or music theory.
full solo recital containing works that
show a diversity of periods and styles. Degree Requirements (MM)
All major works must be complete (to For all majors except music education,
include all movements). Pre-screening completion of a Master of Music degree
recordings are required for some majors. program will require full-time attendance
Detailed audition repertoire require- for a minimum of one year beyond receipt
ments are available from the Admissions of the Bachelor of Music degree. Excep-
office and the Peabody website at www. tions to this residency requirement may
peabody.jhu.edu/admissions.
be made upon approval of the Graduate
69
Committee, with consideration given to note: Students placed in ESL courses can-
previous experience, professional record, not complete their history requirement in
and demonstrated ability. The applica- their first year of study, which may delay
tion of previously earned coursework the completion of the degree. Review
credits does not remove the full-time courses do not count toward fulfillment
residency requirement for the graduate of degree requirements, and the grades
degree. Students who have completed all earned are not calculated in the student’s
program requirements except the master’s GPA; however, the hours are counted as
essay (required of musicology majors), the part of the course load for tuition determi-
music theory pedagogy project (required nation. Students must satisfy any review
of music theory pedagogy majors), or port- requirements in music theory, music his-
folio/thesis (computer music majors), must tory, or keyboard skills before enrolling in
register for Degree in-Progress. other graduate-level courses in these fields.
A maximum of six semester hours of All requirements for the Master of
graduate study (coursework) completed Music degree program must be completed
at other accredited institutions may be within five years of the date of initial reg-
applied to the Master of Music degree istration.
program at Peabody, with the review and
approval of the Musicology and Music Program components
Theory department chairs. Credit must
have been earned within five years prior Core Curriculum
to first graduate degree registration at The Master of Music core curriculum
Peabody. consists of Music Bibliography and courses
Students who have previously studied in music theory and musicology. All
at the Conservatory may petition the full-time Master of Music students are
Associate Dean for Academic Affairs to required to take Music Bibliography in
have credits for upper division or gradu- their first year of study, with the exception
ate courses which were over and above of students placed into English as a Second
the minimum requirements for a previ- Language Level I, who may defer Bibliog-
ous Peabody degree applied to the MM raphy to their second year of study. Most
degree program. No coursework that was Master of Music students are also required
required or used to fulfill minimum credit to take two Graduate Seminars in musicol-
requirements for an undergraduate degree ogy; see individual program descriptions
may be applied to a subsequent graduate for details.
degree. Work completed in the Graduate Before students can enroll in Graduate
Extension program may transfer to the Seminars, they must pass a music history
MM program upon satisfaction of all other placement test offered about one week
admission requirements. This includes before the fall semester begins. The test
credit for properly juried recitals. All requires students to write short essays
previously earned credits applied to the without reference to books or notes about
MM degree must carry grades of B or bet- various topics in music history from medi-
ter, and must have been earned not more eval times to the present. Grading is on
than five years prior to initial registration the basis of demonstrated writing ability
in this degree program. Advanced place- and knowledge of music history. Students
ment may be awarded in areas of required who fail this examination are required to
coursework, where warranted by place- enroll in Music History Intensive Review.
ment examination results. Only after passing Music History Inten-
Deficiencies in the areas of music the- sive Review are they permitted to enroll
ory, ear-training, music history, keyboard in Graduate Seminars. The only musicol-
skills, or English must be corrected by ogy graduate course which can be taken
remedial study at the Conservatory. Please concurrently with Music History Intensive
70
Review is Music Bibliography. Students ment may recommend a chamber music
enrolled in English as a Second Language recital, second solo recital, or combina-
(ESL) courses require consent of the tion thereof. Any performance major not
instructor to enroll in Graduate Seminars presenting a degree recital in a given year
in musicology, even if they have passed will be scheduled for a graded hearing
Music History Intensive Review. before the department faculty at the end
Other coursework requirements for the of the spring semester. In lieu of a recital,
MM degree include repertoire studies and candidates for the degree in composition
such electives as are considered appro- must submit a portfolio of works, includ-
priate by the department in which the ing an orchestral work of approximately
student is majoring. These courses shall 10 minutes’ duration, to the composition
not be the same ones taken as part of the faculty by April 1 of the year in which
undergraduate curriculum. they intend to graduate. The portfolio
must contain compositions written during
Ensembles the student’s time of study at Peabody.
Master of Music candidates majoring in Registration for major study is required in
orchestral instruments must participate the semester in which the recital or portfo-
in the Peabody Symphony Orchestra, lio is presented.
Peabody Concert Orchestra, or Peabody
Wind Ensemble during each semester Electives and Other Requirements
of enrollment for major study. Master of Unless otherwise specified, the term
Music candidates in organ are required to elective means class elective. Ensemble
take two semesters of a choral ensemble credits cannot be counted as elective
in the first year of residence. Composition credits. Only courses designated as “G”
majors have a two-semester large ensemble (Graduate Elective) in the Master Schedule
requirement which may be satisfied by of Classes may be used to fulfill graduate
participation in either a choral or instru- elective requirements. Curricular Practical
mental large ensemble during the first Training may be used to fulfill a maxi-
year of residence. All graduate instrumen- mum of three elective credits. Questions
tal majors in the MM program participate about the appropriateness of courses for
in one or two semesters of chamber music elective credit can be directed to the reg-
as required by the individual program istrar and Associate Dean for Academic
(this may be studio accompanying for Affairs.
pianists). Detailed guidelines for ensemble Foreign language proficiency is required
participation are published in the Student for the Master of Music degree programs
Handbook. in musicology and voice performance
(see individual curriculum descriptions).
Recital and Capstone Projects Coursework undertaken to remove defi-
A full recital is required of all per- ciencies in foreign language is governed
formance and conducting majors. In by the same regulations as are other review
individual instances, a teacher or depart- courses.
71
Master of Music Curricula
MM Curriculum—Performance Majors
Conducting
MAJOR AREA
Recital 190 • 695 2
Conducting Seminar 330 • 845–546 2
12
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Orchestration 710 • 413—414 6
Early Music Performance 4
24
ELECTIVES
TOTAL 40
Wind Conducting
MAJOR AREA
Recital 190 • 695 2
12
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Orchestration 710 • 412 3
17
ELECTIVES
TOTAL 35
72
Guitar
MAJOR AREA
Recital 190 • 695 2
Chamber Music 950 • 831–832 2
Guitar Ensemble 950 • 841–842 2
Guitar Seminar 470 • 845–846 2
16
Music Theory Seminars 710 • xxx 6
Guitar Literature 530 • 631–632 2
Lute Literature and Notation 530 • 433–434 4
24
TOTAL 40
VARIATION
Peabody B.M. Guitar Alumni 40 credits
Guitar Pedagogy 530 • 637–638 -4
Minus Guitar Ensemble 950 • 841–842 -2
Orchestral Instruments
MAJOR AREA
Recital 190 • 695 2
Large Ensemble 4
Chamber Ensemble 950 • 831 1
15
14
73
ELECTIVES
T O T A L 35
VARIATIONS:
— for Violin, Viola and Cello 36 credits
Small Ensemble 950 • 832 1
Piccolo Class 530 • 463–464 [2]
[Taken as a required elective]
Organ
MAJOR AREA
Recital 190 • 695 2
Chamber Ensemble 950 • 831–832 2
12
14
ELECTIVES
TOTAL 32
* The following courses are recommended and may be required by the department:
Resources /Church Organist 530 • 425–426
Organ Literature 530 • 423–424
74
Piano
MAJOR AREA
Recital 190 • 695 2
Ensemble xxx • xxx 2
12
Advanced Keyboard Skills for Pianists* 530 • 633–634 4
Analysis of 19th-Century Piano Literature 710 • 647 3
Analysis of 20th-Century Piano Literature** 710 • 648 3
Music Theory Seminar 710 • xxx 3
21
ELECTIVES
TOTAL 39
* Students who completed the undergraduate courses in keyboard
skills (530 • 211–212–311–312) at Peabody with a minimum grade of B
are exempt from this class.
** A 20th-century Music Theory analysis seminar may be substituted
with permission of the Piano Department
Piano: Ensemble Arts
MAJOR AREA
Recital 190 • 695 4
12
Instrumental Chamber Music 530 • 621–622 4
Accompanying and Coaching Skills 530 • 619–620 4
Advanced Accompanying 530 • 813–814–817–818 4
26
TOTAL 38
75
Piano: Ensemble Arts with a Concentration in Vocal Accompanying
The Master of Music degree program in Ensemble Arts: Vocal Accompanying is
designed for pianists wishing to expand their musical experience to include collaborative
playing in the study of art song, vocal chamber music, opera, and oratorio. The curricu-
lum provides advanced technical study while emphasizing the linguistic skills necessary
for comprehensively coaching opera and song literature. Versatility is stressed, with a
practical eye toward employment opportunities for skilled keyboard players in a variety
of areas including the professional recital accompanist, opera coach, church musician,
choral/symphonic pianist, and musical theater keyboardist.
The degree program normally requires a minimum of two years to complete. In
addition to two degree recitals, the curriculum requires the development of repertoire,
attained through the performance of non-degree collaborative vocal recitals and partici-
pation as an opera, studio, and/or classroom pianist.
All candidates must meet language and diction standards in English and two of the
following three languages: Italian, German, and French. These requirements may be
satisfied by successful completion of a departmental exam in translation and pronuncia-
tion, or by completing the appropriate diction course and the equivalent of one year of
college-level study in each language. Diction courses include Singing in Italian, Singing
in German, and Singing in French.
Piano: Ensemble Arts with a Concentration in Vocal Accompanying
MAJOR AREA
Recitals 190 • 695 4
12
Advanced Accompanying 530 • 813–814–817–818 4
Accompanying and Coaching Skills 530 • 619–620 4
Accompanying and Coaching Skills II 530 • 625–626 4
Student Coach, Opera Workshop 530 • 639 1
Student Coach, Opera Theatre production 530 • 640 2
29
TOTAL 41
76
Voice
MAJOR AREA
Recital 190 • 695 2
12
Vocal Literature electives 530 • 621–622 4
18
ELECTIVES
TOTAL 36
All candidates for the MM in voice must meet language and diction standards
in French, German, Italian, and English. Electives may be chosen which help
the student meet these standards. Curricular Practical Training may be used to
fulfill up to 3 electives.
Early Music Performance: Harpsichord
MAJOR AREA
Recital 190 • 695 2
16
Harpsichord Literature 530 • 421–422 2
Continuo 530 • 315–445 4
Performance Practice Seminar 610 • 615 3
Harpsichord Tuning 370 • 492 2
29
TOTAL 45
77
Early Music Performance: Instruments
Core Classes
MAJOR AREA
Recital 190 • 695 2
10
Musicology Seminar 610 • xxx 3
18
Specific Majors
BAROQUE OBOE
—— Major Area and Supportive Courses —— 28
Early Wind Literature 610 • 433–434 2
8
TOTAL 36
RECORDER
Recorder Consort 530 • 355–356 2
14
TOTAL 42
78
TRAVERSO
8
TOTAL 36
RENAISSANCE LUTE
Continuo 530 • 315–445 4
Theorbo Minor 050 • 100 2
Renaissance Chamber Ensemble 950 • 853–854 2
18
TOTAL 46
BAROQUE LUTE/THEORBO
Continuo 530 • 315–445 4
Renaissance Lute Minor 050 • 100 2
16
TOTAL 44
79
BAROQUE VIOLIN
Literature Electives 530 • xxx 2
8
TOTAL 36
BAROQUE VIOLONCELLO
Viola da Gamba Minor Lessons 050 • 100 2
Literature Electives 530 • xxx 2
10
TOTAL 38
Early Music Performance: Voice
MAJOR AREA
Recital 190 • 695 2
12
Early Vocal Literature 530 • 543–544 4
Continuo 530 • 315–445 4
Vocal Literature Electives 530 • 621–622 4
29
TOTAL 41
80
MM Curriculum—Performance/Pedagogy
This area of graduate focus is designed for students accepted to a performance major
who wish to broaden their study to include particular attention to the concurrent devel-
opment of pedagogical skills. Performance/Pedagogy is not a separate degree program,
but a pedagogy emphasis within the student’s MM performance program. Courses spe-
cific to the area of pedagogical concentration fulfill the elective requirements in the MM
degree program. Pedagogy emphasis is currently available in the areas of harp, guitar,
piano, violin, viola, double bass, and voice. In addition to the usual performance major
requirements (see MM curricula on previous pages), the curriculum is designed to pro-
vide maximum opportunity for the student to develop his/her teaching skills—through
classwork, observation, and practice—using the combined resources of the Institute’s
Conservatory and Preparatory faculties and programs. The admission process includes
an audition before the major performance faculty plus an interview with members of
the pedagogy faculty. Individuals approved to embark upon this study are assigned a
three-person advisory group. The required two-credit elective is waived for guitar majors
who are instead required to enroll in Guitar Seminar and Guitar Literature and for voice
majors due to language requirements. Performance/Pedagogy candidates majoring in
orchestral instruments must participate in the Peabody Symphony Orchestra or Peabody
Concert Orchestra during each semester of residency.
Performance/Pedagogy
PEDAGOGY CONCENTRATION
Pedagogy Practicum (Chose One) 4
Harp Pedagogy 530 • 629–630 4
Piano Pedagogy 530 • 667–668 4
Violin/Viola Pedagogy 530 • 651–652 4
Vocal Pedagogy and Lab 530 • 683–684
Pedagogy Elective (Choose One) 2–3
Psychology of Music Teaching 510.611 2
Music Theory Pedagogy 710.649 3
Human Growth and Development ED.882.511 3
Educational Psychology ED.700.502 3
Independent Study 530 • 998 2
2–3
TOTAL 6–7
81
MM Curriculum—Composition Majors
The Master of Music degree program in Composition normally requires a minimum
of two years to complete. Coursework in the master’s program will be chosen with the
advice and approval of the Composition Department, in keeping with the candidate’s
background and special interests, to ensure solid and comprehensive training. Skill in
the utilization of various chamber and choral resources is emphasized, as is composition
for orchestra in larger forms. The study of computer music and orchestration must be
included in the curriculum, unless previous experience in these areas has been docu-
mented.
Composition students have numerous opportunities to hear their works performed, in
recitals scheduled by the Composition Department or by individual teachers or students;
in readings by the Peabody Orchestra, the Opera Workshop, and other Peabody ensem-
bles; and through personal contact with the many excellent performers at Peabody. Many
of these are recorded for later listening and study.
Composition
MAJOR AREA
Composition Portfolio 310 • 691 2
Large Ensemble/Chorus 910 • 811–812 4
16
14
ELECTIVES
TOTAL 36
82
MM Curriculum—Computer Music Majors
The Master of Music degree program in this field prepares students for advanced work
in areas of music where technology occupies an essential role. It normally requires a min-
imum of two years to complete. Students specialize in one of three tracks: Composition,
Performance/Concert Production, and Research/Music Technology.
The Composition track allows special concentration in composing music utilizing
computer music systems. Students will work with the latest digital synthesis hardware
and software and learn to develop idiomatic composing techniques which take advan-
tage of the unique capabilities of digital music technology. Students in this track will
take instruction in composition. They must submit, by April 1 of the year they intend
to graduate, a portfolio of compositions created during the time of study. This should
include a variety of works in the computer music medium, with a substantive work of at
least 10 minutes’ duration, and at least one work that uses acoustic instrument(s) and/or
voice(s). Please refer to departmental guidelines for exact composition portfolio require-
ments.
The Performance/Concert Production track allows students to gain the skills and
sensibilities necessary to become expert performers with the new technology. The term
“performance” may include real-time control of musical parameters using existing tech-
nology in an expressive way, performance on electronic instruments such as synthesizers,
performance on conventional instruments combined with electronics, and concert pro-
duction techniques, depending on the student’s background and needs.
Students in this track will take instruction in performance. In the year they intend to
graduate, they will present a full program, which may be entirely computer music, or
combined with acoustic instrument(s) and voice(s). Please refer to departmental guide-
lines for exact performance concert requirements.
The Research/Music Technology track is designed for students pursuing musically
related research or developing new music technology. Students in this track may work
with practicing composers and performers in developing technology, such as real-time
performance systems in which computers are able to follow a conductor’s expressive
tempo variations during a concert. Research topics in psychoacoustics and perception
and in music-related computer science may also be pursued. Students in this track will
have a document advisor analogous to the instructor in composition or performance
mentioned above, and will submit by April 1 of the year they intend to graduate a thesis
documenting their research or new technology. Please refer to departmental guidelines
for exact research portfolio requirements.
Students in the three areas of concentration are expected to work together closely. Spe-
cifically, students in the Composition area are expected to create at least one composition
that requires the assistance of students in the performance and research/technology areas.
Students in the Performance/Concert Production area are similarly required to perform
or produce at least one piece by a student in the composition area that requires assistance
from a student in the research/technology area. Students in the Research/Technology area
are expected to create at least one technological advance that is applied by a student in
the performance or composition area.
83
Computer Music
MAJOR AREA
Capstone Project xxx • xxx 2
12
History of Electroacoustic Music 350 • 840 3
Digital Music Programming 350 • 837–838 4
Studio Techniques 350 • 835 3
Synthesis Theory 350 • 867–868 6
Musical Acoustics 550 • 515 3
30
TOTAL 42
VARIATIONS:
[Each degree specifies a capstone project]
— CM Composition 42 Credits
CM Composition Portfolio 350 • 693 [2]
— CM Performance/Concert Production 42 Credits
Recitals 190 • 695 [2]
— CM Performance/Concert Production 42 Credits
Thesis 350 • 691 [2]
84
MM Curriculum—Music Education Majors
The Master of Music degree program in music education is designed for students
already possessing initial certification to teach music in the public schools. Coursework
in this program will be determined according to the background and professional goals
of the candidate.
Peabody offers a partial tuition grant for degree-seeking graduate music education
majors. Students must be a teacher in the State of Maryland and enrolled for a maximum
of 6 credits per semester. Funds are limited. For more information, contact the Music
Education Department at 410-659-8100, ext. 4430, or http://www.peabody.jhu.edu/
musiceducation.
Music Education
MAJOR AREA
Psychology of Music Teaching & Learning 510 • 611 2
Research in Music Education 510 • 612 2
History and Philosophy of Music Education 510 • 613 2
Music Education Electives* 510 • 6xx– 8
Indpendent Field Study 510 • 691 4
18
14
TOTAL 32
* Possible Electives Include:

Supervision and Curriculum Development 510 • 614
Graduate Practicum 510 • 621
Conducting Wind Literature 510 • 624
Music Education and Society 510 • 626
85
MM Curriculum—Musicology Majors
The academic discipline of Musicology investigates the varied relationships between
musical traditions and the cultures that create and sustain them. The discipline necessar-
ily combines historical and cultural research with analysis of music.
The Master of Music degree program in Musicology offers the student an introduction
to the academic study of music at the graduate level. Coursework exposes the student
to a broad range of approaches to contemporary musical scholarship and emphasizes
the development of critical, analytical, and practical skills germane to the profession.
All students are assigned an advisor who will monitor the student’s progress during the
first year of the program. In the second year of study, the advisor will supervise an inde-
pendent project of research and writing leading to the completion of the master’s essay.
Upon completion of the program, students are well positioned for admission to Ph.D.
programs in musicology.
Students entering the program should demonstrate a strong potential for future suc-
cess in the field. Successful applicants normally possess (1) a solid undergraduate founda-
tion in music history, theory, and musicianship, (2) relevant experience as a performing
musician, or (3) a distinguished academic background in a related field of study. All
students are required to meet the proficiency standards in music history, theory, and ear
training required of master’s students in all disciplines.
All students must pass a reading exam in French, German, or Italian and should plan
to fulfill this requirement before the completion of the third semester of full-time study.
Entering students who are not prepared to meet this requirement are advised to under-
take appropriate coursework at Peabody or on the Homewood campus of The Johns
Hopkins University. In certain instances, a student may petition the department for an
examination in a language other than those listed above. In such cases, the student must
make a compelling case that knowledge of this language is of direct relevance to his/her
research interests. All such requests must be submitted in writing to the department
chair before the end of the second semester of study, and cases will be decided by a vote
of the full faculty. Any questions about the language requirement should be directed to
the graduate advisor.
As the final requirement for the Master in Musicology degree, all students complete a
master’s essay, a serious scholarly endeavor displaying excellence in research, writing, and
critical thinking. The following guidelines are provided as a general model only, and, as
such, they are intended to be descriptive rather than prescriptive. Topics and approaches
vary widely, and detailed requirements for the content of the master’s essay are deter-
mined on an individual basis in consultation with the student’s academic advisor.
1. During the second semester of full-time study, each student registers for graduate
research with a member of the faculty, to commence at the beginning of the third
semester.
2. During the third semester, the student and advisor devise an independent program of
reading and research leading to the identification of a topic for the master’s essay.
3. Working closely with the advisor through the various stages of the writing process,
the student submits a draft of the completed essay to the advisor at least one month
prior to the submission deadline set by the Office of Academic Affairs. The submis-
sion deadline for the final copy is currently March 30. As changes in the academic
calendar often occur, students should consult with the academic program coordinator
to verify the date of the submission deadline.
86
4. Once the advisor has approved the final version of the essay, two copies are submitted
to the Office for Academic Affairs. The final copy should include a title page that fol-
lows the template provided in Appendix F of the DMA Guidelines (available from the
Office for Academic Affairs).
1. Final copies of the essay, printed on acid-free paper, should be produced on a laser
printer. High-quality photocopies are acceptable as final copies.
2. The bibliography and footnotes should be formatted according to the methods out-
lined in The Chicago Manual of Style.
3. There is no required page length for the master’s essay, but most range between 30
and 50 pages in length.
Musicology
MAJOR AREA
Seminars in Musicology 610 • 63x– 9
Musicology Colloquium 610 • 847–848 6
Graduate Research 610 • 755–756 4
Master’s Essay 610 • 691 2
Applied Minor Lessons or Ensemble xxx • xxx 2
23
8
ELECTIVES
Elective* ASEN.xxx • xxx 3
TOTAL 34
* To be selected in consultation with the Musicology chair from courses offered at
other divisions of The Johns Hopkins University or another affiliated institution.
87
MM Curriculum—Music Theory Pedagogy
The Master of Music in Music Theory Pedagogy is intended for musicians with strong
abilities and interest in teaching music theory. The program of study encourages stu-
dents to perceive and articulate large and small musical phenomena. In addition to
courses in music theory pedagogy, students take courses in counterpoint, analysis, and
20th-century music as well as Music Bibliography and two musicology seminars.
Music Theory Pedagogy
MAJOR AREA
Baroque Counterpoint* 710 • 634 3
Analysis Courses Choose Two 6
Twentieth Century Analysis Course Chose One 3
Music Theory Pedagogy 710 • 649 3
Music Theory Internship 710 • 650 3
Music Theory Pedagogy Project 710 • 685 3
21
8
ELECTIVES
Electives** xxx • xxx 6
TOTAL 35
* Students who test out of Baroque counterpoint take Renaissance Counterpoint 710 • 633
Possible Analysis Courses Include:

Analysis and Performance 710 • 655
Analytical Techniques 710 • 702
Baroque Style and Practice 710 • 637
Fugue from Bach to Shostakovich 710 • 677
Schenkerian Analysis 710 • 623
Styles Analysis 710 • 635
Thinking by Ear: Common-Practice 710 • 713
Possible Twentieth-Century Courses Include:

Music from 1900-1945 (Fall) 710 • 643
Music from 1900-1945 (Spring) 710 • 644
Music Since 1945 (Fall) 710 • 645
Music Since 1945 (Spring) 710 • 646
Thinking by Ear: Segue-20th Century 710 • 714
20th Century Style and Analysis 710 • 651
**May include additional music theory, musicology, or graduate-level courses
offered at Homewood.
88
Master of Arts in Audio Sciences Degree
The Master of Arts program in Audio Sciences was developed in conjunction with
members of the professional audio community to provide the technical knowledge and
musical skills necessary to work at an advanced level in the field of audio and/or acous-
tics. The program is intended both for current audio professionals wishing to obtain a
post-baccalaureate credential and individuals with a background in science, technology,
and/or music seeking additional training in order to gain employment in the audio or
acoustics industry.
Students choose from two tracks: a concentration in Recording and Production or an
emphasis on Acoustical Studies. Core coursework will include music theory 1-2, Musi-
cal Acoustics, Electroacoustics, Psychoacoustics, and Physical Acoustics. The remaining
coursework in each track will consist of courses specific to the concentration chosen by
the student in accordance with his or her background and professional goals.
The Acoustical Studies concentration is designed to prepare students to work as pro-
fessionals in the fields of acoustical consulting, sound systems design, acoustical product
design, and sound systems integration. The program provides a thorough grounding
in acoustical fundamentals and design practices to enable graduates to begin careers in
these specialized fields.
For admission, an undergraduate degree in architecture, audio technology, computer
sciences, electrical engineering, mechanical engineering, physics, or recording sciences
is required. Undergraduate coursework must include one year of college physics and one
year of calculus. Additional requirements are a background in music with the ability to
play an instrument at high school level, courses in music history, and skills sufficient to
enter music theory 1. International students must demonstrate competencies in English
commensurate with expectations for Peabody’s Master of Music degree program.
Audio Sciences
MAJOR AREA
Architectural Acoustics 550 • 624 3
Noise Control 550 • 626 2
Sound System Design 550 • 625 3
Computer Modeling 550 • 627 2
Professional Practices 550 • 631 2
Acoustics Design Practicum 550 • 64 3
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
30
Music Theory 1-2 710 • 111-112 6
TOTAL 36
89
Concentration in Recording and Production
The Recording and Production concentration is designed to prepare students to work
as professionals in the audio/video production field and as recording and broadcast engi-
neers. The program draws on the student’s previous work in the pertinent undergraduate
field to build skills that are applied to the proper use of professional digital and analog
audio recording and production equipment.
For admission, an undergraduate degree in music, physics, electrical engineering,
or audio technology is required. Undergraduate coursework must include one year of
college physics, one year of calculus, one year of audio fundamentals, basic audio engi-
neering, and circuits and signals or the equivalent. Additional requirements are a back-
ground in music with the ability to play an instrument at high school level, courses in
music history, and skills sufficient to enter Music Theory I. International students must
demonstrate competencies in English commensurate with expectations for Peabody’s
Master of Music degree program.
MAJOR AREA
Music and Technology 550 • 611 3
Audio Science and Technology 550 • 612 3
Advanced Recording Systems 550 • 511–512 6
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
30
Music Theory 1-2 710 • 111-112 6
TOTAL 36
90
The Doctor of Musical Arts Degree
The objective of the program leading to cal subject of the applicant’s choice. It
the degree of Doctor of Musical Arts is to must be typed and supported by cita-
provide a select number of qualified stu- tions and references. The essay serves
dents with the highest level of professional as the basis of the DMA interview and
development in the art of musical perfor- should adequately reflect the applicant’s
mance or the craft of musical composition, academic capability. Of particular
within a context of comprehensive under- interest to the DMA interviewing
standing of the common body of theoreti- committee is evidence of a capacity for
cal and historical knowledge and of the independent thinking, initiative, and
literature specific to the applied major. ability to present, develop, and support
a thesis or point of view. Four copies
The Doctor of Musical Arts degree
of the essay must be submitted to the
certifies that its holder is a sophisticated Admissions Office by the application
professional performer or composer who deadline. If the essay is not submit-
is able to exercise professional leadership, ted by the application deadline, the
using his or her skills and understanding application is considered incomplete,
to expand existing horizons of knowledge and the applicant must wait until the
and perception. next audition period for admission con-
sideration. Graduates of other Peabody
Admission Requirements programs are not exempt from this
Students matriculating into the Doctor of requirement.
Musical Arts degree program should meet 4. At the time of audition, the DMA
the following criteria: applicant will be scheduled for an
1. A Master of Music degree or its dem- interview with members of the Pea-
onstrated equivalent is a prerequisite body faculty. The purpose of this 15- to
for admission to the Doctor of Musi- 20-minute interview is to ascertain the
cal Arts degree program. Evidence of applicant’s suitability for the academic
a graduate-level degree recital must aspects of the DMA program. The
be submitted in the form of a recital meeting also provides an opportunity
program or credit listed on the appli- for the faculty to assess the applicant’s
cant’s transcript. Prior to applying to verbal skills, and to discuss the appli-
Peabody, a DMA candidate should have cant’s particular interests and motiva-
taken a course in Music Bibliography tion in pursuing the degree. A portion
or its demonstrated equivalent; if not, of the interview will relate to the essay
the student will be required to enroll in submitted with the application.
610 • 651 Bibliography. 5. At the time of auditions, all applicants
2. All applicants must pass a personal take music theory examinations, writ-
audition. It is not possible to audition ten and aural and a music history exam
for the DMA program by recording. in which they write essays chosen from
Audition requirements by major are a list of topics in the history of Western
available on the Peabody website at music. These examinations are used to
www.peabody.jhu.edu/admissions or evaluate the applicant both for admis-
from the Admissions Office. Pre-screen- sions and for placement in graduate
ing recordings are required for some courses.
majors.
3. All applicants must submit evidence Degree Requirements (DMA)
of their research and writing skills in The program of study for the Doctor of
the form of an essay written within the Musical Arts degree will normally require
previous two years. This essay, of 1,500 an attendance of two years beyond receipt
or more words, should be on a musi- of the master’s degree. The doctoral candi-
91
date must attend full time for at least one in the first year of enrollment and may be
year (minimum of 18 to maximum of 36 corrected either by remedial study or by
credits for one academic year, including re-examination. Students may not enroll
8 credits of private study), and may com- in graduate courses in these areas until
plete the remainder of the requirements deficiencies are remedied. Review courses
on a part-time basis. Upon completing carry zero credit and do not count toward
coursework and recitals, students achieve fulfillment of degree requirements, but
Degree-in-Progress (DIP) status. For the the grades earned are calculated in the
purposes of student loans and F-1 visas, GPA and the hours are counted as part
students who have achieved DIP status are of the course load which determines full-
considered full-time students. To main- time status.
tain that status, students must register All requirements for the Doctor of
for Consultation (610 • 813–814) each Musical Arts degree must be completed
semester and pay DIP fees. Continuous within seven academic years from the date
registration each year in courses, applied of initial DMA registration. Exceptions
studies, or is required: a DIP students may to this regulation may be granted by the
not take a leave of absence. DMA Committee only under extraordi-
A maximum of 12 semester hours of nary circumstances.
graduate study (coursework) completed
at other accredited institutions may be Curriculum Components (DMA)
applied to the Doctor of Musical Arts
degree, with the approval of the Associate Advisory Committees
Dean for Academic Affairs, after examina- Each student will be assigned a major
tion of placement results and consultation field advisory committee consisting of
with the entrance interview committee. three faculty members appointed by the
Credit must have been earned within five Associate Dean for Academic Affairs and
years of the student’s first graduate degree including the major teacher. This com-
registration at Peabody and must carry mittee is responsible for approving the
grades of B or better. student’s repertoire list, approving and
Students may petition the Associate jurying all the student’s recitals, and
Dean for Academic Affairs to have credits submitting questions for the major field
for courses and/or ensembles that were qualifying examination.
over and above the minimum require- By the last day of classes of the third
ments for a previous Peabody degree semester of study the student shall submit
applied to the DMA degree program. No to the Associate Dean for Academic Affairs
coursework that was required or used to for approval the names of a three-person
fulfill minimum credit requirements for a faculty advisory committee, in addition
previous degree may be applied to a sub- to the major teacher. These faculty mem-
sequent graduate degree. Work completed bers should represent areas of musicology,
in the Graduate Extension program, music theory, and an optional area of study
beyond the MM degree level, may transfer (humanities, computer music, etc.). The
to the DMA program, upon satisfaction of student will have approached the potential
all other admission requirements. All pre- advisors beforehand. This committee shall
viously earned credits applied to the DMA be available to the student for consulta-
degree must carry grades of B or better, tion and advice concerning curriculum
and must have been earned not more than and possible dissertation or paper topics.
five years prior to initial registration in the Members of this committee also shall sub-
program. mit appropriate questions for the written
Deficiencies in ear-training and music qualifying examinations and sit on the
theory identified during the entrance/ oral qualifying examination committee.
placement examinations must be corrected
92
Major Applied Study approve each program prior to perfor-
Individual studio work includes in- mance, and all students must complete the
depth repertoire development, and culmi- necessary paperwork for scheduling and
nates in a series of recitals or final projects, registration as required by the Concert
depending on the chosen path of study. Office in consultation with the Ensemble
DMA candidates may elect alternative Office.
programs of study in some areas (see indi- It is advisable for the doctoral student
vidual curriculum descriptions). to register for recitals when enrolled full
Upon entry to the program, each can- time. The student must be registered
didate must submit a repertoire list to for private study during the semester in
the department faculty indicating works which a recital is presented. Exceptions
memorized and works performed. At the to this include the chamber music recital
end of each year in the program, the can- (chamber music registration) and lecture-
didate will submit an updated repertoire recital (lecture-recital registration). Any
list reflecting new works studied and per- degree recital must be approved by the
formed. Associate Dean for Academic Affairs and
DMA students may perform in large Concert Office (see Program Approval
ensembles on a space-available basis after above and Student Handbook).
students with an orchestral requirement
have been seated. Recital Programs
Each program must be approved by the
Recitals candidate’s major field advisory commit-
A minimum of three recitals is required tee and the Associate Dean for Academic
of all performance majors. Any student Affairs. A copy of the approved program
not playing a degree recital in a year of must be received by the Concert Office
residency will be scheduled for a graded four weeks before the recital. Students are
hearing before the department faculty at responsible for obtaining the necessary
the end of the spring semester. signatures.
For performance majors, one recital pro- The student must supply program notes
gram may be specialized in content if the of publishable quality before each program
others are varied. One ensemble program is approved. These should be approxi-
may be presented. One lecture-recital may mately one page in length, and must be
be presented subject to prior approval by approved by a representative of the musi-
the major field advisory committee. cology faculty. The program submitted
For conducting majors, the first two to the candidate’s committee must carry
recitals must be chosen from the following the appropriate signature indicating such
three options approval.
1. A full-length program given on campus The lecture-recital must be based on an
2. A full-length program presented at analytical or historical document approved
some other venue while the student is by the candidate’s academic advisory com-
in residence mittee and by the Graduate Document
3. A combination of performances pre- Committee. The program submitted to
sented during the student’s residency the Concert Office must carry the appro-
that total at least 60 minutes. This priate signatures indicating such approval.
must be approved by both the student’s The recital is juried by the members of the
advisor and the Ensemble Office. candidate’s major field and academic advi-
sory committee. The document may be
Each performance must be videotaped filed with the Academic Affairs Office at
and copies provided by the student to any point prior to April 1 of the semester
each committee member who is grading. in which the candidate expects to graduate
The student’s major field committee must
93
and must be completed prior to presenta- work in humanities at the School of Arts
tion of the lecture-recital. and Sciences of The Johns Hopkins Uni-
versity or another accredited institution.
Portfolio of Compositions Minimum requirements vary depending
Composition majors must submit to the on the major. See the curriculum listings
composition faculty, by April 1 of the year for individual programs, below.
in which they intend to graduate, a work Doctor of Musical Arts students are
of major proportions as to length and required to enroll in the Musicology Col-
medium and a substantial research paper loquium during their first year. The col-
on a topic approved by the candidate’s loquium provides opportunities to hear
Academic Advisory Committee. These guest lecturers speak on musicology topics
together constitute the final document for of their expertise, and focuses on develop-
composition. In addition, the portfolio ing writing and critical thinking abili-
must contain one or more smaller works. ties. Some majors require DMA students
The specific requirements of these works to take additional graduate seminars in
will be determined in each case in consul- musicology as well; see specific program
tation with the composition faculty. curricula for details. After DMA students
Candidates who are enrolled full time pass the preliminary oral examination
may register for the portfolio of composi- (usually at the beginning of their second
tions without additional fee; non-full-time year of study), they will choose an advisor
candidates will be charged fees on a credit- from among the full-time members of the
hour basis. Students wishing to delay Musicology faculty who will then serve as
submission of the portfolio beyond the a guide through the remaining portion of
first week of the semester following reg- the DMA musicology curriculum. These
istration must make application through duties will include approving program
the Office of Academic Affairs and must notes, preparing and helping to administer
be registered for private study during the the DMA history examination, and advis-
semester in which the portfolio is actu- ing on preparation of the document or
ally presented. No additional fees will be dissertation, lecture-recital, and final oral
charged for a delayed submission. examination. For further details students
The student should submit the com- should refer to the DMA guidelines, avail-
pleted portfolio to the composition fac- able in the Office of Academic Affairs.
ulty, at the same time advising the Office Doctoral students will be required to
of Academic Affairs that this is being demonstrate proficiency in one language
done. Following acceptance of the port- besides English, the language to be
folio by the faculty, the student should approved by the department and compe-
prepare a final version, incorporating tency determined by the results of a read-
any modifications which may have been ing examination. As a rule, the foreign
requested, and deliver the portfolio with languages must be chosen from among
the official acceptance sheet signed by French, German, or Italian. With approval
members of the composition faculty to the of the members of the DMA Committee,
Office of Academic Affairs for presentation other languages may fulfill the require-
to the library. ment when so indicated by the special
nature of the student’s intended research.
Coursework In addition to the reading examination,
Each student shall take a minimum of voice majors must demonstrate diction
six hours in musicology and six hours in competency in all three languages (French,
music theory, plus electives in repertoire German, Italian), conversational ability in
and other studies, including a minimum one of the three languages, and functional
of three hours of upper division course- knowledge of the other two.
94
Unless otherwise specified, the term Curriculum Options: Lecture-Recital or
elective means class elective. Ensemble Dissertation
credits cannot be counted as elective cred- The following curriculum options are
its. Questions about the appropriateness of available for the DMA program:
courses for elective credit can be directed 1. Option A—dissertation
to the Associate Dean for Academic 2. Option B—lecture-recital
Affairs. 3. Option C—offered in piano (Ensemble
Arts) and voice (Performance/Pedagogy)
Preliminary Oral Examination
The third-semester preliminary oral In fields where candidates for the DMA
examination is intended to demonstrate degree have a choice of writing a disserta-
a student’s ability to speak about and tion, they must choose a musical subject
respond to questions on a single, sub- which has been approved by the Gradu-
stantial piece of repertoire, chosen by the ate Document Committee. Dissertations
student and approved by members of the may deal with any aspect of music, e.g.,
DMA Committee. analysis, theory, history, criticism, perfor-
The 25-minute preliminary oral mance practice, development of a critical
examination consists of an examination edition, etc. For composition majors, the
on selected repertoire and a listening por- dissertation will be a composition of major
tion. The intention of the preliminary oral proportions as to length and medium
examination is to identify areas in which (e.g., a symphony) accompanied by a sub-
the student may need additional guidance. stantial written commentary on it. See also
the statement on page 94 under Portfolio
Admission to Candidacy of compositions (composition majors).
A student is not admitted to official An oral defense of the dissertation must
candidacy for the DMA degree until he or immediately follow completion of the
she has satisfactorily passed all qualifying dissertation, and must take place at least
examinations. In order to be eligible to two weeks prior to the date of submission
take the qualifying examinations the stu- of the dissertation to the library. Detailed
dent must have completed all coursework, procedures are available in the DMA
at least two recitals, and satisfied the Guidelines.
language requirement. Piano majors must For most DMA candidates, the final
have completed the literature exam. The recital will be a lecture-recital. The
qualifying examinations must be taken lecture-recital will be based on an analyti-
within one calendar year after comple- cal or historical essay written under the
tion of the required coursework and shall guidance of a member of the candidate’s
consist of: academic advisory committee. This essay
1. Written examinations in musicology, must be completed prior to the presenta-
music theory, and the literature of the tion of the lecture-recital. Candidates will
major field. Detailed information on the submit two clean copies of their essay,
music theory qualifying examination incorporating all additions and correc-
may be found in the DMA Guidelines, tions, for placement in the Arthur Fried-
available in the Office of Academic heim Library. Details concerning the scope
Affairs. of the project, topic approval, the format
2. The final oral examination shall be the of the lecture-recital, and the timetable
last of the comprehensive exams and of the process may be found in the DMA
will cover many facets of the student’s Guidelines.
major field as well as a comprehensive
professional perspective (see DMA
Guidelines).
95
DMA Curriculum—Composition Majors
Composition
MAJOR AREA
Compositions/Commentary 310 • 793 6
24
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Consultation [DIP] 610 • 813–814 (2–10)
26
ELECTIVES
Humanities Elective xxx • xxx 3
10
TOTAL 60
DMA Curriculum—Conducting Majors

The DMA in conducting is available to qualified students seeking additional profes-
sional experience as conductors. Students are required to present a public lecture preced-
ing the third recital and a final document equivalent to a lecture-recital paper.
Following completion of course requirements as listed below, but within seven years
of their matriculation, candidates must furnish a videotape of one public performance
(Recital 190.797) for which they were engaged as conductor. The acceptability of the
program is determined prior to the performance in consultation with the director of con-
ducting programs.
Orchestral Conducting
MAJOR AREA
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Recital, off campus 190 • 797 2
Lecture (with recital 190.796) 190 • 799 2
Document 610 • 792 2
32
96
Program Notes for All Recitals 0
14
ELECTIVES
16
TOTAL 62
Wind Conducting
MAJOR AREA
Recital (or PWE performances) 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Curricum Option (Dissertation or Lecture Recital) 4–8
30–34
14
ELECTIVES
16
TOTAL 60–64
97
CURRICULUM OPTIONS
— Option A 64 Credits
Dissertation 610 • 791 6
Graduate Research + 610 • 756 2
— Option B 60 Credits
Lecture (with recital 190.796) 190 • 799 2
DMA Curriculum—Performance Majors

Guitar
MAJOR AREA
Recital (solo) 190 • 794 2
Recital (concerto) 190 • 797 2
Recital (chamber-music) 190 • 798 2
Recital (lecture-recital) 190 • 799 2
30
14
ELECTIVES
16
TOTAL 60
98
Orchestral Instruments: Options A and B
MAJOR AREA
Performance Elective xxx • xxx 2
Curricum Option (Dissertation or Lecture Recital) 8
32
14
ELECTIVES
16
TOTAL 62
CURRICULUM OPTIONS
Recital (Lecture Recital) 190 • 799 2
99
Organ and Piano: Options A and B
MAJOR AREA
Piano Seminar 450 • 845 1
31
14
ELECTIVES
17
TOTAL 62
CURRICULUM OPTIONS
100
Piano: Option C (Ensemble Arts)
MAJOR AREA
Recital (chamber music / sonatas) 190 • 794 2
Piano Seminar 450 • 845 1
31
14
ELECTIVES
15
TOTAL 60

Voice: Options A and B
MAJOR AREA
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Coaching 186 • 711-714 4
34
101
14
ELECTIVES
16
TOTAL 64
CURRICULUM OPTIONS
Voice: Option C (Performance/Pedagogy)
MAJOR AREA
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Coaching 186 • 711-714 4
Performance Electives xxx • xxx 2
32
PEDAGOGY
Vocal Pedagogy 530 • 683 2
Vocal Pedagogy Lab 530 • 684 2
4
102
14
ELECTIVES
14
TOTAL 64
103
The Performer’s Certificate
The Performer’s Certificate is designed primarily for those undergraduate students
with outstanding musical and performance ability who do not choose to include the
academic component of the Bachelor of Music curriculum. Majors are available in guitar,
orchestral instruments, organ, piano, and voice.
A student who has matriculated into the Performer’s Certificate program may later
change to the Bachelor of Music degree program with the approval of the Associate Dean
for Academic Affairs and the Undergraduate Committee.
The admission requirements for the Performer’s Certificate are the same as those for
the Bachelor of Music degree program. Students should consult the appropriate section
of this catalog and the Peabody website at www.peabody.jhu.edu/ admissions for com-
plete information. Pre-screening recordings are required for some majors.
The Performer’s Certificate is normally a three-year course of study, with a minimum
residency of two years. At least 80 semester hours of course credit are needed for the
completion of requirements. Candidates must participate in ensembles throughout their
period of study.
Guitar
MAJOR AREA
Recital 190 • 495 2
Chorus 910 • 511, 512 8
50
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
52
TOTAL 102
104
Strings, Brass, Woodwinds, Harp, Percussion
MAJOR AREA
Recital 190 • 495 2
46
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
45
TOTAL 91
VARIATIONS:
Piccolo Class 530 • 463–464 2
Organ
MAJOR AREA
Recital 190 • 495 2
50
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
105
Continuo I: Figured Bass 530 • 315 2
59
T O T A L 109
Piano
MAJOR AREA
Recital 190 • 495 2
40
Ear–training I–II 710 • 123–124–223–224 8
Music Theory 1–5 710 • 111–112–211–212–311 15
60
TOTAL 100
106
Voice
MAJOR AREA
Recital 190 • 495 2
35
Ear–training I–II 710 • 123–124–223–224 8
Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 15
Singing in English – English Song 530 • 475–476 4
Singing in French – French Melodiè 530 • 483–480 5
67
GENERAL STUDIES
Italian I 250 • 111-112 6
German I 240 • 111-112 6
12
TOTAL 114
107
The Graduate Performance Diploma
The Graduate Performance Diploma International students in this program

program is designed to meet the needs of are considered by Immigration and Natu-
highly accomplished graduate-level per- ralization Services to be full-time students
formers who wish to pursue a more perfor- when enrolled for lessons and recitals.
mance-intensive goal than represented by
the MM or DMA Majors are available in Performance Requirements
all areas of performance, including opera In addition to individual major les-
and chamber music. sons, chamber music participation is an
essential component of the Graduate Per-
Admission Requirements formance Diploma program, and each stu-
Students matriculating into the Gradu- dent admitted to the program is expected
ate Performance Diploma program should to participate in some phase of ensemble
meet the following criteria: arts in each semester of study. A minimum
1. A Performer’s Certificate, undergradu- of two recitals is required for completion
ate degree in music, or equivalent from of the program. For an individual major-
a recognized institution is a prerequi- ing in performance, one of the recitals may
site for admission to the Graduate Per- be a chamber music recital with the per-
formance Diploma program. mission of the major applied department.
2. Applicants must perform selections For chamber music majors, all recitals
from a full recital program for the must be chamber music recitals. For opera
applied department at the regularly majors, at least one opera performance
scheduled audition periods in February (not necessarily a complete role) during
and May. Detailed audition repertoire each semester of study is required. For
requirements are available from the percussion majors, a juried performance
Admissions office and the Peabody of orchestral repertoire will serve as the
website at www.peabody .jhu.edu/ second recital. Any student not presenting
admissions. Pre-screening recordings
a graded recital in a given year is required
are required for some majors.
to perform at a graded hearing before
3. For the Graduate Performance Diploma the department faculty at the end of the
in Chamber Music, all students must spring semester.
be accepted into the studio of a major
Students are encouraged to pursue
teacher in their applied area. There are
no additional audition requirements development of as much public perfor-
for the Chamber Music GPD. For more mance experience as possible, both inside
information, go to www.peabody.jhu. and outside the institution.
edu/chambermusic and click on “Pro-
gram Overview.” Ensembles
Graduate Performance Diploma can-
didates majoring in orchestral instru-
Diploma Requirements (GPD)
ments must participate in the Peabody
Residency Symphony Orchestra, Peabody Concert
Part-time enrollment in the Graduate Per- Orchestra, or Peabody Wind Ensemble
formance Diploma program is not permitted. during each semester of enrollment.
One year of full-time residency is required, Organ majors have a two-semester Chorus
with two years of study generally necessary requirement which must be completed
to complete the program. Completion in in the first year of residency. There is
less than two years requires the permission no large ensemble requirement for other
of the major teacher and Associate Dean for Graduate Performance Diploma candi-
Academic Affairs. dates. Detailed guidelines for ensemble
108
participation are published in the Student demonstrates its special career relevance.
Handbook. Students are limited to three credits of
coursework per semester, in addition to
Related Requirements lessons, recitals, and ensembles. Addi-
The student may choose electives from tional course credits or audits carry a per-
music theory, musicology, repertoire credit charge. In the areas of music theory
studies, Curricular Practical Training, or and musicology, the student must take the
other music courses at or above the 400 appropriate placement examinations and
level. With the approval of the Associate satisfy any review requirements prior to
Dean for Academic Affairs, undergraduate enrolling in graduate-level courses.
courses may be accepted when the student
Curriculum Components (GPD)

Performance
MAJOR AREA
Two Recitals 190 • 695–696 4
Large Ensemble 8
Chamber Ensemble 950 • 831 1
29
ELECTIVES
TOTAL 37
Opera
MAJOR AREA
Opera Coaching 530 • 893–894 4
Two Recitals (Opera Roles) 190 • 695–696 4
Opera Ensemble* 4
24
ELECTIVES
TOTAL 32
*Opera Theatre, Chamber Opera, or Opera Workshop
109
The Artist Diploma Program
The Artist Diploma is a non-degree pro- audition before a panel of invited outside
gram reserved for the most exceptional and judges on the final day of February audi-
experienced performers, with emphasis on tion week.
repertoire designed to meet the needs of per-
formers who are preparing and qualified to Diploma Requirements (AD)
embark upon a professional career. One year of full-time residency is
required, with a minimum of two years of
Admission Requirements study at Peabody expected. The program
Majors are available in all areas of per- must be completed within five years.
formance. There is no Artist Diploma in Financial aid is awarded for a maximum
composition. Applicants must submit the of two years. International students in the
following with their application: Artist Diploma program are considered by
1. Standard evidence of formal training, Immigration and Naturalization Services
e.g., certificates and/or diplomas, includ- to be full-time students when enrolled for
ing transcripts certifying proficiency in lessons and recitals. Students enrolled in
all basic areas of musical study. the program are expected to be active per-
2. Evidence of professional performing forming members of the Peabody campus
experience, e.g. programs. Reviews are community.
optional. The Artist Diploma candidate must
3. Repertoire list indicating works studied present a minimum of four public recit-
and works performed. als. For chamber music majors, all recitals
4. A 75-minute recital program ready to must consist of chamber music. In voice,
be performed in its entirety. a major opera role may be considered an
5. Written recommendations from three appropriate substitute for one or more
outstanding professional musicians recitals, subject to approval of the major
familiar with the applicant’s perfor- teacher and the departments involved.
mance ability. An individual may The Artist Diploma curriculum
not apply for admission to the Artist includes pertinent coursework as deter-
Diploma program more than twice. mined by the student or as advised by the
Entrance to the Artist Diploma pro- major teacher in consultation with mem-
gram is determined by live audition only bers of the department and the dean. The
in February. All applicants must perform program also includes counseling, course-
selections from a full recital program for work, and/or independent study projects
the applied department at the regularly in various aspects of career development,
scheduled audition time. Upon the rec- as directed by the dean, the major teacher,
ommendation of the department, the and/or the department.
performer(s) will be scheduled for a second
Curriculum Components (AD)
MAJOR AREA
Four Recitals 190 • 795–796–797–798 8
24
ELECTIVES
TOTAL 32
110
Extension Study
Undergraduate dismissal. The student may apply for read-
Individuals wishing to enroll in private mission after that semester, but Peabody
lessons or classwork on an undergraduate is under no obligation to grant readmis-
non-degree basis, or in preparation for sion. The Conservatory reserves the right
application to a Conservatory degree pro- to exclude at any time a student whose
gram, may register for such study through academic standing or general conduct is
the Peabody Extension Division, pending considered unsatisfactory.
faculty availability and demonstration of An undergraduate or graduate degree
appropriate qualifications. in music from a recognized institution, or
A student who has been dismissed from the equivalent of the Performer’s Certifi-
a degree or certificate program at Peabody cate, is required. A Graduate Extension
may not enroll as an extension student student may make his/her own arrange-
for at least one full semester following ments with an applied teacher before
dismissal. The student may apply for read- making formal application to the Conser-
mission after that semester, but Peabody vatory. The audition (then or earlier) must
is under no obligation to grant readmis- be heard by the accepting teacher. A tape
sion. The Conservatory reserves the right or CD will be acceptable, but the perform-
to exclude at any time a student whose ing level must be validated in person upon
academic standing or general conduct is the student’s arrival at Peabody before
considered unsatisfactory. Graduate Extension status is confirmed.
Further information may be obtained When at all possible, the audition should
from the Registrar’s Office. be a part of the regular audition schedule.
A Graduate Extension student may be
Graduate accepted onto a teacher’s schedule or into
Graduate Extension is designed for the coursework on a space- available basis if
individual who already holds an under- the application process is complete before
graduate or master’s degree in music, or registration.
the equivalent of a Peabody Performer’s The student may register for applied
Certificate, and who may fall into the fol- study and/or any combination of academic
lowing categories: coursework. In the areas of music theory
1. Has been working in the field for sev- and music history, the Graduate Extension
eral years and is seeking to refresh his/ student must take the appropriate place-
her knowledge or improve pedagogical ment examinations and satisfy any review
or technical skills requirement prior to enrolling in gradu-
2. Has a particular personal goal, and pre- ate-level courses. Lesson, performance, and
fers to make use of Peabody’s resources coursework credits may count toward ful-
in an unstructured way fillment of subsequent graduate diploma
3. Is the recipient of a special one-year or degree requirements, if approved by
grant such as a Fulbright the major department. Formal application
4. Has missed the degree or diploma for any change in graduate program must
entrance deadlines and wishes to begin be made with the Admissions Office and
work on a space-available basis all other requirements for entrance must
be met. Graduate Extension registrants
A student who has been dismissed from are eligible to participate in ensembles by
a degree or certificate program at Peabody audition but generally are not considered
may not enroll as an extension student for institutional scholarship support.
for at least one full semester following
111
Conservatory Faculty
Chamber Music Graduate Conducting Brass
Small Ensembles Gustav Meier, Coordinator Trumpet
Michael Kannen, Director Markand Thakar Josef Burgstaller
Katherine Jacobson Guitar Edward Hoffman
Seth Knopp Manuel Barrueco Horn
Maria Lambros Philip Munds
Ray Chester
Violaine Melancon Denise Tryon
Julian Gray, Chair Trombone
Jeffrey Sharkey
Alison Wells Jazz Randall Campora
Larry Williams Nasar Abadey David Fetter
Paul Bollenback James Olin, Coordinator
Early Music
Jay Clayton Tuba
Baroque cello, viola da David Fedderly
gamba Michael Formanek
Euphonium
John Moran Donvonté McCoy Steven Kellner
Baroque flute Timothy Murphy
Harp
Colin St. Martin Gary Thomas, Chair
Jeanne Chalifoux
Baroque lute, theorbo Ruth Inglefield,
Opera
Richard Stone Coordinator
Baroque oboe Carol Bartlett
Percussion, Timpani, and
Stephen Bard Garnett Bruce
Marimba
Baroque violin Roger Brunyate, Chair Robert Van Sice
Risa Browder Eileen Cornett Organ
Harpsichord JoAnn Kulesza Donald Sutherland,
Adam Pearl Coordinator
Orchestral Instruments
Recorder John Walker
and Organ
Gwyn Roberts
Renaissance lute Woodwinds Piano
Mark Cudek, Director Flute Ensemble Arts
Marina Piccinini Eileen Cornett
Composition Emily Skala Ellen Mack, Coordinator
Composition Laurie Sokoloff Piano
Oscar Bettison Piccolo Leon Fleisher
Michael Hersch Brian Ganz
Laurie Sokoloff
Kevin Puts Marian Hahn
Clarinet Seth Knopp
Computer Music Steven Barta
McGregor Boyle, Chair Ellen Mack, Chair
Anthony McGill Yong Hi Moon
Geoffrey Wright Edward Palanker Benjamin Pasternack
Ensembles and Conducting Saxophone Alexander Shtarkman
Ensembles Gary Louie Boris Slutsky
Hajime Teri Murai, Oboe Repertoire Studies
Chair Jane Marvine Michael Habermann
Harlan Parker Katherine Needleman Sharon Levy
Edward Polochick Bassoon Hyunsook Park
Gene Young Phillip Kolker, Chair Adam Pearl
112
Strings Humanities Ear-training
Violin Language Clinton Adams,
Victor Danchenko Paul Oorts Coordinator
Pamela Frank Patricia Palmer Courtney Orlando
Herbert Greenberg Karen Pevac Keyboard Studies
Violaine Melancon Christine Rothbaum Patricia Graham,
Keng-Yuen Tseng, Chair Sebastian Vogt, Coordinator
Viola Coordinator Ken Johansen
Victoria Chiang, Liberal Arts Lura Johnson
Coordinator Ron Levy, Chair Professional Studies
Richard Field Gary Popoli
Stephen Wyrczynski Hollis Robbins Business of Music
Violoncello Sarah Snyder Linda Goodwin
David Hardy Gary Louie
Amit Peled Musicology Music Education
Alan Stepansky, Suhnne Ahn Harlan Parker, Chair
Coordinator Robert Follet Laura Parker
Alison Wells Richard Giarusso Cherie Stellaccio
Double Bass John Gingerich Recording Arts
Paul Johnson, Coordinator David Hildebrand Matthew Lyons
Jeffrey Weisner John Moran Michael MacDonald
Elam Ray Sprenkle Scott Metcalfe, Chair
Voice Andrew Talle, Chair Neil Thompson Shade
Phyllis Bryn-Julson, Elizabeth Tolbert Edward Tetreault
Chair Piero Weiss Repertoire Studies
Marianna Busching Susan Weiss Rebecca Henry
Stanley Cornett Pedagogy
Ah Hong Music Theory Laura Parker, Coordinator
Steven Rainbolt Music Theory
William Sharp Vern Falby
John Shirley-Quirk Mark Janello
Ildar Khannanov
Vocal Coaching and Sharon Levy
Repertoire Studies Paul Mathews
Vera Danchenko-Stern David Smooke
Wolfgang Justen Elam Ray Sprenkle
Ernest Ligon Stephen Stone, Chair
Ernest Liotti Kip Wile
Stacey Mastrian
Robert Muckenfuss
Distinguished Visiting Faculty

Marin Alsop, conducting
William Nerenberg, Business of Music
Christopher Rouse, composition
Harold Hall Robinson, Bass
Dame Gillian Weir, organ
113
Course Listings
In most cases, there are two semester hours numbers in parentheses following the
course description. The first number refers to the first semester, and the second number
refers to the second semester. A dash separating the two numbers indicates that the com-
pletion of the course in the first semester is a prerequisite for continuing the course in
the second. A comma separating the two numbers indicates that the first semester is not
a prerequisite for the second. 400-level courses may be used to fulfill graduate require-
ments. Undergraduates may enroll in 600- or 700-level courses with permission of the
instructor and the registrar.
Students should check with the Registrar's Office each semester for the latest informa-
tion on course availability.
Brass
James Olin, Coordinator
530 • 419,420 Trombone Repertoire Class
The development of orchestral skills through low brass sectionals; performance in trombone
choir, departmental recitals, and mock orchestral auditions. (1,1) Olin
530 • 453,454 Horn Repertoire Class

Open to all horn students wishing a variety of performing situations involving solo and
orchestral repertoire. Includes a class recital and mock audition each semester. (1,1) Munds/
Tryon
530 • 459 Respiratory Function

Basic techniques of breathing and breath control for wind instruments tailored to the stu-
dent’s instrument with a goal of enhancing one’s use of air and efficiency to improve perfor-
mances. Consists of five private one-hour lessons during the semester. Enrollment is limited
to three students per semester. (1) Fedderly
530 • 457,458 Orchestral Repertoire for Trumpet

The development of orchestral performance skills for trumpet with emphasis on repertoire.
(1,1) Hoffman
950 • 547,548/847,848 Brass Repertoire Class

Performance of large brass ensemble repertoire and British-style brass band repertoire;
rehearsal of important orchestral literature for brass. (1,1) Olin/Kellner
Chamber Music
Michael Kannen, Director
530 • 521,522 Chamber Music Seminar

Open to complete groups enrolled in the chamber music program. This class focuses on a
different area of the chamber music repertoire each semester. It is an open forum in which all
participants contribute, a goal being that active listening will lead to meaningful and help-
ful responses. Through each group’s performance, the class will explore the issues that lead to
the successful re-creation of a work, and will strive to put single works into larger contexts.
Groups must apply for admission into the seminar each semester, and will be admitted at
the discretion of the faculty. This class is offered as an elective. (2,2) Kannen/Knopp/Lambros/
Melancon
114
530 • 621,622 Instrumental Chamber Music Class
Designed for concentrated study of the sonata and instrumental chamber music literature.
Audition/permission of the instructor required. (2,2) Hahn/Mack
530 • 623 New Chamber Music

This class brings together composers and instrumentalists who will work together to pro-
duce a piece of chamber music to be performed at the end of the semester. Issues of writing
for chamber ensemble as well as issues of performing contemporary music will be explored.
Interactions between composers and performers will be the focus. Instrumentalists will be
required to do some composition. All instruments, as well as voice, are welcome. Participat-
ing composers will be selected by the composition faculty. This course is offered as an elec-
tive. (2) Kannen
530 • 579,580 Vocal Chamber Music

This class brings together singers and instrumentalists to explore the vast chamber music
literature that includes voice, from the baroque to the 21st century. Ensembles can include
all orchestral instruments, organ, harpsichord, piano, guitar, and percussion. This course is
offered as an elective. Permission of the instructor is required. (2,2) Sharp/Shirley-Quirk
950 • 531,2/831,2 Chamber Ensemble

The study and performance of the chamber music literature from all periods of music history
and including instrumental groups and combinations of orchestral instruments, keyboard
instruments, guitar, early music instruments, and voice, where appropriate. All groups
receive weekly coachings and are required to perform at the end of the semester. (1,1) Faculty
950 • 539,540/839,840 Piano Ensemble

The study and performance of selected duo piano literature, including music written for one
piano, four hands, as well as repertoire for two pianos. (1,1) Jacobson/Faculty
950 • 527,8/827,8 Baroque Ensemble

Small ensembles of instruments and singers formed by faculty coaches who cover aspects of
historic performance styles as well as ensemble playing. Instrumental students are matched
according to ability on period or modern instruments. Prior experience on period instruments
is desirable. (1,1) Faculty
950 • 553,4/853,4 Renaissance Chamber Ensemble

The study and performance of selected Renaissance literature for specific instrumental and
vocal groups such as, but not limited to, quartets of like instruments (e.g., guitars), lutesongs
(for voice and guitar), and the “English” or mixed consort of violin, flute, viol, lute, and gui-
tar. (1,1) Cudek
Composition
McGregor Boyle, Chair
310 • 515,516,517,518 Music Now I, II
This elective course will focus on music of the last 25 years by international region and will
look at the major figures and movements of those countries with a special, extended look at
music from the United States. I and II are offered in alternate years. (2,2) Faculty
310 • 545-546/845-846 Composition Seminar

Informal sessions in which works of students and faculty are discussed in depth, guest lectur-
ers appear, and important contemporary works, trends, and techniques are analyzed. Required
for composition majors all semesters of residence. Open to others with permission of the
Composition Department. (1-1) Faculty
115
310 • 691 Composition Portfolio
The completion of works of major proportions, for full orchestra and chamber ensemble, as
required in the MM degree program. (2) Faculty
310 • 793 Compositions/Commentary

The completion of works of major proportions, for full orchestra and chamber ensemble,
accompanied by a substantial written commentary, as required in the Doctor of Musical Arts
degree program. (6) Faculty
Computer Music
Geoffrey Wright, Coordinator
350 • 437-438/837-838 Digital Music Programming

This course will teach computer programming theory and skills pertaining to computer
music composition, performance, and research. It covers data structures, networking, real-
time computing, machine architecture, advanced C, MAX external objects, and Java. Prereq-
uisites: 350 • 466 and 350 • 835 or equivalent. (2-2) Boyle
350 • 463-464 Introduction to Computer Music

A study of the techniques, repertoire, and aesthetics of computer music. Composition and
research projects are completed using the resources of the Computer Music Studios. Participa-
tion in at least one public program. (3-3) Boyle
350 • 465 Introduction to Web Design

Designed for music students with little computer experience, this course will provide an over-
view of the usefulness of computers for musicians by looking at what computers are, how they
work, what they can do, and how they affect many other aspects of living. Focus will be on
both the humanistic and technical sides of computing. (3,0) Wright
350 • 466 Introduction to Programming (using Java)

A non-mathematical introduction to computer science, this course is designed for musicians
with limited background in computing. It is similar to Computer Science I courses at Johns
Hopkins and other universities but focuses on musical, multimedia, and World Wide Web
projects instead of mathematical or statistics projects to learn programming. The course will
be taught using Java J2SE and jMusic. (0,3) Wright
350 • 467-468/867-868 Synthesis Theory

A course designed to examine digital signal processing techniques as applied to computer
music applications. Topics include theoretical background of digital synthesis and processing
techniques (sampling theory, FM, linear and nonlinear synthesis systems), hybrid synthesis
systems, mixed digital synthesis systems (MIDI), direct digital synthesis (Csound), various
music synthesis and processing languages. Specifically for computer music majors and record-
ing arts majors, but open to others with permission of the instructor. Prerequisites: 350 •
463-464 and 350 • 835 or equivalent. (3-3) Faculty
350 • 545-546/845-846 Computer Music Seminar

The seminar focuses on the work of student and faculty composers, performers, and research-
ers, with class discussion of these and other current developments in the field of computer
music. The seminar also functions as a repertoire class, and the participation of computer
music majors is required and evaluated as part of lessons and research practicum. Open to
others with permission of the department. (1-1) Faculty
116
350 • 835 Studio Techniques
A course that covers advanced computer music studio techniques, including advanced use
of MIDI, synthesizer programming, sample editing and processing, SMPTE Time Code and
synchronization, and recording and production techniques. Prerequisite: 350 • 463-464 or
equivalent. (3,0) Wright
350 • 840 History of Electroacoustic Music

A course devoted to the history, literature, and bibliography of electronic and computer
music, and the relationship between this field and other trends in 20th-century music. The
focus is on musical and technological developments since 1900, and the impact these have
had on musical thought. (0-3) Boyle
350 • 841-842 Research Practicum

An intensive course for those following the computer music research/technology track. Sub-
stantial individual projects will be pursued. Prerequisite: Permission of the instructor. (4-4)
Faculty
350 • 847-848 Computer Music Area Seminar—Special Topics

One-semester seminars, often given by guest lecturers and faculty, will be offered in a variety
of areas pertaining to computer music composition, performance, and research/technology. A
total of four area seminars must be taken during each student’s two-year residency, the topics
of which must be approved by department faculty. (1-1) Faculty
350 • 871 Music Notation Software

A course that introduces the basic concepts of music notation using computer software,
focusing on the Finale application from Coda Music Technology. No prerequisite, open to all
Conservatory students. May be taken by computer music majors for Special Topics credit. (2)
Faculty
350 • 691 Computer Music Master’s Thesis

A scholarly work describing the author’s research activities as required for the Research track
of the MM program in Computer Music. (2) Faculty
350 • 693 Computer Music Composition Portfolio

The completion of works of major proportions that utilize computer technology, accompanied
by a substantial written commentary, as required by the MM program in Computer Music.
(2) Faculty
Conducting
330 • 311 Basic Conducting
A basic course in orchestral techniques. Offered fall and spring. (1) H. Parker
330 • 411,412 Intermediate Conducting

Designed for the student who desires more intensive study in conducting. Literature will be
sequenced with the more difficult works in the Advanced Conducting course. Prerequisite:
Basic Conducting or permission of instructor. (1,1) H. Parker
330 • 413,414 Advanced Conducting

Designed for the student who desires more intensive study in conducting. Prerequisite: Inter-
mediate Conducting or permission of the instructor. (1,1) H. Parker
117
330 • 845-846/847-848 Conducting Seminar
A seminar in all aspects of conducting as a profession, from orchestra management to
program making. Videotapes of each week’s rehearsal with the conductor’s orchestra will be
discussed. Required of all conducting majors throughout period of enrollment. (1-1)
Meier/Thakar
Early Music
Mark Cudek, Director
530 • 315 Continuo I: Figured Bass

Designed to develop the skill of continuo playing, reading, and improvising from a figured
bass, this course will use standard repertoire as well as exercise drills. Open to all qualified
keyboard students. Offered on an as-needed basis. (2-0) Pearl/Stone
530 • 337-338 Baroque Violin/Viola Repertoire

An introduction to the playing of early repertoire on period violin or viola and bow. The
student will learn the basics of baroque technique and will be introduced to a range of music,
from early baroque to early classical, and its interpretation from a historical perspective. (1-1)
Browder
530 • 343 Violin Literature

A chronological survey of violin literature, pedagogical as well as musical, with an emphasis
on historical techniques and performance practices of the 17th, 18th, and 19th centuries.
Along with treatises (Geminiani, Leopold Mozart, and Baillot), the repertoire of correspond-
ing periods will be examined in light of the techniques and tastes of the times in which it was
written. No prior early music training is required. Prerequisite: Music History II or permis-
sion of the instructor. Offered in alternate years. (1,0) Browder
530 • 351-352 Beginning Viola da Gamba

An introduction to the playing technique of the viola da gamba through easy to intermedi-
ate-level ensemble literature. A preparatory step to consort playing and the viol solo litera-
ture. Prior string experience is not necessary. (1-1) Moran
530 • 353,354 Viola da Gamba Consort

Designed for students of intermediate to advanced proficiency on viola da gamba, the consort
class provides an opportunity to read and perform music written specifically for combinations
of two to six viols (primarily from 17th-century England). Refinement of ensemble playing is
stressed. Students have the opportunity to work with other instruments of the period in bro-
ken consort and consort songs. Prerequisite: 530 • 351-352 or permission of the instructor.
(1,1) Moran
530 • 355-356 Recorder Consort

The study and performance of ensemble music of the Renaissance for recorder consort, with
emphasis on sound, blend, tuning, style, articulation, and historical fingerings. (1-1) Roberts
530 • 421,422 Harpsichord Literature

A study of the literature for the harpsichord from the late 16th to the 20th century. The
course is approached from the performer’s point of view with analysis and discussion of form
and style. Offered on an as-needed basis. (1,1) Pearl
118
530 • 433-434 Lute Literature and Notation
Intensive study of repertoire and genres for Renaissance and baroque lute and vihuela
through listening, transcribing, and performance of selected works from French, Italian,
and German tablatures. Performance practice is also a key focus of this class and will be
learned initially through simple ensemble pieces transcribed for guitar duo, trio, and quartet.
Required for guitar majors. (2-2) Cudek
530 • 435 Viola da Gamba Repertoire

A chronological survey of the viola da gamba and its literature (16th to 18th centuries). The
class includes live performances of seldom heard repertoire in addition to discussions of viol
technique and history. No prior early music training is required. (1,0) Moran
530 • 436 Early Cello Literature

A chronological survey of violoncello literature, pedagogical as well as musical, with an
emphasis on historical techniques and performance practices of the 17th, 18th, and 19th cen-
turies. The class includes consideration of the most important cellists of the 18th and 19th
centuries. No prior early music training is required, but familiarity with cello repertoire is
expected. Prerequisite: Music History II or permission of the instructor. (0,1) Moran
530 • 439,440 Baroque Violoncello

This course combines the history of the violoncello with listening and hands-on experience.
Students have use of Peabody’s recently “baroqued” instruments and work with primary
source tutorials as an introduction to performance practice. Solo and ensemble playing are
integral to the course. The art of bowed continuo playing is stressed and practiced in ensem-
bles with other “original” instruments. (1,1) Moran
530 • 441-442 Baroque Ornamentation

A course in performance practices in baroque literature from 1600 to 1785. An in-depth
study of melodic and harmonic embellishments organized by country with emphasis on
sources of the period. Examples from vocal, keyboard, and other instrumental sources used.
May be used to satisfy music history electives. Text is Frederick Neumann’s Ornamentation
in Baroque and Post-Baroque Music. (2-2) Pearl
530 • 443,444 Baroque Flute Class

An introduction to the playing technique of the baroque flute with emphasis on fingering,
tonal production, historic styles, and appropriate literature. (1,1) St. Martin
530 • 445 Advanced Continuo

A continuation of 530 • 315 Continuo I: Figured Bass. Specific styles of accompanying rec-
itative, chamber ensembles, orchestral, including Italian, French, German. Offered on an as-
needed basis. (0-2) Pearl/Stone
370 • 492 Harpsichord Tuning

A course in basic tuning and maintenance, including tuning wrench technique, ear-training,
voicing of plectra, replacement of strings. Some study of development and construction of
harpsichords. Historic temperaments are taught. Majors must pass this course with not less
than a grade of B. Offered on an as-needed basis. (0,2) Pearl
530 • 543,544 Early Vocal Literature

Fall: a study of vocal works and styles from the Middle Ages and Renaissance. From chant
and early polyphony to mass, motet, madrigal, and lute song. Spring: transition from Renais-
sance to baroque—monody, opera and oratorio, aria, and recitative. An emphasis on coached
in-class performances. (2,2) Cudek/Stone
119
530 • 559 Historical Diction for Singers
Coached performance class for vocalists of 17th- and 18th-century (baroque) repertoire in
French, German, Italian, and Latin. Particular emphasis on interplay between text and music.
(1,0) Stone
530 • 577,578 Early Wind Literature

A chronological survey of the literature for recorder, flute, and oboe from the beginnings
of soloistic composition in the late 16th century through the end of the 18th century, with
attention to historical context and performance practice. Includes history and development of
the instruments themselves and consideration of how the recorder, flute, and oboe repertoires
overlap, differ, and developed over time. No prior early music experience is necessary. (1,1)
Roberts
610 • 634 Baroque Performance Practice

What assumptions did performers bring to interpretation in the baroque era? This class pro-
vides a detailed overview of prevalent performance conventions of the time as taught to us by
primary sources, including Quantz, CPE Bach, Leopold Mozart, Muffat, and Geminiani, as
well as some insight into why these matters are important and what drives the early music
movement. While everyone will be expected to develop a solid grasp of the most significant
issues, each student will also independently cultivate expertise in a specific area of his or her
choosing. (3,0) Moran
910 • 527-528/910 • 827-828 Baltimore Baroque Band (Baroque Orchestra)

At the core of the baroque orchestra are the strings and continuo, forces ranging from one on
a part to the “Twenty-four Violins” of Versailles. Winds were regularly added, to suit reper-
toire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Col-
legium Musicum, it is a flexible group that explores a broad repertoire where students work
in close partnership with experts. Playing on historical instruments, students gain firsthand
experience in period style in an environment combining orchestral discipline and chamber
music sensibility. (2-2) Moran/Browder
950 • 527,8/827,8 Baroque Ensemble

Small ensembles of instruments and singers formed by faculty coaches who cover aspects of
historical performance styles as well as ensemble playing. Instrumental students are matched
according to ability on period or modern instruments. Prior experience on period instruments
is desirable. (1,1) Faculty
950 • 529,30/829,30 Renaissance Ensemble

Open to singers and instrumentalists who wish to play early winds and strings such as
recorder, krummhorn, shawm, sackbut, cornetto, rebec, vielle, viola da gamba, lute, cittern,
Renaissance guitar, harp, etc. Repertory will include madrigals and chansons, motets and
anthems, lute and consort songs, and various instrumental consorts. (2,2) Cudek
950 • 553,4/950 • 853,4 Renaissance Chamber Ensemble

The study and performance of selected Renaissance literature for specific instrumental and
vocal groups such as, but not limited to, quartets of like instruments (e.g., guitars), lute
songs (for voice and guitar), and the “English” or mixed consort of violin, flute, viol, lute, and
guitar. (1,1) Cudek
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120
Ensemble Arts
Ellen Mack, Coordinator
350 • 847,848 Ensemble Arts Seminar

(1,1) Faculty
530 • 213-214 Accompanying

Open to all qualified keyboard students at any level. Required for keyboard majors as part of
the chamber music program. (1-1) E. Cornett
530 • 513-514 Advanced Accompanying (Undergraduate)

(2-2) Mack
530 • 619,620 Accompanying and Coaching Skills for Pianists

An in-depth study of basic accompanying and vocal coaching skills, including diction and
phonetics, standard aria repertoire, operatic and oratorio coaching, ornamentation, and musi-
cal style. Also incorporates studies of popular styles: musical theater accompanying, synthe-
sizer skills, lead sheet reading, transposition, and improvisation. Offered in alternate years.
(2,2) E. Cornett
530 • 621,622 Instrumental Chamber Music

Designed for concentrated study of the sonata and instrumental chamber music repertoire.
Audition/permission of the instructor required. (2,2) Hahn/Mack
530 • 625,626 Accompanying and Coaching Skills II

A continuation of Accompanying and Coaching Skills I, this course is designed to build rep-
ertoire, interpretation, and coaching skills in the operatic literature. Audition/permission of
the instructor required. (2,2) E. Cornett
530 • 813-814,817-818 Advanced Accompanying (Graduate)

(2-2) Mack/Shirley-Quirk
530 • 639 Student Coach, Opera Workshop

Participation as student coach in the preparation and performance of scenes from the operatic
repertoire, in simple stagings with piano accompaniment. (1) Faculty
530 • 640 Student Coach, Opera Theatre

Production Participation as student coach in the preparation and performance of complete
fully staged operas with orchestra. (2) Faculty
530 • 677 Advanced Vocal Repertoire in French Study and performance of

representative songs.
Singers should be comfortable singing in French. Open to vocalists and pianists by audition/
permission of the instructor. Offered in alternate years. (0,2-3) Ligon
530 • 678 Advanced Vocal Repertoire in German Study and performance of

representative songs.
Singers should be comfortable singing in German. Open to vocalists and pianists by audition/
permission of the instructor. Offered in alternate years. (2-3,0) Ligon
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General Studies
360 • 411 The Music Business: Cash, Contracts, Copyrights
This course examines the business and commercial factors the musician encounters when
making a living in the United States. It considers the legal, financial, and marketing aspects
of a professional musician’s livelihood. Topics include the basics of contract and copyright
laws, key aspects of the recording industry, performing rights and venues, broadcasting, pub-
lishing, unions and other professional societies, managers, booking agents, tax planning, and
marketing. (2,0) Goodwin
360 • 415,416 The Arts Administrator/Orchestra Management

An examination of the principles of orchestra management and its administrative structure,
with detailed practical consideration given to programming, planning, budgeting, fund rais-
ing, staffing, library science, development, and community relations. (2,2) Goodwin
360 • 421 The Business of Music

The course explores the strategies for starting a career as a soloist or chamber musician. It will
help musicians define their personal career goals and will provide the tools necessary for suc-
cess. (1,1) Louie/Nerenberg
530 • 501-502 Thursday Noon Recital Series

Student performances covering all historical periods and a variety of genre. Attendance
required in the first two semesters of undergraduate enrollment. (1/2-1/2)
530 • 503-504 Thursday Noon Alternate Project

A concert attendance project required in the third and fourth semesters of undergraduate
enrollment. (1/2-1/2)
Guitar
Julian Gray, Chair
530 • 431,432 Guitar Literature: Undergraduate

A study of the literature for the guitar from the Renaissance to the present. Offered in alter-
nate years. (2,2) Gray
530 • 631,632 Guitar Literature: Graduate

A more advanced and specialized course which includes detailed study of selected works from
the guitar literature. It will include additional research and documentation beyond the under-
graduate level. Offered in alternate years. (1,1) Gray
530 • 433-434 Lute Literature and Notation

Intensive study of repertoire and genres for Renaissance and baroque lute and vihuela through
listening, transcribing, and performance of selected works from French, Italian, and German
tablatures. Performance practice is also a key focus of this class and will be learned initially
through simple ensemble pieces transcribed for guitar duo, trio, and quartet. Required for
guitar majors. (2-2) Cudek
530 • 585-586 Guitar Music Skills I

The application of theoretical skills to the guitar. Includes harmony, position reading,
rhythm, transposition, analysis, and more. (1-1) Chester
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530 • 587-588 Guitar Music Skills II
A continuation of 530 • 585-586 for guitar majors; emphasis on form and analysis and basic
skills such as transposition, sight-reading. (1-1) Chester
530 • 637-638 Guitar Pedagogy

A study of guitar instructional principles and procedures for their application. Graduate stu-
dents enrolled in this course will be required to do more advanced and specialized research
and documentation. (2-2) Chester
470 • 545-6/845-6 Guitar Seminar

A seminar for performance and discussion of the guitar and related repertoire. Required of all
guitar majors in all semesters of enrollment. (1-1) Faculty
950 • 541,2/841,2 Guitar Ensemble

The development of guitar ensemble skills with two, three, and four guitars. (1,1) Chester
Harp
Ruth Inglefield, Coordinator
370 • 497-498 Harp Maintenance

Incoming students take this class for one year unless expertise can be established. Class covers
the basics of instrument care, changing felts, replacing rods, minor regulation, pedal adjust-
ment, etc.; students must demonstrate ability to perform standard maintenance on the school
instruments. (1-1) Inglefield
530 • 495-496 Harp Repertoire

All harp majors are expected to participate in this class every semester. Individual perfor-
mances of standard and contemporary repertoire (as per lesson material and/or recital prepa-
ration) with discussion of both musical and practical aspects of performance. May include
chamber performances, periodic written “reviews” by classmates, etc. (2-2) Inglefield
420 • 545-546/845-6 Harp Seminar

Varying topics relative to different aspects of the profession: contest/audition preparation,
arranging, orchestral techniques, amplification, resume writing, etc. For all majors from
sophomore year. Expectations vary with topic, but normally involve preparation as well as
participation. (1-1) Faculty
530 • 629-630 Harp Pedagogy

May be taken by all majors from sophomore year, and may be repeated (at least one year is
required). Materials covered in first semester include principles of hand position, fingering,
placing, sequencing of materials, choice of music, etc., as these apply to beginning students
at every age level. Second semester consists of continued discussion as above, plus a practicum
level in which each member of the class must teach one student for 12 weeks, after which a
mini-recital will provide the basis for group evaluation and final discussion. Graduate stu-
dents are further expected to prepare a notebook of specialized teaching materials for begin-
ners. (2-2) Inglefield
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Humanities
Ron Levy, Chair
260 • 011-012 Introduction to Liberal Arts

Designed for international students for whom English is a second language, this course nur-
tures the basic skills of critical thought and self-expression necessary for success in Peabody’s
undergraduate academic program. Students in this class will study Greek myths, selections
from the Bible, Shakespeare plays, and other works that have inspired Western composers
and artists. Course readings will form the basis of class discussion and writing exercises. (3-3)
Snyder
220 • 514 Writing Workshop

Working in a variety of genres (short stories, poems, essays, etc.), students draft, discuss,
revise, and edit their own writing projects. Student-led classes allow for creative activities.
Student work is published in a class anthology at the end of the semester. Material changes
each year so that students may enroll more than once. (0,3) Snyder
260 • 117 Writing Skills

This course emphasizes practical strategies for successful academic and professional writing.
Students complete a variety of writing exercises and projects. Student writing is frequently
exchanged for discussion and critique. The course is not available for open enrollment; a small
group of students selected from the first semester’s Humanities Seminar will enroll in spring
semester. (0,3) Snyder
260 • 115 Humanities Seminar

A team-taught course designed for new Peabody undergraduates. The course introduces stu-
dents to college-level academic studies. Designed as a text-based, interdisciplinary course,
course themes and assignments change from year to year. The course fosters critical think-
ing through discussion and a range of carefully supervised projects in a small-group setting.
Writing and collaborative work are central to the Humanities Seminar. (4,0) Faculty
260 • 235 Power and Racism

This is an interdisciplinary course that examines white supremacy and anti-black racism as a
global system of power. Through reading texts in philosophy, history, sociology, politics, and
law, the course will focus on trends, developments, and future challenges related to the social
relations of racism and power in America and in Brazil. (3,0) Hayes
260 • 237 Ethnographies of the Ordinary: The Politics of Identity

This course intends to improve students’ ability to see themselves and to see others not as
passive “members” of groups pre-defined by place, gender, occupation, race/ethnicity but as
actors who create identity in everyday performances of familiar “scripts” that falsely claim to
define who’s who. The course will engage students via a range of activities, including field-
work (disciplined observation, interviewing, participation in community events, generating
cultural “texts”); analysis (finding the ordinary in extraordinary; identifying patterns of dis-
persion and cultural continuity); and interpretation (moving from recognition to meaning,
developing awareness of ethnocentrism). (3,0) Camp
AS 362 • 200 African-American Poetry & Poetics

This course will explore the category, history, and development of African-American poetry
from Phillis Wheatley to the present. We will focus on poetry and poetics specifically but
will consider the general movement of literature produced by African-American writers over
the course of three centuries. We will read works by the key contributors to this particular
American literary tradition with the goal of understanding the aesthetic, cultural, and criti-
124
cal legacy of African-American poetry to the American literary and musical sensibility of the
21st century. From 18th-century odes to the blues, hip-hop, and rap traditions, we will exam-
ine the role that race, cultural identity, legal status, and the impersonal structures (or shack-
les) of poetic forms have played in shaping and reshaping African-American verse. This class
will be taught on the Homewood campus. Students can cross-register to enroll. (3,0) Robbins
260 • 216 Twentieth-Century Aesthetics and Politics

This course will introduce students to the ways that the relationships among art (aesthetics
and critical theories of art), ideology, and politics were articulated in the 20th century. We
will look at politics in its broadest sense to mean “the total complex of relations between peo-
ple living in society, and the relations or conduct in a particular area of experience especially
as seen or dealt with from a political point of view” (Merriam Webster). We will look specifi-
cally at the relationship between aesthetic innovation (including of course transgression) and
social/political revolutions; we will explore the many links between aesthetics, critical theory,
politics, and modernity. We will consider the different ways in which aesthetic discourse has
been caught up, implicated in, and called to serve process of revolution in the modern period.
We will read writers such as Mao, Lenin, Trotsky, Brecht, Georg Lukács, Theodor W. Adorno,
and Walter Benjamin. (0,3) Robbins
260 • 222 Introduction to Interpretation

This course will help you to develop reading and writing skills, to expand your understand-
ing of aesthetic and rhetorical principles, and to introduce you to the discipline of literary
study. You will learn how to read and interpret literary texts from poetry, short fiction, and
novels to drama and film. You will be introduced to traditional interpretive approaches and
theories and learn to be active (as opposed to passive) readers. You will develop a critical
vocabulary to help you read and interpret literary texts, to articulate your own points of view,
and locate your own positions within current theoretical debates. This course will help you to
improve your paper-writing skills for all future classes at Peabody. Texts include poetry, one
play (Twelfth Night), one novel (Lolita), and one film (The Big Lebowski). (0,3) Robbins
260 • 236 Science and Religion

This course explores science and religion both as complementary and as competing ways by
which individuals have sought to understand the world and their place within it. Analysis of
the recently published Science, Evolution, and Creationism by the National Academy of Sci-
ence (2008) will show how contemporaries distinguish science and religion as separate modes
of inquiry and understanding, while assessment of earlier commentators and scientific think-
ers will reveal an overlap and compatibility that often goes unrecognized today. The class will
study a range of primary documents, reaching back to the practitioners of alchemy, astrology,
and natural magic—many of whom were profoundly religious—whose quest for the secrets of
nature and spiritual forces gave birth to modern scientific inquiry. (0,3) R. Levy
290 • 111 Introduction to Psychology

An introduction to the fields and research methods of contemporary psychology, including
such topics as biological and social bases of behavior, human development, perception, mem-
ory, learning theory, intelligence, and abnormal behavior. Special emphasis will be placed on
subjects of importance to music education. (0,3) Popoli
530 • 539 Poetry in German

Beginning with Goethe’s work, this course focuses on German poems representative of a
poet, a period, or a genre, from the 18th century to the present. Special attention will be
paid to works set to music by various composers from Mozart to Henze. Texts will be read in
the original German (with English translations); discussion will be in English. Prerequisite:
none. (3,0) Vogt
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Languages
Sebastian Vogt, Coordinator
225 • 001-002 English Skills for Classroom Success: Listening and Speaking
This intensive course develops the English skills of listening and speaking necessary for suc-
cess in Peabody classes. Placement is determined through an entrance exam and a personal
interview. Students in this class must concurrently enroll in 225.003-004 Reading and Writ-
ing. Graduate students placed in this course are required to complete it with a grade of B or
better and to enroll in ESL II in their second year at Peabody. Attendance is mandatory. (0-0)
Pevac
225 • 003-004 English Skills for Classroom Success: Reading and Writing
This intensive course develops the English skills of reading and writing necessary for success
in Peabody classes. Placement is determined through an entrance exam and a personal inter-
view. Students in this class must concurrently enroll in 225.001-002 Listening and Speaking.
Graduate students placed in this course are required to complete it with a grade of B or better
and to enroll in ESL II in their second year at Peabody. Attendance is mandatory. (0-0) Palmer
225 • 007-008 ESL II – English Skills for Graduate Study

This intensive course for international graduate students develops English skills for aca-
demic success. The first semester emphasizes oral communication, including listening and
note taking, class discussion, and conversation; academic vocabulary, reading and writing;
and cultural differences in and out of the classroom. The second semester continues the skill
development begun in the first semester, with concentration on expository writing, especially
resource-based writing, self-evaluation, and editing; critical reading; and informal and formal
presentations. Placement is determined through an entrance exam and a personal interview.
Students placed in this class must complete the course with a grade of B or better in order to
proceed with their degree requirements. Attendance is mandatory. (0-0) Palmer
230 • 111-112 French I

A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of French. (3-3) Rothbaum
240 • 111-112 German I

achieve a functional use of German. Students should plan to complete both the fall and spring
semesters of this course. (3-3) Vogt
240 • 114 German for Reading Knowledge

Designed to help students prepare for translations on the level required to pass DMA exams.
It concentrates on recognizing sentence structure and grammatical features encountered in
musical biographies, theory analyses, and musicological essays. This course does not stress
speaking competency of the language and does not count as a Liberal Arts elective. Prerequi-
site: one year of college-level German, or one semester and permission of instructor. (0,2) Vogt
240 • 211-212 German II

A review and continuation of grammatical and syntactical structures, with a view to improv-
ing ability in the four language skills. Through the use of readings based on cultural and
topical material, students will enhance conversational and writing skills. Prerequisite: Ger-
126
man I or placement test. Students should plan to complete both the fall and spring semesters
of this course. (3-3) Vogt
250 • 111-112 Italian I

achieve a functional use of Italian. (3-3) Oorts
Jazz
Gary Thomas, Director of Jazz Studies
530 • 547, 548 Singing/Playing Jazz Standards
A performance class which includes learning the jazz standard repertoire, establishing keys
and making jazz charts, developing a personal repertoire book, counting off tempos and
understanding form, working with instrumentalists with stock arrangements and the begin-
nings of vocal improvisation. Instrumentals will get the opportunity to play vocal standards
with instructor and other singers, working on playing intros, soloing in different keys, end-
ings, exploring different feels and the concept of instrumental accompaniment. (1,1) Clayton
530 • 549,550 Jazz: Free Ensemble

This ensemble will include improvisation exercises to develop personal vocabulary and solo,
duo, trio, and group improvisation exercises to develop composition skills. Repertoire will
include original compositions by instructor as well as new pieces created by participants.
(1,1) Clayton
530 • 561-562 Jazz Improvisation I

Performance/theory course designed to help students acquire and develop basic language for
improvisation through the practical application of information learned in 720 • 127-128 Jazz
Fundamentals: chords, scales/modes, melody, rhythm, patterns, harmonic progression, and
song forms. Incorporates the performance and examination of several vehicle types, including
songs drawn from standard jazz repertoire. Special emphasis will be devoted to the perfor-
mance and analysis of various improvised solos by master musicians. In addition, develop-
ment of technical facility, listening/hearing skills, sound and musical awareness will also be
addressed. Prerequisites: 720 • 127-128 Jazz Fundamentals and 530 • 570 Jazz History or
placement by the instructor. (2,2) Thomas
530 • 563-564 Jazz Improvisation II

The continued development of knowledge and skills acquired in Jazz Improvisation I with
emphasis on increased fluency and mastery. Prerequisite: Jazz Improvisation I or placement
by the instructor. (2-2) Thomas
530 • 569-570 Constructive Listening and Analysis/Jazz History

This course has two main areas of focus: 1) The People—a survey of the chronological his-
tory of jazz through the use of texts, recordings, videos, and when possible, guest lecturers.
The development of jazz as an art form will be traced from the acculturation of Africans in
America to the present day by learning about its major instrumentalists, ensembles, com-
posers, arrangers, innovators, revivalists, and revisionists. 2) The Methods—a survey of the
techniques and processes that have been employed by jazz musicians throughout its history
to help make it into the highly structured and evolved art form that it is today. Students will
receive limited firsthand performance, arranging, and composing experience, along with lec-
tures, demonstrations, and extensive discussion. Improvisation is an essential element of daily
life, and now more than ever it is becoming a basic requirement for any performing musician
or composer to have some understanding of jazz styles and practices. (2-2) Formanek
127
720 • 127-128 Jazz Fundamentals
Course covering the fundamental aspects of jazz theory through the study of notation,
melody, harmony, rhythm, chords, scales, modes, harmonic progressions, etc. Provides the
musician with the foundation necessary for study in 530 • 561-562 Jazz Improvisation I and
710 • 259-260 Jazz Theory/Keyboard Lab. Class includes both an ear-training and singing
component. Basic improvisation skills will be covered as well. (2-2) Thomas
720 • 259-260 Jazz Theory/Keyboard Lab I

The introduction of the fundamental grammar, vocabulary, and structure of the jazz idiom
through the study of its notational conventions, melodic and harmonic functions, and their
application on the piano. (2-2) Murphy
720 • 263-264 Jazz Ear-training

A progressive course designed for real-world use in the music business, it will help students
understand basic hearing of jazz harmonies, melodies, and forms. (2-2) Bollenback
720 • 359-360 Jazz Theory/Keyboard Lab II

Continuation of the techniques and harmonic concepts studied in Jazz Theory/Keyboard Lab
I. (2-2) Murphy
720 • 361-362 Jazz Arranging and Composition

Beginning study of the language, techniques, and disciplines employed in arranging music
for various jazz ensembles, including orchestration, notation, rhythmic embellishment,
melodic ornamentation, chord substitution, and harmonization techniques. Prerequisite:
710 • 259-260 Jazz Theory/Keyboard Lab. (2-2) Murphy
910 • 537-538/837-838 Peabody Jazz Orchestra (Big Band)

The study and performance of literature encompassing all of the jazz idioms with emphasis on
historically significant works. Strong readers, sax/flute doubles are required. Student composi-
tions are encouraged. Open to all Conservatory students by audition or permission of instruc-
tor. May be repeated for credit. (2-2) Formanek
910 • 539/839 Peabody Improvisation and Multimedia Ensemble

The Peabody Improvisation and Multimedia Ensemble (PIME) is a large ensemble of varied
instruments: strings, brass, woodwinds, percussion, voices. While the major focus of PIME
is to provide an ensemble setting in which the students gain valuable experience and develop
practical performance skills, an additional aim is to expand the boundaries of traditional
ensemble performance by incorporating elements of other genres of artistic expression: dance,
visual art, poetry; and various multimedia technologies: computers, midi, and video. Perfor-
mance pieces cover a broad scope, ranging from standard big band repertoire to audio-visual
works combining elements of music, visual art, dance, film and poetry. Students are encour-
aged to actively participate in the creation of new works. The Peabody Improvisation and
Multimedia Ensemble is open to all Hopkins students. Placement is by audition or by per-
mission of the ensemble director. (2,2) Thomas
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Large Ensembles
Hajime Teri Murai, Chair
Orchestral instrument majors please note: the large ensemble requirement can be met with
participation in the Peabody Symphony Orchestra, the Peabody Concert Orchestra, and/or
the Peabody Wind Ensemble. Credit is awarded for participation in the other large ensembles
but is in addition to the aforementioned organizations.
910 • 521-522/821-822 Peabody Symphony Orchestra

A full symphony orchestra which provides comprehensive orchestral training and perfor-
mance experience. Its members are primarily graduate and upper-division undergraduate stu-
dents. Each season, the Symphony Orchestra and the Concert Orchestra (see below) perform a
cross section of the standard orchestral repertoire, supplemented by new works and lesser-
known compositions. The Symphony Orchestra also performs opera with the Peabody Opera
Theatre. Seating assignments in both orchestras are rotated as much as possible. Placement is
by audition. (2-2) Murai
910 • 523-524/823-824 Peabody Concert Orchestra

A full symphony orchestra which provides comprehensive orchestral training and perfor-
mance experience. It includes graduate and undergraduate students. The Concert Orchestra
also performs opera with the Peabody Opera Theatre. Placement is by audition. Qualified
Peabody Preparatory students and Hopkins students from other divisions may be assigned to
this orchestra on a space-available basis. (2-2) Murai
910 • 511-512/811-812 Peabody/Hopkins Chorus

Devoted to the study and performance of major choral repertoire, sacred and secular, from
the baroque through the present day. Repertoire ranges from a cappella music to major works
with full orchestra. Placement is by audition. (2-2) Polochick
910 • 515-516/815-816 Peabody Singers

A select group of mixed voices organized to study and perform choral masterworks from the
Renaissance through the present day. This group also joins the Peabody/Hopkins chorus for
major choral performances. Placement is by audition. (2-2) Polochick
910 • 527-528/827-828 Baltimore Baroque Band (Baroque Orchestra)

At the core of the baroque orchestra are the strings and continuo, forces ranging from one on
a part to the “Twenty-four Violins” of Versailles. Winds were regularly added, to suit reper-
toire and fortune. Baltimore Baroque Band is Peabody’s baroque orchestra. Like Bach’s Col-
legium Musicum, it is a flexible group that explores a broad repertoire where students work
in close partnership with experts. Playing on historical instruments, students gain firsthand
experience in period style in an environment combining orchestral discipline and chamber
music sensibility. (2-2) Moran/Browder
910 • 535-536/835-836 Peabody Wind Ensemble

A large wind and percussion ensemble which studies and performs well-known and unusual
symphonic wind ensemble/wind symphony literature, including world premieres and works
for larger chamber ensemble. Public performances, audition required. (2-2) H. Parker
910 • 537-538/837-838 Peabody Jazz Orchestra (Big Band)

The study and performance of literature encompassing all of the jazz idioms with emphasis on
historically significant works. Strong readers, sax/flute doubles are required. Student composi-
tions are encouraged. Open to all Conservatory students by audition or permission of instruc-
tor. May be repeated for credit. (2-2) Formanek
129
910 • 539/839 Peabody Improvisation and Multimedia Ensemble
The Peabody Improvisation and Multimedia Ensemble (PIME) is a large ensemble of varied
instruments: strings, brass, woodwinds, percussion, voices. While the major focus of PIME
is to provide an ensemble setting in which the students gain valuable experience and develop
practical performance skills, an additional aim is to expand the boundaries of traditional
ensemble performance by incorporating elements of other genres of artistic expression: dance,
visual art, poetry; and various multimedia technologies: computers, midi, and video. Perfor-
mance pieces cover a broad scope, ranging from standard big band repertoire to audio-visual
works combining elements of music, visual art, dance, film and poetry. Students are encour-
aged to actively participate in the creation of new works. The Peabody Improvisation and
Multimedia Ensemble is open to all Hopkins students. Placement is by audition or by per-
mission of the ensemble director. (2,2) Thomas
910 • 541,2/841,2 Peabody Opera Theatre

Preparation and performance of complete fully staged operas with orchestra. Casting by audi-
tion. Previous or concurrent acting training required. (1,1 or 2,2 depending on size of role)
Brunyate/Faculty
910 • 545,6/845,6 Peabody Opera Workshop

Preparation and performance of scenes from the operatic repertoire, in simple stagings with
piano accompaniment. Enrollment by audition. Previous or concurrent acting training
required. (1,1) Brunyate/Faculty
910 • 547,8/847,8 Chamber Opera

Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending on the size of the role) Brunyate/Faculty
Music Education
Harlan D. Parker, Coordinator
510 • 112 Introduction to Music Education
An overview of music teaching as a profession. Included is an examination of contemporary
philosophical and pedagogical trends in music education as well as roles and attitudes of the
elementary and secondary school music teacher. (0,1) Stellaccio
510 • 211 Brass Class

Study of the trumpet, trombone, French horn, and tuba with emphasis on methods and mate-
rials for instruction of beginners in the public school setting. (0,2) Cameron
510 • 212 Woodwinds Class

Study of the clarinet, flute, oboe, bassoon, and saxophone with emphasis on methods and
materials for instruction of beginners in the public school setting. (3,0) L. Parker
510 • 213 Basic Instrumental Pedagogy

Study of the trumpet, clarinet, and violin to familiarize guitarists, vocalists, and pianists with
fundamental concepts of brass, woodwind, and stringed instrument playing. Also includes
elementary pedagogy related to those instruments. (3,0) H. Parker
510 • 222 Guitar Class

Basic guitar techniques including complete fingerboard and chords in first position for use in
accompanying basal series pieces and instruction of beginners. (1,0) Cudek
130
510 • 223 Percussion Class
Study of the percussion instruments. Emphasis is on playing techniques, percussion notation,
and diagnosis of student problems. Also included are basic maintenance and repair proce-
dures. (0,1) Locke
510 • 237/337 Conducting the Secondary Choral Ensemble I/II

Development of conducting skills and rehearsal strategies appropriate to the secondary school
choir. Also includes methods of teaching singing in the large ensemble setting. (2-0) Stellaccio
510 • 238/338 Conducting the Secondary Instrumental Ensemble I/II

Development of conducting skills and rehearsal strategies appropriate to the secondary school
band/orchestra. Also includes methods of teaching wind, string, and percussion playing in
the large ensemble setting. (0-2) H. Parker
510 • 311 Techniques for Teaching Elementary General Music

An eclectic approach to teaching vocal, and general music in the elementary and middle
school. Includes organization of instruction, selection of appropriate materials, theories of
learning, and childhood development. Observation and guided teaching in local schools are
required. (3,0) Stellaccio
510 • 312 Techniques for Teaching Elementary Instrumental Music

A performance-based approach to teaching instrumental music in the public school setting,
particularly beginning and intermediate instruction. Includes organization of instruction,
selection of appropriate materials, theories of learning, childhood and adolescent develop-
ment. Observation and guided teaching in local schools included. (0,3) L. Parker
510 • 313 Techniques for Teaching Secondary Instrumental Music

This course includes principles of secondary education and activities of Conducting the Sec-
ondary Instrumental Ensemble (510 • 338), plus independent projects and workshops related
to marching band and jazz ensembles. For certification candidates only. (0,3) H. Parker
510 • 314 Techniques for Teaching Secondary Vocal/General Music

A performance-based approach to teaching vocal and general music in secondary schools,
and continued study of an eclectic approach to teaching general music. Includes principles of
secondary education, organization of instruction, selection of appropriate materials, theories
of learning, and adolescent development. Observation and guided teaching in local schools
included. (0,3) Stellaccio
510 • 324 String Class

Study of the violin, viola, cello, and double bass with emphasis on methods and materials for
instruction of beginners in the public school setting. (3,0) Laird
510 • 411 Intern Teaching

Supervised student teaching in public schools daily for one semester (8 weeks in elementary, 7
weeks in secondary). (6,0) L. Parker
510 • 413 Music and Language

An overview of strategies for teaching reading and other language skills, and examination of
relationships between music learning and language learning. Students who take 510 • 413 for
3 credits will be required to complete additional projects and/or observations. (3,0) Stellaccio
131
510 • 414 Music and the Special Student
An overview of instructional strategies and modifications for special students, including phys-
ically impaired students, talented/gifted students, abused children, and students with social/
emotional disorders. Students who take 510 • 414 for 3 credits will be required to complete
additional projects and/or observations. (0,3) Stellaccio
510 • 441 Intern Teaching Seminar

Concomitant with 510 • 411, the seminar is devoted to discussion of problems related to
teaching music in the schools. Special emphasis is on practices in the secondary school. (1,0)
L. Parker
510 • 452 Secondary Curriculum in Music

The study of curriculum development, budget and finance, and scheduling in the secondary
music program. Will also include topics such as evaluating music teaching, evaluating perfor-
mance, and independent projects. For certification candidates only. (0,3) L. Parker
510 • 611 Psychology of Music Teaching

Application of selected theories of learning to teaching music in the elementary and second-
ary school. Characteristics of childhood and adolescent development will also be examined
with implications for designing and implementing appropriate musical instruction. (2,0)
H. Parker
510 • 612 Research in Music Education

Seminar in research specific to music education. Prepares the teacher to read and interpret
music education research in professional publications. The course includes an examination of
basic procedures of historical, descriptive, and experimental research in music education. (0,2)
Faculty
510 • 613 History and Philosophy of Music Education

Seminar in the historical and philosophical perspectives of music education. Includes the
study of history of music education in the United States and various philosophies of music
education. Offered in alternate years. (2,0) L. Parker
510 • 614 Supervision and Curriculum Development

Examination of the role of the music supervisor or department coordinator in the public
schools, including problems of schedule, staff, and budget. Includes the development of cur-
riculum guides and materials with specific focus on individual areas of interest. (0,2)
L. Parker
510 • 615-616 Music Education Electives

Elective credit may be granted for graduate courses or workshops in the area of specialization;
Orff, Kodaly, Dalcroze, or Suzuki certification; courses included in JHU’s Carey Business
School and School of Education. (1-1) Faculty
510 • 621 Graduate Practicum

Observation and guided teaching in a variety of settings, designed to enhance and expand the
teaching skills of the practicing educator. Includes individualized video taping of teaching
demonstrations, and follow-up conferences. Practicum experiences are arranged according
to student interests and needs, and may include teaching and supervisory internships. (2,0)
Faculty
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510 • 624 Conducting Wind Literature
This course is primarily designed for, but not limited to, the graduate music education major
interested in conducting wind ensemble literature. Score reading techniques, technical con-
ducting skills, interpretive concepts, and rehearsal techniques will be covered. (0,2) H. Parker
510 • 626 Music Education and Society

Seminar examining the role of music in general society and the role of music education in
schools. Discussions will be based on readings from two disciplines: the sociology of music
and the sociology of education. The course focuses on schools as social organizations and the
role that music plays in them. (2,0) Faculty
510 • 691 Independent Field Study

An exit project which may include, but is not limited to, the following options: (1) develop-
ment of instructional/curriculum materials, (2) demographic profile of a school district and
the music education program, (3) historical or descriptive research, (4) limited experimental
research. (4) Faculty
Music Theory
Steven Stone, Chair
Undergraduate Curriculum for Sophomores and Juniors: Applies to undergraduate students
who entered before 2009
710 • 211 Baroque Styles

Continuing studies of counterpoint. Analysis and composition of two- and three-voice
baroque-style pieces, including fugue. (3,0) Faculty
* Will be offered for the last time in fall 2009
710 • 212 Classical Styles

Studies in the classical style, as exemplified by the works of Haydn, Mozart, Beethoven, and
Schubert. Forms studied will include larger rounded binary and ternary structures, sonata-
allegro, sonata-rondo, rondo and variation. (0,3) Faculty
* Will be offered for the last time in spring 2010
710 • 311 Romantic and Early 20th-Century Styles

Extension and expansion of harmonic, formal, and contrapuntal techniques into music from
the mid-19th to early 20th centuries. (3,0) Faculty
* Will be offered for the last time in fall 2010
710 • 312 20th-Century Styles

A study of the newer formal, contrapuntal, and harmonic techniques of the 20th and 21st
centuries. A wide variety of styles and techniques will be covered, as well as new analytical
approaches. (0,3) Faculty
* Will be offered for the last time in spring 2011
Revised Undergraduate Curriculum: Applies to student undergraduates

entering in 2009–2010
710 • 111 Music Theory 1: Diatonic voice leading

This course includes study of melody, figured bass, diatonic and chromatic harmony, and
analysis and composition of short homophonic and polyphonic pieces. (3,0) Faculty
* First offered in fall 2009
133
710 • 112 Music Theory 2: Diatonic and chromatic voice leading; Introduction to
form and counterpoint
Continuation of techniques learned in Theory 1 and a study of counterpoint in two and three
voices. Students study simple binary, rounded binary and ternary forms. (0,3) Faculty
* First offered in spring 2010
710 • 211 Music Theory 3: Baroque counterpoint

Analysis and composition of two- and three-voice baroque-style pieces, including fugue. (3,0)
Faculty
710 • 212 Music Theory 4: Classical and Romantic musical practices

A study of Classical style, exemplified by the works of Haydn, Mozart, Beethoven and Schu-
bert, and an understanding of the design principles they employ. The class continues to cover
the harmonic, formal and contrapuntal techniques in music of the nineteenth century. (0,3)
Faculty
710 • 311 Music Theory 5: Late Romantic and 20th-Century musical practices
A study of the newer formal, contrapuntal and harmonic techniques of the late nineteenth
through the twenty-first centuries. A wide variety of styles and techniques are covered,
through listening, analysis and writing. (3,0) Faculty
710 • xxx Music Theory 6: Elective

Students take one of several specially designated electives. (TBA) Faculty.
Music Theory Seminars

710 • 412 Instrumentation and Arranging
A course for developing skills in orchestration, arranging, and transcribing. A study of instru-
mentation and its practical application through the scoring of excerpts and complete pieces.
For music education and recording arts majors; others by permission of the instructor. Offered
fall and spring. (3) Faculty
710 • 413-414 Orchestration

A course for composers and conductors studying instrumental technique and ensemble com-
binations as demonstrated in orchestral literature, 1750 to the present. Music theory credit
available only for graduate composers and conductors; other students are directed to take 710
• 412 Instrumentation and Arranging for music theory credit. Course must be taken for the
entire school year. (3-3) Faculty
710 • 415 Graduate Music Theory Review

An intensive review of the materials and techniques of tonal music, including diatonic and
chromatic harmony, part writing, and analysis. Offered fall semester only. (0) Faculty
710 • 617 Principles of Analysis

Basic principles of musical construction as seen through examination and analysis of represen-
tative forms and compositions from the Renaissance to the present. (3) Faculty
134
710 • 619 Song Analysis
An exploration of the interactions between text and music within the art-song repertoire
from various style periods, drawing on theories of drama, linguistics, cognition, and music.
(0,3) Faculty
710 • 620 Chamber Music Analysis

Analysis of chamber music in various styles, with particular emphasis on works currently
being performed in Peabody’s chamber music program. (3,0) Faculty
710 • 623 Schenkerian Analysis

An intensive study of linear reductive analysis, as developed by Heinrich Schenker. The rela-
tionship of analysis to performance and hearing will be investigated. (3) Faculty
710 • 630 Chopin

A study of the music of Chopin and his contemporaries. Emphasis is placed on analysis of
chords, structure, modulation, and motivic development. (3) Faculty
710 • 633 Counterpoint of the Renaissance

An examination of sacred music in the late Renaissance. Intensive analysis and composition in
the style are stressed. (3) Faculty
710 • 634 Baroque Counterpoint

The course concentrates on the contrapuntal practice of J.S. Bach, including analysis and
composition of a suite movement, invention, fugue, and chorale-prelude or passacaglia.
Offered fall and spring. (3) Faculty
710 • 635 Styles Analysis

This course explores the elements of musical style through an intensive study of a few selected
composers from the 18th, 19th, and 20th centuries. (3) Faculty
710 • 638 Classical Style and Practice

An investigation through analysis of unique and shared features of the music of various clas-
sical composers. Although the greatest emphasis may be placed on the music of Mozart and
Haydn, other composers may be studied. (3) Faculty
710 • 639 Romantic Style and Practice

An investigation of the unique and shared features of selected 19th-century composers.
Emphasis on stylistic elements and formal design. (3) Faculty
710 • 643,644 Music from 1900 to 1945

A survey of important trends in music since the turn of the century with particular attention
to the works of Stravinsky, Hindemith, Schoenberg, and Bartok. Emphasis on score analysis
and listening. (3,3) Faculty
710 • 645,646 Music Since 1945

A study of musical styles and practices from 1945 to the present. The music of Cage, Xena-
kis, Berio, and others will be studied through the analysis and discussion of representative
compositions and selected literary writings of the composers. (3,3) Faculty
710 • 647 Analysis of 19th-Century Piano Literature

Detailed analysis of representative works from the piano repertoire. (3,0) Faculty
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710 • 648 Analysis of 20th-Century Piano Literature
Detailed analysis of representative works from the piano repertoire. (0,3) Faculty
710 • 649 Music Theory Pedagogy

Designed for those who may wish to teach undergraduate theory. The course will include an
investigation and discussion of available teaching resources, including current technology, as
well as classroom observation and practice teaching. (3,0) Faculty
710 • 650 Music Theory Internship

Designed to give teaching experience to the MM in Theory Pedagogy student. The course
will include classroom experience. (3) Faculty
710 • 651 20th-Century Style and Analysis

Analysis of selected music in the 20th century to show the diversity of techniques and
approaches to pitch, rhythm, and formal structures. (3) Faculty
710 • 653 Bach Solo and Chamber Music

This course covers the solo and chamber sonatas, partitas, and suites of J.S. Bach. Topics
include music for solo keyboard, and the solo and accompanied works for violin, cello, and
other instruments. Analysis is informed by studies of genre and dance forms as well as Bach’s
compositional procedure. (3,0) Faculty
710 • 654 Debussy

Close examination of Debussy’s works, covering a variety or techniques and genres. (0,3)
Faculty
710 • 658 18th-century Keyboard Masters

A close examination of selected compositions from this extraordinary century, ranging from
Bach’s fugal masterworks to Mozart’s incomparable concerto writing. (0,3) Faculty
710 • 660 Contemporary Theory Literature

This course familiarizes students with several theoretical models used in current research and
with popular contemporary theory journals. Especially recommended for Theory Pedagogy
majors and DMA students. (0,3) Faculty
710 • 662 Music Theory Seminar

For DMA students only, this seminar investigates various aspects of music and music theory.
(3) Faculty
710 • 665 Analysis and Performance

How analysis enhances performance: discussion of readings and in-class demonstrations, using
a variety of analytical techniques. (3) Faculty
710 • 667 Beethoven’s String Quartets

An intensive analysis of selected quartets from all three style periods. (3) Faculty
710 • 670 Tonal Chromaticism

This course explores in detail the effect of chromatic inflection on line, harmony, and form
through analysis and writing. Late romantic tonality and modulation will be emphasized,
though earlier styles will be investigated as well. (3) Faculty
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710 • 673 Bartok
A detailed study of representative works of Bela Bartok with a view to penetrating the man-
nerisms and signatures that make Bartok “Bartok.” (3) Faculty
710 • 676 Stravinsky

A detailed study of representative works of Igor Stravinsky with a view to penetrating the
mannerisms and signatures that make Stravinsky “Stravinsky.” (3) Faculty
710 • 677 Fugue: From Bach to Shostakovitch

This course will look at the wide-ranging use of fugue in music from the high baroque to the
mid-20th century. The class will examine the techniques and designs themselves, and how
those techniques and designs relate to both the larger works studied and the broader musical
styles of the times. (3,0) Faculty
710 • 685 Music Theory Pedagogy Project

Designed for Music Theory Pedagogy students; to be taken under the supervision of a music
theory advisor. The project will examine a specific aspect of music theory teaching. (3) Faculty
710 • 687-688 The Well-Tempered Clavier

A detailed analysis of the preludes and fugues in Books I and II of Bach’s Well-Tempered Cla-
vier. (3-3) Faculty
710 • 702 Analytical Techniques

An investigation of techniques currently in use, including traditional, Schenkerian, cognitive,
phenomenological, and comparative. (3) Faculty
710 • 713 Thinking by Ear: Strategies for Music

Making An exploration of issues concerning music of the common practice period. Examines
the practical implications for research and performance of various approaches to analytical
interpretation of music. The work involves listening, reading, creative thinking, and analysis.
(3) Faculty
710 • 714 Thinking by Ear: Segue to the 20th Century

An exploration of issues concerning music of the 20th century. Examines the practical impli-
cations for research and performance of various approaches to analytical interpretation of
music. The work involves listening, reading, creative thinking, and analysis. (3) Faculty
710 • 843,844 Independent Study in Theory

Designed for those who wish to make a concentrated study of selected topics in music theory.
May not be used to substitute for an offered course. Open only to advanced students with
approval of the instructor and the Department of Music Theory. Hours to be determined.
Faculty
Ear-Training/Sight-Singing
Clinton Adams, Coordinator
710 • 023 Ear-Training Fundamentals

(0,0) Faculty
710 • 123-124 Ear-Training, Rhythm Studies, and Sight-Singing

A basic course in the skills of reading and hearing music, employing Dalcroze techniques for
the development of musicianship. To be taken in conjunction with Music Theory 1. (2-2)
Adams/Orlando
137
Perfect Pitch accelerated version of 710 • 123 and 710 • 223 that covers the material of the
two-year course in one year. (2-2) Adams

A continuation of the first-year course, with heavy emphasis on Bach chorales and 20th-
century techniques. (2-2) Adams/Orlando
710 • 323-324 Ear-Training: Contemporary Music Studies

After a short review of highly chromatic late 19th- and early 20th-century music, classes will
focus on atonal music, beginning with the late works of Liszt and Wolf and continuing into
the music of today. This course is open to undergraduates who have successfully completed
both semesters of 710 • 223-224. (2-2) Orlando
710 • 425-426 Ear-Training Review

A review course in the principles of ear-training, dictation, sight-singing, and clefs. (2-2)
Adams/Orlando
710 • 521-522 Ear-Training Tutorial

Individual work in ear-training and sight-singing. Hours to be determined. Adams/Orlando
Keyboard Studies
Patricia Graham, Coordinator
710 • 155-156 Keyboard Studies: Non-piano majors

A study of basic skills involved in reading, harmonization, transposition, improvisation, and
analysis, to be taken in conjunction with Music Theory I. Assignments to sections of varying
levels will be based on the student’s piano background and determined through audition.
(2-2) Graham/Faculty
710 • 255-256 Keyboard Studies: Non-piano majors

A continuation of 710 • 155-156. Emphasis on harmonic and formal analysis as tools for
sight-reading and memorization. Repertoire includes solo and duet works, accompaniments,
and score-reading. (2-2) Graham
Musicology
Andrew Talle, Chair
AS.376.231 Introduction to Western Music History (Homewood)

This course is a study of five famous pieces of music, both as timeless works of art and as
moments in cultural history. Close attention is given to techniques of musical listening, and
to the details of the first performance of each work, with a consideration of the problems
involved in assembling such a picture. Works studied are Monteverdi, L’Orfeo; Handel, Mes-
siah; Beethoven, Symphony no. 9; Berlioz, Symphonie Fantastique; and Stravinsky, Le Sacre
du Printemps. A series of additional pieces commissioned especially for the course from Pea-
body composers concludes the semester. No previous knowledge of musical notation or ter-
minology is required. This course meets on the Homewood campus and requires registration
through the Krieger School of Arts and Sciences. (3,0) Talle
AS.376.340 Music and Literature: Thomas Mann’s Doctor Faustus (Homewood)

One of the greatest and most complex works of twentieth-century fiction, Thomas Mann’s
Doctor Faustus might be described most concisely as a novel about music. In narrating the
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life of the fictional composer, Adrian Leverkühn, Mann invokes a vast network of musical
references that enrich our understanding of Leverkühn’s creative personality and his place in
music history. In the shadow of World War II, Leverkühn’s creative struggles as an artist run
parallel to the disastrous moral collapse of the German nation in the 1930s and 40s. In this
course, we will supplement our study of Mann’s novel through a detailed examination of the
many works of music mentioned in the text. In studying pieces of Beethoven, Brahms, Bach,
Wagner, Schoenberg, and others, we will sketch out an historical and aesthetic context essen-
tial to an understanding of the book. Students should possess a basic knowledge of twentieth-
century European history. The ability to read music, while certainly helpful, is not required.
All course readings and discussion will be conducted in English. (3,0) Giarusso
AS.376.407 Music and Evolution (Homewood)

This course will examine the bio-cultural evolution of music in light of recent interdisciplin-
ary research on the social bases of human cognitive evolution, and explore its implications for
current debates in musicology, ethnomusicology, psychology of music, and human cognitive
evolution. This course meets on the Homewood campus and requires registration through the
Krieger School of Arts and Sciences. (0,3) Tolbert
AS.376.xxx History and Technology of Musical Instruments (Homewood)

This course focuses on classification, technology, and repertoire of musical instruments. While
the emphasis is on contemporary Western models, the history and technology of precursors
and non-Western instruments will be addressed. It is hoped that each student will develop a
thorough knowledge of the history, technology, and performance of his/her own instrument,
as well as an appreciation and some familiarity with all modern musical instruments. Projects
will include performances on and making of acoustic and electronic instruments. (0,3) S. Weiss
610 • 311 History of Music I

A study of music from classical antiquity through the Renaissance period. Offered fall and
spring. (2) S. Weiss
610 • 312 History of Music II

A study of music from the baroque period through the end of the 18th century. Offered fall
and spring. (2) Sprenkle/Gingerich
610 • 313 History of Music III

A study of music in the 19th century. Offered fall and spring. (2) P. Weiss/Gingerich
610 • 314 History of Music IV

A study of music since the beginning of the 20th century. Offered fall and spring. (2) Giarusso
610 • 651 Music Bibliography

As an introduction to the materials and techniques available to the performing musician, the
course will include fundamentals of library research, the computer as a library research tool,
acquaintance with and use of essential music reference texts, and exploration of local and
national library resources. Offered fall and Spring. (2) Follet/Green
610 • 555 Music and Culture

An introduction to the basic concepts of ethnomusicology through the study of selected non-
Western musical traditions. The course format features a series of live performances, partici-
patory workshops, and guest lectures. (0,2) Tolbert
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610 • 601 Music History Intensive Review
A review course for graduate students, covering classical antiquity to the 21st century. Fall
only. (2,0) Tremblay
610 • 691 Master’s Essay

A scholarly work written under the supervision of a member of the musicology faculty.
Required for the master’s degree in Musicology. See the specific guidelines in this catalog.
Offered fall and spring. (2) Giarusso/Talle/Tolbert/P. Weiss/S. Weiss
610 • 755-756 Graduate Research

An introduction to methods of research through independent written projects in music his-
tory. Required of all doctoral candidates and musicology majors. Fall and spring. (2) Giarusso/
Talle/Tolbert/P. Weiss/S. Weiss
610 • 791 Dissertation

A study of an original musical topic, approved by the DMA Committee, culminating in the
completion and defense of a scholarly work written under supervision of the student’s aca-
demic advisor. (4) Faculty
610 • 792 Lecture-Recital Paper

A study of a specific musical topic, approved by the DMA Committee and suitable as the
basis for a lecture-recital, culminating in a written paper and a public lecture-recital. Offered
fall and spring. (2) Giarusso/Talle/Tolbert/P. Weiss/S. Weiss
610 • 813,814 Consultation/Degree-in-Progress

For graduate students working with a faculty member to complete a dissertation or a lecture-
recital essay. Registration required each semester following completion of coursework in order
to maintain active status in the program. Offered fall and spring. (1) Giarusso/Talle/Tolbert/
P. Weiss/S. Weiss
610 • 843,4 Musicology Independent Study

Designed for those who wish to make a concentrated study of selected topics in musicology.
Open only to advanced students with approval of the instructor and the department. Offered
fall and spring. (1-3) Giarusso/Tolbert/P. Weiss/S. Weiss
610 • 847-848 Musicology Colloquium

The colloquium introduces DMA students to doctoral-level academic study at Peabody.
Emphasis is on critical thinking, argument from sources, written and oral presentation. Every
other week an invited speaker gives a talk in the area of his or her expertise (speakers and
topics will be announced at the beginning of each semester). In alternate weeks students give
presentations. The lectures are open to members of the Peabody community and the general
public. (3-3) Tolbert
Musicology Seminars
Musicology seminars offer in-depth study of selected topics in musicology. Each section is
limited to 15 students. The seminar format encourages individual initiative on the part of
students, who are expected to share in the discussion, prepare projects for presentation, and
write reports on work done outside of class. Prerequisite: passing mark on music history
placement exam or passing grade in Music History Intensive Review. Students required to
take English as a Second Language courses must obtain permission of the instructor to enroll
in graduate seminars, even if they have already passed Music History Intensive Review.
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Fall Semester
610 • 372 Issues in Ethnomusicology
An introduction to the theories and methods of ethnomusicology. Topics include transcrip-
tion and analysis, fieldwork, performance practice, and intercultural aesthetics. (3,0) Tolbert
610 • 615 Teaching Virtuosity: Pedagogy and Performance at the Paris Conservatory
Who were the key faculty members when the Paris Conservatory was established in 1795?
What did the performers teach? When were various pedagogical standards for different instru-
ments and vocal types codified? Why do we still play some of the same canonical repertoire
even today? This seminar on the Paris Conservatory will attempt to address these questions.
Central to this course will be an examination of the concerto: the rise of the genre at the begin-
ning of the 19th century, Parisian vs. Viennese perspectives, its connection to the conservatory,
its composers and proponents. Students will also have an opportunity through individual proj-
ects to explore the history and pedagogical origins of their own areas of specialization, includ-
ing piano, strings, winds, brass, percussion, voice, and composition. (3,0) Ahn
610 • 634 Baroque Performance Practice
What assumptions did performers bring to interpretation in the baroque era? This class pro-
vides a detailed overview of prevalent performance conventions of the time as taught to us by
primary sources, including Quantz, CPE Bach, Leopold Mozart, Muffat, and Geminiani, as
well as some insight into why these matters are important and what drives the early music
movement. While everyone will be expected to develop a solid grasp of the most significant
issues, each student will also independently cultivate expertise in a specific area of his or her
choosing. (3,0) Moran
610 • 635 Eighteenth-Century Italian Opera

An introduction to opera in eighteenth-century Italy. Students will investigate a selection of
works and their relationship to European culture of the period. (3,0) P. Weiss
610 • 646 Schubert Song Cycles

The course will center on Schubert’s settings of the two cycles of Müller poems, Die schöne
Müllerin and Winterreise, and on Schwanengesang, especially his Heine settings. Issues
discussed will include the poetic backgrounds of the cycles, their narrative structures, poeti-
cally and musically, and related controversies. The cycles will be considered in the context of
Schubert’s life and career, and of their history of reception. (3,0) Gingerich
610 • 663 Bach Passions

An overview of the work of J. S. Bach with concentration on the Passions. (3,0) Sprenkle
610 • 677 The Concerto in the 19th Century

A historical overview of standard repertoire concerti from the 19th century, including an
in-depth analysis of works by Beethoven, Schumann, Mendelssohn, Chopin, Liszt, Brahms,
Tchaikovsky, and Dvorak. (3,0) Sprenkle
610 • 686 Politics and Sex in Music

An examination of political and sexual elements in the work of composers from Adam de la
Halle to Béla Bartók. (3,0) S. Weiss
610 • 692 Sound Travels: Musical Circulation from Mozart to .mp3s

Music has been on the move for as long as humans have been making it, accompanying the
travels of warriors, merchants, and missionaries who have left in their wake hybrid forms
from Indian brass bands to Mozart’s Turkish marches. The successive development of new
technologies, economic systems, and networks of musical exchange, from the printing press
141
to the .mp3 have only intensified the speed and unpredictability with which music moves.
But musical movement does not just happen spontaneously; rather, it is the product of tech-
nology, economics, colonialism, labor, law, and political and cultural hierarchies. How does
musical meaning change across cultural lines? What are the ethics of appropriating other
musical forms? What is the attraction of exoticism? How do technologies of musical circula-
tion shape our experiences of producing and consuming music? What do current legal and
economic changes in music distribution mean for the future of music? These issues can be
addressed by looking at various case studies—electronic sampling of Micronesian music,
Brazilian musicians who pirate their own recordings, Renaissance Venetian music printing,
West Africans adopting Afro-Cuban music to transcend ethnic sectarianism, white listen-
ers to black radio in 1950s America, amateur music like karaoke and Victorian brass bands,
and the rise and fall of Napster. This course will examine case studies of musical movement,
touching on the theme of “connection” by addressing the kinds of alliances, misinterpre
tations, and reconfigurations to which they give rise, in order to rethink the role of music
in everyday life and in the constitution of society here in the U.S. and around the world. (3,0)
Quintero
Spring Semester
610 • 658 Beethoven: Music and Compositional Procedure in His Sketches and
Autographs
How did Beethoven compose his works? Students will have an opportunity to investigate
Beethoven's creative process by examining primary source material such as surviving auto-
graphs and sketchbooks. Tools for navigating the vast field of Beethoven research are pre-
sented. (0,3) Ahn
610 • 664 An Introduction to Verdi Studies

Students will investigate a selection of his works within their historical and biographical con-
text. (0,3) P. Weiss
610 • 667 Beethoven's Symphonies

A structural analysis of Beethoven’s nine symphonies with attention to historical effect on the
genre: listening and analytical quizzes, essay. (0,3) Sprenkle
610 • 668 Berlioz and the Romantic Imagination

Few composers embody the ideal of the “Romantic” artist as extravagantly as Hector Berlioz.
While works like the Symphonie fantastique, La damnation de Faust, Les Troyens, Roméo
et Juliette, and the Requiem are exemplary works of musical Romanticism, Berlioz’s life
itself, with all of its drama, excess, and turbulence, stands as a testament to the power of the
Romantic spirit in nineteenth-century European art. This course will situate Berlioz in the
context of nineteenth-century Romanticism, considering the influences (musical and other-
wise) that affected Berlioz’s style, contemporary assessments of his music, and his influence
upon subsequent generations of artists. An examination of the composer’s Memoirs, along
with excerpts from the orchestration treatise and his extensive body of musical criticism, will
supplement our study of the musical works. We will broaden our perspective of Romantic
aesthetics with readings from Wordsworth, Coleridge, Kant, Hoffmann, and others. With a
focus upon Virgil, Shakespeare, and Goethe, the three authors whose works bore most directly
upon Berlioz’s creative development, we will also consider the reception of these authors’
writings during the nineteenth century and the ways in which Berlioz’s musical settings offer
particularly contemporary readings of these classic works.” (0,3) Giarusso
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610 • 678 Two Operas, Two Historical Epochs
A detailed study of Berg’s Wozzeck and Mozart’s The Marriage of Figaro in their cultural
contexts. (0,3) Sprenkle
610 • 683 Music in the United States: 1607–1950

A survey of American Music, from colonial times to the middle of the 20th century. There
will be a considerable emphasis on relating musical expressions to changing social/historical
conditions. We will examine the roles played by technological developments and the rise of
the music business shortly after the American Revolution. Our country’s varied musical styles
invite serious study of all modes of performance and dissemination, not just “classical” com-
position and performance. Active participation in discussion is a requirement of this seminar,
as is writing a research paper on a topic of the student’s choice. (0,3) Hildebrand
Opera
Roger Brunyate, Chair
530 • 391 Stage Movement for Singers

Techniques for attaining intellectual and physical control to achieve greater security and facil-
ity on stage in general, and to use movement as a tool in characterization. (1) Bartlett
530 • 491-492 Acting for Opera

An approach to dramatic characterization through the development of the actor’s imagination
and expressive range, with special emphasis on the ensemble and projection techniques of the
lyric stage. (1-1) Brunyate
530 • 497-8/697-8 Dramatic Text

A practical acting course which will examine some of the main styles of dramatic performance
from the Greeks to the present day, and explore the technical choices open to the interpreter
in performing each style. Although intended as an advanced-level acting class for opera stu-
dents, the course will use mainly material from the spoken theater, and so may be accessible
to non-music majors. Enrollment limited, by permission of the instructor. (2-2) Brunyate
530 • 535,536 Opera Styles and Traditions

Musical performance practice in opera and musical theater for singers, pianists, and conduc-
tors. Topics will rotate on a semester-by-semester basis to include such subjects as standard
arias, operatic recitative, and musical theater. Enrollment by audition. (2,2) Kulesza/E. Cornett
530 • 561 Opera Etude Composition

The creation and performance of short original operas in which cast and composer work
together to develop a scenario through improvisation, devising a libretto, and workshopping
the musical score. Offered in alternate years. (2,0) Brunyate
530 • 562 Opera Etude Performance

The creation and performance of short original operas in which cast and composer work
together to develop a scenario through improvisation, devising a libretto, and workshopping
the musical score. Offered in alternate years. (1,0) Brunyate
530 • 593,4/893,4 Professional Coaching in Opera

Individual musical and dramatic coaching for advanced voice students seeking a career in
opera. In regular weekly coachings students may work on preparing audition material, role
study, or other professional needs not otherwise covered by the courses and production pro-
grams of the school. Enrollment limited, by permission of the instructor. (1,1) Kulesza/Faculty
143
910 • 541,2/841,2 Peabody Opera Theatre
Preparation and performance of complete fully staged operas with orchestra. Casting by audi-
tion. Previous or concurrent acting training required. (1,1 or 2,2 depending on size of role)
Brunyate/Faculty
910 • 545,6/845,6 Peabody Opera Workshop

Preparation and performance of scenes from the operatic repertoire, in simple stagings with
piano accompaniment. Enrollment by audition. Previous or concurrent acting training
required. (1,1) Brunyate/Faculty
910 • 547,8/847,8 Peabody Chamber Opera

Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending upon the size of the role) Brunyate/Faculty
Organ
Donald Sutherland, Coordinator
530 • 423-424 Organ Literature

A study of selected organ literature from all periods. Offered in alternate years. (3-3) Sutherland
530 • 425-426 Resources for Contemporary Church Musicians

A survey of liturgics, choir training, choral literature for the average choir, conducting styles
and interpretation, and related subjects. Offered in alternate years. (3-3) Walker
460 • 545-6/845-6 Organ Seminar

Classes in performance covering the repertoire and stylistic concepts from all periods of organ
literature. A yearly requirement of organ majors. (1-1) Sutherland
Pedagogy
Laura Parker, Coordinator
520 • 615 Pedagogy Internship

The internship is intended to provide a one-year supervised work experience during which
students will be expected to demonstrate repeatedly the ability to present well-planned and
engaging classes and lessons. (2,0) Faculty
520 • 617 Internship Seminar

The seminar is intended to provide a forum for the following activities and discussion topics:
sharing of successful teaching experiences, group review of videotapes, microteaching, discus-
sion of recordkeeping systems, the business of teaching music, motivational techniques for
special situations, the importance of the parent and parent-teacher relationship. (1,0) Faculty
520 • 618 Portfolio Development

Guidance in professional portfolio development. The result will be a professional portfolio
demonstrating and utilizing the student’s knowledge, materials, experience, references, audio
and video tapes of teaching and performance obtained or collected during the first three
semesters of MM Performance/Pedagogy. In addition, students will explore various employ-
ment opportunities and discuss how to effectively use their portfolio to gain a position as a
studio instructor. (0,1) L. Parker
144
Percussion
Robert Van Sice, Coordinator
530 • 567, 568 Contemporary Chamber Music for Percussion
(1,1) Van Sice
Piano
Boris Slutsky, Chair
530 • 111-112 Sight-reading

A course to help foster fluency in the essential skill of transforming written music into
sound. Includes score scanning, pattern recognition, and analysis of harmonic, rhythmic, and
melodic structures in music from all periods. Required for undergraduate piano and organ
majors. Also offered as an elective. (2-2) Johansen
530 • 211-212 Keyboard Skills for Piano Majors I - II

A course in keyboard harmony, including transposition, figured bass, melody harmonization,
and analysis. Required for undergraduate piano and organ majors. (2-2) Johansen
530 • 311-312 Keyboard Skills for Piano Majors III - IV

A course designed to build score-reading skills at the keyboard. Required for undergraduate
piano majors. (2-2) Adams
530 • 415-416 Keyboard Skills Review

A remedial course in sight-reading and keyboard harmony for graduate piano majors. (2-2)
Johansen
530 • 633-634 Advanced Keyboard Skills for Pianists

A course in score-reading, transposition, and figured bass accompaniment. Required for MM
piano majors. Students who completed the undergraduate courses in keyboard skills (530 •
211-212 and 530 • 311-312) at Peabody with a minimum grade of B or higher are exempt
from this course. Also available for elective credit. (2-2) Johansen
530 • 411,412 Keyboard Literature I, II

A study of the solo and chamber literature for keyboard instruments, from early 18th century
through the classical period. (2,2) Pearl/S. Levy
530 • 413,414 Keyboard Literature III, IV

A survey of piano literature from the romantic period to the present. (2,2) Habermann/S. Levy
530 • 613 French Piano Music

A survey of the music from 1880 to 1920, with an emphasis on neglected repertoire (particu-
larly Fauré and Chabrier), performance style (especially rhythm and timbre), and extra-musi-
cal associations (art and literature). Open to piano majors for elective credit. (2-0) Johansen
530 • 614 Explorations in Piano Literature.

A course exploring some of the vast uncharted territories of the great repertoire for solo piano.
Topics will change from year to year. (2-0) Johansen
530 • 667-668 Piano Pedagogy

Exploration of principles, materials, career development in the teaching of piano. Includes
observation of Preparatory teachers and some supervised teaching of precollege students. (2-2)
Faculty
145
450 • 845 Graduate Piano Seminar
A seminar required of all doctoral students and open to second-year MM students with
departmental permission. Focus will be on preparation for entering the music profession,
which will include practice teaching, press kit and resume preparation, discussion of job
searches, and topics of special interest. (1) Faculty
Recording Arts
Scott Metcalfe, Chair
550 • 111-112 Basic Recording I

A course designed for the beginning audio student that will introduce and discuss com-
ponents of the recording chain and recording techniques for both the classical and popular
music fields. Included is a detailed analysis of the nature of sound, basic recorder and console
operation, basic microphone types and placement, tape editing, and other skills required to
work in the studios. (2-2) Faculty
550 • 211-212 Basic Recording II

A continuation of Basic Recording I, with emphasis on digital audio and digital audio work-
stations. Subjects include AD and DA conversion, SACD, DVD-A and multi-channel hard
disc systems, and an in-depth look at digital large format consoles. Class and individual proj-
ects in recording and digital audio editing are assigned. (2-2) Faculty
550 • 311-312 Basic Recording III

A continuation of Basic Recording II, with emphasis on digital signal processing and editing,
loudspeakers and monitoring systems. Studies include all frequency, amplitude and time-
based analog and digital signal processing equipment. Further demonstrations and discus-
sions of modern recording techniques are included. Class and individual projects are assigned.
(2-2) Faculty
550 • 411-412 Advanced Recording I

The study and operation of professional multi-track recording and mixing equipment. Top-
ics included are basic multi-tracking, mixing, and processing. Students will mix existing
multi-track tapes on several digital and analog consoles and prepare digital masters suitable
for compact disc release. Digital video editing systems and MPEG/AC-3/DTS encoding for
optical disc systems are included. (3-3) Faculty
550 • 419 Internship

Undergraduate students work in supervised professional positions in which they will have
the opportunity to apply the knowledge and expertise developed during their course of study.
The internship requires 320 hours of service in an approved facility. (4) Faculty
550 • 511-512 Advanced Recording Systems

A study and practical application of the processing and other tools used in professional audio
recording. Topics include frequency-based processing, amplitude-based processing, time-
based processing, digital video systems and encoding, as well as a comprehensive review of
materials covered in Basic Recording I and II. This course is open only to incoming students
in the Recording and Production track of the Master of Arts in Audio Sciences program. (3-3)
Faculty
550 • 513-514 Advanced Recording II

Topics and practice include digital audio consoles and workstation automation systems,
SMPTE timecode automated mixdown, and multi-channel digital multi-track recording.
146
Course also includes encoding systems and preparation of masters for DVD-A and SACD.
Students will record a band of their choice and, drawing upon skills learned in previous
coursework, prepare mastered media suitable for commercial replication. Prerequisites:
Advanced Recording Systems, Advanced Recording I, or the equivalent. (3-3) MacDonald
550 • 515 Musical Acoustics

A course concerned with the physics of sound as applied to properties of musical instruments,
perception of musical sound, electronic music reproduction, and the spaces in which they per-
form. Prerequisites for recording arts majors: Basic Recording I and II or the equivalent. Pre-
requisite for non-recording majors: Basic Recording Techniques or the equivalent. (3,0) Shade
550 • 516 Electroacoustics

Basics of electroacoustical principles relating to microphones and loudspeakers. Topics
include general transducer theory, microphone fundamentals, dynamic and condenser micro-
phones, proximity effect, dynamic cone loudspeakers, closed and vented enclosures, Thiele
Small parameters, compression drivers and coaxial loudspeakers, horn loudspeaker theory, and
crossover networks. Prerequisites: Musical Acoustics or Audio Design. (0,3) Shade
550 • 517 Psychoacoustics

Basics of the physiological and psychological aspects of hearing with applications to audio
and sound systems, architectural acoustics, and musical acoustics. Topics include auditory
physiology of the outer and inner ear, masking, critical bands, loudness, duration, binaural
hearing, localization, and pitch. (3,0) Shade
550 • 519 Acoustical and Audio Measurements

The theory and application of objective acoustical and audio measurements are studied. Mea-
surement techniques used in the evaluation of both physical spaces and electronic equipment
are presented. Topics include measurement microphones, sound level meters, noise sources,
spectrum and FFT analysis, reverberation, speech intelligibility, transfer function, swept sine
techniques, audio power measurements, ADC and DAC linearity, harmonic distortion, and
mixed signal testing. Prerequisites: Architectural Acoustics or Audio Science and Technology.
Offered every other year. (0,3) Shade
550 • 611 Music and Technology

An in-depth study of the audio playback chain from digital source to loudspeakers. Each
product in the chain is reviewed at a block diagram level, and components are evaluated by
both subjective and objective means. Technologies that are covered include Dolby Digital,
DTS and THS systems, MP3 and other compressed audio formats, classes of power amplifica-
tion, and digital to analog conversion techniques. (0,3) Lyons
550 • 612 Audio Science and Technology

This class focuses on the core science that forms the basis of audio technology. Topics include
electronic circuit elements, reactive elements, filtering, linear amplification, AC and DC
power, as well as time and frequency domain representation of signals. (3,0) Lyons
550 • 623 Physical Acoustics

Basic fundamentals of physical acoustics involving the generation and propagation of sound.
Topics include free and forced vibrations, one-dimensional systems (strings and bars), two-
dimensional systems (membranes and plates), coupled vibrating systems, general wave
phenomena, types of sound waves (plane, spherical, and cylindrical), and types of radiating
sources (point, monopole, dipole, and line.) Prerequisites: Musical Acoustics, Psychoacoustics.
(3,0) Shade
147
550 • 624 Architectural Acoustics
The behavior of sound in enclosed spaces is explored. Topics include sound absorption, sound
reflection, refraction and diffusion, large and small room acoustics, room modes, reverbera-
tion, energy ratios, acoustical materials, psychoacoustic aspects, and design of rooms for
speech, music, and recording. Prerequisites: Physical Acoustics, Psychoacoustics. (3,0) Shade
550 • 625 Sound System Design

Design and application of sound reinforcement systems for indoor and outdoor spaces. Topics
include design techniques, performance objectives, sound system components, loudspeaker
and sound system types, speech intelligibility, prediction of sound distribution and level,
acoustic gain equations, installation requirements, and performance measurements. Prereq-
uisites: Electroacoustics, Architectural Acoustics, Psychoacoustics. Offered in alternate years.
(0,3) Faculty
550 • 626 Noise Control

A continuation of Architectural Acoustics (550 • 624) with an emphasis on noise control for
buildings and equipment. Topics include noise reduction, transmission loss theory, impact
insulation, noise barriers, equipment enclosures and noise control materials, HVAC noise pre-
dictions and control. Prerequisites: Physical Acoustics, Architectural Acoustics. (0,2) Shade
550 • 627 Computer Modeling

Basics of computer modeling for room acoustics and sound systems design. Topics include
general theory and assumptions underlying computer modeling, different types of acoustical
models, auralization, small room acoustic, large room acoustic, and sound system computer
models. Introduction to popular computer models including Room Sizer, Room Optimizer,
EASE, and ODEON. Prerequisites: Architectural Acoustics, Sound System Design. Offered
in alternate years. (0,2) Faculty
550 • 631 Professional Practices

This course examines professional practices common in industry. Topics include interaction
with clients, design professionals, and contractors; professional ethics and liability; insurance;
contracts; and fee setting, specifications, reports, and project documentation. (2,0) Shade
550 • 640 Acoustics Design

Practicum In this course taken in the final semester of study, students will act as acousti-
cal consultants to design or analyze an existing room or sound system using the knowledge
gained through prior classes. The students will be responsible for complete analysis, measure-
ments, modeling, design documentation, and presentation of the final design in class. (0,3)
Shade
550 • 651-652 Basic Recording Techniques for Musicians

A comprehensive course in recording and associated technologies designed for the musician
who wishes to know about the recording arts. The course is taught parallel to Basic Record-
ing I and II but without the required mathematics and physics and is open to upper-level
undergraduates and graduate students of all majors. A paper is required each semester in lieu
of an exam. Offered in alternate years. (2-2) Faculty
550 • 699 Graduate Final Project or Internship

Culminating project or internship for students in the Master of Arts in Audio Sciences
program. Projects or internship plans are submitted to the respective faculty member for
approval. (3) Faculty/Shade
148
Small Ensembles
950 • 535,6/835,6 Peabody Camerata
A larger chamber ensemble devoted to study and performance of the music of the 21st cen-
tury. Works performed are typically for five winds and four or five strings. Works may call for
a single solo performer or for variations up to larger combinations of instruments. The ensem-
ble may also take part in chamber opera. Assignment is by audition to this elective designed
for advanced performers. (2,2) Young
950 • 545,6/845,6 Percussion Ensemble

A performance-oriented ensemble that explores a wide range of repertoire from Varèse to
Zappa to traditional Javenese Gamelan. Students will learn basic technique of Asian metallo-
phones and drums. Experimentation will be encouraged. Studio time is also spent on orches-
tral repertoire and sectionals for all orchestral concerts. (1,1) Faculty
Strings
Keng-Yuen Tseng, Chair
530 • 449,450 Orchestral Repertoire for Violin

The development of orchestral performance skills for violinists with emphasis on repertoire
and preparation for auditions. (1,1) Greenberg
530 • 451,452 Orchestral Repertoire for Viola

The development of orchestral performance skills for violists. Minimum of three students per
class. (1,1) Field
530 • 465,466 Orchestral Repertoire for Cello

(1,1) Stepansky
530 • 467,468 Orchestral Repertoire for Double Bass

(1,1) Faculty
530 • 532 Orchestral Audition Seminar for Violists

An intensive course to assist violists in their final stages of preparation before winning an
orchestral audition. The most common repertoire is not only studied but reinforced in a con-
stant audition environment. Mock auditions are held every four weeks. Audition strategies
are discussed privately and as a group. (0,1) Wyrczynski
530 • 651-652 Violin/Viola Pedagogy

Violin/viola teacher training from beginning to advanced levels. Study of various pedagogues.
Observation of violin/viola instructors and supervised studio teaching experience. Open to
both undergraduate (juniors and seniors) and graduate violin or viola majors in the fall semes-
ter and by permission of instructor in the spring semester. Required for all Master of Music in
Violin or Viola Performance/Pedagogy majors. (2-2) Henry
149
Voice
Phyllis Bryn-Julson, Chair
530 • 469 Singing in Italian

This course will prepare students to sing artistically in Italian, through a combination of dic-
tion study, text translation, and in-class singing of repertory chosen by the students and their
voice teachers. Special attention will be given to poetic word order and vocabulary and to
archaic forms common in the repertory. Prerequisite: minimum one year of college study of
Italian language or consent of instructor. (2,0) Mastrian
530 • 470 Italian Song

A study of the history, interpretation, and poetic content of Italian vocal music. Each student
will prepare and perform in class two pieces of different periods and styles. (0,2) Mastrian
530 • 471 Singing in Russian

A study of Russian vocal music, its poetry and interpretation, including analysis and perfor-
mance of selected works. Offered in alternate years. (2,0) Danchenko-Stern
530 • 473,474 Opera Literature

A study of selected works in opera from the 17th century to present, with emphasis on com-
positional styles and traditions of performance. Offered in alternate years. (2,2) Liotti
530 • 475 Singing in English

An introduction to the International Phonetic Alphabet as well as the sounds of English and
their applications to the singing process. (2,0) Ligon
530 • 476 English and American Song

A study of the history, interpretation, and poetic content of English and American songs,
from the baroque period to the present. (0,2) Ligon
530 • 477 Singing in German

A thorough examination of the phonemic/phonetic system of German pronunciation and its
application in singing in that language. The course is designed to give students not only the
professional tools to analyze the phonetic problems in German texts (and to transcribe those
solutions with the aid of IPA), but also the ability to hear for themselves how those solutions
can be applied. Special emphasis is placed on Bühnenaussprach/Hochlautung, noting the
differences between speaking and singing in that language, and the resulting choices that
the student will need to make in achieving a good and flexible singing pronunciation. This
is essentially a practical course; the major part of the teaching will be through speaking and
then singing excerpts from the German vocal repertoire from opera, oratorio, and lieder. (3,0)
Justen
530 • 480 French Mélodie

An introduction to French art song with emphasis on important contributions of composers
from Berlioz to Poulenc. Listening assignments and class performances of selected materials
are included. Required for undergraduate voice majors. (0,2) Ligon
530 • 481 German Lieder

A study of the development of the Lied from its origins in the Piano Songs of the 17th
century to its first flowering in the songs of Schubert (especially those of 1828) and in
Schumann’s Lieder year (1840). From this point, the focus will be upon the later part of the
19th century (Mendelssohn, Brahms, Mahler, Wagner) and the 20th century (Berg, Schön-
berg, Strauss, etc.). Offered in alternate years. (2,0) Shirley-Quirk
150
530 • 483 Singing in French
A study of French vocal music, its poetry and interpretation, with attention to diction (using
the International Phonetic Alphabet) and grammar, including analysis and performance of
selected works. Required for the BM in Voice. (3,0) Ligon
530 • 539 Poetry in German

Beginning with Goethe’s work, this course focuses on German poems representative of a poet,
a period, or a genre, from the 18th century to the present. Special attention will be paid to
works set to music by various composers from Mozart to Henze. Texts will be read in the
original German (with English translations); discussions will be in English. This course is a
liberal arts elective (voice students may receive Advanced Studies credit by permission). (3,0)
Vogt
530 • 571,572 History of Song Literature

An in-depth study of song literature for the solo voice, this two-semester couse will cover
songs from the Renaissance through the 20th century and include historical context, back-
ground, textual analysis, and compositional characteristics. Selected composers will be stud-
ied in depth with regard to form and influences on style. (2,2) Muckenfuss
530 • 579,580 Vocal Chamber Music

This class brings together singers and instrumentalists to explore the vast chamber music
literature that includes voice, from the baroque to the 21st century. Ensembles can include
all orchestral instruments, organ, harpsichord, piano, guitar, and percussion. This course is
offered as an elective. Permission of the instructor is required. (2,2) Sharp/Shirley-Quirk
530 • 686 Opera: Bel Canto/Verismo

An overview of two forms of Italian opera of the early and late 19th century. Their stylistic
conventions will be discussed with examples from historic recordings and video selections.
(0,3) Liotti
530 • 672 Verdi

A study of the operas with special attention to Verdi’s development and his influence on other
composers of the 19th and 20th centuries. Class not limited to voice majors. Offered in alter-
nate years. (3,0) Liotti
530 • 677 Advanced Vocal Repertoire in French

Study and performance of representative songs. Singers should be comfortable singing in
French. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years. (0,2-3) Ligon
530 • 678 Advanced Vocal Repertoire in German

Study and performance of representative songs. Singers should be comfortable singing in
German. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years. (2-3,0) Ligon
530 • 682 Arioso and Recitative

Although this is a (vocally) practical course, instrumentalists (e.g., continuo players, whether
cellist, gambists, or keyboard players) and conductors are more than welcome. The course will
recognize the two sources of recitative [plainsong which led to the Passion tradition of Schütz
and Bach, and the “nuove musiche” of the “camerata” giving rise to the more operatic style
of, say, Handel], the subsequent amalgamation of these styles in Wagner’s operas, and the cre-
ation of the operatic style of the 20th century [Berg, Debussy, Britten]. Offered in alternate
years. (2,0) Shirley-Quirk
151
530 • 683 Vocal Pedagogy
A class participation course that includes an introduction to various voice teaching methods
and their respective approaches to posture and breathing, registration, resonation, coordina-
tion, interpretation, and vocal health; an examination of the anatomy and function of the
vocal mechanism; student teaching; teacher observation; repertoire and recital planning.
Required for the MM in Voice with Pedagogy Emphasis and the DMA in Voice, Option C;
an elective for seniors and other graduate students. (2,0) Rainbolt
530 • 684 Vocal Pedagogy Lab

A continuation of student teaching and teacher observation from 530 • 683 Vocal Pedagogy.
Required for the MM in Voice with Pedagogy Emphasis and the DMA in Voice, Option C.
(2) Rainbolt
530 • 687 Oratorio

Students learn standard repertoire, with emphasis on the 18th and 19th centuries, for use in
auditions and/or performance. Offered in alternate years. (0,2) S. Cornett
530 • 691,692 Music for the Voice—20th, 21st Centuries

A performance practice course including score reading, definitions of the technical language
of avant garde music, and the learning of contemporary vocal techniques. Performance is
optional. Composers to be studied will include Messiaen, Cage, Berio, Aperghis, Boulez,
Wuorinen, Carter, Rorem, and Maw. Offered in alternate years. (2,2) Bryn-Julson
530 • 695 Advanced Lieder Studies from the Poetic Perspective

The course is designed to present voice and interested piano students who perform Lied set-
tings a detailed analysis and understanding of the texts, as well as a deeper understanding of
the meaning and the significance of the poetry they read or perform. One of the desired out-
comes of this class is to give students the tools to recognize poetry from the various historic
and stylistic periods, and to reflect this understanding in their interpretations of the musical
settings. The course will start with a thorough examination of the poem: structure, historic/
poetic period, possible meanings, and how they are set by major composers. Some of these
settings will be performed in class. The poets discussed will be Goethe (fall), and Heine and
Eichendorff (spring). (2,2) Justen/Shirley-Quirk
Woodwinds
Phillip Kolker, Chair
530 • 455,456 Orchestral Repertoire for Clarinet

The development of orchestral performance skills for clarinet with emphasis on repertoire.
(1,1) Barta/Palanker
530 • 459 Respiratory Function

Basic techniques of breathing and breath control for wind instruments tailored to the stu-
dent’s instrument with a goal of enhancing one’s use of air and efficiency to improve perfor-
mances. Consists of five private one-hour lessons during the semester. Enrollment is limited
to three students per semester. (1) Fedderly
530 • 463,464 Piccolo Class

Covers repertoire from both the solo and orchestral literature, increasing proficiency, famil-
iarity, and comfort with the “little flute.” Emphasis on audition preparation and experience.
Required material: Jack Wellbaum’s Orchestral Excerpts for Piccolo. (1,1) Sokoloff
152
530 • 519,520 Orchestral Repertoire for Flute
The development of orchestral performance skills for flute with emphasis on repertoire. (1,1)
Skala
530 • 573, 574 Orchestral Repertoire for Oboe/English Horn

The development of orchestral performance skills for oboe and English horn with emphasis
on repertoire. (1,1) Faculty
530 • 591,592 Oboe Reedmaking

The construction of oboe reeds. (1,1) Faculty
530 • 575,576 Orchestral Repertoire for Bassoon

The development of orchestral performance skill for bassoon with emphasis on repertoire.
(1,1) Kolker
Recitals
190 • 395 Recital
A public performance required of all students earning the Bachelor of Music in Music Educa-
tion and/or the Performer’s Certificate. (2)
190 • 495 Recital

A public performance required of students earning the Bachelor of Music degree program. (2)
190 • 695 Recital

A public performance required of all students with a major in performance in the Master of
Music degree program or the Graduate Performance Diploma program. (2)
190 • 696 Recital

A second public solo or ensemble performance required of all students with a major in perfor-
mance in the Graduate Performance Diploma program, and as may be required by individual
departments for students with a major in performance in the MM degree program. (2)
190 • 794-799 Recital

Public performances required of all students in the Artist Diploma and Doctor of Musical
Arts programs, with the exception of those majoring in composition. (2)
153
Student Life
Student Accommodations participate in a “commuter” plan, either a
30 block of meals with Flex Points or an
Residence Hall all-declining-balance plan. A la carte retail
The Peabody Residence Hall consists service is also offered.
of two towers connected at the Plaza
level by the Dining Hall. Constructed in Health Services
1968, the towers house fully furnished, Full-time students receive their health
air-conditioned rooms. The main floor of services from the Johns Hopkins Com-
the East Tower houses recreational space munity Physicians at Wyman Park (3100
in Unger Lounge, student mailboxes, the Wyman Park Drive). The health service
Student Affairs Office Suite, and the Insti- provides comprehensive outpatient health
tute’s mailroom. The Residence Hall com- care including evaluation and treatment
plex includes a common room facility for of minor illnesses, allergy shots, routine
laundry. Individual ethernet connections gynecologic care and consultation, routine
to the Internet are available within each ancillary testing, and minor surgical pro-
resident’s room. cedures. Visits for treatment at the health
The Residence Hall is staffed by a service are covered by the mandatory stu-
full-time professional coordinator and dent health fee and are otherwise free to
part-time student resident assistants. The the student. Referrals to outside providers
staff is selected and trained to provide and some ancillary testing are charged to
programs, assistance, advising, and leader- the student’s health insurance.
ship to each floor community within the
Residence Hall. Counseling Center Services
All freshmen, sophomores, and first-year The Counseling Center at 358 Garland
transfer students are required to live in Hall on the Homewood campus is the
the Residence Hall unless they have been primary source of psychological assistance
granted an exemption by the Residence for students. Services are oriented toward
Life Office. On-campus residency permits helping students resolve emotional dif-
entering students to adjust more easily ficulties, manage stress and interpersonal
to college life and Conservatory studies. relationships more effectively, and over-
It also encourages students to cultivate come problematic behaviors. A variety of
new friendships, to explore the historic services are provided, including individual
Mount Vernon neighborhood, and to take and group psychotherapy, crisis interven-
advantage of the many cultural and social tion, support groups, workshops, and con-
resources of Baltimore. sultation on student-life problems. For the
convenience of Peabody students, a coun-
Dining Hall selor is available at Peabody one half-day
The Peabody Dining Hall is located per week. For additional information or to
between the two residence towers. Resi- make an appointment, call 410-516-8278.
dency requires participation in the board You can also check the Counseling Center
plan. The cafeteria serves breakfast, lunch, website at www.jhu.edu/counselingcenter.
and dinner from Monday through Friday To speak to an on-call counselor in case of
and brunch and dinner on the weekend. an emergency during non-business hours,
Weekday dinner and all weekend meals Homewood Security should be contacted
are an “all you care to eat” buffet using at 410-516-7777.
a meal swipe; breakfast and lunch meals
are provided through the dining points Health Insurance
associated with each of the meal plans. All full-time students are required to
Off-campus students are encouraged to carry adequate health insurance coverage
154
for themselves and their dependents. The churches of most religious denominations.
Johns Hopkins University has developed Johns Hopkins University Campus Min-
a comprehensive health insurance plan istries, located at the Bunting-Meyerhoff
that includes hospital, surgical, and major Interfaith and Community Service Center
medical benefits. Membership in this plan on the Homewood campus, promotes and
is mandatory for all full-time students – supports spiritual development, theo-
including Degree-in-Progress students logical reflection, religious tolerance, and
– unless a student provides evidence that social awareness among students, faculty,
he or she has existing equivalent health and staff within the university commu-
insurance coverage. International students nity. Through a pastoral presence and hos-
are required to purchase the school’s insur- pitable environment, Campus Ministries
ance plan. seeks to enhance the spiritual and ethical
educational experience of the whole per-
Shuttle Bus son, mind, body, and soul. JHU Campus
A free university shuttle operates seven Ministries is a collaborative effort of the
days a week between the Homewood cam- university chaplain, campus ministers, and
pus and the Johns Hopkins Medical Insti- the student-led Interfaith Council offering
tutions with stops at the Peabody campus prayer services, religious reflection series,
and the train station. The buses run from interfaith education, and dialogue oppor-
6:15 a.m. to 11:30 p.m. on weekdays; 7 tunities, as well as special community and
a.m. to 6:30 p.m. on Saturdays; and noon fellowship events. For further information,
to 9:30 p.m. on Sundays. take the shuttle to the Interfaith Center
at the corner of North Charles and Uni-
Peabody Escort Van
versity Parkway, call 410-261-1880, or
Peabody operates a van escort service contact www.jhu.edu/~chaplain.
to transport members of its community
to and from campus within roughly a Athletic Facilities
12-block radius. When school is in session The nonacademic Department of Ath-
the escort van runs every half hour from letics and Recreation of the Johns Hopkins
7 p.m. to 2 a.m. and at 3, 4, and 5 a.m. University is responsible for intercolle-
upon request, seven days per week. giate athletics and the campus recreation
Student Activities program for students, staff, and faculty.
Students are encouraged to become The facilities of the Newton H. White
involved in campus life through par- Jr. Athletic Center at the Homewood
ticipation in student activities and self- campus include a competition-sized swim-
governance. The Organization Advocating ming pool, numerous basketball courts, a
Student Interests (OASIS) is a collabora- wrestling room, fencing room, and varsity
tive, representative organization that wel- weight-training room.
comes any student willing to commit to The Ralph S. O’Connor Recreation
improving the quality of life at Peabody. Center includes a large multi-purpose
Students may also form special interest court for basketball, volleyball, and bad-
groups by following guidelines published minton, racquetball/squash courts, a 30’
in the Registered Students Organizations climbing wall, a fitness center for strength
Handbook. Peabody students are eligible and cardiovascular conditioning, indoor
to participate in a wide range of student jogging track, and group fitness/martial
activities, including intramural athletics, arts rooms.
offered on the JHU Homewood campus. Outdoor facilities at the Homewood
campus include six tennis courts which
Religious Activity are also available when not in use by the
Within walking distance of the Peabody varsity tennis teams. All facilities can be
campus, one can find a synagogue and reserved by contacting Thomas Payne in
155
the Office of Recreation (410-516-5229) Recreation at 410-516-5229 or check the
or tpayne2@ jhu.edu. JHU website at www.jhu.edu/recreation.
All participants are assessed a fee to The Peabody campus provides a recre-
use the O’Connor Recreation Center. For ation room, ping-pong and pool tables in
information regarding cost and hours of Unger Lounge, and an exercise room.
operation, please contact the Office of
Financial Information
Tuition and Fees, 2009–2010
Tuition
Full-time study (per academic year)
Degree programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $34,250
Artist Diploma and Graduate Performance Diploma programs . . . . . . . . . . . . 28,700
Part-time study (per academic year)
Major study (one-hour lessons + jury/recital); unlimited ensembles . . . . . . . . 15,230
Major study (half-hour lessons + jury/recital); one ensemble . . . . . . . . . . . . . . 7,940
Vocal coaching or minor study: one hour lessons . . . . . . . . . . . . . . . . . . . . . . . 7,940
Vocal coaching or minor study: half-hour lessons . . . . . . . . . . . . . . . . . . . . . . 4,850
Supplementary Study
Hourly per semester credit or audit
Second major field lessons (double performance major) . . . . . . . . . . . . . . . . . . 6,645
Classroom studies, ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975
Music Education certification courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Degree-in-progress, graduate consultation . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,500
Elective minor study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Remedial tutorial study (per clock hour)
(assigned only in consultation with the Dean’s Office) . . . . . . . . . . . . . . . . . 210
General Fees
* Application for degree program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
* Application for Extension students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
* Tuition deposit (students returning from leave, nonrefundable) . . . . . . . . . . 50
* Tuition deposit (new students, nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . 600
* Matriculation (one-time fee for new degree/diploma candidates) . . . . . . . . . 700
Health services fee (required for all full-time students) . . . . . . . . . . . . . . . . 250
Information technology fee (required for all full-time students) . . . . . . . . . . 175
Health insurance—individual coverage . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,677
Special Fees
Late payment (payments postmarked after August 11th for fall semester
and December 8th for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Late registration (late registrations/registration
confirmations after September 4 for fall semester and
January 9 for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Change of course after first week each semester, per request . . . . . . . . . . . . . . . . 20
Special examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Graduate examination retake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Recital rescheduling fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Transcript (academic) per copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
156
Instrument rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $100- $125
Bass case rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50-$200
Lost folder (ensembles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 500 min
Lost ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost key (studio/classroom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 25
* Nonrefundable
N.B. It is required that all students pay tuition and fees in full in order to complete
registration and attend classes each semester.
1 Degree-in-progress fee is required of graduate students not registered for coursework
and/or lessons or granted official leave of absence.

2 Due prior to registration for all students returning from leave of absence.
3 One-time fee required for each degree/certificate/diploma program.
Room and Board Fees (per academic year)

Room reservation (nonrefundable after June 30) . . . . . . . . . . . . . . . . . . . . . $ 150
Residence Hall security deposit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 100
Room and Board—Double occupancy/Board Plan I . . . . . . . . . . . . . . . . . . $ 11,100
Board Plan I with a single room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 12,430
Double occupancy/ Board Plan II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 10,700
Lost key (Residence Hall and mailbox) nonrefundable . . . . . . . . . . . . . . . . $ 25
Lock replacement (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50 min
Schedule of Payments, 2009–2010 Residence Hall

Tuition and Fees Room contracts are based on the aca-
Fall semester payment: demic year.
Postmark date August 11, 2009 First semester payment:
Spring semester payment: Postmark date August 11, 2009
Postmark date December 8, 2009 Second semester payment:
Entering students must pay the tuition Postmark date December 8, 2009
deposit upon notification of admission. The Residence Hall security deposit and
Student account invoices for return- the room reservation fee must accompany
ing students are available on the student all applications for Residence Hall rooms.
website (https://isis.jhu.edu). Paper bills The room reservation fee is applied to the
are no longer mailed. A JHED logon is Residence Hall charges and is not refund-
required to access an invoice (https:// able after June 30.
isis.jhu.edu/sswf for more information). The security deposit is not credited
Students are notified via e-mail when the to Residence Hall charges but will be
invoice is posted. Students can establish returned upon termination of residence.
additional authorized users to allow some- Rooms will be inspected immediately
one else to view and pay on their accounts. after they are vacated, and any repairs,
New students will receive a paper invoice exclusive of normal wear and tear, needed
via mail for their first semester bill only. to restore them to their original condi-
Federal regulations prohibit the Peabody tion will be deducted from the security
Institute from releasing student informa- deposit. In the case of double occupancy,
tion (records, billing, etc.) without written when the damage or repair charges cannot
consent from the student, according to the be specifically identified with an indi-
Family Educational Rights and Privacy vidual person, each occupant shall share
Act of 1974 (FERPA). the cost equally.
157
Tuition Refund Schedule for Withdrawals, 2009–2010
Withdrawal Date Refund
Fall Semester 2009
Before 09/02/09 100% less $100 administrative cost
09/03/09 – 09/12/09 90% less $100 administrative cost
After 10/23/09 No refund
Spring Semester 2010
Before 01/19/10 100% less $100 administrative cost
After 03/21/10 No refund
Students withdrawing after classes have begun are liable for that portion of their tuition
that has not been canceled. Withdrawals must be in writing and do not become effective
until received by the Office of Academic Affairs.
Residence Hall refunds for withdrawals 2009–2010
Before October 23 (Fall), March 21 (Spring) Fees prorated proportionately
After October 23 (Fall), March 21 (Spring) No refund
Tuition Payment Assistance Graduation

The Clarence Manger and Audrey Students may not obtain their certificate
Cordero Plitt Loan Fund. This fund was or diploma until all outstanding charges
specifically designed to help parents of full- have been paid.
time undergraduate students pay for college Federal Aid Programs
in regular installments, over an extended
period of time, at a lower than usual inter- General
est rate. It is intended to help meet the Federal aid programs consist of financial
needs of the middle income family. assistance in the form of federal grants,
Eligibility is established by the Pea- federal loans and federal Work Study.
body Institute after a review of the loan Awards are based on demonstrated finan-
application form. In general, parents are cial need and the availability of funds.
eligible if combined annual gross income To apply for these types of aid, the Free
is between $30,000 and $150,000. The Application for Federal Student Aid
interest currently being charged is 3%. (FAFSA) must be completed, listing Pea-
For additional information about the body TITLE IV CODE EOO233. The
Fund, call or write: FAFSA can be filed online at www.fafsa.
ed.gov. A paper version of the FAFSA may
Donna Stinnette also be obtained from the Peabody Finan-
21 E. Mt. Vernon Place cial Aid office or the student’s high school
Baltimore, MD 21202 or college counselor’s office.
410-659-8100 Additional information and other
Peabody also offers a 10-month pay- required forms are available on the Pea-
ment plan through Tuition Management body financial aid office website at www.
Systems (TMS) call 1-800-722-4867 for peabody.jhu.edu/finaid.
more information, or contact the Peabody The Peabody Conservatory will not
Business Office. issue transcripts or perform any other
158
service if a student becomes delinquent or borrow a PLUS Loan may borrow as much
defaults on loan payments. as $5,000 in additional unsubsidized loan.
Freshmen and sophomores can borrow
Loan Programs no more than $4,000 per year. Graduate
(students must be enrolled at least half-time) students may borrow up to an additional
Federal Perkins Loans $12,000 in unsubsidized loan. Unsubsi-
Federal Perkins Loan is available to dized loan interest is fixed at 6.8% for all
students enrolled at least half-time and is students. Payment may be deferred while
based on demonstrated financial need and the student is still in school, but interest
availability of funds. Perkins Loan has a should be paid, as it will accrue and be
5% interest rate, and payment is deferred capitalized.
while a student is enrolled at least half- Federal Direct Graduate PLUS Loans
time. Awards range from $500 to $8,000. Federal Direct Graduate PLUS loans
Peabody Student PLITT Loans are federally guaranteed loans available
Student PLITT Loans are available to to graduate students who have exhausted
students enrolled at least half-time and is their eligibility for subsidized and unsub-
based on demonstrated financial need and sidized Federal Direct Student Loans.
availability of funds. Student PLITT Loans There is no financial need requirement
carry a 3% interest rate, and payment is to receive these loans; however, a credit
deferred while a student is enrolled at review is required.
least halftime. Awards range from $500 to Federal Direct Parent PLUS Loans
$6,000. Federal Direct Parent PLUS loans are
Subsidized Federal Direct Student Loans federally guaranteed loans available to
Subsidized Federal Direct Student Loans parents of undergraduate students. There
have replaced the Stafford Loan Program. is no financial need requirement to receive
Students no longer need to file a separate these loans; however, a credit review is
bank application. Federal Direct Student required. The interest rate on both Parent
Loan is available to students enrolled at and Grad Direct PLUS loans is fixed at
least half-time who demonstrate financial 7.9%.
need. The following limits are set for loans:
Undergraduate Grants
freshmen, $3,500; sophomores, $4,500;
juniors and seniors, $5,500; graduate stu- Federal Pell Grant
dents, $8,500. Payments are deferred while Federal Pell Grant is only available to
a student is enrolled at least half-time. The undergraduates. Pell Grant ranges from
interest rate is currently fixed at 5.6% for $400 to $4,731 and is based on demon-
undergraduate student loans, and 6.8% for strated financial need.
graduate student loans. Federal SEOG
Unsubsidized Federal Direct Student Federal Supplemental Educational
Loans Opportunity Grant is also only available
Unsubsidized Federal Direct Student to undergraduates. FSEOG ranges from
Loans are available to graduate students, $976 to $5,350 and is based on demon-
independent undergraduate students, strated financial need and the availability
and dependent undergraduate students. of funds.
Dependent undergraduate students may Federal Academic Competitiveness Grant
not borrow more than $2,000 per year The Academic Competitiveness Grant
unless a parent is denied a PLUS loan. (ACG) is a federal grant for first-year
However, independent undergraduate undergraduate students who graduated
students and dependent undergraduate from high school after January 1, 2006,
students whose parents are not eligible to
159
and second-year undergraduate students they apply for admission; however, only
who graduated from high school after students who submit the Free Applica-
January 1, 2005. Students may receive an tion for Federal Student Aid (FAFSA) or
ACG of up to $750 for their first year of the International Student Financial Aid
study and up to $1,300 for their second and Scholarship Application by February
academic year of study. To receive the 1 will be considered for amounts higher
ACG, applicants must meet these initial than $10,000. Students receive written
qualifications: notification of scholarship award with the
• U.S. citizens or permanent residents of acceptance letter. All scholarships are for
the U.S. one year and are renewed annually for the
• Federal Pell Grant recipient duration (8 semesters for undergraduate
students and 4 semesters for graduate stu-
• Completion of a rigorous high school
program of study (for both first- and dents) of a student’s degree or certificate,
second-year students) as determined by depending on the progress of the student
the U.S. Department of Education as indicated by examination and grade-
point average. The amount of Peabody
• Full-time enrollment in a degree pro-
Scholarship remains the same throughout
gram
a student’s program, provided the student
• First-year students must not have been maintains satisfactory academic progress.
previously enrolled in an undergraduate Peabody Scholarships will not increase in
program . Students enrolled less than
subsequent years in the same program,
full-time will have their awards pro-
rated. and students cannot re-audition in the
same program for a new scholarship or to
• Second-year undergraduate students increase current scholarship. Completing a
must have a cumulative GPA of at least satisfactory jury is a personal benefit to the
3.0 on a 4.0 scale
student and will not result in a Peabody
Federal Work Study Scholarship award or increase.
Federal Work Study is available to Scholarship is not awarded to students
students who demonstrate financial need. in the Doctor of Musical Arts program.
Awards range from $500 to $2,500 and Applicants to the DMA are encouraged to
are based on the availability of funds. apply for graduate assistantships.
Additional information can be obtained Auditions are held by the departmental
from the Financial Aid Office. faculties and by the traveling admissions
representative on the dates indicated in
Institutional Aid Programs the admissions packet.
Peabody Scholarships are awarded based Many scholarships, awards, and prizes
on the merit, talent, and financial need of are made possible through the generosity
the student and the needs of the school of various individuals and organizations.
for a balanced ensemble. All students are They are made to outstanding students
considered for Peabody Scholarship when based on terms specified by the donors.
160
Endowed Scholarships, Fellowships, and Graduate Assistantships
Cosimo C. Abato Clarinet Scholarship Philip D. Glass Endowed Scholarship in

Aegon USA Scholarship Fund Composition
The Denes Agay Piano and Composition Richard Franko Goldman and Alexandra Rienzi Goldman
Scholarship Memorial Scholarship
Elaine Austin and Oscar J. Kurtz Endowed Douglas and Hilda Perl Goodwin Endowed
Scholarship Scholarship Fund for Opera
Bach-Horstmeier Scholarship (interpretation of the works of Arabella Leith Symington Griswold Endowed Scholarship
J.S. Bach). in Piano
James Backas Memorial Endowed Scholarship Fund The Norman J. and Sarah J. Groves Scholarship
(clarinet, chamber wind instrument) Willard and Lillian Hackerman Endowed
Baltimore & Ohio Railroad Women’s Music Club Scholarship
General Award Ruth Brouse Bauer Endowed Scholarship Asger Hamerik and Sidney Lanier General
in Piano Scholarship
Louis D. Beaumont Foundation Scholarship John J. Hanex Memorial Scholarship
Lindred Scott Bendann Endowed Scholarship in Violin The Jean Harnish Endowed Scholarship
Louis Blaustein Memorial Scholarship Howard Reid Hayden Memorial Organ Scholarship
Michael R. Bloomberg Scholarship Funds Ida Heyser Memorial Piano Fellowship
John Charles Bohl Memorial Flute Scholarship Frank M. Hines Memorial Organ Fund
Victor Borge Scholarship Hoffberger Foundation Scholarships
Franz C. Bornschein Memorial Scholarship The Carl Holzapfel Violin Shop Endowed
The Yale Brody Memorial Scholarship (horn) Scholarship (strings)
Chauncey Brooks Memorial Violin Scholarship Charlotte Ludlow Hopkins Piano Scholarship
Lucy Brown Memorial Piano Scholarship Merritt V. Howard Memorial Voice Scholarship
Charlie Byrd Memorial Endowed Scholarship in Guitar Florence Bentley Hughes Endowed Scholarship
Cape Foundation Endowed Scholarship Alma D. Hunt/VCM Endowed Scholarship in Piano, Vio-
Louis Cheslock Memorial Scholarship (composition) lin or Organ (sacred music)
Elizabeth Rountree Church Memorial Scholarship Helen J. Iliff Endowed Scholarship (piano)
Edna Parker Clemmitt Memorial Scholarship Joseph and Elizabeth Imbrogulio Scholarship (strings)
Frederick Campbell Colston Memorial Scholarship in The Agi Jambor Scholarship (piano)
Piano Claire and Allan Jensen Scholarship
Helen McGraw Chambers Memorial Endowed Scholar- Beatrice Feldman Kahn and Raymond S. Kahn Endowed
ship in Piano Scholarship in Cello
Austin Conradi Memorial Piano Scholarship William H. Kaltenbach Jr. Endowed Scholarship
Conservatory Endowed Scholarship Fund (piano) Stephen Kates Memorial Endowed Scholarship in Cello
Elizabeth Coulson Piano Teaching Fund (upperclass or Henriette Ries Kern Memorial Award
graduate) Hans Kindler Cello Scholarship
Richard and Rosalee Davison Scholarship Warren Donald and Marie Evelyn Kinsman
The Deering Endowed Scholarship Fund Memorial Scholarship Hjalmar and Emma Kivekas Schol-
Mabell Antoinette Leonhardtsen del Mar arship (piano and violin)
Scholarship Lillian Hirschmann Konowitz Memorial
Jane Emel Donato Endowed Scholarship Scholarship (piano)
Richard Dragon Memorial Scholarship (composition) The Edward and Frances Kosnik Endowed Scholarship
Ruth and Arno Drucker Scholarship Fund (piano, organ, voice, violin and trumpet)
Dr. & Mrs. Gottfried Duschak Voice Scholarship Fund Willella S. Kriel General Scholarship
Leah O. Effenbach Piano Scholarship Kuehne-Finn Memorial Endowed Scholarship Fund
Jennie K. Elle and Kurt D. Elle Scholarship Elaine Austin and Oscar J. Kurtz Scholarship
(piano or violin) Maud C. Lewis Memorial Peabody Alumni
May Garretson Evans Memorial Scholarship Scholarship
(every 4th year to a graduate of the Peabody Prep studying The Irving Lowens and Margery Morgan Lowens
at the Conservatory) Endowed Scholarship Fund
P. William and Vera Ruth Filby Scholarship Linda A. Mantegna Endowed Scholarship Fund
(orchestral instrument or voice) Jack E. Russell Markert Memorial Scholarship (trombone,
Ruby and Albert Flaccoe Endowed Scholarship Fund euphonium, or tuba)
Scott E. Forbush Scholarship The Theodore A. Martin Violin Scholarship
E. Carl Freeman Organ Scholarship Samuel Masland Jr. Memorial Scholarship
Dorothea H. Freitag Scholarship (horn or piano)
Lillian Freundlich Endowed Scholarship in Piano Georgia McEver Endowed Scholarship for Voice
The Eric Friedheim Endowment Fund Leonora Jackson McKim Memorial Scholarship (violin in
Fraser Gange Memorial Scholarship (voice) the field of composition)
Joseph Gegan Memorial Scholarship Thomas Menehan Memorial Scholarship
General Scholarship Endowment Fund Milton H. Miller Sr. Endowed Scholarship in Organ
Lydia and Richard Gillespie Scholarship Dr. Lee Mitchell Memorial Scholarship
161
W. Edwin Moffett Memorial Scholarship The Edna Dunham Willard Voice Scholarship
(double bass) Elizabeth Winston Piano Scholarship
Sylvia Friedberg Nachlas Endowed Scholarship Russell C. and Selina H. Wonderlic Fund
Rose and Leon J. Neiburger Memorial Scholarship The George Woodhead Quasi-Endowed Scholarship Fund
William and Dorothy Nerenberg Endowed Charles R. Woods Voice Scholarship
Scholarship in Piano Carol Jean and Jay Young Scholarship in Piano
Hedy Oliven Scholarship Fund Miles M. Young Memorial Scholarship
C. Leslie Oursler Piano Music Scholarship
Peabody Conservatory Endowed Piano Scholarship Endowed Prizes and Awards
Peggy Pearlstone Scholarship Clinton Lee Arrowood Memorial Prize (flute)
Phi Mu Alpha Fraternity Scholarship Clara Ascherfeld Award (accompanying)
Gregor Piatigorsky Scholarship (cello) Martha and William Bill Memorial Prize
Barbara W. Pickus Memorial Scholarship (graduating student)
Matthew S. Polk Scholarship for Recording Arts & Sci- P. Bruce Blair Award in Composition
ences George Castelle Memorial Prizes (male and female gradu-
Mary Stewart Reid Piano Scholarship (every 3 years) ates in voice)
Horace Wolcott Robbins Piano Scholarship Virginia Carty deLillo Award (graduating student with
Ruth Blaustein Rosenberg Orchestral Scholarships highest GPA in the Bachelor of Music degree program)
Ruth Blaustein Rosenberg Scholarship Virginia Carty deLillo Composition Competition
Marion Savage Rosette Piano Scholarship Israel Dorman Memorial Award (outstanding progress in
Richard Ross Memorial Organ Scholarship violin, viola, or cello)
Randolph S. Rothschild Scholarship (composition) Charles M. Eaton Award (voice)
Charles P. Sachs Conservatory Scholarship Anita Erdman Award (superior talent and promise in opera)
The Leonard Sandler Scholarship (percussion) Pauline Favin Memorial Prize (full-time piano student who
Daniel and Isabel Savanuck Endowed Scholarship in has shown marked improvement during final year at the
Piano Conservatory)
The Eugene Scheffres & Richard E. Hartt Scholarship Sidney M. Friedberg Prize (chamber music)
(composition and performance) The Richard Franko Goldman Prize Fund
Joseph and Frances Schillinger Endowed (graduating student who most exemplifies the former director
Composition Scholarship of Peabody)
Jacques T. Schlenger Scholarship Yale Gordon Concerto Competition
M. Sigmund Shapiro Scholarship Sylvia Green Competition
Steven C. Shea Memorial Guitar Scholarship The Lillian Gutman Memorial Prize (upperclass or graduate
Leonie Shorey Piano Scholarship piano student)
Sigma Gamma Rho Sorority Scholarship The Lynn Taylor Hebden Prize Fund (performance)
The Esther G. and Joseph Silver Memorial Sidney Jensen Memorial Prize (clarinet)
Scholarship Britton Johnson Memorial Prize (flute)
Albert and Rosa Silverman Memorial Scholarship (piano) Josef Kaspar Award (graduating violinist showing the most
Alexander Sklarevski Piano Scholarship promise)
The Valerie Slingluff Violin Scholarship Gustav Klemm Award (exemplary work in a field of study)
(upperclass or graduate) James Winship Lewis Endowed Memorial Prize
David C. Smith Memorial Scholarship Fund Lillian Howard Mann Memorial Award (voice)
Albert Snellenburg Voice Scholarship William L. Marbury Violin Competition
Florence Solomon Memorial Piano Scholarship Ada Arens Morawetz Award (composition)
Ruth Blumberg Sopher Endowed Memorial Otto Ortmann Award (literature and composition proven out-
Scholarhip in Piano standing after two or three years)
The Grace H. Spofford Scholarship (upperclass or graduate Olga von Hartz Owens Memorial Prize (graduating string
piano) student)
Geraldine D. Stansell Scholarship Fund Prix d’Eté Competition (a composition competition involving
Hortense Iseman Stern Memorial Scholarship electronic and computer music technologies)
The Catherine Laura Stevens Memorial Harold Randolph Prize (greatest general ability in work,
Scholarship Fund musicianship, and public performance)
The Clinton Alvey and Catherine Stouffer Grace Clagett Ranney Endowed Memorial Prize
Scholarship Randolph S. Rothschild Award Alice and Leary Taylor
Donald S. Sutherland Organ Scholarship Prize
Fanny B. Thalheimer Memorial Scholarships Azalia H. Thomas Prize (instrumentalist and vocalist gradu-
Marie K. Thatcher Memorial Theory Scholarship ating with highest GPAs in theory)
Mabel H. Thomas Memorial Scholarship Zaidee T. Thomas Prize (instrumentalist and vocalist
(piano–Alumni award) demonstrating special proficiency, outstanding talent or
Louis McLane Tiffany Piano Scholarship accomplishment)
Louis McLane Tiffany Voice Scholarship Melissa Tiller Memorial Prize (violin)
Senator Millard E. Tydings Scholarship J.C. van Hulsteyn Violin Award
The Ervin R. Van Artsdalen Endowed Scholarship Annie Wentz Prize (accompanying and voice)
George M. Wagner Endowed Scholarship Fund Frances M. Wentz Turner Memorial Prize (piano)
Weldon Wallace Memorial Scholarship Harrison L. Winter Piano Competition
The Richard E. and Margaret Wertheimer Wolf Scholar-
ship Fund at the Peabody Conservatory
162
The George Woodhead Endowed Prize (voice, emphasis on Further information and applications are
oratorio or church music)
Sarah Stulman Zierler Prize (accompanying)
available from:
Maryland State Scholarship
Annual Scholarships, Prizes, Awards
Abrams Double Degree Scholarship Administration
American Bassoon Company Prize 839 Bestgate Road, Suite 400
Annual Anonymous Scholarship Annapolis, Maryland 21401-3013
The Associated Italian American Charities of
Maryland, Inc.,
www.mhec.state.md.us
Frank and Vincenzina Rapisarda Memorial
Scholarship The application deadline for these
14 Baltimore Music Club Award (graduating accompanist) scholarships is generally in early February.
The Mary Finney Barada Scholarship
Marian B. and Samuel Bernstein Memorial Prize (out- Peabody Career Development Fund
standing opera student)
The Pamela Buell Annual Scholarship
The Peabody Career Development Fund
The Rildia Bee O’Bryan Cliburn Memorial was established in 1986 to assist eligible
Scholarship students and recent alumni in the devel-
Zelda & Ben Cohen Annual Scholarship
Dorothy deCourt Prize in Organ Evergreen House Foun-
opment of their careers. The awards are
dation Scholarship made possible through the generosity of
The Madeleine Friedheim Memorial Scholarship the following donors:
The William T. Gerrard & Mario A. Duhon
Peabody Conservatory Senior Orchestral • Douglas S. Goodwin
Scholarship • Caswell & Constance Caplan
Douglas and Hilda Goodwin Annual Scholarship in
Chamber Music
• Malcolm & Loraine Bernstein
The Dr. and Mrs. Walter Edwards James Award • Eyer Educational Corporation
Jephson Educational Trust No. 2 Scholarship • Peggy & Yale Gordon Trust
Christian A. Johnson Scholarship • Friends of Peabody
The John J. Leidy Foundation, Inc. Scholarship
Liberace Foundation Scholarship Applications are considered each
Maryland State Music Teachers Association Award
Rose Marie Milholland Award (outstanding student in semester by the committee, and awards
piano) are noted annually in the Graduation
Marcia Neff Voice Scholarship Fund program. Information is available in the
Presser Foundation Scholarship
Presser Music Award Director’s Office and on the Peabody web-
The Mary and Martin Raila Music Education site at www.peabody.jhu.edu/careerdev.
Award Rotary Club of Baltimore Student
Scholarships Assistantships
William Ellsworth Russell Memorial Scholarship
Gulen F. Tangoren, M.D., Award for Vocal
A limited number of assistantships
Excellence are available to students who have been
Three Arts Club of Homeland General Award admitted into a graduate program as full-
Sheila Vickers Memorial Scholarship
Frank D. Willis Memorial Prize in Composition
time degree or diploma candidates. A
The Harrison L. and Gladys W. Winter Scholarship graduate assistantship is awarded on the
Avedis Zildjian Percussion Scholarship basis of previous academic record, place-
ment examination results, and a personal
Other Scholarships interview/audition in the specific area of
The General Assembly of the State of interest. Assistantships are available in the
Maryland has enacted legislation creating following areas:
scholarship programs to assist students
Accompanying
in obtaining a college education. Any
Music Education
Maryland resident is eligible to compete
Bibliography
for Maryland State Scholarships. Since
Musicology
these are important sources of assistance
Chamber Music
for many Peabody students, all Maryland
Music Theory
residents are strongly encouraged to apply.
Composition
163
Opera Accompanying credits per year. It is advisable not to take
Computer Music more than 12 hours of study per semester.
Piano Maintenance The student must be registered for study
Conducting in the major area. All credits taken must
Piano Teaching be necessary and applicable to the degree
Ear-Training for which the candidate is enrolled. The
Recording Arts Conservatory reserves the right to restrict
Guitar the activities of holders of assistantships.
Voice Students holding graduate assistant-
Jazz ships must maintain a consistently high
Wind Conducting level of performance in every area of study,
Liberal Arts with a grade point average of at least 3.0,
and a grade of at least B- in the major les-
The assistantship is for a term of one son and departmental examinations. Fail-
year, but upon recommendation of the ure to fulfill terms of the assistantship may
faculty, may be extended to a maximum result in its immediate termination and
of two years. Only under extraordinary may require repayment of income.
circumstances may an assistantship be
renewed for a third year. This requires Employment
a recommendation from the faculty and Jobs are available at Peabody for full-
approval of the dean. time students enrolled in a degree or
Full-time graduate assistants are diploma program. Students are authorized
expected to assist the faculty for up to an to work on campus up to a maximum of
average of 15 hours per week, with specific 20 hours per week after they complete
assignments made by individual faculty the necessary paperwork with the Office
members. Graduate assistants should not of Human Resources and Payroll Services.
work more than a combined total of 20 Students are encouraged to apply for avail-
hours per week for the university. A por- able positions at the beginning of the
tion of assistantship income is considered academic year, as jobs are available on a
taxable unless it qualifies for special con- first-come, first-served basis. A listing of
sideration by tax authorities. Consult the hiring departments and further informa-
human resources manager of the Institute tion may be obtained through the Office
for full details. of Human Resources and Payroll Services,
Graduate assistants must be registered or by calling 410-659-8100.
as full-time students for a minimum of 18
164
Administration
The Peabody Institute
Principal Administrative Officers and Deans
Jeffrey Sharkey, Director of the Institute
Mellasenah Morris, Dean of the Conservatory and Deputy Director
Carolee Stewart, Dean of the Preparatory
Gayle Ackley, Senior Associate Dean for Finance and Administration
Katsura Kurita, Associate Dean for Student Affairs
Paul Mathews, Interim Associate Dean for Academic Affairs
Andrea Trisciuzzi, Associate Dean for Development and Alumni Relations
Directors – Department Managers

Academic Program Coordinator Head Librarian
Caitlin Vincent Robert Follet
Admissions Human Resources/Payroll Services
David Lane Laura Brooks
Alumni Relations Information Technology and Telecommunications
Debbie Kennison Jonathan Richardson
Business Services International Student Advisor
Larry Catron Susana Rodriguez
Campus Security Major Gifts
David Fulgham Patrick O'Neall
Concert Office Marketing and Communications
Teresa Perez Shirley-Quirk Richard Selden
Ensemble Office Registrar
Linda Goodwin James Dobson
Facilities Management Residence Life
Joseph Brant Kyley McClain
Financial Aid
Thomas McDermott
National Advisory Council of the Peabody Institute of

The Johns Hopkins University
Robert J. Abernethy Thomas Kaurich
Pilar Bradshaw Julia Martin Keelty
Edward J. Brody M. Lucinda Kelly
Max W. Corzilius Se Ung Kim
Richard Davison Christopher Kovalchick
Anthony W. Deering Mary J. Miller
Mario A. Duhon Milton H. Miller Sr.
Leon Fleisher Terry Morgenthaler
Sandra Levi Gerstung William Nerenberg
Robert L. Goldstein Matthew S. Polk Jr.
Benjamin H. Griswold IV Tracey Schutty
Taylor A. Hanex Turner B. Smith
Sandra S. Hillman Solomon H. Snyder
Allan D. Jensen Carol Jean Young
165
The Johns Hopkins University
Trustees Gail J. McGovern

Pamela P. Flaherty Peter A. Meyer
Chair Kweisi Mfume
C. Michael Armstrong, ex officio Westley W. O. Moore
Richard S. Frary Naneen H. Neubohn
Mark E. Rubenstein David P. Nolan
Vice Chairs Ronald M. Nordmann
Geraldine A. Peterson, ex officio
Christopher C. Angell Walter D. Pinkard Jr.
Jeffrey H. Aronson Joseph R. Reynolds Jr.
Janie E. Bailey Brian C. Rogers
Lenox D. Baker Jr. David M. Rubenstein
Alfred R. Berkeley III Marshal L. Salant
Paula E. Boggs Robert A. Seder
Michelle A. Brown Donald J. Shepard
George L. Bunting Jr. Rajendra Singh
Francis B. Burch Jr. Raymond W. Snow, ex officio
Charles I. Clarvit Adena W. Testa
N. Anthony Coles Selwyn M. Vickers
Ronald J. Daniels, ex officio William F. Ward Jr.
Sarah R. David James L. Winter
Anthony W. Deering Shirley S. L. Yang
Ina R. Drew
Harvey Eisen Trustees Emeriti
Maria T. Fazio Robert J. Abernethy
Marjorie M. Fisher Leonard Abramson
Louis J. Forster Peter G. Angelos
Helene D. Gayle Norman R. Augustine
Sanford D. Greenberg H. Furlong Baldwin
Benjamin H. Griswold IV Jeremiah A. Barondess
Taylor A. Hanex Ernest A. Bates
Lee Meyerhoff Hendler David H. Bernstein
David C. Hodgson Aurelia G. Bolton
R. Christopher Hoehn-Saric Randolph W. Bromery
Frank L. Hurley Constance R. Caplan
Stuart S. Janney III William P. Carey
Jeong H. Kim A. James Clark
David H. Koch Victor J. Dankis
Christopher Kovalchick Edward K. Dunn Jr.
Donald A. Kurz Manuel Dupkin II
Joanne Leedom-Ackerman James A. Flick Jr.
Alexander H. Levi Gottlieb C. Friesinger II
Kwok-Leung Li Robert D. H. Harvey
Roger C. Lipitz Rafael Hernandez-Colon
Diana C. Liu F. Pierce Linaweaver
Christopher E. Louie Raymond A. Mason
Howard C. Mandel Harvey M. Meyerhoff
Christina L. Mattin Charles D. Miller
166
Milton H. Miller Huntington Sheldon
Ralph S. O’Connor R. Champlin Sheridan Jr.
Morris W. Offit Wendell A. Smith
George G. Radcliffe Helmut Sonnenfeldt
John F. Ruffle Shale D. Stiller
Arthur Sarnoff Morris Tanenbaum
Frank Savage Edward G. Uhl
Wayne N. Schelle Calman J. Zamoiski Jr.
Herschel L. Seder
Principal Administrative Officers and Deans

Ronald J. Daniels Ray Gillian
President of the University Vice Provost for Institutional Equity
Scott L. Zeger Pamela Cranston
Interim Provost and Senior Vice President for Vice Provost for International Programs
Academic Affairs Scott L. Zeger
James T. McGill Vice Provost for Research
Senior Vice President for Finance and Jerome D. Schnydman
Administration Executive Assistant to the President and
Edward D. Miller Secretary of the Board of Trustees
Chief Executive Officer of Johns Hopkins Kathryn J. Crecelius
Medicine, Vice President for Medicine, and Chief Investment Officer
Dean of the School of Medicine
Adam F. Falk
Stephen S. Dunham Dean, Krieger School of Arts and Sciences
Vice President and General Counsel
Nicholas P. Jones
Michael Strine Dean, Whiting School of Engineering
Vice President for Finance and Treasurer
Michael Klag
Michael C. Eicher Dean, Bloomberg School of Public Health
Vice President for Development and Alumni
Relations Martha Hill, Dean
School of Nursing
Thomas Lewis
Interim Vice President for Government, Jessica P. Einhorn
Community, and Public Affairs Dean, Nitze School of Advanced International
Studies
Charlene Moore Hayes
Yash P. Gupta
Vice President for Human Resources
Dean, Carey Business School
Paula P. Burger
Ralph Fessler
Vice Provost Dean, School of Education
Michela Gallagher Jeffrey Sharkey
Vice Provost for Academic Affairs Director, Peabody Institute
Edgar E. Roulhac Richard T. Roca
Vice Provost for Academic Services Director, Applied Physics Laboratory
Jonathan Bagger Winston Tabb
Vice Provost for Graduate and Postdoctoral Dean, University Libraries and Museums,
Programs and Special Projects Vice Provost for the Arts
Stephanie L. Reel
Chief Information Officer and Vice Provost for
Information Technology
167
Index
A Change of Studio Teacher 25
Academic Code of Conduct 22 Common Curriculum Components
Academic and Bachelor of Music Degree 34
Administrative Regulations 22 Doctor of Musical Arts Degree 92
Academic Standing 22 Master of Music Degree 70
Administration Competitions 15
The Johns Hopkins University 165 Composition Course Offerings 115
The Peabody Institute 165 Computer Music Studio 12
Admission to Candidacy, DMA 91 Computer Music Course Offerings 116
Admission Requirements Concert Halls 11
Artist Diploma 110 Concerts 14
Bachelor of Music Degree 33 Conducting Course Offerings 117
Doctor of Musical Arts Degree 91 Conducting Fellows Program 18
Extension Study 111 Course Changes and Withdrawals 25
Graduate Performance Diploma 108 Course Listings 114
Master of Arts in Audio Sciences 89 Cross Registration 20
Master of Music Degree 69 Curriculum
Performer’s Certificate 104 Artist Diploma 122
Advanced Standing 38 Bachelor of Music
Advisory Committees, DMA 91 Composition 48
Application Deadlines 4 Computer Music 50
Arthur Friedheim Library 11 Music Education 51
Assistantships 163 Performance 40
Athletic Facilities 155 Recording Arts and Sciences 59
Attendance and Absences 24 Doctor of Musical Arts
Auditing 25 Composition 96
Audition requirements Conducting 96
Artist Diploma 110 Performance 98
Bachelor of Music Degree 33 Graduate Performance Diploma 109
Doctor of Musical Arts Degree 91 Master of Arts in Audio Sciences 89
Extension Study 111 Master of Music
Graduate Performance Diploma 108 Composition 82
Master of Music Degree 69 Computer Music 84
Performer’s Certificate 104 Early Music Performance 77
Awards 161 Music Education 85
Musicology 87
B Music Theory Pedagogy 88
Performance 72
Baltimore Area Cultural Activity 14 Performance/Pedagogy 81
Brass Course Offerings 114 Piano: Ensemble Arts 76
Performer’s Certificate 104
C
Calendars D
Academic 2 Dean’s List 24
Audition 4 Degree-in-Progress 27
Summer Session 4 Degree Requirements
Campus 10 Bachelor of Music 33
Career Counseling and Placement 16 Doctor of Musical Arts 91
Career Development Fund 163 Master of Arts in Audio Sciences 89
Chamber Music Course Offerings 114 Master of Music 69
Change of Major 25
168
Dining Hall 154 J
Dismissal 24 Jazz Course Offerings 127
Dissertation Requirements 95 JHU Concentrations 67
Distinguished Visiting Faculty 14, 113 Juries 34
Documents, DMA 94
Double Degree Program 21
K
Keyboard Studies Course Offerings 138
E
Early Music Course Offerings 119 L
Ear-training Course Offerings 137 Language Course Offerings 126
Educational Facilities 11 Language Requirements
English as a Second Language 38, 70 Bachelor of Music Degree 37
Ensemble Arts Course Offerings 121 Doctor of Musical Arts Degree 94
Ensemble Requirements 35, 71, 93 Master of Music Degree 71
Examinations Large Ensembles 129
Entrance 69 Leave of Absence 25
Qualifying, DMA 95 Lecture–Recital, DMA 95
Preliminary Oral, DMA 95 Liberal Arts undergraduate 37
Liberal Arts Course Offerings 124
F
Faculty Listing 113 M
Federal Aid Programs 158 Master Classes 14
Fee Payment Schedule 157 Master’s Essay 86
Financial Aid Eligibility 24 Master’s Portfolio 71
Financial Information 156 MENC 16
Five-Year BM/MM Program 68 Music Education Course Offerings 130
Full-Time Status 24 Music Theory Course Offerings 133
Musicology Colloquium 94
G Musicology Course Offerings 138
General Information 9
General Studies Course Offerings 122 O
Grading System 22 Official Dress 20
Graduate Assistantships 163 Opera Course Offerings 143
Graduation Eligibility 24 Oral Defense of Dissertation 95
Graduation Rates 27 Organ Course Offerings 144
Grants 159 Outside Instruction and Performances 20
Guitar Course Offerings 122
P
H
Peabody National Advisory Council 165
Harp Course Offerings 123 Peabody Trio 14
Health Insurance and Services 154 Pedagogy Course Offerings 144
Humanities Course Offerings 124 Percussion Course Offerings 145
Humanities, undergraduate 37 Performance Facilities 11
Pi Kappa Lambda 16
I Piano Course Offerings 145
Instrument Collection 11 Portfolio of Compositions 71, 94
Internet Service 13 Preparatory Division 9
Previously earned Peabody Credits 70, 92
Prizes 162
169
Procedural Information 19 S
Program Completion Scholarships 161
Doctor of Musical Arts Degree 95 Shuttle Bus Service 155
Master of Music Degree 71 Small Ensemble Course Offerings 149
String Course Offerings 149
R Student Data 18
Readmission 27 Student Life 154
Reciprocal Academic Arrangements 20 Student Rights and Responsibilities 27
Recitals 19 Study Abroad Program 18
Artist Diploma 110
Bachelor of Music Degree 34
Doctor of Musical Arts Degree 93 T
Graduate Performance Diploma 108 Transcripts 21
Master of Music Degree 71 Transfer Credits 38
Recording Arts Course Offerings 146 Trustees, The Johns Hopkins University 166
Recording Studios 12 Thursday Noon Recital Series 36
Religious Activity 155 Tuition and Fees 156
Repertoire Requirements, DMA 91
Residence Hall 154
Residency Requirements V
Artist Diploma 110 Voice Course Offerings 150
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 92
Graduate Performance Diploma 108 W
Master of Music Degree 69
Review Courses 70, 92 Withdrawals
Course 25
Refund Schedule 158
Woodwind Course Offerings 152
170
7/23/09 11:03:52 AM
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Peabody Institute
One East Mount Vernon Place
Baltimore, MD 21202-2397
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Johns Hopkins University P e a b o d y C o n s e r vat o r y 2 0 0 9 - 2 0 1 0

Academic Year 2009–2010

Conservatory Admissions Office

First Semester 2009–2010

Classification of Students by Program

Major Area One Two Three Four Total

General Studies All Peabody undergraduates are encour-

General Studies One Two Three Four

English as a Second Language (ESL) of classes. Students placed in ESL courses

SUPPORTIVE COURSES IN MUSIC

SUPPORTIVE COURSES IN MUSIC

Strings, Brass, Woodwinds, Harp, Percussion

Music Education: Guitar

Music Education: Orchestral Instruments

Music Education: Piano

Music Education: Voice

Instrumental Music Certification

Vocal/General Music Certification

Recording Arts: Composition

Recording Arts: Guitar

Recording Arts: Orchestral Instruments

Recording Arts: Organ

Recording Arts: Piano

Piano: Ensemble Arts

Piano: Ensemble Arts with a Concentration in Vocal Accompanying

Early Music Performance: Harpsichord

Early Music Performance: Voice

* Possible Electives Include:

Possible Analysis Courses Include:

Possible Twentieth-Century Courses Include:

DMA Curriculum—Conducting Majors

DMA Curriculum—Performance Majors

DMA Curriculum—Performance Majors

Voice: Option C (Performance/Pedagogy)

The Graduate Performance Diploma International students in this program

Curriculum Components (GPD)

Distinguished Visiting Faculty

530 • 453,454 Horn Repertoire Class

530 • 459 Respiratory Function

530 • 457,458 Orchestral Repertoire for Trumpet

950 • 547,548/847,848 Brass Repertoire Class

530 • 521,522 Chamber Music Seminar

530 • 623 New Chamber Music

530 • 579,580 Vocal Chamber Music

950 • 531,2/831,2 Chamber Ensemble

950 • 539,540/839,840 Piano Ensemble

950 • 527,8/827,8 Baroque Ensemble

950 • 553,4/853,4 Renaissance Chamber Ensemble

310 • 545-546/845-846 Composition Seminar

310 • 793 Compositions/Commentary

350 • 437-438/837-838 Digital Music Programming

350 • 463-464 Introduction to Computer Music

350 • 465 Introduction to Web Design

350 • 466 Introduction to Programming (using Java)

350 • 467-468/867-868 Synthesis Theory

350 • 545-546/845-846 Computer Music Seminar

350 • 840 History of Electroacoustic Music

350 • 841-842 Research Practicum

350 • 847-848 Computer Music Area Seminar—Special Topics