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Collegiate Catalog 2012 | 2013 - San Francisco Conservatory of Music
Collegiate Catalog 2012 | 2013 C O L L E G I AT E C AT A L O G 2012 | 13 C O L I N MUR DO C H President MARY E L L E N P O O L E De a n San Francisco Conservatory of Music 50 Oak Street San Francisco, California 94102-6011 415.864.SFCM (7326) 800.899.SFCM (7326) Where it all begins. www.sfcm.edu The San Francisco Conservatory of Music is an Affirmative Action/ Equal Opportunity Employer. It does not discriminate in the admissions process or in the awarding of financial aid on the basis of race, color, sex, national origin or disability. Collegiate Faculty i Credits Editorial: Matthew Siegel Coordination: Christopher Basso, Alice Beckett, John Bischoff, Joseph Sargent, Sam Smith Design: Beatriz Américo Production: Beatriz Américo Photography: Carlin Ma, Rory McNamara, Betsy Kershner, Matthew Washburn Cover Design: Beatriz Américo, Melissa Cocco-Mitten © 2012 San Francisco Conservatory of Music. All Rights Reserved. Table of Contents 2 ACADEMIC CALENDAR 3 COLLEGIATE FACULTY 7 ABOUT THE CONSERVATORY 7 From the President 8 Mission Statement 9 A Brief History 9Alumni 10 Conservatory Facilities 11 Campus Life 12 City Life 13 Master Classes 14 Performance Opportunities 17 Specialized Areas of Study 19 GENERAL INFORMATION 19 23 25 28 Application and Auditions Tuition and Fees Financial Aid Academic Regulations 37 UNDERGRADUATE STUDY 37 Admission Requirements 37Auditions 40 Bachelor of Music 40 Recitals and Juries 41 Core Curriculum 42Composition 43Guitar 44 Piano or Organ 46Harpischord 47 Orchestral Instruments: Strings, Winds, Brass & Percussion 54Voice 57GRADUATE/POSTGRADUATE STUDY 57 62 62 63 Admission Requirements Curriculum Outline Recitals and Juries Master of Music/Artist Certificate in Chamber Music 64 Collaborative Piano 65Composition 65Conducting 66Guitar 67 Keyboard Instruments 68 Orchestral Instruments 69Voice 70 Postgraduate Diploma in Vocal Performance 71 Professional Studies Diploma in Instrumental Performance 73 COURSE DESCRIPTIONS 100 FACULTY BIOGRAPHIES 145 BOARD OF TRUSTEES 146 ADMINISTRATIVE STAFF 147INDEX Academic Calendar 2012-13 FALL SEMESTER 2013-14 FALL SEMESTER International Student Intensive English Session August 6-17 New student orientation (International students only) August 21 New student orientation (All new students) August 22 Auditions and Placement Examinations August 22-27 Advising Day August 28 Registration August 29-30 Labor Day holiday September 3 Fall classes begin September 4 Deadline to submit Independent Study and Internship proposals September 11 Deadline to add classes to fall registration September 18 Deadline to drop classes without class appearing on transcript October 2 Fall Break October 15-16 Deadline to submit course work for incomplete grades October 17 Deadline to drop classes with a grade of W on transcript October 17 Deadline to drop classes with a grade of WP/WF on transcript October 30 Academic Advising and spring pre-registration November 19-December 7 Thanksgiving Break November 21-23 Spring Internship proposals due December 4 Last day of classes and exams December 17 Juries December 18-19 Winter Break begins December 20 Final grades due January 2 International student Intensive English Session August 5-16 New student orientation (International students only) August 20 New student orientation (All new students) August 21 Auditions and Placement Examinations August 21-26 Advising Day August 27 Registration August 29-30 Labor Day holiday September 2 Fall classes begin September 3 Deadline to submit Independent Study and Internship proposals September 10 Deadline to add classes to fall registration September 17 Deadline to drop classes without class appearing on transcript October 1 Deadline to submit course work for incomplete grades October 15 Deadline to drop classes with a grade of W on transcript October 15 Fall Break October 21-22 Deadline to drop classes with a grade of WP/WF on transcript October 29 Academic Advising and spring pre-registration November 18- December 6 Thanksgiving Break November 27-29 Spring Internship proposals due December 3 Last day of classes and exams December 16 Juries December 17-18 Winter Break begins December 19 Final grades due January 2 2012-13 SPRING SEMESTER 2013-14 SPRING SEMESTER New student orientation and placement examinations Registration Martin Luther King Jr., Day holiday Spring classes begin Deadline to submit Independent Study Project proposal Deadline to add classes to spring registration Presidents’ Day holiday Deadline to drop classes without class appearing on transcript Deadline to submit course work for incomplete grades Deadline to drop classes with a grade of W on transcript Deadline to drop classes with a grade of WP/WF on transcript Spring Break Academic Advising Summer Internship Proposals due Last day of classes and exams Juries Final grades due Commencement 2 Academic Calendar January 14-17 January 18 January 21 January 22 January 29 February 5 February 18 February 19 March 5 March 5 March 19 March 25-29 April 8-19 April 29 May 13 May 14-23 May 20 May 24 New student orientation and placement examinations Registration Martin Luther King Jr., Day holiday Spring classes begin Deadline to submit Independent Study Project proposal Deadline to add classes to spring registration Presidents’ Day holiday Deadline to drop classes without class appearing on transcript Deadline to drop classes with a grade of W on transcript Deadline to submit course work for incomplete grades Deadline to drop classes with a grade of WP/WF on transcript Spring Break Academic Advising Summer Internship Proposals due Last day of classes and exams Juries Final grades due Commencement January 13-16 January 17 January 20 January 21 January 28 February 4 February 17 February 18 March 4 March 4 March 18 March 24-28 April 7-18 April 28 May 12 May 13-22 May 19 May 23 Collegiate Faculty Harp Tuba Douglas Rioth Jeffrey Anderson Peter Wahrhaftig Harpsichord Corey Jamason1 Viola Stephen Paulson Jonathan Ring Bruce Roberts Robert Ward Don Ehrlich Paul Hersh1 Katie Kadarauch Orchestral Excerpts Jodi Levitz1 Chair, Strings Madeline Prager Clarinet Oboe Violin William Bennett Russ deLuna English Horn James Moore Chair, Woodwinds Alexander Barantschik Elizabeth Blumenstock3 Historical Performance Wei He Bettina Mussumeli Axel Strauss Ian Swensen1 Catherine Van Hoesen Orchestral Excerpts PERFORMANCE FACULTY Bassoon Jeffrey Anderle Clarinet Class, Bass Clarinet Luis Baez Carey Bell3 Orchestral Excerpts Steve Sánchez3 Bass Clarinet Collaborative Piano 1 Timothy Bach Chair Composition Elinor Armer Dan Becker1 Chair David Conte1 David Garner1 Alden Jenks Electronic Music Conrad Susa1 Conducting Michael Morgan Alasdair Neale Sonja Neblett 1 Chair Horn Organ Rodney Gehrke Percussion David Herbert Timpani Jack Van Geem Chair Piano 1 Paul Hersh James D. Robertson Professor of Piano Sharon Mann Mack McCray1 Chair Yoshikazu Nagai1 William Wellborn Piano Pedagogy Trombone Scott Pingel Stephen Tramontozzi John R. Engelkes Bass Timothy Higgins Tenor Mark Lawrence Tenor; Chair, Brass Paul Welcomer Tenor Flute Trumpet Double Bass Timothy Day Guitar Sérgio Assad1 Lawrence Ferrara Richard Savino Guitar History, Literature David Tanenbaum1 Chair Marc Teicholz David Burkhart Mario Guarneri Mark Inouye Adam Luftman Violoncello Jennifer Culp1 Jean-Michel Fonteneau1 Elisabeth Reed Baroque Cello Voice Sylvia Anderson Christine Brandes3 Historical Performance Catherine Cook1 Chair Patricia Craig Pamela Fry1 Krzysztof Izdebski Vocal Physiology Leroy Kromm Daniel Mobbs1 Rebecca Plack1 Vocal Pedagogy Ruby Pleasure Jane Randolph Marcie Stapp Diction César Ulloa1 Collegiate Faculty 3 Collegiate Faculty ACADEMIC FACULTY The Complete Musician Kayleen Asbo Psychology of Music Teaching Robert Britton Alexander Technique, Chair Clifford Cranna Practical Aspects Mario Guarneri Practical Aspects Elisabeth Lowry Community Service Andrew Luchansky String Pedagogy Jason O’Connell Sound Recording Yoriko Richman Application of Teaching Skills Lori Vobejda Teaching Artistry General Education Erin DeBakcsy Nikolaus Hohmann1 Matthew Kennedy Betsy Marvit Brian Neilson1 Chair Eithne Pardini Carol Pragides Matthew Siegel Indre Viskontas Library Kevin McLaughlin1 Music History and Literature Timothy Bach1 Vocal and Piano Literature Mason Bates Dan Becker1 Sarah Cahill Piano Literature Luciano Chessa Thomas Conroy David Conte1 Mary Fettig Kara Gardner David Garner1 Susan Harvey 4 Collegiate Faculty Paul Hersh1 Corey Jamason1 Bruce Lamott Emily Laurance1 Chair Hayoung Heidi Lee Kevin McLaughlin1 Rebecca Plack1 Richard Savino Guitar Literature John Spitzer Conrad Susa1 David Tanenbaum1 Guitar Literature Music Theory and Musicianship Thomas Conroy Jacques Desjardins Scott Foglesong1 Chair David Garner1 Alla Gladysheva Sonja Neblett1 Michael Schroeder Conrad Susa1 ENSEMBLE FACULTY Brass and Woodwind Chamber Music Jeffrey Anderle Woodwind Coordinator Jeffrey Anderson Miles Anderson Luis Baez Gregory Barber William Bennett David Burkhart Timothy Day Steven Dibner John Engelkes Mario Guarneri Brass Coordinator Mark Lawrence James Moore Stephen Paulson Jonathan Ring Bruce Roberts Richard Roper Peter Wahrhaftig Robert Ward Paul Welcomer Collegiate Faculty Conservatory Baroque Corey Jamason1 Co-Director Elisabeth Reed Co-Director Conservatory Chamber Choir Ragnar Bohlin Director Conservatory Chorus David Conte1 Director Conservatory Orchestra Alasdair Neale Principal Guest Conductor Guitar Ensemble Sérgio Assad 1 Lawrence Ferrara David Tanenbaum1 Marc Teicholz Musical Theater Workshop Heather Mathews 1 Director Michael Mohammed Choreographer Bryan Nies Music Director New Music Ensemble Nicole Paiement Artistic Director Jacques Desjardins Assistant Conductor Opera Program Orchestral Training Gregory Barber Jeff Biancalana Bettina Mussumeli Stephen Paulson Douglas Rioth Adam Smyla Tanya Tomkins Stephen Tramontozzi Chen Zhao Percussion Ensemble Jack Van Geem Director String and Piano Chamber Music Jennifer Culp1 Jean-Michel Fonteneau1 Paul Hersh1 Jodi Levitz 1 Co-Chair Robert Mann2 Mack McCray1 Co-Chair Yoshikazu Nagai 1 Mark Sokol 1 Ian Swensen1 1 Full-time Visiting 3 Adjunct 2 Milissa Carey Acting Darryl Cooper 1 Assistant Music Director Richard Harrell 1 Director, Opera Program Brian Herndon Acting Heather Mathews1 Assistant Director Michael Mohammed Opera Workshop Curt Pajer1 Music Director Collegiate Faculty 5 EMERITI Kathryn Cathcart Joan Gallegos Leonid Gesin Willene Gunn Hermann le Roux Zaven Melikian Peggy Salkind Camilla Wicks Accompanists and Vocal Coaches Steven Bailey Mark Bruce Hsueh-Ching Chien Amy Chiu Elizabeth Dorman Miles Graber Michael Grossman Sandra Gu Margaret Halbig Alex Katsman Kevin Korth Shu Li Hye Yeong Min Keisuke Nakagoshi Bryan Nies Mai-Linh Pham Ian Scarfe Ron Valentino Opera Xiyan Wang Chia-Lin Yang Jieun Yee 6 Collegiate Faculty From the President Dear Current and Prospective Students, Welcome to the San Francisco Conservatory of Music! We have been educating many of the world’s most gifted music students since the Conservatory’s founding in 1917. Alumni have pursued successful lives in music—and served society as dedicated musical citizens—since the Conservatory’s beginnings. Today’s Conservatory is the creation of generations of gifted faculty and students who have dedicated their lives to the achievement of artistic excellence. It is also the creation of our surroundings. The distinctive vitality, creativity and beauty of the San Francisco Bay Area are manifested in the Conservatory’s personality—an intimate and supportive environment that enables each student to find a distinctive musical voice. I offer you a warm invitation to visit and explore the exceptional opportunities that await you here at the San Francisco Conservatory of Music. Yours very truly, Colin Murdoch President Mission Statement The San Francisco Conservatory of Music educates exceptionally talented musicians from around the world to become artists of the highest caliber, as well as musical citizens prepared for the challenges of the twenty-first century. GOALS To accomplish this mission, the Conservatory will: noffer a curriculum based on the essential need to both honor tradition and encourage innovation; nengage and support a faculty of master teachers committed to cultivating the individual excellence, collaborative spirit and creative thinking that the professional musician requires and our culture demands; n provide an intimate, supportive environment that enables each student to find a distinctive voice. VISION Situated in one of the most dynamic and eclectic cities in the world, the San Francisco Conservatory of Music is poised to nurture a new generation of gifted musicians who will help advance and shape the musical culture of our century. DEGREE OFFERINGS The Conservatory offers the Bachelor of Music degree in piano, organ, harpsichord, all orchestral instruments, guitar, voice and composition; the Master of Music degree in all of the preceding areas plus conducting, chamber music and piano accompanying; an Artist Certificate in chamber music; a Postgraduate Diploma in vocal performance; and a Professional Studies Diploma in instrumental performance. The Conservatory is an accredited institutional member of the National Association of Schools of Music (NASM), 11250 Roger Bacon Drive, Suite 21, Reston, Virginia 20190. The Conservatory is accredited by the Western Association of Schools and Colleges (WASC), 985 Atlantic Avenue, Suite 100, Alameda, California 94501, 510.748.9001. 8 About the Conservatory OUR STUDENTS In the 2011–2012 school year, approximately 400 students enrolled from 39 states and 24 countries to study with our distinguished faculty, which includes more than two dozen members of the San Francisco Symphony, Opera and Ballet orchestras. More than 550 committed and talented students, ages 4–18, received instruction after school, on weekends and during the summer in the Preparatory Division, and some 300 adults participate in evening classes as well as private instrumental and vocal instruction through the Adult Extension Division. A Brief History The San Francisco Conservatory of Music opened its doors for the first time in fall 1917. In a San Francisco house, Ada Clement and Lillian Hodghead, two determined teachers who loved music, began the school with three pianos, four studios, two blackboards and 40 students. Within a few years, the school was no longer just a neighborhood school. Ernest Bloch had become its director. Yehudi Menuhin and Isaac Stern were students. It would survive the Great Depression, and again large dreams were dreamed. orchestras nationwide, including the New York Philharmonic, the Chicago Symphony, the Boston Symphony and the Los Angeles Philharmonic. Our alumni currently hold positions worldwide with acclaimed musical organizations including the London Symphony Orchestra, the Israel Philharmonic and the Tokyo Symphony. They contribute to music by premiering new works and by shaping music education through teaching and research. ALUMNI HIGHLIGHTS nDuring Jennifer Culp’s seven-year tenure as cellist of the world-renowned Kronos Quartet, the group was named Musical America’s 2003 “Musicians of the Year” and received a Grammy Award in 2004 for Best Chamber Music Performance for Berg’s Lyric Suite. She is now on faculty at the Conservatory. nBass The school outgrew its house. In 1956, it moved to 1201 Ortega Street in the Sunset District, where it resided for 50 years. On Ortega Street it came into its own as a college. During this half century, illustrious artists such as John Adams, the Francesco Trio, Bonnie Hampton and Margaret Rowell joined the Conservatory’s distinguished faculty. Other great performers helped enhance the educational programs, among them Julian Bream, Placido Domingo, Leon Fleisher, Lou Harrison, the Juilliard String Quartet, Thomas Hampson, Yo-Yo Ma, Bobby McFerrin, George Perle, Menahem Pressler, Beverly Sills, the Tokyo String Quartet, Frederica von Stade and many, many more. Under the leadership of President Colin Murdoch, the Conservatory moved in 2006 to its state-of-the-art, magnificent new home in San Francisco’s Civic Center. Located just around the corner from the San Francisco Opera and the San Francisco Symphony, the Conservatory at 50 Oak Street takes its place in the cultural heart of San Francisco and on the world stage of conservatories of music. The Conservatory’s beautiful facility is itself a source of inspiration for the music that is composed and performed within its walls. Alumni Today, more than 30 alumni are members of the San Francisco Symphony, Opera and Ballet orchestras and Philharmonia Baroque Orchestra. Conservatory alumni perform in major symphony John Del Carlo tours the world’s opera houses and performs frequently with the Metropolitan Opera and San Francisco Opera, as well as leading orchestras including the San Francisco Symphony, National Symphony Orchestra and Minnesota Orchestra. nViolinist Krista Bennion Feeney is concertmaster of Lincoln Center’s Mostly Mozart Festival Orchestra, co-concertmaster of the Orchestra of St. Luke’s and a former music director and concertmaster of the New Century Chamber Orchestra. nJames Gandre is the provost and executive vice president of Roosevelt University, and has also served as dean of the Chicago College of Performing Arts. nElza van den Heever, fast becoming one of the most soughtafter sopranos of her generation, was recently appointed a resident artist by Frankfurt Opera Intendant Bernd Loebe. Having made a triumphant debut at Grand Théâtre de Bordeaux as Elettra in Mozart’s Idomeneo, she has since performed with opera companies such as Munich’s Bayerische Staatsoper, Opéra National de Paris, the Lyric Opera of Chicago and the Metropolitan Opera. nPianist Jeffrey Kahane, winner of the Arthur Rubenstein Competition, the Chopin Competition and the Andrew Wolf Chamber Music Award, is music director of the Los Angeles Chamber Orchestra and recently completed a highly successful tenure as artistic director and conductor of the Colorado Symphony Orchestra. nComposer Aaron Jay Kernis, whose commission was featured at the inaugural concert in the Conservatory’s 50 Oak Street About the Conservatory 9 facility, won the 1998 Pulitzer Prize in Music for his String Quartet No. 2 “musica instrumentalis”. nViolinists Yehudi Menuhin and Isaac Stern, two of our era’s greatest virtuosos, both studied at the Conservatory. nTenor Daniel Montenegro sings regularly with the Los Angeles Opera as well as opera companies in San Francisco, Portland and Arizona, and is both a Merola Artist and Adler Fellow with the San Francisco Opera. As a featured member of “The American Tenors,” he appeared nationwide on a PBS television special, followed by concert performances throughout the United States and Europe. nSoprano Catherine Naglestad has sung the title roles of Rodelinda and Norma at San Francisco Opera. In an international 2006 survey of critics, Opernwelt magazine named her “Singer of the Year” for her penetratingly intense role portrayals as Alceste and Norma. nCellist Hai-Ye Ni was the youngest person in history to win the Naumburg International Cello Competition. She is currently principal cellist of the Philadelphia Orchestra, having previously served as associate principal cello with the New York Philharmonic. nTenor Keith Olsen is a principal singer with Teatro alla Scala in Milan, Italy, and has appeared with London’s Royal Opera House Covent Garden, Paris’s Opera Bastille, Staatsoper Wien, Staatsoper Berlin and Arena di Verona. nBass Chester Patton is widely renowned for his theatrical performances and has sung with many of the world’s finest opera companies and festivals, including the Salzburg Festival, Opera de Paris and Teatro dell’Opera di Roma, as well as San Francisco, Seattle, Boston, Tulsa, Nashville, Carolina, Cleveland, Portland and other American opera companies. nThe Peabody Trio, winner of the Naumburg International Chamber Music Competition, includes pianist Seth Knopp and violinist Violaine Melançon, alumni of the Conservatory’s graduate chamber music program. nGyan Riley is an internationally acclaimed guitarist and composer, having performed as a soloist and in ensemble with artists such as Zakir Hussain, Michael Manring, Dawn Upshaw, the San Francisco Symphony, the Falla Guitar Trio, the World Guitar Ensemble and his father, composer and performer Terry Riley. nJoel Rosenbaum is an Emmy Award-winning composer who writes for both television and film. He received an Oscar nomination in 1986 for Best Original Soundtrack, along with Quincy Jones, for his work on The Color Purple. nRobin Sutherland occupies the Jean & Bill Lane Chair as principal pianist with the San Francisco Symphony. nDavid Tanenbaum, chair of the Conservatory’s Guitar Department, is one of today’s most sought-after guitarists, appearing in recitals throughout the world. Conservatory Facilities The Conservatory’s beautiful facility, completed in 2006, is just a three-minute walk from Davies Symphony Hall and the War Memorial Opera House, and just one block from a major public transit hub. Designed by world-class acousticians Kirkegaard and Associates, the building’s cutting-edge acoustical features include completely isolated “floating rooms” and adjustable absorption systems, with each space tailored to its specific sound requirement. In addition to classrooms, practice rooms, teaching studios and three performance halls, students enjoy a large library and listening room, two high-tech recording studios and computer lab, a rooftop terrace, café and wireless Internet connections. CAROLINE H. HUME CONCERT HALL A dramatic performance hall created in a renovated, historic grand ballroom. Designed to showcase the Conservatory’s orchestra, it accommodates audiences of up to 450 people. Internationally renowned visiting artists also perform and present master classes in this hall. SOL JOSEPH RECITAL HALL This extraordinary, intimate modern hall seats up to 125 and is specifically designed for chamber music, small ensemble performances and recitals by our faculty and students. Theatrical lighting and balconies enhance the staging of opera scenes. OSHER SALON A versatile jewel-box for student recitals, ensemble performances, 10 About the Conservatory opera staging and blocking rehearsals, classes and lectures, special meetings and events, the Osher Salon seats up to 100. PHYLLIS WATTIS ATRIUM The magnificent main entrance to the Conservatory features a grand staircase spanning several floors. Visitors reach the Concert Hall, Recital Hall, Salon and café through this visually commanding space. LIBRARY A library for students and faculty with a special collection room, listening room and study space accommodates the Conservatory’s large collection of books, recordings and scores. Floor-to-ceiling windows affect a warm and gracious space with superb natural light and views of the city. PERCUSSION SUITE The percussion suite is located on the lowest level of the Conservatory to minimize the potential noise transfer to other areas of the building, and includes a large rehearsal room, studio and two practice rooms acoustically designed for percussion instruments. YOUTH MUSIC EDUCATION CENTER Home of the Preparatory Division’s early childhood music education program, the Center encompasses two classrooms specially designed and equipped for our youngest students. MILTON SALKIND TERRACE A stunning outdoor space atop the building serves as one of the prime gathering spaces for the Conservatory community. MAIN RECORDING STUDIO State-of-the-art technology feeds all concert hall performances here for recording. Students, faculty and alumni may also make recordings in the adjacent soundproof studio. BAROQUE STUDIO Home of the Conservatory’s baroque music program, the Carol Pucci and Dixon R. Doll Baroque Studio includes the Baroque Ensemble room and the baroque instruments room, housing harpsichords, clavichord and organ. COMPUTER CENTER Fifteen workstations with a variety of applications and computer resources. In addition to standard applications such as Internet access, e-mail and word processing, the Conservatory has developed custom applications to help students with ear training and music theory. Digital keyboards at many workstations interface with music notation software, including Sibelius and Finale, used for composition and score preparation. ELECTRONIC MUSIC STUDIO A state-of-the-art facility for the composition and performance of electronic music. OTHER SPECIALTY ROOMS Additional facilities include student and faculty lounges, harp studio, reed-making room, dual piano teaching studios and keyboard laboratory. Campus Life The San Francisco Conservatory of Music combines a rigorous program of performance and study with an intimate atmosphere where students work closely with faculty and staff. Limited enrollment and small class sizes allow students to receive individual attention, broad ensemble experience and a physical and emotional haven to evolve as musicians. For the performing artist, there is no substitute for live performance. The Conservatory presents an ambitious schedule of nearly 500 recitals and concerts each academic year. Students engage in required and non-required recitals, Conservatory-wide projects and student-initiated productions in collaboration with other students, faculty and local artists. The Community Service Program provides students with opportunities to perform at schools, hospitals and other institutions in the community, and a busy Music to Go! gig service handles more than 1,000 paying performances at weddings, corporate events and community functions each year. The Conservatory encourages students to develop skills that will facilitate a successful career in music. The Practical Aspects of a About the Conservatory 11 Career in Music class and the Community Service/Music to Go! program expose students to topics that include management tools, financial considerations, legal matters and promotional materials. Through academic classes, studio and ensemble opportunities, departmental meetings and school-wide programming, students may connect with local performers, administrators, managers, publicists and performance psychologists as part of their training. A student’s physical and mental health is a priority within the Conservatory education. In past years, ear, nose and throat doctors, hand surgeons, physical therapists and pharmacists have educated students on healthy practices within the music profession. The Conservatory also partners with two neighboring counseling clinics, through which students can access a limited number of counseling sessions at the Conservatory’s expense. A balanced life is an integral component of a Conservatory student’s collegiate experience. Programs supporting this experience include orientation, health and wellness education, career development, residential life and housing services, counseling referrals, international student services and disability support services. The Student Advisory Committee serves as the student voice and works with the Office of Student Life to address student concerns. The Office of Student Life also organizes school-wide programs to encourage social interaction and community building. Past programs have included SF Giants baseball games, volunteering trips, the Conservatory Ball, Halloween and other holiday parties. The Conservatory encourages its students to realize their artistic and personal potential through these learning opportunities and community resources. Students are encouraged to connect with the Office of Student Life with any questions or concerns, and to become more involved with student life initiatives at the Conservatory. The Associate Dean for Student Life is also available to discuss a student’s academic or personal concerns affecting his or her collegiate experience. City Life on the West Coast, its beauty, temperate climate, and opportunities to work and live next to some of America’s most stunning wilderness areas draws people from around the world. THE NEIGHBORHOODS The city’s hills command breathtaking views of the Pacific Ocean and San Francisco Bay. Century-old cable cars climb over Nob Hill, through a thriving Chinatown, down to the Bay, linked to a rapid transit system that provides ready access around the city (MUNI) and across the Bay (BART). A few blocks from the downtown skyscrapers of the Financial District, North Beach cafés attract artists, poets and writers as they have for decades. Golden Gate Park offers bicycle and jogging paths, beautiful gardens and recreational fields, outdoor performance sites and museums. The colorful Mission District sports many diverse cafes, clubs and small arts venues. The Conservatory borders the Hayes Valley neighborhood, with its many upscale boutiques and restaurants. THE ARTS The Conservatory is located in the city’s exceptional Beaux Arts Civic Center, along with the San Francisco Symphony, Opera, Ballet, and Jazz Center, which stage world-class performances and host the finest soloists and ensembles from around the world. The city is also home to many chamber music groups and performing ensembles such as the critically acclaimed Philharmonia Baroque Orchestra, Chanticleer, New Century Chamber Orchestra and San Francisco Contemporary Music Players. Both the traditional and innovative arts thrive here. Theater, dance and performance groups, including the American Conservatory Theater, Alonzo King’s Lines Ballet, ODC Dance and the Joe Goode Performance Group, stage traditional, contemporary and avant-garde productions. The Fine Arts Museums of San Francisco (the de Young Museum, the California Palace of the Legion of Honor), the Asian Art Museum and the San Francisco Museum of Modern Art exhibit from their extensive permanent collections and present touring exhibitions from throughout the world. Fort Mason Center, a former army post on the bay, houses experimental performing organizations, museums and galleries. The Yerba Buena Center for the Arts, a downtown center featuring performing and exhibit spaces, showcases the latest the world has to offer in the arts. STUDENTS IN SAN FRANCISCO San Francisco is a dynamic, multicultural city on the cutting edge of new ideas in the arts and technology. As one of the largest cities 12 About the Conservatory San Francisco offers the easy familiarity of small-town life with its residential neighborhoods clustered around small town centers. The Conservatory’s urban location is within walking distance of cafés, theaters, concert halls and the landmarks that define the city’s character. It is also easily accessible by public transportation from many of the city’s quieter residential neighborhoods. Students may also choose to live across the bay in Berkeley or Oakland. Beaches, mountains and vineyards lie to the north over the Golden Gate Bridge, and in San Jose and Silicon Valley to the south. Master Classes Early Music Elizabeth Blumenstock, Christine Brandes, Bruce Dickey, Ellen Hargis, Steven Isserlis, Judith Malafronte, Sandra Miller, Debra Nagy, Jacquelyn Ross, Janet See, William Sharp, Kurt Streit, Jeffrey Thomas, Kiri Tollaksen Flute Mary Karen Clardy, Michel Debost, Robert Dick, Viviana Gúzman, Katherine Kemler, Demarre McGill, Chris Norman, Paula Robison, Wendy Rolfe, Robert Stallman, Matthias Ziegler, Eugenia Zukerman French Horn Gail Williams Guitar Frequent master classes provide opportunities for students to have some of the world’s master musicians offer one-on-one guidance and critiquing—all in front of a live audience! These classes are challenging, intense and inspiring. Listed below are some previous master classes held at the Conservatory. Assad Brothers, Roberto Aussel, Carlos Barbosa-Lima, Manuel Barrueco, Julian Bream, Nuccio D’Angelo, Aniello Desiderio, Roland Dyens, Marcin Dylla, Margarita Escarpa, Eduardo Fernandez, Antigoni Goni, Adam Holzman, Tilman Hoppstock, Los Angeles Guitar Quartet, Paul O’Dette, Pepe Romero, David Russell, Hopkinson Smith, David Starobin, John Williams Bassoon Harp K. David Van Hoesen Chamber Music Canadian Brass; Norman Fischer, cello; Jorja Fleezanis, violin; Peter Frankl, piano; Bonnie Hampton, cello; The Inventions Trio; Juilliard String Quartet; Gilbert Kalish, piano; Kim Kashkashian, viola; Martha Katz, viola; Jeanne Kiernan, piano; Joel Krosnick, cello; Robert Mann, violin; Peabody Trio; Menahem Pressler, piano; St. Lawrence String Quartet; Synergy Brass Quintet; Tokyo String Quartet; Weilerstein Trio Clarinet Marie-Claire Jamet, Susan Jolles Harpsichord Igor Kipnis, Charlotte Mattax, Charles Sherman, Colin Tilney Musical Theater Franc D’Ambrosio Oboe Elaine Douvas, Jonathan Fischer, Heinz Holliger, Ray Still Orchestral Workshops David Krakauer, Karl Leister, Richard Stoltzmann Donald Runnicles, Carl St. Clair Composition Percussion John Adams, Elliott Carter, John Corigliano, David Harrington, Lou Harrison, Scott Johnson, Aaron Jay Kernis, Robert Kyr, Witold Lutoslawski, Ursula Mamlok, Kirke Mechem, George Perle, Terry Riley, Bruce Rockwell Piano Conducting Christoph Eschenbach, Nicola Luisotti, Peter Oundjian, Sir Simon Rattle Double Bass Timothy Cobb, Janne Saksala, Jeffrey Weisner, Edgar Meyer Evelyn Glennie, Neil Grover, John Santos Leif Ove Andsnes, Emanuel Ax, Yefim Bronfman, Stephen Drury, Leon Fleisher, Peter Frankl, Richard Goode, Angela Hewitt, Stephen Hough, Warren Jones, Jeffrey Kahane, Lang Lang, Jerome Lowenthal, Ursula Oppens, Murray Perahia, Menahem Pressler, Charles Rosen, Sergey Schepkin, André Watts Trombone Joe Alessi, Jorgen van Rijen, David Vining About the Conservatory 13 Trumpet Frits Damrow, Håkan Hardenberger, James Thompson Ensembles Viola Helen Callus, James Dunham, Ralph Fielding, John Graham, Katie Kadarauch, Samuel Rhodes, Michael Tree, Geraldine Walther, Evan Wilson Violin Alexander Barantschik, Nora Chastain, James Ehnes, Jorja Fleezanis, Pamela Frank, Kai Gleusteen, Robert Mann, Anthony Marwood, Kevork Mardirossian, Midori, Elmer Oliveira, Peter Oundjian, Sylvia Rosenberg, Gil Shaham, Pinchas Zukerman Violoncello Norman Fischer, Clive Greensmith, Matt Haimovitz, Bonnie Hampton, Paul Katz, Scott Kluksdahl, Joel Krosnick, Yo-Yo Ma, Sharon Robinson, Mstislav Rostropovich Members of the ensembles perform at the Conservatory as well as other Bay Area locations. Ensembles also are led by well-known guest conductors. Voice CONSERVATORY ORCHESTRA Elly Ameling, Karen Ashley, Ann Baltz, Stephanie Blythe, Barbara Bonney, Wolfgang Brendel, John Churchwell, Luana DeVol, Jane Eaglen, Sheri Greenawald, Ricky Ian Gordon, Robin Guarino, Nathan Gunn, Thomas Hampson, Jake Heggie, Warren Jones, Martin Katz, Judith Malafronte, Lotfi Mansouri, Susanne Mentzer, Catherine Naglestad, Donald Runnicles, William Sharp, Paul Sperry, Ruth Ann Swenson, Giorgio Tozzi, Pierre Vallet, Carol Vaness, Frederica von Stade Performance Opportunities Performance is central to Conservatory programs. The Conservatory presents nearly 500 performances a year, representing the full range of music from solo recitals by students and faculty to small ensembles, fully staged operas and symphonic programs. A special highlight is the Chamber Music Masters series, where guest artists perform together with students and faculty members. More than 26,000 people each year attend Conservatory performances. 14 Conservatory ensembles provide students with the opportunity for concentrated study and performance. They are directed by notable faculty members: conductors Alasdair Neale and Nicole Paiement; conductor/harpsichordist Corey Jamason; San Francisco Symphony principal percussionist Jack Van Geem; former San Francisco Symphony principal trombonist Mark Lawrence; San Francisco Symphony trombonist Paul Welcomer; opera director Richard Harrell; San Francisco Symphony Chorus Director Ragnar Bohlin; and guitarist David Tanenbaum. About the Conservatory Alasdair Neale, Principal Guest Conductor The Conservatory Orchestra provides an intensive experience in the rehearsal and performance of orchestral literature from all stylistic periods. During the academic year, the orchestra gives regular concerts as well as public workshops with distinguished visiting conductors. Student soloists with the orchestra are chosen by competition. In addition, the orchestra presents four performances of the annual Conservatory Opera Theatre production. CONSERVATORY OPERA PROGRAM Richard Harrell, Program Director, Stage Director Curt Pajer, Music Director Darryl Cooper, Assistant Music Director Heather Mathews, Assistant Program Director, Stage Director An integral part of the Conservatory’s collegiate program, the Conservatory Opera Theatre draws exceptionally talented young singers from around the world and provides them with advanced training in vocal style, acting, stage movement and other essentials of operatic craft. Graduates go on to the professional stage wellserved by their Conservatory background. In fall semesters, the Opera Theatre often presents an hour-long version of Humperdinck’s Hansel and Gretel or Mozart’s Magic Flute with sets and costumes in four matinee performances for children, in addition to outreach performances. Presented in the spring semester, recent fully staged operas have included Dialogues of the Carmelites, The Rake’s Progress, La bohème, Così fan tutte, faculty composer Conrad Susa’s Love of Don Perlimplin and Transformations, A Midsummer Night’s Dream, Le nozze di Figaro, Die Fledermaus, The Crucible, L’Incoronazione di Poppea, Count Ory, Tales of Hoffmann and Albert Herring. In addition, eight programs of opera scenes with piano accompaniment from the Opera Workshop program are presented each year, including an ensemble devoted to performing one-act operas in their entirety. BRASS ENSEMBLES Paul Welcomer, Brass Choir Mario Guarneri, Chamber Music Coordinator Brass Choir is a weekly class required for all brass majors. Its principal purpose is to develop ensemble skills through regular reading rehearsals, orchestral repertoire readings and rehearsals for public recitals, which are presented twice annually. In addition, the class is used as a forum for master classes by faculty and guest artists. The class also serves as a workshop on chamber music, auditions and solo performances. Brass Chamber Music explores the repertoire for smaller brass ensembles through the formation of quintets, quartets and trios. The ensembles are coached weekly, participate in chamber music performance workshops and perform twice each semester. CHAMBER MUSIC ENSEMBLES FOR STRINGS AND PIANO Jodi Levitz and Mack McCray, Co-Chairs Chamber music ensembles for strings and piano are assigned following the audition period. The emphasis is on studying, hearing and performing the great variety of works in the chamber music literature. Ensembles receive individual coaching and incorporate players from the graduate chamber music program (see Specialized Areas of Study/Chamber Music for Strings and Piano). Performances are given in informal and formal workshops and in numerous public concerts at the Conservatory each semester. CONSERVATORY CHAMBER CHOIR Ragnar Bohlin, Director The Conservatory Chamber Choir is dedicated to performing chamber choir music, from medieval repertoire to contemporary. Its primary focus is on a cappella music, with close encounters with the choral classics. CONSERVATORY CHORUS David Conte, Director The Conservatory Chorus performs three concerts annually. Works featuring student soloists are emphasized. Past repertoire has included Fauré’s Requiem, Vivaldi’s Gloria and Bernstein’s Chichester Psalms. The Chorus also performs works by student and faculty composers, and participates in an annual Student Composition Contest in the spring semester. CONSERVATORY BAROQUE ENSEMBLE Corey Jamason, Co-Director Elisabeth Reed, Co-Director The Baroque Ensemble is open by audition to all vocal and instrumental students in the school. The ensemble performs music of the seventeenth and eighteenth centuries using period instruments from the Baroque Ensemble’s collection. Auditions are held at the beginning of every school year. Numerous performances of baroque orchestral, chamber and vocal music are given each year. Major works performed in recent years have included fully staged productions and concert versions of Handel’s Agrippina, Alcina, Rinaldo, Giulio Cesare, Serse and Semele as well as J.S. Bach’s St. John Passion and Magnificat. The ensemble offers the opportunity to explore baroque performance practice through the use of period instruments, weekly classes, private coachings and early music master classes. No experience in historically informed performance is required to participate. GUITAR ENSEMBLE David Tanenbaum, Director The Guitar Ensemble performs works for large groups of conducted guitars and also breaks into smaller guitar ensembles and mixed ensembles with other instruments. The smaller ensembles are coached regularly and perform each semester. The ensemble’s programs regularly blend new compositions with transcriptions. In fall 2000, the Guitar Ensemble went on a five-concert tour of Northern California with composer Steve Reich, and in fall 2001 it performed the United States premiere of Terry Riley’s Y Bolanzero. The ensemble performed in both the final concert at Ortega Street and the inaugural concert at the Oak Street Concert Hall, for which it commissioned Steve Mackey’s Measures of Turbulence. It About the Conservatory 15 recently recorded Measures of Turbulence on the 2010 Naxos release Awakenings (Naxos 8.559650). MUSICAL THEATRE WORKSHOP Heather Mathews, Director Bryan Nies, Music Director The Musical Theatre Workshop provides ensemble experience to singer/actors with an emphasis on American musical theatre, examining one or more musical theatre composers and their works through rehearsals and performance. Its goal is for performers to receive a working knowledge of the technical, musical and dramatic elements that go into staging and performing a musical. Recent performances include such works as The 25th Annual Putnam County Spelling Bee, She Loves Me, Company, Little Women (musical), Urinetown and The Musical of Musicals (The Musical!). NEW MUSIC ENSEMBLE Nicole Paiement, Director Jacques Desjardins, Assistant Conductor The New Music Ensemble involves students in the classical music of their own time. Members of the ensemble, who are accepted by audition, perform a variety of works written in the twentieth and twenty-first centuries in four major concerts each year. The works range from twentieth-century classics to brand new works by contemporary composers. Personal contact with composers is provided whenever possible. In addition, several concerts and readings of works by student composers are presented each year (see Specialized Areas of Study/New Music). Jeffrey Anderle, Coordinator Students from the Woodwind Department form trios, quartets and quintets. Some of these ensembles continue throughout the year. Two concerts of chamber music are presented each semester. Additional Performance Opportunities COMMUNITY SERVICE PROGRAM Elisabeth Lowry, Performance Outreach Manager The Community Service Program benefits both the performance needs of students and the people of the Bay Area. For more than two decades, the Community Service Program has taken live music into schools, hospitals, retirement homes, children’s facilities and other places where people of limited means and mobility are seldom reached. Approximately 280 performances are presented each year. Students audition for acceptance into the Community Service Program. Once accepted, students receive either one or two units of credit and travel reimbursement for their performances. CONSERVATORY IN THE SCHOOLS BLUEPRINT Elisabeth Lowry, Performance Outreach Manager Nicole Paiement, Artistic Director The Conservatory in the Schools Program provides students with invaluable classroom training while supporting music education in the San Francisco public schools. Conservatory student mentors teach instrumental lessons, lead sectionals, coach chamber groups and assist classroom teachers. Students are accepted into the program through an interview process. Teaching time is compensated; attendance at seminars featuring guest educators is required. The program accepts chamber music groups for educational performances in our partner schools. BluePrint is an annual series that celebrates new music. The format and repertoire vary from year to year. Participation in BluePrint is open by audition and consent of the instructor. PERCUSSION ENSEMBLE Jack Van Geem, Director Percussion Ensemble members study performance techniques and works for percussion and present two performances each year, sometimes including performers from other music disciplines. In addition, students prepare for twice-yearly Peer Performance Presentations. 16 WOODWIND CHAMBER MUSIC About the Conservatory MUSIC TO GO! Elisabeth Lowry, Performance Outreach Manager Student musicians are always in demand to perform at private functions throughout the year. Performances run the gamut from special events (graduations, corporate celebrations) to garden tours to raise money for the symphony. Students must be accepted into the Community Service Program in order to participate in Music to Go! Specialized Areas of Study CHAMBER MUSIC FOR STRINGS AND PIANO Jodi Levitz and Mack McCray, Co-Chairs In addition to extensive undergraduate and graduate opportunities in chamber music, the Conservatory offers a master’s degree and an Artist Certificate in chamber music performance in strings and piano. Designed to prepare the most exceptional chamber musicians for professional careers, the program gives committed students the opportunity to connect with other musicians and to work with chamber music professionals. Faculty chamber music concerts held throughout the year include advanced students in mixed ensembles. In the Chamber Music Masters series, four to five master chamber musicians per year are invited to rehearse and perform with chamber music students and faculty and to conduct a chamber music master class. Recent visitors have included Robert Mann, founder and former first violinist of the Juilliard String Quartet; Joel Krosnick of the Juilliard String Quartet; Leon Fleisher; Menahem Pressler; Sharon Robinson; Timothy Eddy; Jeffrey Kahane; Gilbert Kalish; Peter Oundjian of the Tokyo String Quartet and Kim Kashkashian. HISTORICAL PERFORMANCE PROGRAM Corey Jamason, Director; Elisabeth Reed, Baroque Cello and Gamba; Elizabeth Blumenstock, Violin; Christine Brandes, Voice; and Richard Savino, Plucked Strings The Conservatory offers a variety of opportunities to study historically informed performance and performance practice. The Baroque Ensemble provides the primary performance opportunity to perform early music and includes baroque orchestra and chamber music performances on period instruments from the school’s period instrument collection, open to all students at the school, instrumental and vocal. In addition, performance courses for harpsichord, fortepiano, continuo playing and viol consort are offered every semester, open to all students. Academic courses include classes in performance practice as well as numerous undergraduate and graduate courses on topics relating to early music. Degrees in early music offered by the Conservatory include undergraduate and graduate degrees in harpsichord as well as a one-year Performance Studies Diploma in historical keyboards, a flexible degree which includes the study of fortepiano, harpsichord and continuo playing. The Conservatory offers an Emphasis in Historical Performance, which consists of an organized set of courses for students interested in studying period instruments and performance practice in greater depth through enrollment in Baroque Ensemble, a performance practice course and specialized courses for individual instruments. The program is available for harpsichord (Corey Jamason, faculty), historical plucked strings (Richard Savino, faculty) and baroque cello (Elisabeth Reed, faculty). Emphases for additional instruments and voice will be forthcoming. Admission is by audition at the beginning of the school year. Please contact Corey Jamason for further details about the program and audition requirements. NEW MUSIC Elinor Armer, Dan Becker, David Conte, David Garner, Alden Jenks, Nicole Paiement and Conrad Susa New music performance at the Conservatory is supported by a variety of practical and scholarly courses. Through Composition Department course offerings, students can explore a wide range of twentieth- and twenty-first century techniques. In the Electronic Composition Studio, student composers and performers have access to many of the latest electronic instruments and equipment. In addition, the Music History and Literature Department offers opportunities at both undergraduate and graduate levels to study the music of individual composers as well as major trends in twentieth- and twenty-first century composition and performance techniques. In addition to individual recitals, Conservatory composition majors have many opportunities to have their works performed. Each year the final Conservatory Orchestra concert features the annual About the Conservatory 17 winner of the Jim Highsmith Composition Competition for a work composed by a Conservatory student or recent graduate. The annual Kris Getz Composition Competition awards a commission to a collegiate student to compose a work specifically for very young musicians, which is premiered by students in the Conservatory’s Preparatory Division. At least three New Music Ensemble concerts each year are devoted solely to the performance of works by student composers, who are encouraged to collaborate with ensemble members in developing their individual composition projects. The New Music Ensemble, the Conservatory Orchestra and the Conservatory Chorus also schedule opportunities for composers to hear their works in informal readings each semester (see Ensembles/New Music Ensemble/Conservatory Chorus). 18 About the Conservatory General Information APPLYING TO THE CONSERVATORY Students are admitted to the Conservatory on the basis of a demonstrated high level of musical proficiency, a commitment and dedication to the music profession, academic record, letters of recommendation and openings in the department to which they have applied. The Office of Admission works closely with prospective students on an individual basis throughout the admission process. Applicants are required to submit an online application, found at www.unifiedapps.org. Inquiries pertaining to the application process may be made by contacting the Office of Admission at 800.899.SFCM or admit@sfcm. edu. The application deadline is December 1 for the fall semester and October 1 for the spring semester. Admission for the spring semester is made on a very limited basis depending on fall enrollment in each instrument area. Applicants may not apply more than two times for the same program without permission from the Office of Admission. APPLICATION PROCEDURE Applicants for admission must submit the following: 1. Conservatory Application for Admission as found on the Unified Application website. 2. Application Fee. Applicants must pay this fee by major credit card before electronically submitting the application to the Office of Admission. The application cannot be submitted without paying the fee. Application fees are as follows: Fee for all applications submitted on or before the application deadline: Fee for late applications: Fee for current Collegiate students and alumni: Fee for current Preparatory or Adult Extension students: $110 $150 $50 $50 3. All applicants must audition. 4. Official transcripts, due by the application deadline. Applicants for the undergraduate program, including transfer students, are required to submit official transcripts from all high schools and colleges attended. Applicants for the graduate and postgraduate programs are required to submit official transcripts from all colleges and universities attended. Transcripts should be sent to the Conservatory directly from the school(s); student copies or photocopies of transcripts will not be accepted. 5. Two original letters of recommendation (photocopies will not be accepted), at least one of which must be from a professional musician who can evaluate the applicant’s musical abilities, due by the application deadline. While we continue to accept hard copies, sent directly by the recommender to the Office of Admission, we encourage recommenders to submit their letters of recommendation on our online application. Applicants will provide contact information for their recommenders as part of the application process. Recommenders will then receive an e-mail with information on how to submit the letters of recommendation electronically. 6. SAT or ACT scores. Home-schooled applicants are required to submit official SAT or ACT scores to support their transcripts. All other applicants are not required to submit SAT or ACT scores. The Conservatory’s school code for the SAT is 4744; the code for the ACT is 0403. 7. TOEFL score. Students whose first language is not English must submit an official score from the Test of English as a Foreign Language (TOEFL). We will not accept institutional student score reports or photocopies. Students who have completed at least two years of full-time study at an English-speaking college or university at the time of application may ask to be exempted from the TOEFL requirement. Applicants to the Professional Studies Diploma and Postgraduate Diploma programs who wish to take academic courses while at the Conservatory must receive a minimum score of 61 on the interactive-based test (ibt) or 500 on the paper-based test. Those Professional Studies Diploma and Postgraduate Diploma candidates who do not wish to register for academic coursework need not submit a TOEFL score. The Conservatory’s school code is 4744. All materials submitted become the property of the Conservatory and cannot be returned. Materials should be submitted to: SAN FRANCISCO CONSERVATORY OF MUSIC Office of Admission 50 Oak Street San Francisco, CA 94102-6011 ACADEMIC REQUIREMENTS FOR A DMISSION Freshmen—Graduation from an accredited high school is required for freshmen applying to the Conservatory. This requirement may be waived if other qualifications are extraordinary. The high school transcript should include at least three years of English and preferably three years of a foreign language. Transfer Students—Students wishing to transfer to the Conservatory must show evidence of a satisfactory academic record at all institutions of higher education and secondary 20 General Information schools attended and are required to submit official transcripts from all of them. Transfer students admitted to the Conservatory will receive transfer credit for courses in the general education area and music electives completed at other accredited institutions, provided the student received a grade of C or better and the course is ruled an appropriate substitute for a Conservatory course. The Conservatory does not grant transfer credit for Musicianship, Music Theory, Music History, Basic Phonetics or Lyric Diction courses or major instrument studies completed elsewhere. Students may receive credit by examination for these required Conservatory courses, based upon the results of placement examinations administered at the time of registration. Not more than 36 credits of non-music courses will count toward the total credits required for graduation. Transfer students may petition the Academic Affairs Committee for permission to use more than 36 non-music credits as graduation requirements. Students who have already earned a Bachelor of Music or Music Diploma from the Conservatory and are admitted into a new Bachelor of Music degree program may transfer credits taken during their previous degree for identical course requirements and general education courses if they received a grade of C or higher. This excludes ensemble requirements, PRF 352 (Piano Forum), PRF 402 (Composition Seminar) and PRF 462 (Vocal Performance Lab). Any other exceptions may be approved by submitting a petition to the Academic Affairs Committee. Students who have earned a Bachelor of Music or Music Diploma from the Conservatory and are admitted into a Master of Music degree program may transfer credits taken during their previous degree if the course is identical to a degree requirement in the new program. This excludes ensemble requirements, PRF 352 (Piano Forum), PRF 402 (Composition Seminar) and PRF 462 (Vocal Performance Lab). Any other exceptions may be approved by submitting a petition to the Academic Affairs Committee. Graduate Students—Applicants for the Master of Music degree and Artist Certificate programs are expected to hold a bachelor’s degree in music from an accredited college, university or conservatory. In exceptional cases, a student who has a degree in an area other than music and who has had excellent audition results may be considered. The Conservatory will not accept any transfer credit at the graduate level. Students who have earned a Master of Music from the Conservatory and are admitted into a different Master of Music degree program may transfer credits taken during their previous degree if the course is identical to a degree requirement in the new program, up to six credits of graduate seminars. This excludes ensemble requirements, PRF 352 (Piano Forum), PRF 402 (Composition Seminar) and PRF 462 (Vocal Performance Lab). Any other exceptions may be approved by submitting a petition to the Academic Affairs Committee. Students may not apply transfer credits for the Postgraduate Diploma in Vocal Performance or Professional Studies Diploma in Instrumental Performance programs. International Students– Students whose first language is not English must submit satisfactory TOEFL scores sent directly to the Conservatory by the testing service. The minimum acceptable score on the ibt is 61. For those applicants who still plan to take or have already taken the TOEFL’s paper-based test, the minimum acceptable score is 500. The Conservatory’s school code is 4744. TOEFL scores are acceptable for only two years after the date the test was given. Students who have completed at least two years of fulltime study at an English-speaking college or university at the time of application may ask to be exempted from this requirement. International students may be required to have their academic transcripts evaluated by an approved credential evaluation organization. AUDITIONS All applicants are required to audition on their major instrument. The audition repertoire to be performed is listed by major in the Undergraduate and Graduate Study sections of this catalog. Transfer students should perform repertoire appropriate to the admission level they seek at the Conservatory. For example, applicants for admission at the sophomore level should perform the freshman jury repertoire for their audition. Graduate applicants should prepare the repertoire listed by major in the Graduate Study section of this catalog. When specific requirements are not indicated, applicants should be prepared to offer several works contrasting in style and period. All applicants may be asked to demonstrate their ability in sightreading. All applicants are required to perform their solo repertoire from memory, unless otherwise noted. Applicants are urged to consult their private teachers concerning the repertoire they will perform at the audition. The Conservatory holds a two-week intensive English language program preceding fall orientation. This program is required of new students whose TOEFL score falls within the range of 61-74 ibt. The ESL Summer Program strengthens English speaking and writing skills and provides an orientation to both San Francisco and the Conservatory. To waive the requirement, present a TOEFL score of 75 ibt or completion of ELS Level 109 before July 1. Reasonable substitutions from the required repertoire may be made with prior permission, obtained through the Admission Office. International applicants to the Professional Studies Diploma in instrumental performance and Postgraduate Diploma in vocal performance programs who are non-native English speakers must receive a minimum TOEFL score of 61 on the ibt or 500 on the paper-based test in order to take academic courses while at the Conservatory. Those Professional Studies Diploma and Postgraduate Diploma candidates who do not wish to register for academic coursework need not submit a TOEFL score, but will be limited to taking the following courses: ENS 200–513, GED 210/211, GED 212/213, IND 500, IND 600, IND 650, PRF 202–342, PRF 352–362, PVL 600 or PVL 620. Students wishing to take any courses outside of those listed must receive special permission from the course instructor. International students are not required to submit scores from the SAT or ACT. AUDITION REQUIREMENTS Auditions are held at the Conservatory and in major cities throughout the United States and Asia. The audition schedule is available from the Office of Admission and on the Conservatory web site. Conservatory auditions occur in one of three ways: a live audition at the Conservatory, an audition at a regional site or a final audition recording. Live auditions are recommended for all applicants and are required for certain instrument areas. Applicants who audition at the Conservatory will have an opportunity to explore our building, meet faculty and current students, and observe classes and rehearsals. Live auditions at the Conservatory are required of the following applicants: • Anyone residing in California • Undergraduate and graduate voice applicants residing in North America (United States, Canada, Mexico) General Information 21 • Graduate applicants for chamber music, conducting, percussion, timpani or organ • Applicants for Professional Studies and Postgraduate Diplomas Regional auditions are available for the following applicants: • Undergraduate applicants residing outside of California (except voice and percussion) • Graduate applicants residing within North America (except voice, conducting, chamber music, percussion, timpani or organ) Final Audition Recordings are accepted from the following applicants: • Undergraduate applicants residing outside of California (except voice) • Graduate applicants residing outside of North America (except chamber music and conducting) It is mandatory to submit all final audition recordings electronically through an online portal available on our website (www.sfcm.edu). PRESCREEN REQUIREMENTS The following instrument areas require a prescreen recording: chamber music, composition, conducting, piano and voice. Faculty will review prescreen recordings to determine if an applicant will be invited to audition live at the Conservatory or a regional site. Please refer to the final audition repertoire section for live audition requirements. If your instrument is not listed above, you are not required to submit a prescreen recording. Prescreen recordings are due December 1. Applicants will be notified before December 20 if they will be invited for a live audition. It is mandatory to submit all prescreen audition recordings electronically through an online portal available on our website (www.sfcm.edu). All prescreen recordings must be in video format. ADMISSION DECISIONS Undergraduate applicants will be notified by mail or e-mail of a decision by April 1. Graduate and postgraduate applicants will be notified by mail or e-mail of an admission decision by March 15. Applicants who are not admitted may reapply after one year. Applicants may not apply more than two times for the same program without permission from the Office of Admission. 22 General Information TEACHER ASSIGNMENTS For those applying to departments with more than one studio teacher, applicants are able (but not required) to request a first and second choice. Although the Conservatory makes every effort to match accepted applicants with the faculty member(s) requested, we cannot guarantee that all incoming students will be granted their desired studio. TESTING FOR NEW STUDENTS New undergraduate and graduate students are required to be at the Conservatory for placement examinations and ensemble auditions, which take place prior to registration. Placement tests will be given to all freshmen and transfer students in music theory, musicianship, keyboard proficiency (excluding keyboard majors) and English. Transfer students are required to take any additional examinations needed to establish proficiency in music theory and music history. Graduate students are required to take placement examinations in musicianship, music history and music theory. On the basis of these examinations, the student may be required to take certain courses at the Conservatory to correct deficiencies. All international students will be given an English examination, regardless of the TOEFL score they submitted with the application for admission. Schedules of placement examinations will be provided to new students prior to the testing period. Tuition and Fees TUITION The Conservatory’s tuition for the 2012–2013 academic year is $37,600 ($18,800 per semester). Tuition for the 2013–2014 year will be set by the Board of Trustees in spring 2013. Scholarship awards and tuition do not increase proportionally. The following is a breakdown of charges for different types of matriculation on a yearly and per semester basis: 2012–2013 Yearly Semester Full-time student (undergraduate and graduate) $37,600$18,800 Part-time student, per academic credit (undergraduate and graduate)$1,660 Private instruction for part-time student (one hour lesson per week) $15,040$7,520 Late Payment Fee (payments postmarked after August 30 for fall and January 18 for spring semester) $75 Late Tuition Payment Plan Fee $25 Non-Sufficient Funds Fee $25 Special Examination/Audition Fee (for all or part of placement examinations, course examinations or ensemble auditions outside of the orientation schedule) $30 Transcripts (one issued without charge; fee charged for all subsequent transcripts) $10 OVERLOAD Full-time students who wish to register for credits in excess of 18.5 in the fall or spring—not counting ensembles—must pay a per-credit fee of $1,660. Fee waivers will be granted only to those students who can show that they will not graduate on time without the overload. SECURITY DEPOSIT (Full-time students who wish to register for credits in excess of 18.5 in the fall or spring—not counting ensembles—must pay a per-credit fee.) Students must pay a one-time deposit of $50, refundable after the student has graduated or withdrawn from the Conservatory and provided all library materials, locks, instruments, equipment, etc. have been returned and student activity loans have been repaid. FEES AND DEPOSITS PAYMENT OF TUITION AND FEES Overload per academic credit Minor instrument instruction (available to full-time students only) One hour lesson per week One half-hour lesson per week $1,660 YearlySemester $8,400 $4,200 $4,200 $2,100 Application Fee (non-refundable)$110 Enrollment Reservation Deposit (refundable only if student has registered) Registration (per semester) Muni Transportation Fee (yearly) $500 $140 $234 (estimate) Security Deposit (new students only) $50 Tuition Payment Plan Fee (per semester) $25 Late Registration Fee First week Each subsequent week $75 $50 Students who are not current in their own, their parents’ or third parties’ financial obligation may not register for classes, and therefore may not attend classes or private lessons. If a student’s financial obligations are not met at any point during the semester, the student may be immediately withdrawn from courses and placed on administrative leave before, during or after an academic term, at the discretion of the Conservatory. The appropriate application fee must accompany the Application for Admission. The $500 enrollment reservation is required of all new and returning students and is credited to the tuition payment due for the fall semester. The enrollment reservation is non-refundable if the student fails to register, and is due from new graduate and postgraduate students by April 15 and from new undergraduates by May 1. Returning students must pay by June 15. The balance of fall tuition and fees must be paid at the time of fall registration, and the spring tuition and fees must be paid at the time of spring registration. General Information 23 HEALTH INSURANCE All full-time students (12 credits and more) are required to have medical insurance. All domestic full-time students who are not covered under a comparable U.S.-issued health insurance policy must purchase health insurance offered through the Conservatory before being allowed to register. All international full-time students must purchase health insurance offered through the Conservatory before being allowed to register. Students enrolled for less than 12 credits (part-time status) are not eligible to buy insurance through the Conservatory. Students who take a leave of absence may also be ineligible to continue their health insurance policy through the Conservatory. Students enrolled in Optional Practical Training (OPT) are eligible, but not required, to enroll. More policy information, details of the student health insurance plan, plan costs, deadlines and links to the online enrollment and waiver process can be found at www. sfcm.edu/student-health-insurance-plan. WITHDRAWALS AND REFUNDS Any student who wishes to withdraw from the Conservatory must file a withdrawal form, available from the Registrar’s Office. All financial calculations and official last date of attendance will be determined according to the date of the signature received by the Registrar’s Office on the Withdrawal/Leave of Absence form. (For further information, see the Leaves of Absence and Withdrawals section under Academic Regulations.) If a student has been enrolled for more than 60 percent of the term (for students who received any federal financial aid, grants or loans) or enrolled more than nine weeks of the term (for students not receiving any federal financial aid), the student is not eligible for a refund of tuition and fees. Calculations of refunds for those students receiving federal financial aid, grants or loans will be done per federal guidelines and returned first to grantors, in accordance with their requirements. Students can visit the Business Office for a summary of the calculations of the return of Title IV funds in reference to their financial aid. This office can review what will need to be returned due to withdrawal or leave of absence. For those students not receiving federal financial aid, the amount of tuition retained will be 11 percent per week, according to the refund policy. For those receiving a Conservatory scholarship, the amount of scholarship not used will be returned to the scholarship fund and will not be refunded to the student. 24 General Information No refunds will be made to students who are dismissed from the Conservatory for disciplinary reasons. Should a student or former student fail to pay a debt owed to the Conservatory, permission to register or receive other services or materials may be withheld until the debt is paid. For example, the Conservatory may withhold permission to receive transcripts of grades from any person owing a debt. If the student leaves the Conservatory owing a debt, the student is responsible for paying that debt as well as all costs of collection and a reasonable attorney’s fee. Any disputes over outstanding debts will be referred to the Business Office. The Business Office (or another office on campus to which the Business Office may refer the student) will review the pertinent information, including information the student may wish to present, and will advise the student of its conclusions with respect to the debt. EXPENSES Students should come to the Conservatory fully prepared to meet their tuition, fees and living expenses. Prospective students should be realistic about providing for their schooling and living expenses while attending the Conservatory. Part-time jobs may be available through the school or in the community, but it is unrealistic to think that a student can fully cover tuition and living expenses through such employment. Although living expenses will vary considerably from student to student, the following figures should help students plan a budget for the academic year (budget is estimated and is based on a ninemonth academic year): Room and Board Books and Supplies Personal Expenses (clothing, laundry, entertainment, incidentals, etc.) Living with Living ParentsIndependently $4,750 $11,500 $650 $650 $2,000 $2,000 Muni Class Pass (includes$234$234 unlimited MUNI bus, light rail and cable car rides for the nine-month school year) Health Insurance (annual estimate) $1,829 HOUSING Certification of Finances for International Students. The Conservatory offers incoming and continuing students housing support services. Most students opt to rent their own apartment or flat, and benefit from the diversity of neighborhoods and amenities found within San Francisco. Students who prefer a community setting can choose to live at the Conservatory’s partner residence hall, Golden Gate Hall. Golden Gate Hall is located just two blocks away from the Conservatory and boasts a friendly and safe residential environment. The Conservatory has created an online community to distribute timely important housing information and to connect students to potential roommates and apartments. The Conservatory also maintains a bulletin board that lists helpful housing tips and postings about available apartments. Students should contact the Associate Dean for Student Life for housing support. Students planning to attend the Conservatory are encouraged to apply for local, state and national scholarships for which they may be eligible. High school counselors have information on these awards. Residents of California are recommended to apply for grants awarded by the California Student Aid Commission. Forms may be obtained in December from high school advisors or from the web site https:// mygrantinfo.csac.ca.gov/logon.asp. The deadline for applying for California Student Aid Commission grants is March 2. Please keep in mind that both your FAFSA and California State Grant Application must be completed before this deadline. Financial Aid The Conservatory maintains a generous financial aid program, including scholarships, grants, loans and part-time employment. Many of our students receive some portion of their assistance directly from our Conservatory scholarships. Conservatory financial aid awards generally include gift assistance (scholarship or grant) and self-help assistance (loans and work opportunities). The recipient may accept all or any part of the aid offered. In addition, a number of students receive financial assistance from outside sources such as state scholarships, local musical clubs, etc. Many students help finance their educational costs through loans, installment payment programs and part-time employment. Students who are U.S. citizens or permanent residents applying for any need-based scholarships or financial aid from the Conservatory must complete the SFCM Scholarship/Financial Aid Application and the Free Application for Federal Student Aid (FAFSA). Priority consideration for federal student aid funds will be given to applicants who file these forms by February 15. International students applying for Conservatory scholarship assistance, merit included, must complete the SFCM Scholarship/Financial Aid Application, the International Student Financial Aid Application and the Institutional SCHOLARSHIPS The Conservatory awards scholarships on the basis of musical ability, financial need and the musical needs of the school. Scholarship awards and tuition do not necessarily increase in tandem with tuition from year to year. Scholarships are available to full-time students in the Music Diploma program, the Bachelor of Music and Master of Music degree programs, the Artist Certificate program, the Postgraduate Diploma in Vocal Performance and the Professional Studies Diploma. All students must remain full-time in order to receive their scholarship. Scholarships are awarded for a maximum of four years for undergraduate, two years for graduate and one year for postgraduate study. Awards for an additional year are not guaranteed. If a student feels the need for an additional semester or year of attendance to complete his or her degree, the student may petition the scholarship committee. Petition forms are available in the Financial Aid Office or online, and they must be signed by both the student and the studio teacher and presented to the scholarship committee one semester prior to the anticipated graduation date. Undergraduate students must maintain a cumulative 2.5 grade point average to be eligible for renewal of their scholarships, while graduate students must maintain a cumulative 3.0 grade point average. If a student’s grade point average falls below the required minimum, he or she will be placed on academic probation for one semester. If the student’s grade point average is not raised to the required minimum after this probationary period, he/she will not be eligible to receive any Conservatory Scholarship funds for the following semester. (See the Dismissal and Probation section for more information.) Scholarship recipients are required to participate in ensembles as assigned. General Information 25 Scholarship retention depends on the successful fulfillment of all obligations to the Conservatory, including orchestra, ensemble assignments, required GPA and satisfactory academic progress. No separate auditions are held for scholarships. For new students, the entrance audition serves as the basis for determining scholarship eligibility. For continuing students, annual juries and the quality of orchestra and/or ensemble participation are used to determine eligibility for continuation of awards. Scholarship retention for students returning after a leave of absence is not guaranteed. Students who wish to be considered for their previous scholarship amount must reapply through the Financial Aid Office, just as they would be required to do as continuing students. FEDERAL STUDENT ASSISTANCE U.S. citizens or permanent residents who wish only to be considered for merit-based Conservatory scholarships need not submit the FAFSA, but must submit the Conservatory’s Scholarship and Financial Aid Application. FEDERAL PELL GRANTS GRADUATE ASSISTANTSHIPS Candidates for the Master of Music degree are eligible to apply for graduate assistantships, provided they are full-time students. They are awarded on the basis of musical proficiency and specific skills related to the assistantships available. The assistantships generally require six to 20 hours of service per week, for which students are paid $1,200 to $4,500 per year. Although the specific assistantships will vary from year to year, they generally include: Baroque Assistant (2) Brass Chamber Music Assistant Composition Department Assistant General Education Assistant Guitar Department Assistant Music History Assistant Musical Theatre Assistant Musicianship/Music Theory Assistant New Music Ensemble Personnel Assistant Opera Theatre Clerical Assistant Opera Theatre Technical Assistant Assistant Orchestra Librarian Percussion Department Assistant Piano Department Assistant String Department Assistant Strings and Piano Chamber Music Assistant (2) Vocal Department Assistant (2) Woodwind Chamber Music Assistant 26 General Information Federal student assistance is available to students who are U.S. citizens or permanent residents. The FAFSA form is used to determine eligibility. Students must be making satisfactory academic progress in their course of study to continue receiving this aid. Due to continuing changes in both the policies and funding for the federal student aid programs, the eligibility standards and figures shown for these programs are subject to change. In any case, students are urged to complete the financial aid application process in order to be considered for every possible type of aid. The Federal Pell Grant is a need-based grant awarded to undergraduate students who have not already earned a baccalaureate degree. This grant is awarded by the federal government based on the information reported on the FAFSA. For the 2012–2013 year, the maximum grant will be $5,550. FEDERAL SUPPLEMENTAL EDUCATIONAL GRANTS Federal Supplemental Educational Grants are awarded to Federal Pell Grant recipients who have the highest calculated need. The grants range from $100 to $4,000 per year. FEDERAL COLLEGE WORK-STUDY PROGRAM Both undergraduate and graduate students are eligible for certain jobs at the Conservatory, which are financed in large part with federal money. FEDERAL PERKINS LOANS Students with exceptional financial need receive preference in the awarding of these loan funds. The cumulative loan limits are $4,000 per year for undergraduate study and $20,000 for all years of undergraduate study. No interest is charged during periods of full- or half-time attendance. After the completion of education, loans are repaid over a period of up to ten years. Interest at the rate of five percent per year is charged beginning nine months after graduation or withdrawal. FEDERAL DIRECT LOAN Undergraduate students may borrow up to $3,500 per year for the first year of study; $4,500 for their second year of study; and $5,500 for the third year through the remainder of undergraduate studies. An additional $2,000 unsubsidized loan is also available to undergraduate students. All United States citizens or permanent residents are eligible for these loans. If a student qualifies for a subsidized loan the federal government pays the interest costs while students are attending on at least a half-time basis. Undergraduate students that do not qualify for a subsidized loan may apply for an unsubsidized loan, for which the student is responsible for the interest payments. Interest begins after the loan is fully disbursed. Repayment on these loans begins six months after the borrower ceases to attend on at least a half-time basis. The interest rate is determined every year by the Department of Education and is fixed for the life of the loan. In addition to the loan amounts listed, undergraduate students who meet the federal independent student criteria may borrow additional unsubsidized Federal Stafford Loan funds in the following amounts: $4,000 for the first and second years; $5,000 for the third and subsequent undergraduate years. An undergraduate student’s maximum unsubsidized loan eligibility consists of education costs minus subsidized loan and other aid received. The unsubsidized federal loan limit for graduate students is $20,500 per year. Graduate students are also eligible for an additional Graduate PLUS Loan for the cost of attendance (minus other aid awarded). There is no longer a subsidized loan option for graduate students. A Graduate PLUS Loan applicant must not have an adverse credit history. However, a student with an adverse credit history may still be eligible to receive the loan by obtaining an endorser who does not have an adverse credit history. An endorser is someone who agrees to pay the loan if the borrower is not able to do so. FEDERAL DIRECT PARENT LOAN (PLUS) This federal program provides credit-based loans that allow parents to borrow up to the total cost of the student’s education, minus any other aid received by the student. The interest rate for Direct PLUS Loans is fixed at 7.9%. There is also a 4% origination fee on this loan. If a parent is not eligible for a PLUS Loan based on the credit check, the undergraduate student may receive an additional unsubsidized loan amount of $4,000 or $5,000 depending on the student’s grade level. PLUS Loan borrowers who wish to defer payment on the principal of the PLUS Loan while the student is in school must complete a Parent PLUS Loan Deferment Form. VETERANS AND ELIGIBLE DEPENDENTS OF VETERANS Veterans and their eligible dependents should contact their local Veterans Administration for information about benefits available for attendance at both the undergraduate and graduate levels. RIGHTS AND RESPONSIBILITIES OF FINANCIAL AID STUDENTS All students applying for financial aid should be aware of these rights and obligations: Students have the right to receive full information about the financial aid programs available, how to apply for aid and the process by which aid is awarded. Students have the right to know the costs of attendance, the tuition refund policy of the Conservatory, its academic program, faculty and physical facilities. Students have the right to discuss their financial aid eligibility, award or cancellation with the Financial Aid Office. Students have the right to appeal the decision. Students who borrow money have the right to know what their loan obligations are. Students are responsible for applying annually for financial aid. Students are responsible for telling the truth in their application for financial aid. Misrepresentation is considered a serious infraction and may result in withdrawal of aid, repayment of all funds already disbursed, permanent disqualification in the future, fine and/or imprisonment. Students are responsible for understanding their loan obligation(s) and for repaying their loan(s) promptly. A good source for a listing of all federal student loans borrowed is www.nslds.ed.gov. Students on federal financial aid are required to make satisfactory academic progress toward their degree in order to be considered for need-based financial aid. The U.S. Department of Education requires that qualitative and quantitative standards are kept. The requirements are as follows: General Information 27 • Maintain a minimum GPA. The cumulative GPA requirement is the same as that required by the Conservatory (2.5 for undergraduate students, 3.0 for graduate students). • Completion of 67% of units attempted. • Students must complete their degree within 150% of the time frame required for their degree. Students who fail to meet these criteria are given a financial aid warning for one semester. A student with a financial aid warning status must bring up his/her GPA and completion rate or else lose eligibility for federal financial aid in the next semester. Students may re-establish eligibility by completing the required units and raising their GPA. If satisfactory academic progress is not met after the warning period, the student may appeal this decision. In the appeal the student must submit a letter explaining the reason(s) for not attaining the minimum required number of units, as well as an academic plan from the student’s academic advisor stating how and when the student will make up the deficiency. If the appeal is accepted, the student will then be put on Financial Aid Probation for the next payment period. If the appeal is not accepted, the student will no longer be eligible to receive financial aid until such time as satisfactory academic progress is re-established. Federal financial aid funds may be used only to meet educational costs. Any other use of funds is prohibited by law. Students must notify the Financial Aid Office of their acceptance of awards by signing the financial aid award and acceptance letter. Students are responsible for meeting all deadline requirements and for submitting all documentation requested by the Registrar, the Billing Office and the Office of Financial Aid. Academic Regulations The following regulations will be strictly enforced by the faculty and the Registrar. Students may appeal any decision to the Academic Affairs Committee. FULL-TIME AND PART-TIME STATUS A full-time undergraduate or graduate student is defined as one who has satisfied all entrance requirements and registered for at least 12 credits. A part-time undergraduate or graduate student is one who has satisfied all entrance requirements but is enrolled for fewer than 12 credits. All undergraduate and graduate students are required to register for private instruction with a member of the Conservatory collegiate faculty. The Conservatory does not permit auditing of courses. Part-time students who have completed their final recital and jury and all requirements for their major instrument may not be required to register for private instruction. SPECIAL STUDENT STATUS A limited number of openings are available each year for students who wish to be admitted to the Conservatory as full- or parttime students to study on a non-degree basis. Special Students may take any undergraduate course for which they have met the prerequisites. They may not take any graduate courses. Special Students are entitled to all academic privileges of the Conservatory. Applicants for this status must submit all required admission materials. They do not audition unless they wish to register for private lessons with a member of the collegiate faculty as part of their Special Student registration. Only those Special Students registered for private lessons are eligible to participate in the Conservatory’s auditioned performance ensembles. Special Students are admitted with this status for a one-year period and must request approval to extend their studies for a second year. Yearly tuition and fees are the same as for regular collegiate students. Special Students are not eligible for any form of financial aid. Special Student status is not open to international students who are attending the Conservatory on a student visa. ATTENDANCE Conservatory faculty members establish their own class attendance policies. These are given to students at the first meeting of all classes. 28 General Information In general, an excessive number of absences not excused by reason of illness may result in suspension or dismissal from the Conservatory. Failure to attend a dress rehearsal or performance of an ensemble may result in immediate dismissal from the Conservatory. LEAVES OF ABSENCE AND WITHDRAWALS Long-Term Leave of Absence/Withdrawal—Students who wish to take a leave of absence or withdraw from the Conservatory should first consult their faculty advisor and complete withdrawal forms obtained from the Registrar. A leave of absence may be taken for no more than two semesters. (See the Withdrawals and Refunds section for information about tuition refunds.) Students can request a medical leave of absence from the Conservatory for medical (physical and/or psychological) reasons. Typically, medical leaves of absence are granted for no more than two semesters, but under extenuating circumstances students may request by petition to the Associate Dean for Student Life and the Academic Affairs Committee to extend the medical leave for up to four semesters. Students requesting a leave of absence for medical reasons are to provide supporting documentation from a medical practitioner and to discuss their request for a leave of absence with the Associate Dean for Student Life. This documentation should note the issue(s) that affects the student’s ability to remain at the Conservatory and recommend possible options for treatment. The Associate Dean for Student Life will work with students on their leave and return process in order to facilitate a smooth transition away from and back to the Conservatory. It is the Conservatory’s expectation that students on a medical leave be actively engaged in a course of treatment that leads to recovery from the condition that led to the medical leave. Proof of treatment will be required upon readmission. Students taking a leave of absence or withdrawing from the Conservatory before the end of the sixth week of class may do so without academic penalty. Exceptions to this policy are only given in extreme cases. Students must petition the Academic Affairs Committee to request such an exception. Students taking a leave of absence in between semesters must submit paperwork by the last day of the first semester of leave; otherwise, the student may be administratively withdrawn and must reapply for admission. Short-Term Leave of Absence—Students requesting short-term leaves of absence for professional engagements or medical emergencies (usually two weeks or less in duration) must fill out a short-term leave of absence form available in the Registrar’s Office. Students must obtain signatures from their teachers and advisor before obtaining permission from the Dean. EXAMINATIONS Midterm examinations are usually given during the seventh or eighth week of each semester. General evaluations of a student’s progress also are made by the faculty at that time. Final examinations are given at the discretion of the instructor. GRADING SYSTEM The Conservatory employs the Pass/Fail grading system in the following courses: APP 204/205R, APP 206R, APP 406R, GED 200R, PRF 202–312R, PRF 332R, PRF 342R, PRF 352R, PRF 362, PRF 462R and PRF 510R. In all other courses and private instruction the following system is used: A+ 4.0 A Superior4.0 A- 3.7 B+ 3.3 B Good3.0 B-2.7 C+ 2.3 C Pass2.0 C- 1.7 D+ 1.3 D Marginal Pass 1.0 D- 0.7 F Failure0.0 W Withdrew Given when a student withdraws from a course during the fourth through the sixth week of class. WP Withdrew Passing Given when a student has been granted a withdrawal between the sixth and eighth week of class. The student was passing the course at the time of withdrawal. WF Withdrew Failing Given when a student has been granted a withdrawal between the sixth and eighth week of class. The student was failing the course at the time of the withdrawal. INC Incomplete Given when a student is doing passing work but is unable to complete the course due to a verifiable reason outside the student’s control. General Information 29 A student with an incomplete grade must arrange with the instructor to complete the material no later than the sixth week of the following semester. The incomplete grade will be changed to a grade calculated by the faculty member, taking missing work into consideration. The grade will automatically be changed to an F if not completed by the deadline. Students who begin a leave of absence the semester after an incomplete grade has been given must still adhere to the incomplete grade deadline. Students currently on academic probation will not be allowed to receive an incomplete grade for any courses. LOWER AND UPPER DIVISION STANDING Undergraduate students are normally classified as follows: Lower Division Freshman 0–31 credits of passing work completed Sophomore 32–62 credits of passing work completed and freshman jury passed Upper Division Junior Senior 63–93 credits of passing work completed and sophomore jury passed more than 93 credits of passing work completed and junior jury passed DISMISSAL AND PROBATION An undergraduate student whose cumulative grade point average falls below 2.5 will be placed on academic probation for no more than two semesters. The exact duration will be stipulated in a letter from the Registrar’s Office. If the cumulative grade point average is not raised to 2.5 during the probationary period, the student may be dismissed from school. If the student is receiving veteran benefits and is not dismissed by the school, he or she will have education benefits terminated. Students will have their benefits reinstated once their grade point average is raised to 2.5. If the student succeeds in raising his/her cumulative grade point average to 2.5 during the probationary period, the student must maintain the minimum grade point average for one more semester until the probation is lifted. A candidate for the Professional Studies Diploma in instrumental performance, Postgraduate Diploma in vocal performance, Master of Music or the Artist Certificate in chamber music degree whose cumulative grade point average falls below 3.0 will be placed on academic probation for one semester. If the cumulative grade point average is not raised to 3.0 during the probationary period, the student will be dismissed from school. 30 General Information If the student succeeds in raising his/her cumulative grade point average to 3.0 during the probationary period, the student must maintain the minimum grade point average for one more semester until the probation is lifted. Any student receiving a grade lower than B- in Major Instrument, who fails a jury examination or who does not take a required jury examination will be placed on performance probation for no more than two semesters. The specific length of time will be determined by the Dean on the basis of recommendations from the major teacher, the Registrar and the department, as appropriate. If the student does not receive a grade of B- or better in Major Instrument or does not pass a jury examination by the end of the probationary period, that student may be dismissed from the school. If the student is receiving veteran benefits and is not dismissed by the school, he or she will have education benefits terminated. Students will have their benefits reinstated once they receive a B- or better for a Major Instrument and/or pass a jury examination. Jury examinations are required at the end of each two-semester period following admission to the Conservatory. In addition, students who receive a failing grade for major lessons or jury examination may be subject to immediate dismissal from the school at the department’s discretion. The Conservatory reserves the right to dismiss any student whose conduct is judged unsatisfactory, including violations of the Academic Honor Code and/or Student Code of Conduct. See the Student Handbook for a complete description of disciplinary procedures. If a student has been dismissed by the Conservatory, he or she may only be allowed to re-enroll by following the new student admission procedure and gaining admittance through the Office of Admission. Students receiving veteran education benefits who fail to meet the standards in the Dismissal and Probation Policy and have not been dismissed from the school will have their benefits terminated. Students will have their benefits reinstated once they raise their grade point average to meet the minimum satisfactory grade point average required for their degree or receive a passing grade for a major instrument, major lessons and jury examinations. If the student has been dismissed by the Conservatory, he or she will only be allowed to re-enroll by following the new student admission procedure and gaining admittance through the Office of Admission. If the student is readmitted, his/her Veteran Affairs benefits will be reinstated at that time. GPA FOR GRADUATION OUTSIDE STUDY In addition to satisfying all curricular requirements set forth by the Collegiate Catalog, each student must complete his/her degree program with the following minimum cumulative grade point average requirement: Bachelor of Music: 2.00 Artist Certificate in Chamber Music and Master of Music: 3.00 If a student chooses to study with an outside teacher while enrolled in lessons of the same instrument with a Conservatory teacher, without the knowledge and consent of the Conservatory teacher, the Conservatory will not be held responsible for any detrimental effect on the progress of the student. Individual Conservatory faculty members may exercise the option of refusing to teach a student who studies outside the Conservatory. Postgraduate Diploma in Vocal Performance and Professional Studies Diploma in Instrumental Performance: 3.00 CHANGE OF MAJOR DEGREE PROGRAM DROPPING AND ADDING COURSES Students may add courses within the first two weeks of a new semester and may drop courses within the first four weeks of a new semester without academic penalty, provided they do so in writing on forms available in the Office of the Registrar. No new courses may be added after two weeks. For courses dropped between week four and week six, the student will receive a W on his/her transcript. Students may drop classes in weeks six through eight, with the consent of the instructor and the advisor. The instructor will decide whether the student will receive a WP (withdrew passing) or WF (withdrew failing) on their transcripts. After the eighth week of class, withdrawals will be granted for well documented medical reasons only. Students who choose to reduce their class load to below full-time status should see the Student Accounts Manager and the Director of Financial Aid to discuss any adjustments to tuition charges and financial aid that may result. Instructors have the right to require students to drop a course in cases where the student is disruptive, uncooperative or interfering in any way with the learning process. CHANGE OF MAJOR TEACHER Students who wish to change private teachers may not do so until the end of one academic semester, except in extenuating circumstances. Changes must be approved by the new teacher, the former teacher, the department chair, faculty advisor and the Dean. To facilitate any changes, the student must file a request with the Dean on forms available in the Office of the Registrar. If no faculty member in a given department will agree to teach a student in the department, the student will be allowed to withdraw from the Conservatory or will be dismissed from school. Students who wish to change their course of study from one discipline to another must re-audition. Audition dates and information on requirements of a new program of study can be obtained from the Office of Admission. Information regarding the transfer of credits from one program to another can be obtained from the Office of the Registrar. Except for identical courses, requirements in the first program may not substitute for those in the second. CREDIT BY EXAMINATION Students may receive credit exemption for certain courses by an examination in which they demonstrate sufficient understanding and facility in the subject area. This exam may be taken only once. A credit exemption by examination will not be given for a course that the student has already failed. Exams will only be administered during the orientation period of each semester and the first week of classes at the discretion of the professor. Students may petition the Academic Affairs Committee for exceptions to this policy. Credit by examination will be allowed for the following courses only: PVL 100 (Major Instrument) (by jury exam or audition), PVL 110 (The Composer at the Piano), PVL 112 (Composition Major Instruction), PRF 150/151 (Keyboard Skills), MMT 102–105 (Musicianship), MMT 232/233 (Keyboard Harmony), MMT 222/223 (Counterpoint), MMT 242/243 (Orchestration), MMT 112–115 (Music Theory), MHL 202–204 (Music History), APP 202 (Vocal Physiology), APP 203 (Vocal Pedagogy), APP 204/205 (Stage Basics), APP 210 (Basic Phonetics for Singers), APP 211 (Lyric Diction: French), APP 212 (Lyric Diction: German), APP 213 (Lyric Diction: Italian), GED 202/203 (Introduction to Western Civilization), GED 220–225 (Italian), GED 230–235 (German), GED 240–245 (French) and ENS 300 (Conservatory Chorus). General Information 31 The following examinations are offered during the orientation period: PRF 150/151 (Keyboard Skills), MMT 102–105 (Musicianship), MMT 112–115 (Music Theory), MHL 202–204 (Music History), APP 202 (Vocal Physiology), APP 203 (Vocal Pedagogy), APP 210 (Basic Phonetics for Singers), APP 211 (Lyric Diction: French), APP 212 (Lyric Diction: German), APP 213 (Lyric Diction: Italian), GED 220–225 (Italian), GED 230–235 (German), GED 240–245 (French). Exemption tests are also given for MMT 602 (Musicianship Review), MMT 604 (Music Theory Review) and MHL 602/603 (Topics in Music History). Successful completion of these examinations will result in exemption from the class, but without earning credits. Advanced standing may be obtained by a satisfactory performance on the CEEB Advanced Placement Examinations in Art History, Biology, Chemistry, English, Foreign Languages, History, Mathematics and Physics. TRANSFER STUDENTS Please refer to the Transfer Students section under Academic Requirements for Admission. REQUIRED RECITALS AND JURY EXAMINATIONS No required recitals or juries can be given unless the student is registered for PVL 100/110/112R or PVL 600R at the time of the recital or jury. No required recitals or juries can be given outside of the regular collegiate sessions. Exceptions to this policy are only given in extreme cases. Students must petition the Academic Affairs Committee to request such an exception. APPEALS Appeals concerning policies, penalties, academic regulations, etc. should be addressed in writing to the Dean, who will forward the appeal to the appropriate faculty committee. STUDENT RESPONSIBILITY Students are responsible for knowing and satisfactorily completing requirements for degree, diploma or certificate programs in which they are enrolled. The Conservatory is not responsible if a student fails to meet all stipulated requirements prior to graduation. 32 General Information ACADEMIC ADVISING Every student is assigned a faculty advisor upon entering the Conservatory. Academic advising occurs during pre-registration and registration periods in the fall and spring semesters. Advisors also are available throughout the year during regular office hours and for scheduled appointments. The Conservatory is not responsible if a student fails to meet all stipulated requirements prior to graduation. While the primary role of faculty advisors is to assist with academic planning, they also may offer advice on ways to resolve individual student concerns through available Conservatory procedures. RETENTION DATA AND GRADUATION RATES Data regarding student retention and graduation rates at the Conservatory is available from the Registrar’s Office. ACADEMIC HONOR CODE As students come together to form a community of performers, composers and scholars, they must accept the obligation to uphold the integrity of this community by behaving truthfully and responsibly towards each other in every aspect of their endeavors at the Conservatory. Students must further recognize that honesty, and the trust which it engenders, lie at the core of a successful course of study. All students will sign the following upon enrollment at the Conservatory and such shall constitute the code of academic conduct at the Conservatory: Understanding also that honesty in the pursuit of knowledge is the only reliable context in which to measure learning, I hereby acknowledge that I am expected to honor and uphold the following academic standards: • I will neither give nor receive aid on exams or other required in-class or take-home work, unless otherwise instructed. • I will not plagiarize in any form. Plagiarism is taking over the ideas, methods or written words of another, without acknowledgment and with the intention that they be credited as the work of the deceiver. • I will not refer to any material during an exam or during in-class or take-home work when reference to such material is not authorized. • I will strictly adhere to the Conservatory’s and the teacher’s other examination policies. • I will not, in any other manner, engage in dishonest actions in regard to my academic and performance activities and obligations while a student at the Conservatory. Policies and Procedures 1.Students who are aware of infractions should report the infraction to the Dean’s Office. The Dean’s Office will investigate the report and notify any faculty members involved to assist. 2. A student accused of a violation of the Academic Honor Code is unable to drop the course in which the alleged infraction occurred until completion of all meetings, hearings and appeals in regards to the allegation. A student accused of a violation should continue to attend the course in which the alleged infraction occurred. 3. When a faculty member finds evidence of a possible violation of the Academic Honor Code, the instructor must promptly contact the Dean and the Assistant to the Dean. The Dean’s Office will review records to see whether the student has previously been sanctioned in any way for an alleged violation of the Academic Honor Code. 4. If the student has not been sanctioned in any way for an alleged violation of the Academic Honor Code: a. The faculty member will promptly meet with the student and discuss the alleged violation. Penalties for the violation, listed below, should be discussed. If the student accepts responsibility for the violation and agrees to the penalty, then the faculty member may implement the penalty, unless the Dean determines otherwise. The faculty member must complete an Academic Honor Code Incident Report and send the report, along with copies of the student’s assignment in question, to the Dean’s Office within five business days. Both the instructor and the student sign the Academic Honor Code Incident Report. b. At any time during the discussions between instructor and student, whether in person or electronically, the faculty member and/or student can refer the alleged violation to an Academic Integrity Hearing Board by contacting the Dean’s Office. 5.All alleged infractions of the Academic Honor Code for students previously sanctioned for an alleged violation and for otherwise unresolved allegations are adjudicated by the Academic Integrity Hearing Board. Additionally, all contested cases of first-time violations are adjusted by the Academic Integrity Hearing Board. a. When in session during the academic year, the faculty members of the Academic Affairs Committee (AAC) will serve as the Academic Integrity Hearing Board. When the AAC is not in session, or at the discretion of the Dean, the Dean’s Office may appoint an ad hoc Academic Integrity Hearing Board consisting of no less than three faculty members. b. In all Hearing Board cases, the Assistant to the Dean will serve as Hearing Board Secretary and may utilize a recording device to assist in keeping a record. Notes and audio recordings are only kept during the statement and questioning stages of the hearing. Deliberations of the Academic Integrity Hearing Board are confidential; notes and audio recordings are not kept during the deliberation. Retention of notes and recordings is specified below. c. The faculty member will submit all materials regarding the alleged infraction to the Dean’s Office. These materials comprise the case documentation and include: • Academic Honor Code Incident Report form • A copy of the assignment in question • A copy of, lines to, or reference list to, any source materials d. The Dean’s Office will send the student written notification of the allegation including the hearing time and location. e. The student has the option of appearing at the hearing in person, or submitting a written statement. Any statement, written or verbal, should explain the grounds on which the student contests the alleged violation. f. After the statement, the Academic Integrity Hearing Board has the opportunity to question the student. g. After questioning, the Academic Integrity Hearing Board will excuse the student and advisor to begin deliberations. During deliberations, the Academic Integrity Hearing Board will review all materials submitted by the faculty member, the student’s statement, the student’s answers to questions from the board members, and any previous cases in which the student was found guilty. A final determination of responsible or not responsible on the alleged violation will be made based on the evidence. Penalties will be selected from those listed below. General Information 33 Fundamental Fairness The standards for fundamental fairness for non-academic disciplinary hearings at the San Francisco Conservatory of Music will also govern academic honor code hearings, as follows: 1.All charges must be in writing and presented to the respondent at the time of notification of the hearing. Respondents are expected to read and respond to e-mail correspondence. 2.Charges shall be reasonably specific as to the nature, time and place of the alleged misconduct. 3.The respondent shall be informed of his or her rights under this document at the time he or she is charged. 4.The respondent shall be afforded at least a seven-day notice of the hearing in writing. 5.Hearings are normally scheduled within 14 business days after notification to respondent. 6.The respondent may indicate a preference for an open or closed hearing. (Open hearings can be attended by members of the Conservatory community, and information about the incident and hearing can be made available to members of the Conservatory community.) In the absence of an indicated preference, hearings are closed. Final determination of whether a hearing will be an open or closed hearing shall be made by the Dean. 7.The respondent shall have the right to be accompanied by an advisor who may confer with and assist the respondent but may not speak for him or her as an advocate. The advisor must be a member of the Conservatory community who is not an attorney. 8.Hearings are audio recorded. A recording of the hearing will be available in the event of an appeal, but remains the property of the Conservatory. 9.The respondent shall have the opportunity to answer the charges and to submit the testimony of material witnesses on his or her own behalf. Witnessed statements, reports, other statements under oath—scheduled with the Dean and respondent—shall be acceptable as documentation submitted to a board. All other documentation is subject to review by the Dean prior to the time of the hearing. 10.All evidence and testimony, including the relevant reports, the text of statements made by the respondent prior to his or her hearing and used at the hearing, and any physical evidence, shall be presented at the hearing in the presence of the respondent; however, legal rules of evidence shall not apply. 34 General Information 11.Upon request, relevant reports, documents and other evidence may be reviewed by the respondent in the Dean’s office prior to the hearing. Copies of any such material may not, however, leave the office. 12.The respondent shall have the opportunity to indirectly question (through the Board) all witnesses present during the hearing. This does not necessarily include the right to confront witnesses in the same room. 13.The respondent and all other participants are expected to cooperate during the hearing and be truthful in their testimony and responses to questions. A respondent may choose to refrain from providing testimony or answering questions; however, he/ she may not then provide a statement on his/her own behalf. Depending on all the evidence presented, a respondent who refuses to give testimony or answer questions may nonetheless be found responsible for the alleged violation, but such responsibility shall not be determined based upon evidence that is principally the fact of the failure of the respondent to testify. 14.The hearing board shall determine by a majority vote whether by a preponderance of the evidence that the respondent engaged in the alleged violation. 15.The findings and recommendations of any of the hearing will be forwarded to the Dean, with a copy given to the respondent. The respondent may, within seven days, request in writing to appeal to the Dean the recommendation of Hearing Board. The Dean shall decide whether or not to grant the appeal and/or to accept the findings or recommendations of the hearing board. The Dean will notify the respondent in writing of her decision. 16.The Dean has discretion to interpret and apply these standards to the circumstances of a particular case. Penalties Faculty members may choose one or more of the following penalties: 1. Failure on a specific portion or question within an assignment 2. Failure in the assignment 3. Resubmission/completion of the assignment for educational benefit, but with a failing grade in the assignment 4. Failure in the course The Academic Integrity Hearing Board and the Dean of the Conservatory may choose from one or more of the following penalties: 1. Warning letter 2. Failure in the assignment 3. Resubmission/completion of the assignment for educational benefit, but with a failing grade in the assignment 4. Failure in the course 5. Reduction or elimination of Conservatory scholarship 6. Suspension The Conservatory offers accommodations for a student or applicant who is otherwise qualified, if the accommodation is reasonable, effective and will not alter a fundamental aspect of the Conservatory’s program or impose an undue hardship on the Conservatory. In order to qualify for an accommodation or aid, the student must contact the Associate Dean for Student Life and follow the procedures outlined in the Student Handbook regarding the Disability Accommodation Registration Process. 7. Expulsion STUDENT CODE OF CONDUCT 8. Restriction or elimination of Conservatory privileges Students who choose to attend the Conservatory have committed themselves to adhering to academic and social standards which are essential to the well-being of the community. Any student charged with misconduct will be treated in accordance with the basic standards of fundamental fairness, which include timely notification of charges, fair and impartial hearings and the right of appeal. All penalties of suspension or expulsion are automatically reviewed by the Dean of the Conservatory. Records 1. Case records of academic integrity proceedings are kept by the Office of the Registrar. Records are retained for a minimum of five years after which they may be destroyed. Case records do not become part of the student’s general academic file. a. If a student is found innocent, records, notes and recordings are not retained. However, a summary of the case that redacts the name of the student may be maintained by the Dean’s Office and Office of the Registrar. b. If a student is found guilty, all case records, notes and recordings are maintained by the Office of the Registrar as specified above. 2.Transcript notations for course failure are maintained per normal procedure. 3. Transcript notations for suspension are maintained per normal procedure. 4. Transcript notations for expulsion due to an academic integrity violation are permanently attached to the transcript. SAN FRANCISCO CONSERVATORY OF MUSIC DISABILITY STATEMENT GENERAL POLICY The Conservatory is committed to providing qualified students an equal opportunity to attain an education regardless of disability. The Conservatory affords reasonable accommodations and aids to students with disabilities in accordance with the Americans with Disabilities Act (ADA), the Rehabilitation Act of 1973 and California law, if the individual is otherwise qualified to meet the fundamental aspects of the program of the Conservatory without undue hardship to the Conservatory. Students are expected to abide by the rules of the Conservatory and to conduct themselves in accordance with the accepted standards of good citizenship, honesty and propriety, and with proper regard for the rights of others. Students must also obey federal, state and local laws as would any good citizen. Furthermore, a student’s responsibilities as a scholar, researcher and, in many cases, teacher and emerging professional, make special demands for the highest ethical standards. The maintenance of harmonious community standards requires that behavior which interferes with or threatens the welfare of others or the Conservatory community be prevented. Ignorance of these standards will not be considered a valid excuse or defense. Student participation in any unlawful or other potentially serious violations of Conservatory policy may lead to suspension or expulsion from the Conservatory. A complete Student Code of Conduct including standards of conduct, disciplinary policies and procedures can be found in the Student Handbook or by contacting the Office of Student Life. STUDENT GRIEVANCE POLICY The Student Grievance Policy ensures that the concerns and complaints of collegiate students are addressed fairly and are resolved promptly. A student may file a complaint if he or she believes the problem is not governed by another Conservatory complaint or appeal procedures. The complete Student Grievance Policy and procedures can be found in the Student Handbook or by contacting the Office of Student Life. General Information 35 FAMILY EDUCATION RIGHTS & PRIVACY ACT The Family Education Rights and Privacy Act (FERPA) of 1974 and the rules and regulations of the Department of Education provide students with certain rights regarding privacy of, and access to, their educational records. The Conservatory affords each student the opportunity to: 1. Request to inspect and review the student’s educational records. Students should submit a written request to the Registrar that identifies the record(s) they wish to inspect. The Registrar will notify the student of the time and place where the records may be inspected. 2. Request the Registrar to amend the student’s educational records to the extent that the student believes is inaccurate. A written request must be made to the Registrar. The request should include all information which identifies the part of the record the student wants amended and why the student believes the record to be inaccurate. In the event that the Conservatory decides not to amend the record, the student will be advised of his/her right to a hearing. 3. Consent to the disclosure of personally identifiable information contained in the student’s educational records, except to the extent that FERPA authorizes disclosure without consent. Exceptions which permit disclosure of student records without consent include disclosure to Conservatory officials with legitimate educational interests, to external entities per subpoena, to other institutions of higher education to which the student may be an applicant, to parents under certain circumstances and to protect the health and safety of the Conservatory community. 4. “Directory Information” may be released at the discretion of the Conservatory. Under FERPA, students have the right to withhold the disclosure of the information listed below: Name E-mail address Address ID photo Telephone numbers Enrollment status Fax number Student Profile Statement Date of graduation Dates of attendance Degree program Students wishing to prevent disclosure of this information should notify the Registrar’s Office in writing. 36 General Information Undergraduate Study Undergraduate study at the San Francisco Conservatory of Music may be pursued through the Bachelor of Music degree program. In the Bachelor of Music program, a rigorous music curriculum serves to develop professional musicians at the highest possible level. Typically a four-year program, the Bachelor of Music degree at the Conservatory is designed to develop students’ abilities within a diverse, multicultural environment characterized by intellectual as well as musical energy. Students in this program examine Western culture through the study of history and literature, and they develop a basic understanding of the human and global condition through the study of the social sciences, languages, philosophy, science and mathematics. ADMISSION REQUIREMENTS Admission to this program is determined on the basis of an audition, openings in the specific department, academic record and other supplemental materials. The application deadline is December 1 for the fall semester and October 1 for the spring semester. Admission for the spring semester is made on a very limited basis depending on fall enrollment in each instrument area. Late applications are accepted only if openings still exist in the department. For complete application and audition information, refer to pages 19–22 and 37–40. Students whose first language is not English must demonstrate proficiency in English by submitting official score reports from the Test of English as a Foreign Language (TOEFL). Additionally, international students may be requested to have their academic transcripts evaluated by an approved credential evaluation organization. AUDITIONS All undergraduate applicants living in the state of California must audition live at the Conservatory. All others except for voice, as described below, may audition at the Conservatory, at a regional audition site or by final audition recording submitted electronically through an online portal available on our website. All final audition recordings must be in video format. Required repertoire and audition requirements are listed below. Substitutions must be approved in advance. Prescreen recordings are required of undergraduate voice, composition and piano applicants. All recordings must be submitted electronically through an online portal available on our website and must be in video format (refer to the prescreen requirements below). All other instruments do not require a prescreen recording. Bassoon Double Bass (Repertoire does not need to be memorized.) 1. Major, minor and chromatic scales 2.Telemann Sonata in F Minor 3.Milde Scale Studies; Weissenborn Advanced Studies or other works of equivalent difficulty 1. Major and minor scales in two octaves or an étude of choice 2. One movement from a baroque or classical sonata, concerto or one-movement piece 3. One movement or a one-movement piece from the romantic or contemporary repertoire Clarinet Flute (Repertoire does not need to be memorized.) 1. An étude of the candidate’s choice from either Rose 32 Études for Clarinet or Baermann Method for Clarinet, Second Division 2. Two contrasting movements from one of the following: Mozart Concerto in A Major, Stamitz Concerto in B-flat Major, Weber Concertino, Op. 26 Composition The composition department prescreens all submitted portfolios and invites only those applicants who pass the prescreening process to attend the live or regional interview and piano evaluation. Applicants who submit final recordings will be reviewed in the spring. Scores and recordings should be uploaded electronically through an online portal available on our website. 1. Three or more scores in various media and a recording of each score. Scores should be bound and checked for correct transpositions, appropriate accidentals and normal spellings. Electronic compositions are acceptable, but applicants must also show competence in traditional notation in the scores submitted. MIDI recordings are acceptable, but acoustic performances are strongly recommended. 2. Demonstrated ability at the piano. This part of the application process is to determine whether the applicant needs further piano keyboard training if accepted. It is strongly recommended this be done at a live audition, either at the Conservatory or at one of the regional audition sites. Undergraduate applicants who live outside California may submit a video recording electronically through an online portal available on our website. Three complete works or movements should be prepared from the following periods: baroque, classical, romantic and twentieth/twenty-first century. When choosing the twentieth/twenty-first century category, the applicant is encouraged to perform one of his or her own compositions. Applicants may also be asked to realize figured bass at the piano, score-read a chamber work and/or sight-read a simple piano work. Should piano not be the candidate’s primary instrument, the applicant is welcome to upload an electronic recording on their primary instrument with their portfolio. Applicants must still complete the piano evaluation requirement. 38 Undergraduate Study (Repertoire does not need to be memorized.) 1. Any of the sonatas of Bach, or Mozart concerti in G or D 2. One of the following sonatas: Hindemith, Piston, Martinů , Poulenc or a sonata of equivalent difficulty 3.Chaminade Concertino, Fauré Fantasie, Enesco Cantabile et presto or a piece of equivalent difficulty Guitar 1. A transcription of a work written before 1750 2. A classical or romantic work (including the Segovia repertoire) written for guitar 3. A twentieth-century work written for guitar Harp 1. One étude for harp 2. Two compositions of intermediate difficulty from different periods Harpsichord 1. J.S. Bach French suite or other dance suite of Bach or two preludes and fugues from the Well-Tempered Clavier 2. One movement of a composer of the English Virginalist school or a work by a French baroque composer 3. One Scarlatti sonata Horn (Repertoire does not need to be memorized.) 1. Major, minor and chromatic scales 2. First movement, Mozart Concerto No. 2, No. 3 or No. 4 3. First movement, Strauss Concerto No. 1 4. Three contrasting orchestral excerpts; for example, Tchaikovsky Symphony No. 5, Beethoven Symphony No. 3 and Strauss Till Eulenspiegels lustige Streiche 5. Sight-reading (if applicable) Oboe Trombone (Bass) 1. One selection from Barret’s 40 Progressive Melodies 2. One étude from Barret’s 15 Grand Studies 3. One movement from a standard baroque or classical concert piece 4. One movement from a standard romantic or modern concert piece (Repertoire does not need to be memorized.) 1. Études from J. Rochut Melodious Études, Book 1 2. Solo of choice with contrasting sections 3. Excerpts from the symphonic repertoire (Tchaikovsky Symphony No. 4, Brahms Symphony No. 1, Schubert Symphony in C Major, Berlioz Hungarian March) (incoming freshmen excluded) 4. Sight reading Organ Students should have a solid foundation in piano technique and be able to demonstrate this by playing the requirements for admission to the piano department. Students may also show organ proficiency by performing selected works from Bach’s Little Organ Book and Eight Short Preludes and Fugues or other standard organ repertoire. Percussion Undergraduate percussion applicants may audition live at the Conservatory or may send in an audition video. They may not audition regionally unless approved by the Office of Admission. Candidates should prepare a solo piece on marimba, snare drum and timpani. Applicants should choose pieces that demonstrate their abilities and that, in their opinion, are appropriate for their level. Piano Applicants who wish to audition in San Francisco or at a regional site must submit an unedited video recording through an online portal available on our website. Recordings must be at least 20 minutes in length and include the following repertoire. 1. The first movement of a classical period sonata 2. A complete and substantial romantic period work (such as a Ballade or the Mephisto Waltz) or at least two contrasting movements of a larger multi-movement work 3. One short work of the candidate’s choice; for example, an étude, a prelude and fugue or a character piece from any period Final Audition Repertoire (for auditions in San Francisco, a regional audition site or by final audition recording): A complete work from each of the following periods: 1. Baroque (a prelude and fugue from the Well-Tempered Clavier or a fugal movement from a suite) 2. Classical (a complete sonata by Haydn, Mozart, Beethoven or Schubert) 3. Romantic (a work from the nineteenth century) 4. Contemporary (a work from the twentieth or twenty-first century) Trombone (Tenor) (Repertoire does not need to be memorized.) 1. Études from J. Rochut Melodious Études, Book 1 2. Solo of choice with contrasting sections 3. Excerpts from the symphonic repertoire (Ravel Bolero, Mozart Requiem, “Tuba mirum,” Berlioz Hungarian March) (incoming freshmen excluded) 4. Sight reading Trumpet (Repertoire does not need to be memorized.) 1. Concert B-flat major scale: two octaves, quarter note = 80, legato tongue 2.Haydn or Hummel concerto: first and second movements 3.Arban Characteristic Study #1 4.Charlier Etude #2 5.Mussorgsky Pictures at an Exhibition: opening solo (incoming freshmen excluded) 6.Respighi Pines of Rome: second movement (incoming freshmen excluded) 7.Beethoven Leonore Overture No. 3 (incoming freshmen excluded) Tuba (Repertoire does not need to be memorized.) 1. One étude 2. A legato study (such as Rochut) 3. Solo literature 4. Orchestral excerpts (incoming freshmen excluded) Viola 1. Two contrasting movements from a Bach solo suite, sonata or partita 2. One movement from a standard concerto 3. One work of the applicant’s choice Undergraduate Study 39 Violin 1. Bach solo violin sonatas/partitas (two contrasting movements) 2. Movement of a standard concerto 3. Two études 4. One composition of the applicant’s choice (optional, Mozart preferred if the standard concerto for 2. is not a Mozart concerto) If the audition requirements are not fulfilled, the applicant may be disqualified from further consideration. Violoncello 1. One movement from a standard concerto 2. Two contrasting movements from a Bach suite 3. One short work from twentieth-century repertoire Voice Applicants must submit an unedited prescreen recording through an online portal available on our website with the following repertoire. Prescreen recordings must be in video format. Prescreen Requirements 1. An Italian aria or song such as those found in the Anthology of Italian Song of the 17th and 18th Centuries 2. One song in English (not a translation) 3. A piece chosen by the applicant Final Audition Applicants invited to audition in San Francisco may bring their own accompanists or use one provided by the Conservatory for the $30 fee processed when the application is submitted. (Those not invited will be refunded the accompanist fee.) Final Audition Repertoire Requirements 1. An Italian aria or song such as those found in the Anthology of Italian Song of the 17th and 18th Centuries 2. One song in English (not a translation) 3. A piece chosen by the applicant 4. A reading of a short poem in English chosen by the applicant (does not need to be memorized.) 5. At the faculty’s discretion, applicants may be asked to sight-read a very short musical passage Transfer Applicants: Applicants wishing to transfer at an academic level higher than freshman should prepare audition repertoire chosen from the required repertoire of the level they are completing at their current school. Please refer to the jury requirements for that level, as outlined in the Collegiate Catalog. 40 Undergraduate Study Curriculum Outline BACHELOR OF MUSIC Candidates for the Bachelor of Music degree are required to complete a minimum of 127 credits for graduation. All undergraduates must satisfactorily complete at least 28 credits in residence at the Conservatory during the junior and/or senior years. A maximum of six years is allowed between time of entrance and completion of the Bachelor of Music degree. Students who major in either performance or composition typically receive weekly 50-minute lessons. All students are allowed 14 lessons in the fall semester and 15 lessons in the spring semester. Private instruction must be taken with a member of the Conservatory collegiate faculty. RECITALS AND JURIES At the conclusion of each academic year, students will be required to perform before faculty jurors. Students who enter in January will play their jury examinations in December of that calendar year. These examinations determine whether the student has satisfactorily completed yearly requirements in the major instrument and influence continuing eligibility for scholarship assistance. Jury examination and recital requirements vary according to the major field. These requirements including repertoire are listed below by individual major instrument following the course requirements. No required recitals or juries can be given unless the student is registered for PVL 100/110/112R at the time of the recital or jury. No required recitals or juries can be given outside of the regular collegiate sessions. Exceptions to this policy are only given in extreme cases. Students must petition the Academic Affairs Committee to request such an exception. ENSEMBLE PARTICIPATION Students must participate in ensembles to which they are assigned. Students whose major instrument is an orchestral instrument must participate in the orchestra every semester they are enrolled in the Conservatory. All brass majors are also required to participate in Brass Choir every semester. CORE CURRICULUM All students must complete the core curriculum outlined in the table on this page. Students deficient in preparation for any of these requirements may be required to take remedial courses and pass qualifying examinations prior to enrolling in these courses. The General Education requirement consists of eight credits in Introduction to Western Civilization GED 202/203; three credits in Literature, Poetry or Drama; three credits in History or Philosophy; and 18 additional credits in the GED 210-599 series (voice majors must take at least six credits each in Italian, French and German), for a total of 32 credits. Not more than 36 credits (including 32 credits of General Education in the core curriculum) of non-music courses will count toward the total credits required for graduation. Transfer students may petition the Dean for permission to use more than 36 non-music credits as graduation requirements. For more information regarding transfer students, please see the Academic Requirements for Admission under the General Information section of the catalog. All requirements for the major fields are listed by major on the following pages, with the core curriculum always shaded. CORE CURRICULUM REQUIREMENTS Credits for Bachelor of Music Practical Aspects of a Career in Music APP 404 2 Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 2 Introduction to Western Civilization GED 202/203 8 Literature, Poetry or Drama1 (GED 302–399) 3 History or Philosophy1 (GED 402–479) 3 General Education Electives (GED 210–599) 18 Music History MHL 202/203/204 6 Music History and Literature MHL 400–599 or MMT 252/253 3 Other MMT/MHL series courses2 3 Musicianship MMT 102/103/104/105 12 Music Theory MMT 112/113/114/115 8 Keyboard Skills PRF 150/151 (except keyboard and composition majors) 2 Private Instruction PVL 100 in each of the four years in residence 32 Total Core 102 1 Undergraduates, except for voice majors, must complete this requirement by the end of the junior year. 2. Except MHL 202-399 and MMT 100-115 Undergraduate Study 41 Composition 1 Undergraduates must complete at least one course in Literature, Poetry or Drama and one course in History or Philosophy by the end of the junior year. See core curriculum on previous page. Required Courses and Recommended Sequence 2 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective credits listed for individual majors. Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 The Composer at the Piano PVL 110 8 8 Composition Workshop APP 352/353 4 General Education1 6 Music History MHL 202/203/204 4 2 Counterpoint MMT 222/223 6 42 12 2 2 Composition Major Instrument PVL 112 8 8 Advanced Musicianship MMT 202/203 8 Orchestration MMT 242/243 6 Advanced Musical Analysis MMT 252/253 6 Composition Seminar PRF 402 1 Complete at least two works and see them through to performance. Senior Year 1 2 Introduction to Conducting PRF 452/453 4 Electives2 4 30 34 39 Present either one full recital of at least 40 minutes in the final semester or two half-recitals within the last two semesters. In both years, works performed must have been completed during the time the composer was a student at the Conservatory. Presentations must be performed by or prepared under the direction of the composer. Practical Aspects of a Career in Music APP 404 Undergraduate Study At the end of the sophomore year, each student’s record will undergo a formal review by the department. Standing in place of a jury recital, this review will take into account the student’s academic performance, especially progress in composition classes and lessons, as well as the student’s participation in and attendance at school and department activities. The results of this review will determine whether the student will be allowed to advance to junior standing. Junior Year Ensemble: Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 Totals Freshman and Sophomore Years Students enrolled in PVL 110R (The Composer at the Keyboard) must take a keyboard jury at the end of the spring semester. Compositions that best demonstrate the abilities of the performer, to be determined by the teacher, are required together with improvisations as requested by the jury. 6 Four-Year Total: 136 REPERTOIRE REQUIREMENTS FOR COMPOSITION MAJORS 33 The works presented during the last two years of study should include at least three of the following: 1. Work for one to four instruments, not including voice 2. Work for five to 25 instruments, not including voice 3. Work for any number of instruments and/or any number of voices 4. Work using electronic devices (either exclusively or in combination with acoustic instruments) 5. Soundtrack not less than five minutes in length using electronic sounds or instruments for film or video and created using Conservatory facilities. Guitar 1 Undergraduates must complete at least one course in Literature, Poetry or Drama and one course in History or Philosophy by the end of the junior year. Required Courses and Recommended Sequence Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. 2 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective credits listed for individual majors. HISTORICAL PERFORMANCE EMPHASIS FOR PLUCKED STRINGS (UNDERGRADUATE) Please see page 17 for further details regarding the HPE. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 Keyboard Skills PRF 150/151 2 Private Instruction PVL 100 8 Emphasis Course Requirements • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Playing) or PRF 344 (Continuo for Guitarists) (1 semester, 2 credits). Not required if students can demonstrate prior experience. • MHL 400 (Introduction to Performance Practice) (1 semester, 3 credits) • PRF 348 (Historical Plucked Strings) (2 semesters, 4 credits) 8 8 8 Total credits for Emphasis: 11-13 General Education 9 6 9 Music History MHL 202/203/204 4 2 These credits also count toward the Bachelor of Music degree. Jury requirements as determined by Historical Performance faculty. 1 Guitar Literature MHL 322–325 2 4 Electives2 2 3 4 Please consult the Guitar Department Manual on the Conservatory’s website for further information. Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 2 REPERTOIRE REQUIREMENTS FOR GUITAR MAJORS Music History and Literature MHL 400–599 or MMT 252/253 3 Jury Examinations MHL 400-599 or MMT 116-253 3 Guitar Ensemble ENS 304 4 4 Practical Aspects of a Career in Music APP 404 2 Guitar Pedagogy APP 302 2 Totals Four-Year Total: 127 28 35 35 29 Two-thirds of all juries and recitals must be performed from memory. Each jury must consist of entirely new repertoire. Written program notes are required for each jury and degree recital. Repertoire guidelines are in the Guitar Department Manual, available on the Conservatory’s website. At the end of the semester in which the student is not doing a jury (usually the fall semester), undergraduate guitar students are required to perform an evaluation for the guitar faculty. Freshmen and sophomores play for five minutes; all others play for ten minutes. The results are factored into the semester’s grade, and students receive written comments from each member of the guitar faculty. Undergraduate Study 43 Freshman Jury Music from each of the following five periods, totaling 20 minutes: renaissance, baroque, classical, romantic and contemporary, for a 15-minute jury. 4 Practical Aspects of a Career in Music APP 404 2 Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 2 Music History and Literature MHL 400–599 or MMT 252/253 3 MHL 400-599 or MMT 116-253 3 Junior Jury Keyboard Literature MHL 312–315 4 Music from at least three distinct musical periods, totaling 45 minutes, for a 30-minute jury. Baroque Studies ENS 212, MHL 400, PRF 354 or PRF 358 2 Electives3 2 3 40.5 24.5 Sophomore Jury Music from all five periods listed above, totaling 30 minutes, for a 15-minute jury. Senior Jury and Senior Recital Music from at least three distinct musical periods, totaling one hour, for a 30-minute jury. Also, a recital of one hour of music, which may include some chamber music at the discretion of the major teacher. Pedagogy APP 252 2 4 Totals 30.5 31.5 Four-Year Total: 127 1 Four semesters are required for graduation, taken at any time. 2 Undergraduates must complete at least one course in Literature, Poetry or Drama and one course in History or Philosophy by the end of the junior year. Piano or Organ 3 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective credits listed for individual majors. Required Courses and Recommended Sequence Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 4 Piano majors meet this requirement by taking APP 252 (Piano Pedagogy); organ majors meet this requirement by taking IND 100 (Independent Study) under the sponsorship of their studio teacher. ORGAN Freshman Jury Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 Private Instruction PVL 100 8 8 8 8 Introduction to Accompanying for Pianists ENS 310 4 Piano Forum PRF 3521 .5 .5 .5 .5 Sophomore Jury 3 12 9 Music History MHL 202/203/204 4 2 Ensemble 2 1. Selected Bach preludes and fugues 2. Works from older masters 3. At least one work each from the romantic and modern repertoire 4. Two hymns prepared on one day’s notice before the examination General Education 2 44 Keyboard Harmony MMT 232/233 Undergraduate Study 2 1. A working knowledge of the organ, its design, construction and registration 2. Trios, fughettas and chorale preludes from the baroque period; selected works from Bach, e.g., Little Organ Book and Eight Short Preludes and Fugues 3. Short compositions of Mendelssohn, Brahms, Vierne, etc. 4. Elements of hymn playing 5.Sight-reading 6. Registration to be outlined for two works new to the performer Junior Jury A 45- to 60-minute recital demonstrating the student’s command of a variety of styles, including at least one work from memory. This recital may be played publicly at the professor’s discretion. Senior Jury and Senior Recital Organ majors must perform a senior jury to determine fulfillment of performance requirements. A public recital also must be performed, to include Bach works from the “mature master” period; a major French work; works by American composers; and one work in advanced style written after 1960. Ensemble music may be included. Half of this recital must be memorized. GENERAL REPERTOIRE REQUIREMENTS Students should play the following works by the end of their undergraduate career: 1. Bach: one trio sonata, two chorale preludes from the “Great Eighteen” or Clavierübung III (with pedal), three large preludes (toccatas, fantasies) and fugues 2. Buxtehude or other North German masters: one prelude and fugue, one chorale fantasy, three chorale preludes 3. Franck: two major works 4. Mendelssohn: a sonata or prelude and fugue 5. Brahms: four chorale preludes 6. Early Spanish or Italian: one significant work 7. French Classic Period: major portions of masses by François Couperin or Nicolas deGrigny 8. Modern French: two works 9. Modern German: two works 10.Modern American: one work 11.Post-1970: one work PIANO Freshman Jury 1. A prelude and fugue from the Well-Tempered Clavier or another work of Bach containing a fugue 2. An entire sonata by Beethoven, Mozart or Haydn 3. A romantic work by a nineteenth-century composer or a work by a representative French composer (Debussy, Ravel or others) 4. A work by a twentieth-century composer genuinely representative of musical and technical concepts developed in the last 80 years Sophomore Jury 1. Any complete partita, French suite or English suite, or any major work such as the Italian Concerto, or five sinfonias or two preludes and fugues from the Well-Tempered Clavier by Bach 2. A work from the classical period 3. A major romantic work (corresponding in importance and difficulty to a Chopin ballade or scherzo or Brahms Eight Piano Pieces, Op. 76) 4. An étude or prélude by Debussy 5. A twentieth- or twenty-first century work Junior Jury A program of completely new material of not less than 60 minutes in length, to be approved by the major professor and the piano department, including études by two different composers (Chopin, Debussy, Rachmaninoff, Scriabin, etc.) Senior Jury and Senior Recital Piano majors must perform a senior jury to determine fulfillment of performance requirements. A public recital also must be performed, with repertoire approved by the major professor and the piano department. Concerto Requirement At any time during an undergraduate’s residency, a one-time concerto performance requirement must be satisfied at an additional concerto jury. This requirement may be waived by permission if the residency is one year or less. Finalists in the Conservatory’s annual concerto competition are also excluded from this requirement. Undergraduate Study 45 Harpsichord credits listed for individual majors. 3 Harpsichord majors meet this requirement by taking IND 100 (Independent Study) under the sponsorship of their studio teacher. Required Courses and Recommended Sequence Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 Private Instruction PVL 100 8 8 8 Piano Forum PRF 352 Continuo Playing ENS 212 4 3 12 Music History MHL 202/203/204 4 2 Baroque Ensemble ENS 210 4 4 Harpsichord Class PRF 354 1 2 Music History and Literature MHL 400–599 or MMT 252/253 3 MHL 400-599 or MMT 116-253 3 Keyboard Literature MHL 312–315 2 These credits also count towards the Bachelor of Music degree. Jury requirements as determined by Historical Performance faculty. 4 REPERTOIRE REQUIREMENTS FOR KEYBOARD MAJORS HARPSICHORD Freshman Jury 2 1. A work of the English Virginal School 2. A work of Frescobaldi 3. A suite of Chambonnières or Louis Couperin 4. A Bach French suite or selected sinfonias Electives2 3 Practical Aspects of a Career in Music APP 404 Sophomore Jury 2 1. A work of the English Virginal School 2. A toccata and suite of Froberger 3. A suite of D’Anglebert 4. Two preludes and fugues from Book 1 of the Well-Tempered Clavier Pedagogy IND 1003 Totals 2 31 38 37 30.5 Four-Year Total: 136.5 1 Undergraduates must complete at least one course in Literature, Poetry or Drama and one course in History or Philosophy by the end of the junior year. 2 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective 46 • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Playing) (1 semester, 2 credits). Not required if students can demonstrate prior experience. • MHL 400 (Introduction to Performance Practice) (1 semester, 3 credits) • PRF 354 (Harpsichord Class) (2 semesters, 2 credits) 9 1 Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 Emphasis Course Requirements Total credits for emphasis: 9-11 4 1 Please see page 17 for further details regarding the HPE. .5 4 General Education1 Keyboard Harmony MMT 232/233 8 HISTORICAL PERFORMANCE EMPHASIS FOR KEYBOARD (UNDERGRADUATE) Undergraduate Study Junior Jury 1. An ordre of François Couperin 2. An English suite or partita of Bach Senior Jury 1 Undergraduates must complete at least one course in Literature, Poetry or Drama and one course in History or Philosophy by the end of the junior year. 1. A suite of Rameau 2. One of the following major works of Bach: Italian Concerto, Overture in B Minor, Chromatic Fantasy and Fugue 2 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective credits listed for individual majors. String majors are only required to fulfill 3 elective credits. Brass majors are only required to fulfill 1 elective credit. Orchestral Instruments: 3 Students who have participated in two semesters of Conservatory in the Schools will be exempt from the String Pedagogy requirement. Strings, Winds, Brass & Percussion HISTORICAL PERFORMANCE EMPHASIS IN BAROQUE CELLO (UNDERGRADUATE) Required Courses and Recommended Sequence Please see page 17 for further details regarding the HPE. Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 Keyboard Skills PRF 150/151 2 Private Instruction PVL 100 8 8 8 8 Conservatory Orchestra ENS 200 4 Emphasis Course Requirements • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Plyaing) (1 semester, 2 credits). Not required if students can demonstrate prior experience. • MHL 400 (Introduction to Performance Practice) (1 semester, 3 credits) • PRF 334 (Baroque Cello) (2 semesters, 4 credits) Total credits for emphasis: 11-13 These credits also count towards the Bachelor of Music degree. Jury requirements as determined by Historical Performance faculty. 4 4 4 General Education1 9 9 6 Music History MHL 202/203/204 4 2 REPERTOIRE REQUIREMENTS FOR STRING MAJORS Electives2 1 2 2 General Jury Requirements Music History and Literature MHL 400–599 or MMT 252/253 3 MHL 400-599 or MMT 116-253 3 Brass Choir ENS 302 (brass majors only) 2 2 Ensemble (except brass majors) 2 2 2 2 String Pedagogy APP 272 (string majors only)3 2 Practical Aspects of a Career in Music APP 404 2 Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 2 Totals Four-Year Total: 127 – 135 32 36 33 Students are encouraged by their teachers to prepare a complete required program. It will be at the discretion of the teacher what and how much will be performed at the jury. Every category of the required program, however, should be represented, time permitting. The length of the jury performance will be either 20 or 30 minutes, as determined by the teacher. VIOLIN Jury Examinations During a four-year course of study, a student will be required to learn the following: 26 Undergraduate Study 47 1. A minimum of four standard concerti, such as Barber, Bartók, Beethoven, Berg, Brahms, Bruch, Dvořák, Glazunov, Lalo, Mendelssohn, Mozart, Paganini, Prokofiev, Saint-Saëns, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps or Wieniawski. During the four years, no composer shall be represented by more than one concerto. 2. Two of the six partitas or sonatas for solo violin by Bach. 3. Four classical, romantic or contemporary sonatas for violin and piano, one to be performed at the end of each school year. 4. Four short virtuoso pieces—or works in a similar style—by any of the following composers: Kreisler, Paganini, Saint-Saëns or Wieniawski. Concerti must be memorized. Memory in other categories shall be at the discretion of the professor. Variations in the required repertoire may be made only with the consent of the string department. Viola majors must perform a senior recital to determine fulfillment of performance requirements. VIOLONCELLO Students will be required to perform three works from contrasting periods for their jury examination. Jury Examinations Concerti must be memorized. Memory in other categories shall be at the discretion of the professor. During a four-year course of study, a student will be required to perform the following: Variations in the required repertoire may be made only with the consent of the string department. 1. A minimum of four concerti chosen from the following: C.P.E. Bach, Barber, Beethoven Triple Concerto, Bloch Schelomo, Boccherini, Brahms Double Concerto, Dvořák, Elgar, Haydn D and C concerti, Hindemith, Lalo, Milhaud, Prokofiev, SaintSaëns, Schoenberg, Schumann, Shostakovich or Walton. At least one concerto shall be performed at the end of each school year. 2. At least three of the six cello suites or the gamba sonatas by Bach, and at least one from the unaccompanied repertoire of Bloch, Britten, Hindemith, Kodály or Reger. One is to be performed at the end of each school year. 3. At least four sonatas from the representative periods, one to be performed at the end of each school year. 4. A fourth category will be chosen with the advice of the professor and may include études, virtuoso pieces, the standard chamber music for cello, such as duos of Ravel and Kodály, trios of Schoenberg and Webern, or the standard orchestral studies, such as Strauss Don Quixote. Violin majors must perform a senior recital to determine fulfillment of performance requirements. VIOLA Jury Examinations During a four-year course of study, a student will be required to perform the following: 1. A minimum of four concerti chosen from the following: Bartók, Berio, Berlioz, Bloch, Feldman, Handel, Handoshkin, Hindemith, Hoffmeister, Mozart, Nixon, Piston, Pleyel, Stamitz, Schnittke, Telemann, Walton or Vaughan Williams. With the approval of the professor, other concerti may be selected. At least one concerto shall be performed at the end of each school year. 2. At least three of the six cello suites, or the violin sonatas and partitas, or the gamba sonatas of Bach, transcribed, and at least one from the unaccompanied repertoire of Stravinsky, Reger or Hindemith. One is to be performed at the end of each school year. 3. At least four sonatas from the representative periods, one to be performed at the end of each school year. 4. A fourth category may be included on the recommendation of the professor and could include études; the standard chamber music for viola, such as the duos of Mozart or Beethoven or the 48 trio of Debussy; and the standard orchestral studies, such as Strauss Don Quixote or Don Juan. Undergraduate Study Concerti must be memorized. Memory in other categories shall be at the discretion of the professor. Variations in the required repertoire may be made only with the consent of the string department. Violoncello majors must perform a senior recital to determine fulfillment of performance requirements. DOUBLE BASS Jury Examinations On each jury examination, students are required to play one composition from each category unless otherwise noted. Freshman Jury 1. Baroque works: sonatas of Bach, Birkenstock, Eccles, Handel, Marcello, Telemann, Vivaldi; Bach solo cello suites (two movements) 2. Concerti (one movement): Bottesini, Dittersdorf, Dragonetti, Handel, Koussevitzky, Sperger, Vanhall 3. Pieces: One short work by Bottesini, Dittersdorf, Dragonetti, Koussevitzky, Sperger, Vanhall Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor. Sophomore Jury 1. Baroque or classical work: sonatas or other works by composers such as Bach, Beethoven, Birkenstock, Couperin, Dittersdorf, Frescobaldi, Handel, Mozart, Sperger or three movements from the Bach solo cello suites 2. Concerti (complete) 3. Pieces: Two short works by composers such as Bottesini, Bruch, Glière, Koussevitzky, Hertl, Montag, Rossini Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor. Junior Jury 1. Concerti or virtuoso-type pieces 2. Sonatas or multi-movement works from the romantic or contemporary repertoire 3. Pieces: two short works from any of the representative periods Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor. Senior Jury and Senior Recital 1. Concerti or virtuoso-type pieces 2. Sonatas or multi-movement works from the romantic or contemporary repertoire, or an entire solo cello suite by Bach 3. Pieces: three short works from any of the representative periods 4. A fourth category consisting of chamber music may be included on the recommendation of the professor For the jury, orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor. Double Bass majors must perform a senior recital to determine fulfillment of performance requirements. HARP Freshman Jury At least one classical, one romantic or impressionistic and one contemporary work. Total length: 30 minutes. Works to be prepared during freshman year. Sophomore Jury At least one classical, one romantic or impressionistic, one contemporary and one chamber music work. Total length: 45 minutes. Evidence of orchestral participation must be shown. The jurors may choose to hear only part of this material. Junior Jury At least two each of classical, romantic or impressionistic and contemporary works, plus one piece of chamber music and one concerto or similar work for harp and large orchestral group or orchestra, such as Mozart Concerto for Flute and Harp or Ravel Introduction and Allegro. Evidence of solo performances and orchestral participation must be shown. Total length: 60 minutes. The jurors may choose to hear only part of this material. The material presented must differ from that performed the previous year. Senior Jury and Senior Recital Forty-five minutes of solo material and 30–45 minutes of chamber music. Evidence of solo performances and orchestral participation must be shown. The material must differ from that performed in pre- vious years. The jurors may choose to hear only part of the program. Harp majors must perform a senior recital to determine fulfillment of performance requirements. Undergraduate Study 49 REPERTOIRE REQUIREMENTS FOR WIND MAJORS FLUTE Freshman Jury 1. Concerti: Quantz G Major, Mozart D Major or G Major 2. Sonatas: Hindemith, J.S. Bach, C.P.E. Bach, Poulenc 3. Pieces: Griffes Poème, Telemann Fantasias for solo flute, Chaminade Concertino, Fukushima Mei Sophomore Jury 1. Concerti: Vivaldi “Il Cardellino” in D Major, Op. 10, No. 3, Mozart Concerto in G Major (with cadenzas) 2. Sonatas: Piston, Dutilleux Sonatine, Bach (any with keyboard), Sancan Sonatine 3. Pieces: Martin Ballade, Telemann Suite in A Minor, Hüe Fantasie, Hindemith Acht Stücke, Berio Sequenza Junior Jury 1. Concerti: Mozart Concerto in D Major (with cadenzas), Ibert, Nielsen 2. Sonatas: Martinů, Reynolds, Prokofiev, Gaubert 3. Orchestral repertoire Senior Jury and Senior Recital Similar to junior jury, with strong concentration on orchestral repertoire. All movements of each work are required. Works need not be performed from memory. Flute majors must perform a senior recital to determine fulfillment of performance requirements. CLARINET Freshman Jury 1. Études and studies: Baermann Method for Clarinet, Third Division; Kell 17 Staccato Studies; Klosé 45 Exercises on Articulation and 12 Studies in the Various Registers; Rose 32 Études for Clarinet; Thurston Passage Studies for Clarinet, Vol. 1 2. Solo literature: Saint-Saëns Sonata, Op. 167; Schumann Fantasy Pieces, Op. 73; Mozart Concerto in A Major, K. 622; Carl Stamitz Concerto No. 3 in B-flat Major; Weber Concertino, Op. 26 50 Undergraduate Study Sophomore Jury 1. Études and studies: Baermann Method for Clarinet, Part 4; Gates Odd Meter Études; Rose Studies for Clarinet; Voxman Classical Studies for Clarinet (Bach and Handel); transposition study 2. Solo literature: Hindemith Sonata (1939); Johann Stamitz Concerto in B-flat Major; Weber Concerti in F and E-flat Major, Op. 73 and 74; Brahms Sonatas in F Minor and E-flat Major, Op. 120, Nos. 1 and 2 Junior Jury 1. Études and studies: Baermann Method for Clarinet, Part 5; Rose 20 Grandes Études after Rode; Cavallini 30 Caprices; transposition study; orchestral excerpts 2. Solo literature: Weber Grand Duo Concertant, Op. 48; Poulenc Sonata; Hindemith Concerto; Spohr Concerto Senior Jury and Senior Recital 1. Études and studies: Uhl 48 Études; Sigel The Twentieth-Century Clarinetist; Jeanjean 16 Études Modernes; orchestral excerpts 2. Solo literature: Debussy Première Rhapsodie; Stravinsky Three Pieces for Solo Clarinet; Copland Concerto; Nielsen Concerto, Op. 57; Berg Four Pieces for Clarinet and Piano, Op. 5 Clarinet majors must perform a senior recital to determine fulfillment of performance requirements. OBOE Freshman Jury 1. One étude by Barret or Ferling 2. One classical work 3. One impressionistic or contemporary work 4. Jury music must be prepared during the freshman year Sophomore Jury 1 One étude by Ferling 2. One baroque or classical work 3. One romantic or contemporary work 4. Jury music must be prepared during the sophomore year Junior Jury A 35- to 45-minute program of material prepared during the junior year, to be approved by the major teacher. The program should include: 1. One movement of a sonata or concerto, preferably with piano accompaniment 2. One étude from the Grand Studies by Barret or Études by Ferling 3. Three orchestral excerpts: Beethoven, “Funeral March” from the Eroica Symphony, first solo passage; Ravel Tombeau de Couperin, opening solo from Prelude; Rossini La scala di seta, fast staccato solo 4. Jury music must be prepared during the Sophomore year Senior Jury and Senior Recital A full program of at least 40–50 minutes, to be approved by the major teacher. Music from a variety of historical periods and genres, as well as chamber music with prominent oboe parts, is encouraged. Oboe majors must perform a senior recital to determine fulfillment of performance requirements. BASSOON Freshman Jury 1. Major and minor scales 2.Weissenborn Advanced Studies 3.Milde Scale Studies 4.Telemann Sonata in F minor; Galliard sonatas or other works of equivalent difficulty 5. Orchestral excerpts 6.Reed-making Sophomore Jury 1. Major and minor scales and arpeggios 2.Milde Concert Studies 3.Kovar 24 Daily Exercises 4.Giampieri 16 Studies; Bozza Studies 5.Hindemith Sonata 6.Weber Concerto or other work of equivalent difficulty 7.Orchestral excerpts 8.Reed-making Junior Jury 1.Orefici Bravura Studies 2.Pierne New Techniques of Bassoon 3.Piard Studies 4.Mozart Concerto or other work of equivalent difficulty 5. Orchestral excerpts 6.Reed-making Senior Jury and Senior Recital 1. Mozart concerti 2. Vivaldi concerti 3.Hummel Concerto 4. Bach cello suites 5. Saint-Saëns sonata or other work of equivalent difficulty 6. Orchestral excerpts from memory 7.Reed-making Bassoon majors must perform a senior recital to determine fulfillment of performance requirements. REPERTOIRE REQUIREMENTS FOR BRASS MAJORS At the end of a semester in which the student is not doing a jury (usually the fall semester), brass students are required to perform an evaluation for the brass faculty. Seniors are not required to do a fall jury. Freshmen and sophomores play for five minutes; all others play for ten minutes. The results are factored into the semester’s grade, and students receive written comments from each member of the brass faculty. This mid-year evaluation may be waived if the student is performing a recital in that semester. HORN Freshman Jury 1. Mozart Concerto No. 1 on natural horn, from memory 2. Selections from Kopprasch, Book 1; Maxime-Alphonse, Book 1 3. Selected orchestral excerpts Sophomore Jury 1. Mozart Concerto No. 3 or comparable work, from memory 2. Selections from Kopprasch, Book 2; Maxime-Alphonse, Book 2 3. Selected orchestral excerpts Junior Jury 1. Mozart Concerto No. 2 or No. 4 or comparable work, from memory 2. Selections from Maxime-Alphonse and Galley 3. Selected orchestral excerpts Senior Jury and Senior Recital 1. Strauss Concerto No. 1 or comparable work, from memory 2. A twentieth-century work for solo horn 3. Selected orchestral excerpts Undergraduate Study 51 Repertoire for this jury represents a standard orchestra audition. Horn majors must perform a senior recital to determine fulfillment of performance requirements. TRUMPET Freshman Jury Freshman Jury 1. Works selected from the following: a solo agreed upon by the professor and student; études 2. Legato studies by Rochut 1. Emphasis on fundamentals 2. Selected studies from Arban, Clarke, Saint-Jacome, Schlossberg 3. Studies by Concone, Davidson, Getchell, Hering, Leonard, Sachse, Voxman; Mager Nine Grand Solos; Haydn and Hummel 4. Orchestral excerpts Sophomore Jury Sophomore Jury 1. A solo work agreed upon by professor and student 2. Orchestral excerpts 1. Selected studies from Bordogni, Brahms, Brandt, Clarke, Gates, Hickman, Voisin, Webster, Williams 2. Solos of Arban, Arutunian, Giannini, Goedicke, Hindemith, Riisager; piccolo trumpet (Purcell, Telemann Heroic Music, Torelli or equivalent) 3. Orchestral excerpts Junior Jury 1. Selected studies from Andre, Broiles, Charlier, Nagel, Reynolds, Smith 2. Solos of Clarke, Enesco, Honegger, Kennan, Neruda, Stevens; piccolo trumpet (Albinoni, Fasch, Handel, Hertel, L. Mozart, Tartini, Telemann, Viviani) 3. Orchestral excerpts 1. A solo work agreed upon by professor and student 2. Orchestral excerpts 3. Études Junior Jury Senior Jury 1. A solo work agreed upon by professor and student 2. Orchestral excerpts Senior Recital Balanced program from solo and ensemble repertoire for trombone. Trombone majors must perform a senior recital to determine fulfillment of performance requirements. TUBA Senior Jury and Senior Recital Freshman Jury 1. Continuation of above, with additional emphasis on French and contemporary études 2. Review of major solo repertoire and further study of French (Chaynes, Jolivet, Tomasi), contemporary (Davies or equivalent), solo trumpet (Arnold, Friedman, Henze, Ketting, Persichetti, Weiner, Whittenberg, Wolpe), piccolo trumpet (Bach, M. Haydn, Querfurth) and jazz repertoire 3. Intensive review of chamber music and orchestral repertoire, including mock auditions 4. Full program 1. Legato studies by Rochut 2. Technical studies by Kopprasch 3. Mastering the Tuba by Bobo 4. Solo literature Trumpet majors must perform a senior recital to determine fulfillment of performance requirements. 52 TROMBONE Undergraduate Study Sophomore Jury 1. Legato studies by Borgogni 2. Technical studies by Kopprasch and Blazhevich I 3. Solo literature 4. Orchestral excerpts Junior Jury 1. Solo literature 2. Orchestral excerpts Senior Jury and Senior Recital 1. CC and F tubas 2. Complete orchestral repertoire 3. Solo literature Tuba majors must perform a senior recital to determine fulfillment of performance requirements. REPERTOIRE REQUIREMENTS FOR PERCUSSION MAJORS Freshman Jury Sophomore Jury T I MPA N I Orchestral repertoire of classical and romantic composers. SNARE DRUM 1. More advanced studies, with emphasis on dynamic control, especially the “pp,” the roll at all dynamics, etc. 2. Peters Advanced Snare Drum Studies 3. Cirone Portraits in Rhythm 4. Orchestral repertoire TIMPANI 1. Study of basic techniques: strokes, tone, tuning, roll, muffling, cross-sticking 2.Goodman Modern Method for Timpani 3. Firth Solo Timpanist, elementary studies 4. Orchestral repertoire of classical composers and compositions performed by the Conservatory Orchestra (throughout all years) SNARE DRUM 1. Survey of all basic strokes, rolls 2. Goldenberg Snare Drum Method 3. Cirone Portraits in Rhythm 4. Peters Intermediate Snare Drum Studies 5. Introduction to orchestral repertoire MALLET INS TRUM ENTS (XYLOPHONE , MARI M BA, ETC. ) MA L L E T I N S T R U ME N T S 1. Continued study of scales and arpeggios 2.Green Studies 3. More advanced studies 4. Solo material selected from modern composers and classic works transcribed for xylophone, marimba and vibraphone (Bach violin sonatas and partitas, Bach cello suites, Creston Concertino for Marimba and Orchestra). Begin multiple percussion: Stravinsky L’histoire du soldat, Milhaud Concerto for Percussion. Junior Jury T I MPA N I 1. Orchestral repertoire of all periods, including some modern works 2. Solo material (Paris Timpani Concerto, Tanner Timpani Concerto) SNARE DRUM 1. Study of basic techniques 2. Goldenberg Modern School for Xylophone 3. Green Studies 4. Introduction to orchestral repertoire 5. Begin four-mallet technique using Bach and Van Geem Four-Mallet Democracy 1. Cirone Portraits in Rhythm 2. Emphasis on metric variations; orchestral repertoire Introduction to the techniques of other percussion instruments: bass drum, cymbals, tambourine, triangle, castanets, etc. This survey continues as appropriate throughout the undergraduate years, particularly as necessitated by performance in the Conservatory Orchestra. 1. Continue Bach violin sonatas, partitas and cello suites 2. Orchestral repertoire (e.g., Gershwin Porgy and Bess, Bernstein, Stravinsky, Bartók) 3. More advanced four-mallet study using Van Geem Four-Mallet Democracy 4. Study of repertoire of complete percussion family 5. Dvořák Carnival Overture (tambourine) MA L L E T I N S T R U ME N T S Undergraduate Study 53 6. Liszt Piano Concerto (triangle) 7. Mahler Symphony No. 3 (bass drum) 8. Tchaikovsky Symphony No. 4 (cymbals) 9. Continue technical studies of Green, Baily Keyboard Skills PRF 150/151 2 Private Instruction PVL 100 8 Beginning Acting for the Singer APP 204/205 2 Basic Phonetics for Singers APP 210 1 Vocal Performance Lab PRF 462 1 8 8 8 1 1 1 Italian 220&221, German 230&231, French 240&241 6 6 6 Music History MHL 202/203/204 4 2 1 More extensive multiple percussion studies: Dahl Duettino for Flute and Percussion; Kraft Encounters for Trumpet and Percussion Senior Jury and Senior Recital 1. Technical perfection in all areas of percussion performance 2. Studies in any of the previously recommended methods as indicated; other advanced methods may be used, such as Abel 20th Century Orchestral Studies (timpani); continued survey of solo works and the symphonic and operatic repertoire The fourth year’s study should culminate in a solo jury examination with performance on all basic percussion instruments, including such works as Stout Mexican Dances, Milhaud Concerto for Marimba (or a full-length concerto transcribed for mallets) and Carter Eight Solo Pieces for Four Timpani. If possible, small ensemble works featuring percussion should be included. Suggestions include Bartók Sonata for Two Pianos and Percussion, Kurka Marimba Concerto, Bach sonatas (violin) and lute suites, Stockhausen Zyklus, Crumb Madrigals and Berio Circles. This jury also could include a first performance of an advanced composition student’s work for solo percussion or percussion featured in a small ensemble. Percussion majors must perform a senior recital to determine fulfillment of performance requirements. Lyric Diction APP 211/212/213 1 Electives2 4 4 1 General Education GED 301-399 & GED 402-479 3 3 Music History and Literature MHL 400–599 or MMT 252/253 3 Ensemble 2 Vocal Literature MHL 302/303 2 Conservatory Chorus ENS 300 or Conservatory Chamber Choir ENS 301 2 MHL 400-599 or MMT 116-253 3 Practical Aspects of a Career in Music APP 404 2 Vocal Physiology APP 202 2 Vocal Pedagogy APP 203 Totals Voice Core curriculum is shaded. Courses in bold type must be taken in the designated sequence. Undergraduate International students may be required to follow an alternative sequence of courses. A form with this sequence may be found in the Registrar’s Office and online. Credits for Bachelor of Music Year 1 Year 2 Year 3 Year 4 Introduction to Western Civilization GED 202/203 8 Musicianship MMT 102/103/104/105 6 6 Music Theory MMT 112/113/114/115 4 4 Undergraduate Study 34 31 30 Four-Year Total: 127 Required Courses and Recommended Sequence 54 2 32 1 In addition to a weekly 50-minute lesson, each student may receive a 50-minute weekly coaching. 2 Courses numbered MHL 302–599, MMT 116–599, GED 401–499 and courses in the APP, ENS, IND, PRF and PVL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for elective credits listed for individual majors. REPERTOIRE REQUIREMENTS FOR VOICE MAJORS Evaluation and Jury Examinations A jury examination is required of all voice students during the second semester of each year. At the end of the semester in which students are not doing a jury (usually the fall semester), voice students are required to perform a piece chosen by the voice faculty for an evaluation. Evaluation and jury repertoire is to be chosen from the required repertoire specified in the voice department handbook. Students will receive written comments on both evaluation and jury performances. Freshman Requirements Repertoire requirements for the first semester: (Evaluation) 1. One early Italian song or aria, written in the seventeenth or eighteenth century 2. One song originally in English (no translations) 3. Two pieces of the student’s choice (to be approved by the major teacher) Repertoire requirements for the second semester: (Jury) 1. One early Italian song or aria, written in the seventeenth or eighteenth century 2. Two songs or arias originally in English. Translations from other languages are not acceptable. (The word “aria” in this context bears in mind particularly the works of Handel, though not exclusively.) 3. Two pieces of the student’s choice (to be approved by the major teacher) The freshman jury will consist of a performance of two pieces from the required second semester freshman repertoire: one piece chosen by the student, the second by faculty jury members. Sophomore Requirements Repertoire requirements for the first semester: (Evaluation) 1. Two compositions from the works of such composers as Handel, Vivaldi, Haydn or Mozart, but not by the same composer. One composition may be a song; the other must be an aria from an oratorio or an opera. 2. One song by any of the composers represented in The Reliquary of English Song, e.g., Arne, Dowland, Morley, Purcell, etc. 3. One song by Beethoven, Mendelssohn, Schubert or Schumann 4. One piece of the student’s choice (to be approved by the major teacher) Repertoire requirements for the second semester: (Jury) 1. Two songs by Beethoven, Bellini, Donizetti, Hensel, Mendelssohn, Mozart, Rossini, Schubert or Schumann. The two songs may not be by the same composer. 2. One song by Purcell 3. One aria from an oratorio or an opera from the works of such composers as Bach, Handel, Haydn, Mozart or Vivaldi 4. One piece of the student’s choice (to be approved by the major teacher) The sophomore jury will consist of a performance of two pieces from the required second-semester sophomore repertoire: one piece chosen by the student, the second by faculty jury members. Junior Requirements Repertoire requirements for the first semester: (Evaluation) 1. One song by a composer of the earlier romantic period such as Brahms, Dvořák, Liszt, Mussorgsky, C. Schumann, Wolf 2. One song by a French romantic composer such as Berlioz, Bizet, Chabrier, Chausson, Duparc, Fauré, Massenet 3. One song originally in English (no translations) by an American or British composer of the twentieth or twenty-first century 4. A song from the musical theater/jazz/American standard song repertoire, by a composer such as Berlin, Bernstein, Cahn, Gershwin, Mercer, Porter, Rodgers, Sondheim, etc. 5. Two pieces of the student’s choice (to be approved by the major teacher) Repertoire requirements for the second semester: (Jury) 1. One song by a composer of the later romantic period, such as Berg, Mahler, Strauss, Wolf, early Stravinsky, early Schönberg 2. One song by a French composer such as Debussy, Hahn, Satie, Poulenc, Ravel, Milhaud, Messiaen, Roussel 3. One composition from the works of J.S. Bach, in the original language of composition 4. One aria from an oratorio or opera from the works of nineteenth, twentieth, or twenty-first century composers 5. One song in English by an American composer such as Argento, Bacon, Barber, Carpenter, Copland, Duke, Heggie, Musto, Ives, Pasatieri, Persichetti, Rorem 6. One piece of the student’s choice (to be approved by the major teacher) The junior student in voice is required to perform a public solo recital of 25–30 minutes of music prior to the second-semester junior jury. The recital may not include any material prepared in previous years and is to be chosen from required junior repertoire enumerated in the Voice Department Handbook. It should include various styles, e.g., romantic, impressionistic, contemporary, American, and at least three languages, one of which must be English by an American composer. Undergraduate Study 55 The junior jury will consist of a performance of two pieces from the required second-semester junior repertoire: one piece chosen by the student, the second by faculty jury members. Senior Requirements The senior student in voice is required to perform a public solo recital of 50–60 minutes of music. The recital may not include any material prepared in previous years and should include pieces in Italian, German, French and English, from the baroque or classical, romantic, impressionistic or neo-classical and contemporary (twentieth and twenty-first centuries) periods. Two of the contemporary compositions must be by American composers and be drawn from settings of English words. The remaining contemporary pieces may be drawn from the works of such composers as Berg, Britten, Schönberg, etc. The program must be approved by the major voice teacher, and a portion of the recital may be presented to the voice faculty at least four weeks prior to the recital date during a recital preview. The voice faculty will either approve the memorized recital or ask for a second preview. If the second preview is not approved, the recital must be rescheduled for a later date. Materials for the program must be turned in to the major teacher and voice faculty for their review. This must include the recital repertoire (including opus numbers and composers’ dates), translations, program notes (limited to 150 words per piece on the program) and an optional biography of the singer (limited to 150 words or less). Repertoire requirements: The repertoire must be equally balanced among the Italian, German, French and English languages. Other languages may be included only after the 50-minute minimum of the preceding four languages has been satisfied. The following periods and styles are to be represented: 1. Baroque and/or classical 2.Romantic 3. Impressionistic, neo-classical, post-romantic, etc. This category includes any works from or comparable to the works of the following suggested composers: Debussy, Ravel, Satie, Roussel, Milhaud, Poulenc, Messiaen, Stravinsky, etc. 56 Undergraduate Study 4. Twentieth or twenty-first century. Two of these compositions must be by American composers such as Argento, Barber, Copland, Ives, Pasatieri, Persichetti, Rorem, etc. Operatic and oratorio arias may be programmed in fulfillment of any of the above requirements. They are not to make up a significantly large portion of the senior recital, however. Song cycles: Although parts of cycles may have been performed in previous years, the major portion of the repertoire must be prepared during the senior year. Songs chosen for encores must be approved by the major teacher in advance of the recital date. At the discretion of the major teacher, an optional piece/set from the music theatre/jazz/American standard song repertoire by a composer such as Berlin, Bernstein, Cahn, Gershwin, Mercer, Porter, Rodgers, Sondheim, etc. may be included. This does not replace any required repertoire. The recital preview will be the senior jury; an exit evaluation will be required at the end of the semester, consisting of one piece chosen by the student. All recital and jury materials are to be prepared under the guidance and with the approval of the major voice teacher. Graduate and Postgraduate Study Graduate and postgraduate programs at the San Francisco Conservatory of Music offer several advanced areas of study that serve to develop the professional musician. Emphasis is placed on performance opportunities, in conjunction with private lessons, master classes, academic course work and graduate seminars. The Master of Music degree is offered in chamber music, guitar, composition, conducting, keyboard instruments, orchestral instruments, piano accompanying and voice. The Conservatory also offers the Artist Certificate in chamber music, the Postgraduate Diploma in vocal performance and the Professional Studies Diploma in instrumental performance. ADMISSION REQUIREMENTS Admission to the Conservatory for graduate study is determined on the basis of an audition, openings in the specific department, academic record and other supplemental application materials. Applicants for the Master of Music degree program are expected to hold a bachelor’s degree in music from an accredited college, university or conservatory. In exceptional cases, a student who has a degree in another area, but has had excellent audition results and sufficient undergraduate study in music theory and music history, may be considered. Exceptional applicants to the Artist Certificate in chamber music who do not hold a bachelor’s degree may request a waiver of the degree requirement. Students whose first language is not English must demonstrate proficiency in English by submitting official score reports from the Test of English as a Foreign Language (TOEFL). Additionally, international students should have their academic transcripts evaluated by an approved credential evaluation organization. The application deadline is December 1 for fall semester and October 1 for spring semester. Admission for the spring semester is made on a very limited basis depending on fall enrollment in each instrument area. Late applications are accepted only if openings still exist in the department. For complete application and audition information, refer to the individual areas of study on pages 57–62 and 19–22. GRADUATE AND POSTGRADUATE AUDITION REQUIREMENTS Conservatory auditions occur in one of three ways: a live audition at the Conservatory, an audition at a regional site or a final audition recording. Live auditions are recommended for all applicants and are required for certain instrument areas. Applicants who audition at the Conservatory will have an opportunity to explore our building, meet faculty and current students and observe classes and rehearsals. Live auditions at the Conservatory are required of the following applicants: • Anyone residing in California • Graduate voice applicants residing in North America (United States, Canada, Mexico) • Graduate applicants for chamber music, conducting, percussion, timpani or organ • Applicants for Professional Studies and Postgraduate Diplomas Regional auditions are available for the following applicants: • Graduate applicants residing within North America (except voice, conducting, chamber music, percussion, timpani or organ) Final audition recordings are accepted from the following applicants: • Graduate applicants residing outside of North America (except chamber music and conducting) • Composition applicants are strongly encouraged to audition at either a San Francisco audition or at a regional audition site. International applicants who do not audition live must submit a video recording of the piano requirements to accompany their portfolio. All final audition recordings must be submitted electronically through an online portal available on our website (sfcm.edu). Prescreen Requirements The following instrument areas require a prescreen recording: chamber music, composition, conducting, piano and voice. Faculty will review prescreen recordings to determine if an applicant will be invited to audition live at the Conservatory or a regional site. Please refer to the final audition repertoire section for live audition requirements. If your instrument is not listed above, you are not required to submit a prescreen recording. Prescreen recordings are due December 1. Applicants will be notified before December 20 if they will be invited for a live audition. Applicants must submit all prescreen audition recordings electronically through an online portal available on our website. Prescreen recordings must in video format. Bassoon (Repertoire does not need to be memorized.) 1.Mozart Concerto, Vivaldi concerti 2.Weber Concerto 3.Hummel Concerto 4. Bach cello suites 58 Graduate & Postgraduate Study 5.Saint-Saëns Sonata or other works of equivalent difficulty 6. Orchestral excerpts from memory Chamber Music Candidates must electronically submit an unedited prescreen video recording by the December 1 application deadline. Recordings should include the following solo repertoire: Piano 1. Any first movement of a Beethoven sonata 2. Any étude of virtuosity from one of the following composers: Chopin, Rachmaninoff, Scriabin or Debussy Strings 1. Two contrasting movements of a Bach solo suite, sonata or partita 2. Any first movement of a concerto, with cadenza where applicable Candidates who pass the prescreened round must then audition in person for the final round at the Conservatory on the scheduled audition date. Finalists will be asked to perform from the repertoire listed below in chamber setting with the Conservatory’s chamber music faculty. Additionally, the faculty may ask finalists to perform selections from the previously submitted prescreen recording. Chamber Repertoire (finalists only) Finalists will be asked to perform both solo works and chamber music from the repertoire listed below in chamber setting with the Conservatory chamber faculty. Solo selections include the following: Piano 1. Any first movement of a Beethoven sonata 2. Any etude of virtuosity from one of the following composers: Chopin, Rachmaninoff, Scriabin or Debussy Strings 1. Two contrasting movements of a Bach solo suite, sonata or partita 2. Any first movement of a concerto, with cadenza where applicable Finalists should also prepare the selected two movements listed below. In pieces that include parts for two of the same instrument, finalists should perform the first-instrument part (i.e., first violin or first viola). Piano 1.Brahms Piano Quartet in A Major, Op. 26, Poco adagio (ii) 2.Beethoven Piano Trio in E-Flat, Op. 1, No. 1, Allegro (i) Violin 1.Mozart Viola Quintet in C Major, K. 515, Allegro (i) 2.Dvořák String Quartet No. 12 in F, Op. 96, B. 179, “American,” Allegro ma non troppo (i) Viola 1.Mozart Viola Quintet in C Major, K. 515, Andante (ii) 2.Dvořák String Quartet No. 12 in F, Op. 96, B. 179, “American,” Allegro ma non troppo (i) Violoncello 1.Mozart Viola Quintet in C Major, K. 515, Allegro (i) 2.Fauré C Minor Piano Quartet, Adagio (iii) Qualified candidates who cannot be placed in the chamber music degree or certificate program will automatically be considered for admission as an instrumental major at the Bachelor of Music, Master of Music or Professional Studies level as appropriate. Each program includes intensive and excellent training in chamber music. Clarinet (Repertoire does not need to be memorized.) 1. One étude from Uhl, Sigel or Jeanjean 2. Two of the following works: Debussy Première Rhapsodie, Stravinsky Three Pieces for Solo Clarinet, Copland Concerto, Nielsen Concerto Op. 57, Berg Four Pieces for Clarinet and Piano 3. Orchestral excerpts Collaborative Piano (graduate only) 1. A major solo work (refer to graduate piano requirements) 2. One complete instrumental sonata chosen from the following: Beethoven Violin Sonata No. 5 in F Major; Brahms Violin Sonata No. 2 in A Major 3. Four vocal pieces chosen from the following: Strauss “Allerseelen”; Barber “The Monk and His Cat”; Brahms “Meine Liebe ist Grün”; Schubert “Ganymed”; Debussy “C’est l’extase”; Puccini “Mi chiamano Mimi” Please indicate on the online application whether you would like the Conservatory to provide instrumentalists and vocalists for your audition or whether you plan to bring your own soloists. Applicants auditioning at a regional audition site must bring their own soloists. Composition The composition department prescreens all submitted portfolios and invites only those applicants who pass the prescreening process to attend the live or regional interview and piano evaluation. Applicants who submit final recordings will be reviewed in the spring. Scores and recordings should be uploaded electronically through an online portal available on our website. Applicants must submit the following materials: 1. Three or more scores in various media and a recording of each score. Scores should be bound and checked for correct transpositions, appropriate accidentals and normal spellings. Electronic compositions are acceptable, but applicants must also show competence in traditional notation in the scores submitted. MIDI recordings are acceptable but acoustic performances are strongly recommended. 2. Demonstrated ability at the piano. This part of the application process is to determine whether the applicant needs further piano keyboard training if accepted. It is strongly recommended that this be done at a live audition, either at the Conservatory or at one of the regional audition sites. International applicants who do not audition live must submit a video recording of the piano requirements to accompany their portfolio. Three complete works or movements should be prepared from the following periods: baroque, classical, romantic and twentieth/ twenty-first century. When choosing the twentieth/twenty-first century category, the applicant is encouraged to perform one of his or her own compositions. Applicants may also be asked to realize figured bass at the piano, score-read a chamber work and/or sight-read a simple piano work. Should piano not be the candidate’s primary instrument, the applicant is welcome to upload an electronic recording on their primary instrument with their portfolio. Applicants must still complete the piano evaluation requirement. Conducting 1. An unedited video recording of the applicant conducting a group in rehearsal for at least 30 minutes, due December 1. A full orchestra is not necessary. Applicants may include a concert performance in addition to the 30 minutes of rehearsal, but this is not required. This recording must be submitted electronically through an online portal available on our website. 2. Based on the prescreen materials, applicants may be invited to audition in person at the Conservatory. On the audition day, Graduate & Postgraduate Study 59 applicants will take musicianship and keyboard exams and will conduct the Conservatory Orchestra. Final audition repertoire will be supplied by the Office of Admission at the time the invitation for a live audition is extended. Double Bass 1. One concerto or virtuoso piece 2. Two contrasting movements from either a sonata or multimovement work from the romantic or contemporary repertoire, or two contrasting movements of a Bach cello suite Flute (Repertoire does not need to be memorized.) 1. Concerti (Mozart D Major, Ibert, Nielsen or comparable) 2. Sonatas (Martinů, Reynolds, Prokofiev, Gaubert or comparable) 3. Orchestral excerpts Fortepiano (See Historical Keyboards) Guitar 1. A transcription of a work written before 1750 2. A classical or romantic work (including the Segovia repertoire) written for guitar 3. A twentieth-century work written for guitar Harp 1. Evidence of solo performances and orchestral participation 2.Ravel Introduction et Allegro, Handel Concerto in B-flat (entire work) or comparable works Harpsichord 1. A work of the English virginal school or a toccata of Frescobaldi or Froberger 2. A major work of J.S. Bach (examples: an English Suite or Partita, Chromatic Fantasy and Fugue, Italian Concerto, Overture in B Minor or another large work) 3. A suite by one of the following composers: L. Couperin, D’Anglebert, Froberger, F. Couperin or Rameau Horn (Repertoire does not need to be memorized.) 1.Strauss Concerto No. 1 or comparable work 2. A twentieth- or twenty-first century work for horn alone 3. Selected orchestral excerpts 4. Sight-reading (if applicable) Oboe (Repertoire does not need to be memorized.) 1. One selection from Barret’s 40 Progressive Melodies 2. One étude from Barret’s 15 Grand Studies 3. One movement from a standard baroque or classical concert piece 4. One movement from a standard romantic or modern concert piece 5. Two contrasting orchestral excerpts of student’s choice Organ 1. One Bach work from the mature master period 2. A major French work 3. A major American work 4. An advanced work composed after 1960 Percussion Graduate percussion applicants residing in North America must audition live at the Conservatory. 1. Mallets: Stout Mexican Dances or Van Geem Passacaglia-Improvisation or Bach lute suite (student’s choice), 2 mallet Bach, 4 mallet 2. Snare Drum: Delecluse Études pour Caisse Claire (student’s choice) 3.Carter Eight Solo Pieces for Four Timpani or #9 from Delecluse 20 Etudes for timpani (student’s choice) For Professional Studies Diploma in timpani, please see Timpani. Historical Keyboards Piano (Professional Studies Diploma only) Applicants who wish to audition in San Francisco or at a regional audition site must submit an unedited prescreen video recording The Professional Studies Diploma in historical keyboards is a 60 degree program combining the study of harpsichord, fortepiano and continuo playing. 1. One major work for harpsichord 2. One movement on the fortepiano from a sonata of Haydn, Mozart or Beethoven Graduate & Postgraduate Study through an online portal available on our website with the following repertoire. Recordings must be at least 30 minutes in length. 1. The first movement of a classical period sonata 2. A complete and substantial romantic period work (such as a Ballade or the Mephisto Waltz) or at least two contrasting movements of a larger multi-movement work 3. One short work of the candidate’s choice, for example, an étude, a prelude and fugue or a character piece from any period Applicants who wish to audition by final audition recording, rather than attend a live audition in San Francisco or at a regional audition site, must submit an unedited audio-visual recording online with the following repertoire. Recordings must be at least 30 minutes in length. Final Audition Repertoire (for auditions in San Francisco, a regional audition site or by final audition recording): 1. A major work of Bach (partita, toccata, suite, etc.) 2. An entire classical sonata 3. A romantic work equal in difficulty to a Chopin ballade or scherzo 4. A twentieth-century work corresponding in difficulty to Copland Variations or Bartók Suite Op. 14 Timpani (graduate only) Students wishing to major in timpani must perform the graduate percussion audition repertoire as outlined in the percussion requirements PLUS: 1. An advanced-level timpani solo (one movement) or advanced étude 2. Complete Beethoven symphonies 3. Complete Brahms symphonies 4.Stravinsky Rite of Spring 5.Sight-reading Trombone (Bass) (Repertoire does not need to be memorized.) 1. Solo (Sarabande from Bach Cello Suite No. 5 or piece of student’s choice) with contrasting sections 2. Orchestral excerpts (Haydn The Creation, No. 26; Kodály Háry János Suite, fourth movement; Rossini Overture to La gazza ladra; Schumann Symphony No. 3, fourth movement; Strauss Ein Heldenleben; Wagner Entrance of the Gods into Valhalla; Wagner Overture to Tannhäuser) Trombone (Tenor) (Repertoire does not need to be memorized.) 1. Two short solos of contrasting styles, or one concerto with contrasting movements 2. One Rochut melodious etude, and one technical etude from the Tyrell 40 Progressive Studies for Trombone 3. Orchestral excerpts (Berlioz Rakóczy March, second trombone part; Mahler Symphony No. 3, 14–17 and 33–34; Mozart Requiem, “Tuba mirum”; Ravel Bolero; Rossini Overture to La Gazza Ladra; Schumann Symphony No. 3; Wagner Ride of the Valkyries) 4.Sight-reading Trumpet (Repertoire does not need to be memorized.) 1. Concert B-flat major scale: two octaves, quarter note = 80, legato tongue 2. Haydn OR Hummel concerto: first and second movements 3.Arban Characteristic Study #1 4.Charlier Etude #2 5.Mussorgsky Pictures at an Exhibition: opening solo 6.Respighi Pines of Rome, second movement 7.Beethoven Leonore Overture No. 3 8. Solo of choice 9.Mahler Symphony No. 5: first movement 10. Stravinsky Petroushka (1947), Ballerina Dance Tuba 1. Solo (Vaughan Williams Concerto for Bass Tuba, first movement, or piece of student’s choice) 2. Orchestral excerpts (Berlioz Rakóczy March; Berlioz Symphonie Fantastique; Hindemith Symphonic Metamorphosis; Strauss Till Eulenspiegel; Stravinsky Petroushka; Wagner Overture to Die Meistersinger or Ride of the Valkyries) Viola 1. Two contrasting movements of a Bach solo suite, sonata or partita 2. One movement of a concerto (with cadenza, when applicable) and one movement of a sonata, one of which must be from the twentieth century Violin 1. Two contrasting movements of a Bach sonata or partita 2. One Paganini caprice or brilliant concert piece Graduate & Postgraduate Study 61 3. One complete romantic or contemporary concerto 4. One movement of a Mozart concerto If the audition requirements are not fulfilled, the applicant may be disqualified from further consideration. Violoncello 1. Two contrasting movements of a Bach cello suite 2. One movement of a sonata and one movement of a concerto, one of which must be from the twentieth century Voice Applicants must submit an unedited prescreen recording through an online portal available on our website with the following repertoire. Prescreen recordings must be in video format. Graduate 1. An opera aria 2. A contrasting art song 3. A piece chosen by the applicant Postgraduate 1. An opera aria 2. Two contrasting art songs 3. A piece chosen by the applicant Final Audition Repertoire Applicants invited to audition in San Francisco may bring their own accompanists or use one provided by the Conservatory for a $30 fee, processed when the application is submitted. (Those not invited will be refunded the accompanist fee.) Graduate 1. Two opera arias in contrasting styles 2. Three art songs in contrasting styles in three different languages, one of which must be English. The arias and songs must include pieces in German, French and Italian. 3. A piece chosen by the applicant 4. A reading of a short poem in English, chosen by the applicant. This reading does not need to be memorized 5. At the faculty’s discretion, applicants may be asked to sight-read a very short musical passage 62 Graduate & Postgraduate Study Postgraduate 1. Three opera arias in contrasting styles 2. Three art songs in contrasting styles in three different languages, one of which must be English. The arias and songs must include pieces in German, French and Italian. 3. A piece chosen by the applicant 4. A reading of a short poem in English, chosen by the applicant. This reading does not need to be memorized 5. At the faculty’s discretion, applicants may be asked to sight-read a very short musical passage PROFESSIONAL STUDIES DIPLOMA IN INSTRUMENTAL PERFORMANCE Applicants for the Professional Studies Diploma must audition in person at the Conservatory regardless of where they reside. They are expected to perform a piece of their choice in addition to the graduate audition repertoire for their instrument. Curriculum Outline Two years of full-time residence are required for master’s degree candidates. Students in need of review study may be required to extend their programs beyond two years. A maximum of three years is allowed between the time of entrance and completion of the Master of Music degree. Students who major in either performance or composition typically receive weekly 50-minute lessons. Students are allowed 14 lessons in the fall semester and 15 lessons in the spring semester. Private instruction must be taken with a member of the Conservatory collegiate faculty. RECITALS AND JURIES At the conclusion of each academic year, students will be required to perform before faculty jurors. Students who enter in January will play their jury examinations in December of that calendar year. These examinations determine whether the student has satisfactorily completed yearly requirements in the major instrument and influence continuing eligibility for scholarship assistance. Jury examination and recital requirements vary according to the major field. These requirements, including repertoire, are listed below by individual instrument major following the course requirements. No required recitals or juries can be given unless the student is registered for PVL 600R at the time of the recital or jury. No required recitals or juries can be given outside of the regular collegiate sessions. Exceptions to this policy are only given in extreme cases. Students must petition the Academic Affairs Committee to request such an exception. ENSEMBLE PARTICIPATION Students must participate in ensembles to which they are assigned. Woodwind, brass, percussion and harp majors, as well as string instrument majors who are not in the Professional Studies Diploma program, must participate in the orchestra every semester they are enrolled at the Conservatory. All brass majors are also required to participate in Brass Choir every semester. GRADUATE MUSIC HISTORY CURRICULUM The graduate music history sequence consists of three types of courses: Topics courses, Proseminars and Seminars. • Topics courses (MHL 602/603) review essential repertory, events and concepts in music history from 1700 to the present. • Proseminars (MHL 650–699) combine instruction in research and writing skills with investigation of a specific issue in music history. • Seminars (MHL 702–799) investigate specific music historical subjects in depth through lecture, discussion and student presentations. Students are required to place out of, or must enroll in, both Topics in Music History courses (MHL 602/603). Entering students will take a music history placement exam, which covers two periods of music history: 1700–1900 and 1900–present. Students who fail the first part must take MHL 602; students who fail the second part must take MHL 603. Students will not receive credit by exam for placing out of MHL 602 or 603. If a student needs to enroll in one or both of these courses, it is recommended that he or she do so during his/her first year. Master of Music | Artist Certificate in Chamber Music The Conservatory offers a unique program of study for violin, viola, cello and piano leading to either a Master of Music in chamber music or a non-degree Artist Certificate in chamber music. An important aspect of these programs is the apprentice concept of students, faculty and guest artists rehearsing and performing together. Private instruction with a member of the Conservatory collegiate faculty in violin, viola, cello and piano is also required. For both the Master of Music and the Artist Certificate in chamber music, the applicant is expected to hold a bachelor’s degree in music from an accredited college, university or conservatory. Exceptional applicants for the Master of Music who hold a bachelor’s degree in another area may be accepted into the Master of Music program. Exceptional applicants for the Artist Certificate who do not hold a bachelor’s degree may request a waiver of the degree requirement. Existing chamber groups are encouraged to apply to the program. For complete information on application requirements, see pages 19–22. Students must complete four semesters of full-time residency at the Conservatory. Students are required to participate in weekly concerts, workshops, open rehearsals and chamber music master classes. Ensemble requirements other than ENS 602 (Chamber Music Performance) shall consist of four credits. Students are not required to register for any of these other ensembles in their first semester, but may elect to do so. Students will also perform in two chamber music groups per semester, in addition to performing with guest artists and in faculty concerts. Each chamber music major will receive four hours of coaching per week. Students must also enroll in one Proseminar (MHL 650–699) during residency at the Conservatory. All courses MHL 602–799 taken at the Conservatory will be applied towards the required 15 credits of music history. Graduate & Postgraduate Study 63 Semester Credits Master Artist of Music Certificate Chamber Music Performance ENS 602 16 16 Ensembles other than Chamber Music (ENS 200–312, 403–513) 4 4 Music History1 (MMT 702, MHL 600–799) 15 6 Musicianship and Music Theory (MMT 602, MMT 604) 2 6 n/a Private Instruction PVL 600 16 16 Electives 2 2 3 Total 53 44 1 Six credits must be in chamber music literature. Artist Certificate students are not required to show proficiency or take MHL 602/603 or any Proseminars. See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. Collaborative Piano Semester Credits Collaborative Music for Instruments and Piano ENS 311R 4 Collaborative Music for Voice and Piano ENS 312R 4 Music History (MMT 702, MHL 600–799)1 15 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. Musicianship and Music Theory (MMT 602, MMT 604) 2 6 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. Piano Forum PRF 352 1 Private Instruction PVL 600 16 Electives 8 Total 48 For the Master of Music degree, chamber music majors must take six of the required 15 graduate course credits (listed above) in chamber music literature. The Artist Certificate also requires six credits in graduate courses (as listed above) to be taken in chamber music literature. This requirement may be fulfilled in the following ways: 1. Graduate Music History and Literature courses in which the subject matter is chamber music literature. 2. Individual or group independent study projects with other chamber music majors in which specific works, or an area of chamber music literature, are studied from an historic and analytical perspective, and then presented in both written form and in a performance and discussion of the works in a seminar forum for chamber music faculty and majors. RECITALS AND JURIES Each student must give two recitals over the two years of the program, at least one with an emphasis on chamber music 64 repertoire. Two juries are also required, with repertoire at the discretion of the instrumental teacher. Since the programs will require each student’s full attention, the faculty reserves the right to restrict outside employment of students. Graduate & Postgraduate Study 3 1 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. The following courses should be taken to fulfill elective requirements, if not taken previously: ENS 402 (Chamber Music), MHL 302/303 (Vocal Literature), APP 210 (Basic Phonetics), 211–213 (Lyric Diction), ENS 210 (Conservatory Baroque) and ENS 220 (New Music Ensemble). RECITALS AND JURIES Two juries and two recitals, one consisting of vocal music, the second consisting of instrumental works. Appropriate solo works will also be required on juries. Composition Semester Credits Ensemble (ENS 200–599) 4 Music History (MMT 702, MHL 600–799) 1 15 Advanced Musicianship MMT 202/203 8 Musicianship and Music Theory (MMT 602, MMT 604) 2 6 Composition Seminar PRF 402R (or ½ credit every semester enrolled) 2 Private Instruction PVL 600 16 Electives 3 Total demonstrate mastery of all compositional elements. Three copies of the thesis are to be given to the Department Chair before the graduation recital. During the first year, at least 20 minutes of music must be completed and performed. (“Readings” may not be included, except of orchestral pieces.) During the second year, the candidate may present either one full recital in the final semester of work or two half-recitals within the last two semesters of work. (A full recital is defined as about 45–60 minutes of music.) Works performed must have been composed during the time the composer was a student at the Conservatory. In both years, any pieces to be performed must be reviewed with the student’s composition professor in advance and approved by the professor for presentation. At least one week before a performance, two scores for each work being presented should be given to the chair of the composition department. Criteria in evaluation of graduate composition recitals include versatility, imagination and pleasure as well as competence in working with musical materials. Also taken into account will be competence in aspects of modern musical technique such as orchestration, instrumentation, text setting, the use of electronics and the preparation/presentation of the music. 8 53 1 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. Students who place into MMT 602 (Musicianship Review) must take it in the first year, before enrolling in Advanced Musicianship in the second year. RECITALS AND JURIES Graduate students are expected to produce a major work (“thesis”) toward their degree. The thesis is to be of substantial length (15–20 minutes) and of a sustained and unified nature. The thesis is to be discussed with the instructor. One goal of the thesis is to Conducting Semester Credits Ensemble (ENS 200-599) Music History (MHL 600–799) 4 1 12 Advanced Musicianship MMT 202/203 8 Musicianship and Music Theory (MMT 602, MMT 604) 2 6 Topics in Musical Analysis MMT 702 3 Private Instruction PVL 600 16 Electives 3 8 Total 51 1 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. Graduate & Postgraduate Study 65 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. The Conservatory offers a course of advanced study in conducting. Private instruction, rehearsal and performances in conjunction with the Conservatory Orchestra and other Conservatory ensembles constitute the core of the program. To be accepted into the Master of Music in Conducting program, an applicant must satisfy one of the following requirements: 1. Have completed an undergraduate degree in conducting or instrumental or vocal performance; or 2. Show equivalent competence on a musical instrument. RECITALS AND JURIES Students must participate in three juried Conservatory performances to fulfill requirements. At least two of these shall involve conducting one work on a Conservatory Orchestra concert. Typically, the student will organize and present additional nonjuried performances with ensembles other than the orchestra. Guitar Semester Credits Guitar Pedagogy APP 302R 2 1 Guitar Ensemble ENS 304 4 Other Ensemble (ENS 200–599) Music History (MMT 702, MHL 600–799) 2 66 HISTORICAL PERFORMANCE EMPHASIS FOR PLUCKED STRINGS (GRADUATE) Please see page 17 for further details regarding the HPE. Emphasis Course Requirements • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Playing) or ENS 305 (Basso Continuo) for Guitarists (1 semester, 2 credits): Not required if student can demonstrate prior experience • MHL 733 (Performance Practice: Baroque Era) (1 semester, 3 credits). In years where MHL 733 is not offered, students should register for MHL 400 (Introduction to Performance Practice). • PRF 348 (Historical Plucked Strings) (2 semesters, 4 credits) • HPE Jury: Jury requirements as determined by HPE faculty. HPE jury is in addition to major instrument jury. Total credits for emphasis: 11-13 These credits also count towards the Master of Music degree. Please consult the Guitar Department Manual on the Conservatory’s website for further information. Two graduate juries are required to determine fulfillment of performance requirements; two graduate recitals are required. Repertoire guidelines for juries are in the Guitar Department Manual, which is available from the Office of Admission and on the website. Graduate students must perform a major concerto on a jury and on one of the graduate recitals, a department recital or some other venue. The first graduate recital must include music from three different musical periods. Program notes are required for juries. 16 Graduate & Postgraduate Study 4Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. RECITALS AND JURIES Private Instruction PVL 600 Total 3 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 15 6 Electives 2 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 2 Musicianship and Music Theory Review (MMT 602, MMT 604) 3 4 1 Students who have taken APP 302R (Guitar Pedagogy) as undergraduates at the Conservatory are exempted from this requirement. Guitar Pedagogy is offered every other year. 8 47 Keyboard Instruments during a graduate student’s residency, a one-time concerto performance requirement must be satisfied at an additional concerto jury. PIANO OR ORGAN HARPSICHORD Semester Credits Semester Credits 6 Baroque Ensemble (ENS 210) 15 Music History (MMT 702, MHL 600–799) 15 Musicianship and Music Theory (MMT 602, MMT 604) 2 6 Musicianship and Music Theory (MMT 602, MMT 604) 2 6 Piano Forum PRF 352 1 Continuo Playing ENS 212 8 Private Instruction PVL 600 16 Harpsichord Class PRF 354 4 8 Piano Forum PRF 352 .5 46 Private Instruction PVL 600 16 Ensemble (ENS 200–599) Music History (MMT 702, MHL 600–799)1 Electives 3 Total 1 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. RECITALS AND JURIES Organ Two public recitals are required to determine fulfillment of performance requirements. At least two compositions of recent origin should be played. Performance of works with other instruments is encouraged. Piano Two graduate juries are required to determine fulfillment of performance requirements; two graduate recitals are required. Recital programs are to be approved by the major professor and the Piano Department; one program may include a chamber work. The first graduate piano recital should be representative of all musical periods. For the second recital, the student is encouraged to specialize in a particular repertoire, period or genre. At any time 6 1 Electives 4 3 Total 53.5 1 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 2 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 3 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. HISTORICAL PERFORMANCE EMPHASIS FOR KEYBOARD (GRADUATE) Please see page 17 for further details regarding the HPE. Emphasis Course Requirements • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Playing) (1 semester, 2 credits). Not required if student can demonstrate prior experience. • MHL 733 (Performance Practice: Baroque Era) (1 semester, 3 credits). In years where MHL 733 is not offered, students should register for MHL 400 (Introduction to Performance Practice). Graduate & Postgraduate Study 67 • PRF 354 (Harpsichord Class) (2 semesters, 2 credits) • HPE Jury: Jury requirements as determined by HPE faculty. HPE jury is in addition to major instrument jury. Harp Two graduate juries and two graduate recitals are required. Total credits for emphasis: 9-11 These credits also count towards the Master of Music degree. Percussion RECITALS AND JURIES Two graduate juries and two graduate recitals are required, both of which will be used to determine fulfillment of performance requirements. Two graduate juries and two graduate recitals are required to fulfill performance requirements. Strings, Winds, Brass & Percussion Semester Credits Conservatory Orchestra ENS 3001 8 Ensemble Other than Orchestra (ENS 200–599)2 6 Brass Choir ENS 302 (Brass majors only) 4 Music History (MMT 702, MHL 600–799) 15 Musicianship and Music Theory (MMT 602, MMT 604) 4 6 Private Instruction PVL 600 16 Total 49 3 Strings Two graduate juries are required to determine fulfillment of performance requirements; two graduate recitals are required. The first graduate jury must consist of one work from each of the four categories outlined as appropriate for an undergraduate senior jury (see pages 47–52). Orchestral Instruments: HISTORICAL PERFORMANCE EMPHASIS FOR BAROQUE CELLO (GRADUATE) Please see page 17 for further details regarding the HPE. Emphasis Course Requirements • ENS 210 (Conservatory Baroque Ensemble) (2 semesters, 4 credits) • ENS 212 (Continuo Playing) (1 semester, 2 credits). Not required if student can demonstrate prior experience. • MHL 733 (Performance Practice: Baroque Era) (1 semester, 3 credits). In years where MHL 733 is not offered, students should register for MHL 400 (Introduction to Performance Practice). • PRF 334 (Baroque Cello) (2 semesters, 4 credits) • HPE Jury: Jury requirements as determined by HPE faculty. HPE Jury is in addition to major instrument jury. 1 Students whose major is orchestral instruments must enroll in Conservatory Orchestra each semester. Total credits for emphasis: 11-13 These credits also count towards the Master of Music degree. 2 Brass majors are only required to fulfill 1 credit in ENS 200-599 in addition to credits earned from Conservatory Orchestra and Brass Choir. Woodwinds, Brass 3 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 4Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 68 RECITALS AND JURIES Graduate & Postgraduate Study Two graduate juries are required to determine fulfillment of performance requirements; two graduate recitals are required. Voice RECITALS AND JURIES Semester Credits Vocal Pedagogy APP 2031 2 Basic Phonetics for Singers APP 210 1 Lyric Diction APP 211, 212, 213 3 Ensemble (ENS 200–599) 6 Foreign Language (GED 220–245) 6 Music History (MMT 702, MHL 600–799) 2 15 Musicianship and Music Theory (MMT 602, MMT 604) 3 6 Vocal Performance Lab PRF 462 2 Private Instruction PVL 600 4 16 Electives 5 4 Total 55 1 APP 202 (Vocal Physiology) is a prerequisite for this course. 2 See the Graduate Music History Curriculum section under the Graduate Curriculum Outline for more details. 3 Credits earned from MMT 602 or MMT 604 will not count toward the overall credits required to graduate. Exemption tests are given for MMT 602 and 604. Successful completion of these examinations will result in exemption from the class, but without earning credits. 4In addition to a weekly 50-minute lesson, each student may receive a 50-minute vocal coaching. 5 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual majors. Graduate Voice Language Requirement All graduate students in voice must enroll in at least one year (six credits) of the same language (French, German or Italian). The only students exempt from this requirement are those who can demonstrate proficiency in all three languages (French, German and Italian) at a level equivalent to three years of college study (the Conservatory’s advanced level). Proficiency may be demonstrated by a placement exam given at the beginning of each semester. The first-year graduate student in voice is required to prepare a full recital for the second semester jury examination, following the general requirements of the senior recital but at a more advanced level. The jury will consist of material selected by the voice faculty from the recital program. At the end of the semester in which students are not doing a jury (usually the fall semester), they may be required to perform a piece chosen by the voice faculty for an evaluation. Students will receive written comments on both evaluation and jury performances. A public performance of the first-year graduate recital program is optional for students who performed an undergraduate recital as part of their undergraduate degree. If the student has never performed an undergraduate recital, it is recommended that he or she present a solo recital in public as a first-year graduate student, at the discretion of the major teacher. This recital does not require a preview. All first-year graduate students will perform a year-end jury. Second-year graduate students may be required at the end of the first semester to perform a piece chosen by the voice faculty for an evaluation. A solo recital of 60 to 65 minutes of music is to be presented in public, usually in the second semester. Second-year graduate students who have presented standard repertoire in previous recitals may present recitals comprising repertoire of specialized interest. In close consultation with the teacher, a program can be designed that will satisfy the artistic and educational requirements for the master’s degree while not strictly adhering to the senior repertoire guidelines. Some students who do not have much recital performance experience (such as students whose undergraduate degrees were in majors other than music) may, however, benefit by following the guidelines for senior recitals, but at a more advanced level appropriate to graduate studies. The program for the recital, whether specialized or standard, must be approved by the major voice professor, and a portion of the recital may be required to be presented to the voice faculty at least four weeks prior to the recital date during a recital preview. The voice faculty will either approve the memorized recital or ask for a second preview. If the second preview is not approved, the recital must be rescheduled for a later date. At the time of the preview, materials for the program must be turned in to the major teacher and voice faculty for their review. This must include the recital repertoire (including opus numbers and composers’ dates), translations, program notes (limited to Graduate & Postgraduate Study 69 150 words per piece on the program) and an optional biography (limited to 150 words). The recital preview will be the second-year graduate jury. An exit evaluation will be required at the end of the semester, consisting of one piece chosen by the student. The second-year graduate student may also perform an optional second recital whose program reflects a special interest. This second recital may not occur until the requirements for the first recital have been fulfilled. All recital and jury materials are to be prepared under the guidance and with the approval of the major voice professor. Postgraduate Curriculum RECITALS AND JURIES Jury examination and recital obligations for postgraduate students follow, listed by individual major. Jury examination and recital requirements vary according to the major field. These requirements, including repertoire, are listed below by individual instrument major following the course requirements. No required recitals or juries can be given unless the student is registered for PVL 600R at the time of the recital or jury. No required recitals or juries can be given outside of the regular collegiate sessions. Exceptions to this policy are only given in extreme cases. Students must petition the Academic Affairs Committee to request such an exception. ENSEMBLE PARTICIPATION Students must participate in ensembles to which they are assigned. Woodwind, brass, percussion and harp majors must participate in the orchestra every semester they are enrolled at the Conservatory. POSTGRADUATE DIPLOMA IN VOCAL PERFORMANCE The Postgraduate Diploma in vocal performance is a one-year program that provides exceptionally talented students who have already completed a master’s degree, or the equivalent, the opportunity to continue their professional studies. All ensemble classes are available by audition, but placement is not guaranteed. Semester Credits Ensemble or Independent Study 4 Vocal Performance Lab (PRF 462) 1 Private Instruction PVL 6001 8 Electives 12 Total 70 Graduate & Postgraduate Study 2 25 1 In addition to a weekly 50-minute lesson, each student may receive a 50-minute vocal coaching. 2 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual major. RECITALS AND JURIES Postgraduate students, at the discretion of the voice faculty, may be required to perform a piece chosen by the voice faculty at the end of the first semester for evaluation. During the second semester the postgraduate student must perform a recital, the requirements for which are the same as for the Master of Music degree but at a more advanced level appropriate to postgraduate studies. Evaluation and jury requirements are also the same as the Master of Music degree. PROFESSIONAL STUDIES DIPLOMA IN INSTRUMENTAL PERFORMANCE The Professional Studies Diploma is a one-year non-degree program designed to provide focused studies for young artists in the preprofessional stages of their careers. It is intended for students who wish to study on an advanced level and to assist them in preparing for major competitions, auditions and performance careers by emphasizing individual instruction and performance opportunities. Semester Credits Keyboard Instruments and Guitar Ensemble or Independent Study1 9 4 Private Instruction PVL 600 8 8 7 12 24 24 Electives 2 Total 1 Candidates for the Professional Studies Diploma may fulfill the ensemble or independent study requirement with courses numbered IND 500, ENS 200–599 and PRF 510R. Students majoring in orchestral instruments must enroll in Conservatory Orchestra each semester. 2 Courses numbered GED 202–590, MMT 202–799 and courses in the APP, ENS, IND and MHL series not used to fulfill core curriculum or major field requirements may be used to fulfill the requirements for the elective credits listed for individual major. RECITALS AND JURIES Students are required to complete one jury as well as any midterm evaluations required by their individual departments. Jury requirements are determined by department in accordance with the student’s specific career plans. A recital is required in all departments except for brass and percussion. With the exception of private lessons (and participation in orchestra, for students whose major is winds, brass, percussion or harp), the curriculum is designed by the student in consultation with his/her major teacher, in accordance with the student’s specific career goals. This affords time for intense personal study and the freedom to choose electives, ensembles and independent study projects directly related to professional goals. Students who major in either performance or composition typically receive weekly 50-minute lessons. Private instruction must be taken with a member of the Conservatory collegiate faculty. Graduate & Postgraduate Study 71 72 Graduate & Postgraduate Study Course Descriptions 000–199 UNDERGRADUATE COURSES Only undergraduate students may enroll in these courses. 200–599 UNDERGRADUATE OR GRADUATE COURSES Students may enroll depending on classification and degree requirements. 600–999 GRADUATE COURSES Only graduate students may enroll in these courses. Not all courses are offered each year. Courses with a number followed by “R” may be repeated for credit. APP APPLIED PRACTICAL TRAINING APP 202 Vocal Physiology (2 hours, 2 credits) A study of the anatomy and physiology of the vocal instrument, including respiration, phonation, resonance, vowel acoustics and vocal hygiene. Voice classification, compilation of exercises and teaching methods are introduced. (Offered fall semester.) Izdebski APP 203 Vocal Pedagogy (2 hours, 2 credits) This class offers practical applications of materials studied in Vocal Physiology. Students will be assigned to teach one private student for the semester and will maintain a lesson journal. Teaching will be monitored through in-class lesson demonstrations. Prerequisite: APP 202 or vocal physiology placement exam. (Offered spring semester.) Plack APP 204/205 Beginning Acting for the Singer (1 ½ hours, 1 credit) The class is an introduction to the craft of acting. It is designed for students who have no prior acting experience as well as those who wish to build confidence and relaxation in performance of sung material. Through improvisations, scenes and monologues, students will develop the building blocks needed for the unique demands of the singing actor. Students will be introduced to the techniques of 74 Course Descriptions characterization, principles of motivation, physical awareness, emotional connection, use of imagination, concentration, techniques of memorization and stage movement. Pass/Fail grading system only. Carey APP 206 R Beginning Theatrical Dance (1 hour, 1 credit) A beginning dance and choreography class aimed at building a basic understanding of theatrical dance movements as well as an introduction to core conditioning, flexibility and strength using principles of yoga and Pilates. Full dance routines will be taught incorporating elements of ballet, jazz, tap and modern techniques. This course is open to all students and is highly recommended for all voice majors. Pass/ Fail grading system only. Mathews APP 209 Advanced Acting for the Singer (2 hours, 1 credit) Students will focus on the advanced acting skills required for a professional career. The course content will include more advanced material with longer scenes and/ or one-acts from contemporary and class material. Development and rehearsal of a character/role will be the primary course of study. In addition, students will be required to expand their current audition monologues. Audition techniques and callback preparation will also be covered. The course will culminate in an open classroom performance of materials prepared during the semester. Prerequisite: APP 208 or approval of instructor. Carey APP 210 Basic Phonetics for Singers (2 hours, 1 credit) APP 208 Intermediate Acting for the Singer (2 hours, 1 credit) Students will develop more complex technical acting skills in preparation for the requirements of a professional career. Course will emphasize expanding techniques of portraying character, dialogue and relationship, physical communication and dramatic action in scenes and monologues for class as well as rehearsals and performance of songs and operas. Students will strengthen and apply skills of improvisation and theatre games, recognizing the critical importance of spontaneity, vitality and emotional energy to all singing actor work. Prerequisite: APP 204/205 or approval of instructor. Carey An introductory course in phonetics, with emphasis on the International Phonetic Alphabet and its application to English vocal literature. (Offered fall semester.) Stapp APP 211 Lyric Diction: French (2 hours, 1 credit) A course designed to improve the singer’s self-sufficiency in learning to pronounce and translate French through the use of the International Phonetic Alphabet. Prerequisite: APP 210. (Offered spring semester.) Stapp APP 212 Lyric Diction: German (2 hours, 1 credit) A course designed to improve the singer’s self-sufficiency in learning to pronounce and translate German through the use of the International Phonetic Alphabet. Prerequisite: APP 210. (Offered fall semester.) Stapp APP 213 Lyric Diction: Italian (2 hours, 1 credit) A course designed to improve the singer’s self-sufficiency in learning to pronounce and translate Italian through the use of the International Phonetic Alphabet. Prerequisite: APP 210. (Offered spring semester.) Stapp APP 242/243 Orchestration (3 hours, 3 credits) This two-semester course provides detailed study of every instrument in the modern orchestra, with demonstrations by players. It includes orchestrations of adaptable piano pieces, which will be given a reading by the orchestra. Students also study scores extensively, write piano reductions of orchestral excerpts and orchestrate piano reductions of orchestral music for advanced comparison with the original. The class starts in the fall semester only. Prerequisites: MMT 105, MMT 113 and MHL 203 or consent of instructor. Garner APP 252 R Piano Pedagogy (2 hours, 2 credits) This course assists prospective piano teachers in developing individual teaching methods. An examination is made of the main trends in music education; repertoire materials are reviewed and assessed; and teaching techniques and personal insights into teaching are discussed in class. Each student is assigned a piano student for the semester. The lessons for that assigned student are 30 minutes in length and are given weekly, beginning in the fourth week of the semester, under the supervision of the instructor. (Offered spring semester.) Wellborn APP 272 String Pedagogy (2 hours, 2 credits) This class is meant for any student who currently teaches violin, viola or cello (or plans to at any point in their career). It presents essential techniques for teaching children a string instrument, through practical lessons on pedagogy. Students are taught the basics of how to teach instrument hold and left and right hand set-up. Over the course of the semester the class will also address how to introduce vibrato, string crossing, and shifting. The class focus is on teaching children but we will also address teaching intermediate level students of all ages. (Offered fall semester.) Luchansky APP 302 R Guitar Pedagogy Prerequisite: guitar major or consent of instructor. (Not offered 2012–2013.) Ferrara APP 304 R Guitar Transcription and Arrangement (2 hours, 2 credits) The history of guitar transcription is studied in this course, and the issues of transcribing from different media to guitar are analyzed. Students are guided through five of their own transcriptions from the following sources: baroque guitar, baroque lute, keyboard, a free-choice transcription and a solo string work by Bach. (Offered fall semester.) Teicholz APP 352/353 R Composition Workshop (2 hours, 2 credits) This course explores the many ways to compose, using models from past and present. The focus is on the “nuts and bolts” of shaping and transforming musical materials in all types of music, both instrumental and vocal. The course is required for composers, but is open to others. Becker/Garner APP 402 Psychology of Music Teaching and Learning (2 hours, 2 credits) (2 hours, 2 credits) This course examines the history of guitar pedagogy. The main contemporary schools of teaching children are studied, and teaching repertoire for all levels and styles are explored. Students watch demonstration lessons, and then each student teaches in front of the class and is critiqued by the class and the teacher. A survey of human development from birth through adolescence, exploring the cognitive, physical, social and emotional issues of each age group and their relation to music education. Topics include how to motivate students at different ages, working with parents, establishing a private studio, setting policies and how to use Howard Gardner’s theory of Course Descriptions 75 multiple intelligences to accommodate different learning styles. The course pays particular attention to finding creative and age-appropriate ways to introduce musical concepts to the very young child. Class demonstrations and observation are included. (Offered spring semester.) Asbo APP 403 Application of Teaching Skills (2 hours, 2 credits) This course is an extension of the fall semester course Introduction to Teaching Skills, with special emphasis on Emile Jaques-Dalcroze. The Dalcroze method teaches the entire body to develop a sense of the basic elements of music—rhythm, harmony and melody—by experiencing them directly through voice, movement and improvisation. The class blends firsthand experience in integrated lessons, lecture and theory and direct applications in a classroom setting. (Offered spring semester.) Richman APP 404 Practical Aspects of a Career in Music (2 hours, 2 credits) A survey of survival techniques in music. Students discuss teaching, studios, concerts, competitions, auditions, work abroad, income tax, the writing of résumés, programs, music and technology, program notes and press releases. Health concerns of musicians are also incorporated into the class. Guest lecturers in special fields are scheduled. Guarneri/Cranna 76 Course Descriptions APP 406 R Alexander Technique (1 hour, 1 credit) Musicians often suffer from back pains, tendonitis, poor posture and less-thanadequate performance due to muscle tension and unconscious postural habits. These conditions are often the result of the way in which musicians use their bodies. The Alexander Technique provides a way of returning to a more comfortable and efficient state, with greater spontaneity and improved tonal quality. Wear comfortable clothing. Pass/Fail grading system only. Britton APP 408 R Introduction to Sound Recording (2 hours, 2 credits) An introduction to field recording, the recording studio, digital editing and signal processing. A majority of the course will focus on recording techniques pertaining to classical music and live sound reinforcement. Topics include introduction to acoustical properties, microphone design and application, audio console signal flow, stereo and multi-track recording devices, sampling theory, live sound reinforcement and an overview of pre/post production processes. (Offered fall semester.) O’Connell can broaden their post-graduation career options by conceiving of their careers as “portfolios,” with Teaching Artist one of the items in the portfolio. The course will survey necessary skills, with topics including classroom management; learning modalities; negotiating different cultures and administrative hierarchies; different types of outreach; connecting to national, state and local arts education communities, etc. Class will include discussion, research, demonstrations and guest speakers. The practicum element includes observations, mentoring and practicing skills with students; the focus will be on K-8 students and schools. (Offered fall semester.) Vobejda ENS ENSEMBLES Students whose major instrument is an orchestral instrument must participate in the orchestra every semester they are enrolled at the Conservatory. Students must participate in the ensembles to which they are assigned. Auditions are required for all ensembles unless otherwise indicated. ENS 200 R Conservatory Orchestra (5 to 7 hours, 2 credits) APP 410 Teaching Artistry 101 (2 hours, 2 credits - including 1 hour practicum) This course includes discussion of and participation in the practice of combining teaching and artistic skills in the role of Teaching Artist, as well as an introduction to the field of arts education from a Teaching Artist’s perspective. Musicians An intensive experience in the rehearsal and performance of literature for the symphony orchestra from all stylistic periods. The Conservatory Orchestra presents several performances a year in which student soloists are featured frequently, and collaborates with Opera Theatre in the performance of a fully staged opera each year. Public orchestral workshops with distinguished guest conductors are also arranged. Recent guests have included Donald Runnicles, Carl St. Clair, Nicola Luisotti and Peter Oundjian. Registration for orchestra includes a repertoire-reading class for woodwinds and horn students. Johnson ENS 210 R Conservatory Baroque Ensemble (4 hours, 2 credits) The Conservatory Baroque Ensemble performs music of the seventeenth and eighteenth centuries in orchestral and chamber settings. All instrumentalists and voice students are invited to audition at the beginning of each school year. The ensemble is divided between two courses, one for instrumentalists and one for voice students. No prior experience performing baroque music is required. Audition repertoire for instrumentalists is any movement of a work of J.S. Bach. Audition material for singers is announced at the conclusion of the previous academic year. Keyboard players and guitarists are required to enroll in the continuo course given each term during the same semester or to have taken the course in a past semester. Each year the ensemble performs one major work (a baroque opera or oratorio) during the spring semester as well as several chamber and aria concerts in both fall and spring semesters. Class sessions are divided between two weekly sessions for instrumentalists and one weekly session as well as private coachings for voice students. Jamason ENS 212 R Continuo Playing (2 hours, 2 credits) Open to all keyboard, guitar and harp players as well as singers and other instrumentalists interested in a broader understanding of performing with a continuo team, this performance course provides a solid background in performing from a figured bass in the various national styles and genres of the baroque era. By developing improvisational skills through the use of exercises and methods found in original seventeenth- and eighteenthcentury continuo treatises, we will explore the art of continuo playing in a manner similar to the study of jazz, namely, the development of listening and reacting within a musical context. Some reading of primary source material will be required. Keyboard players will have access to harpsichords for class preparation. Audition not required. Jamason ENS 220 R New Music Ensemble (4 hours, 2 credits) An ensemble dedicated to the performance of contemporary music from around the world. A balance between masterworks of the twentieth and twenty-first centuries and more obscure repertoire is provided. Personal contact with composers is arranged when possible. Performance opportunities include six concerts per year, four of which normally collaborate with the BluePrint project. The New Music Ensemble also works with student composers in two readings and two student composition concerts per year. Paiement ENS 300 R Conservatory Chorus student and faculty composers, and participates in an annual Student Composition Contest in the spring semester. Conte ENS 301 R Conservatory Chamber Choir (2 hours, 1–2 credits) An ensemble dedicated to performing chamber choir music, from medieval repertoire to contemporary. The focus will be on a cappella music, including close encounters with the choral classics, with the objective of giving students a deep knowledge of the skills required of a professional choral musician. Audition required. Credit level determined by concert participation. Bohlin ENS 302 R Brass Choir (2 hours, 0 to 1 credit) All brass majors are required to participate in Brass Choir every semester. Audition not required. Welcomer ENS 304 R Guitar Ensemble (2 hours, 2 credits) Class time is spent rehearsing large ensemble pieces. Smaller ensembles are formed at the beginning of the class; each group is coached throughout the semester and required to perform. Students are especially encouraged to form ensembles with other instrumentalists. Prerequisites: Audition. Tanenbaum/Staff (2 hours, 1 credit each semester) The Conservatory Chorus performs two or three concerts annually. Works featuring student soloists are emphasized. Past repertoire has included the Fauré Requiem, the Vivaldi Gloria and Bernstein’s Chichester Psalms. The chorus also performs works by ENS 305 R Basso Continuo for Guitarists (2 hours, 2 credits) This course addresses the art of accompaniment of seventeenth- and Course Descriptions 77 eighteenth-century music. The repertoire is selected from a wide variety of chamber and larger works, both vocal and instrumental. Included in the study are recitative, embellishment and improvisation. National styles of basso continuo practice from a variety of seventeenth- and eighteenth-century theorbo, lute and baroque guitar treatises will be examined in detail. Limited to juniors, seniors and graduate students except with permission from the instructor. (Not offered 20122013.) Savino ENS 306 R Percussion Ensemble (1 ½ hours, 1 credit) Audition not required. Van Geem ENS 310 Introduction to Collaborative Piano (2 hours, 2 credits) Presentation of fundamental techniques of instrumental and vocal accompanying. First semester: instrumental recital pieces, sonatas, concerti, chamber ensembles and sight-reading. Second semester: songs, opera arias, sight-reading, transpositions and choral playing. Audition not required. Bach ENS 311 R Collaborative Music for Instruments and Piano (2 hours, 2 credits) A performance class open to advanced instrumentalists and pianists designed to cover the major sonata and recital literature. Prerequisite: consent of instructor. Bach ENS 312 R Collaborative Music for Voice and Piano (2 hours, 2 credits) Performance class open to advanced singers and pianists who jointly prepare works from the major vocal literature. Prerequisite: consent of instructor. Bach ENS 400–499 R Chamber Music ENS 402 R Chamber Music: Strings and Piano (2 hours coaching, 2 hours master class plus rehearsal, 2 credits) Students will receive a two-hour coaching per group every week, and an appropriate amount of rehearsal is expected. All students are required to attend a weekly two-hour master class as well as guest artists’ master classes and concerts under the aegis of the program. Levitz, McCray ENS 403 R Chamber Music: Woodwinds (2 hours, 2 credits) Anderle ENS 404 R Chamber Music: Brass Course Descriptions ENS 504 R Musical Theatre Workshop (3 hours, 2 credits) Musical Theatre Workshop is an ensemble for voice majors that provides theatrical experience with emphasis on American musical theatre works. The ensemble performs several times during the year, with a full production in the fall and smaller reviews in the spring. Admittance into the ensemble is through audition only. The goal is for performers to receive a working knowledge of the technical, musical and dramatic elements that go into staging and performing a musical. All levels are welcome to audition. Mathews/Nies (2 hours, 2 credits) Guarneri/Staff ENS 506 Operatic Stage Direction ENS 500–599 R Opera and Musical Theatre (3 hours, 2 credits) ENS 502 Art Songs as Theatre (2 hours, 1 credit) A performance class for voice majors in 78 which the student’s studio art song repertoire will be developed as fully staged scenes. The purpose is to expand the singer’s ability to act while singing, developing the skills necessary to bring a song to life. Students create a character within a dramatic setting for their songs which involves other characters and dialogue. In-depth character development and acting skills are emphasized in this class. The semester culminates in a public performance of the scenes developed in class. Prerequisite: APP 204/205 or approval of instructor. Audition not required. (Not offered 2012–2013.) Carey Introduces singers to the many facets of stage direction for opera. Students perform in and direct opera scenes. The course investigates how a stage director prepares and executes an opera scene and provides a unique and valuable perspective for performing artists. Admission to the course is by audition and interview only. Prerequisite: completion of a minimum of one semester of Opera Workshop. (Offered fall semester.) Harrell ENS 508 R Opera Workshop I (6 hours plus coaching, 2 credits) A performance class that introduces voice majors to opera, this class stresses vocal and stage styles of various periods through performances of operatic scenes. Students are introduced to operatic theater games and participate in a weekly opera skills class. Public performance each semester in studio form. Open by audition only. Prerequisites: sophomore standing and APP 204/205. Harrell/Pajer ENS 509 R Opera Workshop II (6 hours plus coaching, 1 to 3 credits) A performance class designed for advanced singers, each of its two divisions meets twice weekly for preparation of operatic scenes in the original language. Other material covered includes theater games, a recitative project and an audition project. Additionally, all opera workshop sections meet together one hour per week for a weekly studio class, which explores the many aspects of the field of opera performance. These sessions include guest speakers and master teachers. Public performance each semester in workshop form. Open by audition only. Prerequisites: junior standing and APP 204/205. Harrell/Pajer ENS 510 Preparing a Role (6 hours, 2 credits) The class will prepare and present one-act operas in a workshop setting. The course will give participants the opportunity to learn and prepare an entire opera role. Participants will audition during the previous semester, and roles will be assigned at that time. This allows singers to prepare musically well before the class begins, which maximizes staging time. During the fall semester, one of the operas may be offered for family performances both in the schools and at the Conservatory. Prerequisite: one completed semester of Opera Workshop and audition. (Offered fall semester.) Harrell/Pajer/Mathews attend a weekly two-hour master class as well as guest artists’ master classes and concerts under the aegis of the program. Participation in guest artists’ master classes, concerts and faculty recitals will be at the discretion of the chamber music faculty. Prerequisite: admission to the Master of Music in Chamber Music program or the Artist Certificate program. Levitz, McCray ENS 512 R Conservatory Opera Theatre GENERAL EDUCATION GED The Opera Program produces a fully staged opera with orchestra, guest scenic and costume designers, and international guest conductors. The spring production serves as a vital performance experience and showcase for all participants. By audition. (Offered spring semester.) Harrell/Pajer The General Education Department develops in the student the knowledge and skills that make an artist literate. The literate artist is one whose ability to communicate clearly and successfully is rooted in an understanding of the range of human knowledge and experience as reflected in the study of the humanities, sciences and social sciences. The General Education curriculum is thus integral to one’s development as a musician. Such a background equips the individual to assume cultural and intellectual leadership in the musical community, the artistic world and society at large. This program of study is a substantial and integral part of the bachelor’s degree, and requires a commitment of purpose and time. For every classroom hour of General Education instruction, the student is expected to devote two hours of preparation. ENS 602 R Chamber Music Performance GED 200 REMEDIAL COURSES (2 ½ hours plus coaching, 1 credit) Performance of a fully staged, simply costumed production with piano or chamber orchestra and conductor. By audition. (Offered fall semester.) Harrell/Pajer ENS 513 R Conservatory Opera Theatre (6 hours plus coaching and rehearsal, 2 credits) (4 hours coaching, 2 hours master class plus rehearsal, 4 credits) An intensive study of chamber music performance. Students will participate in two chamber groups, and they will receive a two-hour coaching every week. An appropriate amount of rehearsal is expected. All students are required to Students are placed in remedial courses when the results of placement examinations indicate that they are not prepared to undertake required classes in the curriculum. Credit earned in remedial courses may not be applied toward satisfying degree requirements. Course Descriptions 79 GED 200 R Writing Lab (2 hours, 0 credit) Open to all students who demonstrate a need for further practice in developing academic writing skills. The course emphasizes precision, clarity and conciseness—qualities that are essential to successful critical, analytical and expository writing. Weekly writing assignments. Though available to all students who want practice with their writing, this class is required for some students based on placement test results. Pass/Fail grading system only. Neilson Area I: Introductory Courses Courses GED 202–216 are offered every year, unless otherwise indicated. GED 202/203 Introduction to Western Civilizations (4 hours, 4 credits) Required of all undergraduate students, this course surveys the major forces that have shaped Western civilizations as reflected in art, literature, history, religion and philosophy. Students develop the critical sense necessary to evaluate these disciplines and to understand their relationships. Two-semester sequence. Students may enroll in GED 202/203 out of sequence. Hohmann GED 210/211 R English (3 hours, 1 to 3 credits) This course surveys the fundamental aspects of English expression, with emphasis on the analysis of works from various 80 Course Descriptions genres, the organization and refining of ideas in written English and oral argument. Students are assigned to this class based on placement test results. Neilson GED 212/213 Advanced English as a Second Language (3 hours, 3 credits) Required for students who demonstrate a need for improved study and learning skills as well as English comprehension and usage. Placement in the course will be based on English as a Second Language and GED 202/203 placement examinations. Students will be introduced to the principles and practice of writing a research paper, essay writing and critical analysis. Two-semester sequence. Pragides GED 216 R Creative Writers’ Roundtable (3 hours, 3 credits) This course exposes students to all types of writing—poetry, short stories, creative non-fiction, drama, etc.—to stimulate the imagination, hone writing skills and develop constructive critiquing techniques. Students will practice positive and necessary assessment and editing skills that will be applied to their own writing and to that of their classmates. (Offered spring semester.) Siegel Foreign Languages Courses GED 220–245 are offered every year, unless otherwise indicated. A basic knowledge of English grammar is required for the beginning courses. Those students whose grammar is inadequate, as determined by the Introduction to Western Civilizations placement exam, must take the six-week, 12-hour grammar review course concurrent with the first semester of beginning language. GED 220/221 Beginning Italian (4 hours, 3 credits) Italian phonetics, syntax, grammar, vocabulary and idiomatic expression. The course emphasizes correct pronunciation and speaking competence through intensive oral and written drills, and is conducted entirely in Italian. The class starts fall semester only. Neilson GED 222/223 Intermediate Italian (3 hours, 3 credits) The course expands on the base of grammar, syntax and vocabulary built in the first-year course, and gives particular emphasis to increased fluidity in speech and refinement of pronunciation. Prerequisite: GED 221 or its equivalent. The class starts fall semester only. Neilson GED 224/225 R Advanced Italian (3 hours, 3 credits) This course, conducted entirely in Italian, introduces students to reading and analysis of contemporary Italian texts in a variety of genres, including fiction, myth, poetry, essays and journalism. Classroom discussion will place each work in the context of Italian history and culture. Students will deliver an oral report and write an original critical paper each semester. Prerequisite: GED 223 or the equivalent. The class starts fall semester only. Neilson GED 230/231 Beginning German (4 hours, 3 credits) Essential grammar and vocabulary structured through a textbook—but heavily supported by cultural realia—lead to a mastery of basic communication and comprehension in the German language. Immersion-oriented classroom structure and regular language lab assignments aid in listening comprehension, while a wide variety of music, print and video materials lend deeper insight into the culture and history of German-speaking nations. The class starts fall semester only. DeBakcsy GED 232/233 Intermediate German (3 hours, 3 credits) The presentation of grammar and linguistic structure begun in GED 230/231 is refined and completed. Short stories, poetry, historical texts and song lyrics introduce and reinforce grammar concepts and new vocabulary while offering a springboard for class discussions. Classes are held entirely in German, allowing students to reach high levels of comprehensive as well as communicative proficiency. Prerequisite: GED 231 or its equivalent. The class starts fall semester only. DeBakcsy GED 234/235 R Advanced German (3 hours, 3 credits) Advanced German centers around German literature and authentic texts with a particular emphasis on class discussion and conversational fluency. Student background and requests will determine the course of grammar instruction. Popular and classical music texts, along with original-language films, provide a multimedia base for a more comprehensive mastery of the German language. Prerequisites: GED 233 or the equivalent. The class starts fall semester only. DeBakcsy GED 240/241 Beginning French (4 hours, 3 credits) Introduction to and development of listening, speaking, reading and writing of the French language as well as insights into the culture of France. Emphasis is placed on the meaningful use of structural patterns and thematic vocabulary usage, resulting in a high level of communicative proficiency through a total immersion approach that combines video, audio and print materials. The class starts fall semester only. Pardini GED 242/243 Intermediate French (3 hours, 3 credits) Continuation and refinement of essential French grammatical concepts through oral and written expression based on the expansion of concepts begun in GED 240/241 through the continued total immersion approach of combining video, audio and print materials. Prerequisite: GED 241 or its equivalent. The class starts fall semester only. Pardini GED 244/245 R Advanced French (3 hours, 3 credits) Students review, refine and extend their knowledge and use of French grammar and vocabulary. This course emphasizes improved oral and written communication, listening comprehension, pronunciation and fluency. Extensive conversation practice is encouraged through reading and discussion of French culture, literature, poetry and current events. Prerequisites: GED 243 or the equivalent. The class starts fall semester only. Pardini GED 299 R Transfer Courses Foreign language courses accepted for transfer credit that do not correspond to courses GED 220–245 will be assigned this number. See General Information section of catalog for further information on transfer credit. Courses in Areas II and III are offered on a three-year cycle. Those courses that are offered in 2012–2013 will be offered again in 2015–2016. Area II: World Literature and Poetry Presented in English GED 304 Literature of the 20th Century (3 hours, 3 credits) Readings in fiction that reflect the vision and experience of life since World War I. These readings represent a variety of styles that were developed to express the perceived new reality of twentieth-century life on the one hand, and to incorporate advances in science and technology on the other. This course also considers the schools of literary criticism that have arisen in this century and illustrates how literature can be placed in the service of ideology. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Siegel Course Descriptions 81 GED 310 Shakespeare GED 320 California Literature (3 hours, 3 credits) (3 hours, 3 credits) A selection of plays and poetry. Accompanying the literary analysis is a presentation on the historical development of drama in the Western world and a look at the development of English as a literary language. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012–2013.) Siegel This course will be an exploration of writing that takes place in and explores various ideas of California as both a place and state of mind. We will be reading works in various genres including fiction, poetry and essays. We will explore various cultural narratives and movements related to or emerging from California including the San Francisco Renaissance and the Beat Generation. We will read authors such as Joan Didion, John Fante, Gustavo Arellano, Robert Duncan, Lawrence Ferlinghetti, Allen Ginsberg, William Everson, Jack Spicer, Robinson Jeffers and others. (Offered fall semester.) Siegel GED 316 Queer Literature (3 hours, 3 credits) Readings in fiction, poetry, drama, memoir, and criticism that reflect on the queer (LGBT) experience in America and abroad. We will explore texts by writers of all persuasions, but the focus of the class will be the exploration of otherness brought about by queerness. We read texts by James Baldwin, Alison Bechdel, D.A. Powell, Adrienne Rich, Walt Whitman, Virgil, Sappho and others. (Not offered 2012-2013.) Siegel GED 318 Contemporary American Poetry (3 hours, 3 credits) Readings in American poetry written after WWII up into the present day. This course will focus on various movements while also paying close attention to “outsiders” that don’t fall into any particular grouping. Though this is formally a literature class, students will occasionally have the opportunity to produce poetry of their own. We will read authors including Terrance Hayes, Tony Hoagland, Kim Addonizio, Li-young Lee, Sharon Olds, Lucille Clifton, Sonia Sanchez and others. (Not offered 2012-2013.) Siegel 82 Course Descriptions GED 322 Personal History and Memoir (3 hours, 3 credits) This course will be an exploration of contemporary first person narrative. We will explore personal essays as well as fulllength memoirs. We will read works by Cheryl Strayed, Mark Doty, Stephen Elliot, Jamaica Kincaid, Virginia Woolf, Mary Karr, Joan Didion, Reginald Dwayne Betts, Russell Banks, Lucy Grealy and others. (Offered fall semester.) Siegel GED 324 Love, Sexuality and Desire (3 hours, 3 credits) This course will explore contemporary and classic works of literature that deal with the expression of love, sexuality and desire. We will read poetry, fiction, plays and essays by a wide variety of writers including Walt Whitman, Marguerite Duras, Sappho, Junot Diaz, Virgil, Lucretius, Susan Minot, Adonis, Pablo Neruda, Edna St. Vincent Millay and David Henry Hwang, among others. (Offered spring semester.) Siegel GED 399 R Transfer Courses Literature courses accepted for transfer credit that do not correspond to courses GED 302–314 will be assigned this number. See page 20 for further information on transfer credit. Area III: History GED 402/403 Studies in World History (3 hours, 3 credits) An historical overview of some of the major cultures in Asia, Africa and the Americas, spotlighting regions of particular importance in the twentieth and twenty-first centuries, such as India, Israel and the Middle East, the Islamic world and Southeast Asia. Two-semester sequence, but semesters can be taken separately. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 20122013.) Hohmann GED 404/405 Studies in European History (3 hours, 3 credits) Two-semester sequence, but semesters can be taken separately. First semester: From Mozart to Monet. European history from 1750 to 1900: the Ancien Regime, the French Revolution and Napoleon, Romanticism and Neo-Classicism, Bismarck and the rise of the Nation-State, and the glamorous Fin-de-Siècle. Second semester: Triumph and Terror. The two World Wars and the Cold War, the rise and fall of the Nazi and Communist Empires, and the challenges Europe now faces in the 21st century. Prerequisite: GED 202 and 203 or its equivalent. (Offered fall and spring semester.) Hohmann GED 406 U.S. History (3 hours, 3 credits) This course will present an overview of United States history from the pre-colonial period to the present, with a special focus on the history of California and San Francisco. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann GED 407 Chinese History (3 hours, 3 credits) An overview of the history of one of the world’s oldest enduring civilizations. The course will also address the problems of China’s contact with the West and its current response to the pressures for modernization. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann GED 459 R Transfer Courses History courses accepted for transfer credit that do not correspond to courses GED 402–407 will be assigned this number. See page 20 for further information on transfer credit. Area IV: Introduction to Philosophy GED 462 Introduction to Philosophy GED 468 Aesthetics (3 hours, 3 credits) (3 hours, 3 credits) An overview of the different major fields of philosophy, focusing especially on such fundamental questions as: Who are we (ontology—the nature of being)? What can we know (epistemology—the nature of knowledge)? What actually exists (metaphysics—the nature of reality)? How can we develop a philosophy to guide our lives (ethics—the purpose of life)? Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann An overview of various philosophies of beauty, covering such issues as: Are art and beauty ornaments of life or are they necessities of life? Does beauty have a moral function and does art have a moral obligation? Do artists and musicians play useful roles in society? Prerequisite: GED 202 and 203 or its equivalent. (Offered spring semester.) Hohmann GED 464 Metaphysics: God, Science and the Universe (3 hours, 3 credits) How do religion and science try to answer the most important and basic questions of human existence: who are we and why are we here? Is there a God? Is there a Universe? Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann GED 466 Ethics (3 hours, 3 credits) A lecture and discussion course that examines various moral philosophies and how they address questions of good and evil, right and wrong behavior. Also includes the controversy over ethical relativism and whether universal absolute values exist. Prerequisite: GED 202 and 203 or its equivalent. (Offered fall semester.) Hohmann GED 470 Political Science and Philosophy (3 hours, 3 credits) A lecture and discussion course covering several important Western political philosophies, including liberalism, conservatism, socialism and anarchism. The course also examines how the government of the United States really works and addresses such issues as: Why does each generation of new and idealistic representatives fail to reform the government? Is American society inherently conservative or is it in a state of permanent revolution? Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann GED 472 East and South Asian Philosophy (3 hours, 3 credits) A lecture and discussion course examining several important Asian philosophies, including Confucianism, Daoism, Hinduism, Buddhism and Zen. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012-2013.) Hohmann Course Descriptions 83 GED 479 R Transfer Courses Philosophy courses accepted for transfer credit that do not correspond to courses GED 462–472 will be assigned this number. See page 20 for further information on transfer credit. Area V: Social Sciences GED 502 World Cultures (3 hours, 3 credits) A study of the “universals” that are part of cultures worldwide. Using cultural anthropology as its guide, this course examines art, economics, religion, kinship, politics and gender to help us understand, appreciate and respect cultural diversity. Case studies from Latin America, Africa, Asia, Europe, Australia and North America highlight those differences while also pointing to the essential commonality of experience that unites all people. Exposure to different societies, cultures and lifestyles helps students develop a more critical and analytical approach to conditions within their own society and acquire an enhanced sense of global awareness. Prerequisite: GED 202 and 203 or its equivalent. (Not offered 2012–2013.) Staff GED 504 Film History and Appreciation (3 hours, 3 credits) A survey of the history, technology and sociology of the live-action feature film. Key movements in international cinema (French New Wave, Italian Neorealism, post-World War II Japan, German Expressionism, etc.) will be explored as will significant genres including film noir, 84 Course Descriptions documentary, musical, screwball comedy, horror and western. Representative films will be screened with optional field trips to local theaters. Prerequisite: GED 202 and 203 or its equivalent. (Offered spring semester.) Kennedy GED 559 R Transfer Courses Social science courses accepted for transfer credit that do not correspond to courses GED 502–506 will be assigned this number. See page 20 for further information on transfer credit. Area VI: Science and Mathematics GED 562 Physics: Acoustics (3 hours, 3 credits) In acquiring a broad scientific understanding of the fundamental concepts of acoustics, the student gains an enhanced appreciation for the physics of sound, for how an instrument produces its characteristic timbre, for how sound is perceived by the ear and brain and for how the physical attributes of a performance space bear on its sound. Prerequisite GED 202 and 203 or itsequivalent. (Not offered 2012–2013.) Marvit GED 564 The Art of Mathematical Thinking (3 hours, 3 credits) Some of the most fascinating and beautiful ideas in human history are from mathematics. Through exploration of these great ideas, students will develop their skills as effective thinkers and problem solvers. These “effective thinking skills” involve creativity and imagination along with logic and rigor, and are applicable to issues and situations outside of math. Topics include infinity, chaos and fractals, and the golden mean. Students MUST show up on the first day with the required textbook, Heart of Mathematics (Burger, Starbird), 3rd edition, including the manipulative kit. Prerequisite GED 202 and 203 or its equivalent. (Not offered 2012–2013.) Marvit GED 566 Training the Musical Brain (2 hour lecture, 1 hour lab, 3 credits) When we learn a new skill, our brains change. How we learn that skill and how we practice affect the way that our brains change, with some practice strategies being more effective in the long term than others. In this course, we explore the latest findings from psychology and neuroscience with the aim of developing efficient and long-lasting practice strategies. Applicable to musicians of all instruments and voice types, this course is both a practical and a theoretical guide to effortless mastery. (TBD) Viskontas GED 589 R Transfer Courses Science and mathematics courses accepted for transfer credit that do not correspond to courses GED 562–564 will be assigned this number. See page 20 for further information on transfer credit. Special Studies and Elective Courses GED 599 R Transfer Courses Special studies courses accepted for transfer credit that do not correspond to any GED courses will be assigned this number. See page 20 for further information on transfer credit. IND INDEPENDENT STUDY AND INTERNSHIP IND 150 R Internship – Undergraduate Level (1 to 3 credits) Juniors and seniors may enroll for up to three elective credits as interns with outside organizations. Registered students meet together at least three times during the semester to present projects and discuss experiences. A minimum GPA of 3.0 is required to apply. It is the responsibility of each student to develop and turn in his/her proposal—which must be approved by both the off-campus and Conservatory faculty supervisors—to the Academic Affairs Committee, no later than two weeks before the end of any semester in order to enroll for the next semester. Application forms are available at the Registrar’s Office. IND 100 R Independent Study Project – Miscellaneous Undergraduate Studies IND 200 R Independent Study Project – Musicianship and Music Theory (1 to 3 credits) Advanced students may pursue a course of individual, independent study in the theory and practice of music under the direction and with the approval of a fulltime member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted each semester, even in the case of continuing projects. Independent study projects may not duplicate courses that are regularly offered at the Conservatory. Prerequisites: junior standing, 3.0 cumulative GPA and consent of project advisor and faculty advisor. Advanced students may pursue a course of individual, independent study in applied music under the direction and with the approval of a full-time member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted each semester, even in the case of continuing projects. Independent study projects may not duplicate courses that are regularly offered at the Conservatory. Prerequisites: junior standing, 3.0 cumulative GPA and consent of project advisor and faculty advisor. (1 to 3 credits) IND 300 R Independent Study Project – Music History and Literature (1 to 3 credits) Advanced students may pursue a course of individual, independent study in music history and literature under the direction and with the approval of a fulltime member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted each semester, even in the case of continuing projects. Independent study projects may not duplicate courses that are regularly offered at the Conservatory. Prerequisites: junior standing, 3.0 cumulative GPA and consent of project advisor and faculty advisor. IND 400 R Independent Study Project – General Education (1 to 3 credits) Advanced students may pursue a course of study in general education under the direction and with the approval of a fulltime member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted each semester, even in the case of continuing projects. Independent study projects may not duplicate regularly offered courses. Prerequisites: junior standing, 3.0 cumulative GPA and consent of project advisor and faculty advisor. Course Descriptions 85 IND 500 R Independent Study Project – Ensemble IND 650 R Internship – Graduate Level (1 to 3 credits) Graduate students may enroll for up to three elective credits as interns with outside organizations. Registered students meet together at least three times during the semester to present projects and discuss experiences. A minimum GPA of 3.0 is required to apply. It is the responsibility of each student to develop and turn in his/her proposal—which must be approved by both the off-campus and Conservatory faculty supervisors—to the Academic Affairs Committee, no later than two weeks before the end of any semester in order to enroll for the next semester. Application forms are available at the Registrar’s Office. Advanced students may pursue a course of study in ensemble experience under the direction and with the approval of a full-time member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted each semester, even in the case of continuing projects. Independent study projects may not duplicate regularly offered courses. Prerequisites: junior standing, 3.0 cumulative GPA and consent of project advisor and faculty advisor. IND 600 R Independent Study Project – Miscellaneous Graduate Studies (1 to 3 credits) Graduate students may pursue a course of individual, independent study under the direction and with the approval of a full-time member of the collegiate faculty. A project description, approved by the project advisor and faculty advisor, must be submitted for approval to the Academic Affairs Committee within one week after the first day of classes. A new project description must be submitted for approval each semester, even in the case of a continuing project. Independent study projects may not duplicate courses that are regularly offered at the Conservatory. Prerequisites: 3.0 cumulative GPA and consent of project advisor and faculty advisor. 86 Course Descriptions and Literature elective to satisfy the “other MMT/MHL series course” requirement. (1 to 3 credits) MH L MUSIC HISTORY AND LITERATURE, PERFORMANCE PRACTICE The Undergraduate Music History Sequence The undergraduate music history sequence consists of three core courses (MHL 202/203/204), plus an elective course in Music History and Literature, chosen among courses in the MHL 400– 599 range and MMT 252/253. The core courses provide a chronological survey of Western music from the Middle Ages to the twenty-first century. Music History and Literature electives investigate a single topic in depth and introduce students to music history research and writing skills. Students may take a second Music History MHL 202/203/204 Music History (2 hours, 2 credits each) A survey of music history from early times to the present. The courses emphasize familiarity with historical repertory and the musical, social and cultural context of that repertory. MHL 202 begins with music of the early church and finishes around 1700. MHL 203 continues from 1700 to 1900. MHL 204 covers music of the twentieth and twenty-first centuries. Prerequisites: MMT 103, MMT 113, GED 202 and GED 203 or consent of instructor. MHL 202 is offered fall semester (Laurance), MHL 203 is offered spring semester (Spitzer), MHL 204 is offered both semesters (Laurance, Plack). Vocal Literature (2 hours, 1 credit) A study of vocal literature focusing on music for the solo voice. Emphasis will be on the mainstreams of song and opera, an understanding of national styles and traditions and using expanded knowledge of literature in designing vocal recitals. Individual topics may not be repeated for credit. Topics offered include: MHL 302 Vocal Literature: Italian, German and British Music (Offered fall semester.) Bach MHL 303 Vocal Literature: French, American and Spanish Music (Offered spring semester.) Bach Keyboard Literature (2 hours, 2 credits) A study of keyboard literature for piano, organ, harpsichord, virginal, clavichord and fortepiano. Early, classical, romantic and modern literature will be covered. Each semester a specific body of works will be studied, such as Bach’s WellTempered Clavier; the sonatas of Mozart, Haydn and Beethoven; romantic repertoire drawn from composers such as Chopin, Schumann, Brahms and Liszt; and twentieth-century works by composers such as Copland, Schoenberg, Scriabin and Debussy. Individual topics may not be repeated for credit. Topics offered include: MHL 312 Keyboard Literature: Baroque The music of J.S. Bach and other eighteenth-century masters will be the focus of this course, with additional attention given to seventeenth-century composers from England, Italy, France and Germany. National styles, compositional genres and form will be discussed. The student will have the opportunity to learn about relevant performance practice issues by playing on period keyboard instruments. Listening and analysis assignments and informal performances will be required. (Not offered 2012-2013.) Jamason MHL 313 Keyboard Literature: Classical We will examine representative sonatas and major variation works of Haydn, Mozart and Beethoven through a variety of analytical approaches to broaden our understanding and interpretations of this repertoire. Important performance practice source material will also be explored. Each class will focus on one major work. Class requirements will include participation in discussions, weekly analysis assignments and one short in-class presentation. (Offered fall semester.) Jamason MHL 314 Keyboard Literature: Romantic This class examines keyboard music written in the nineteenth century and traces its roots to the revolutionary changes occurring during that time. Emphasis is placed on live performance, and each student is required to play works from the period in class and to demonstrate knowledge of the music of that era. Listening assignments and frequent quizzes are given. (Offered spring semester.) Bach MHL 315 Keyboard Literature: Twentieth Century This class presents a survey of music written in the twentieth century and up to the present day, including the American experimental works of Charles Ives and Henry Cowell, the twelve-tone system, indeterminacy and major compositions by Messiaen, Ligeti, Rzewski, Carter and others. We will also examine how composers have been affected by the development of jazz and popular music in the twentieth century. Students are expected to learn one substantial piece from the last 50 years and to perform it at the end of the semester. There will be in-class analysis, listening assignments, exercises in extended techniques, plus some sight-reading and essay writing. (Not offered 2012-2013.) Cahill Guitar Literature (2 hours, 2 credits) Individual topics may not be repeated for credit. Topics offered include: MHL 322 Guitar Literature: Renaissance This course covers the renaissance literature for lute, guitar and vihuela. Students develop French and Italian tablature reading skills and acquire basic proficiency with lute technique. Students must perform in class on one of the Conservatory’s lutes. (Offered fall semester.) Savino MHL 323 Guitar Literature: Baroque The baroque lute and guitar repertoire is examined. Students become familiar with the stylistic conventions, national styles and instrumental techniques of the time. Students continue to read both French and Italian tablature and to learn continuo on the guitar. (Offered spring semester.) Savino MHL 324 Guitar Literature: Classic and Romantic This course covers the period between the birth of the modern guitar at the start of the nineteenth century through the life and repertoire of Andrés Segovia. The repertoire, the development of the instrument and its notation are examined within a larger musical and social context. (Not offered 2012-2013.) Savino Course Descriptions 87 MHL 325 Guitar Literature: Modern This course covers contemporary literature for guitar. Composers are discussed in depth, by country. Unusual effects and notation are examined, and emphasis is placed on very recent literature. Students are required to give a presentation and performance of a major new work. (Not offered 2012-2013.) Tanenbaum MHL 400 Introduction to Performance Practice (2 hours, 3 credits) This course is a general introduction to the study of performance practice from 1600 to the present. We will investigate the most important topics within this fascinating field of inquiry: rhythm, rubato, tempo, vibrato, improvisation and the changing ideas about these subjects over the course of the last 400 years. (Offered spring semester.) Jamason MHL 500–599 Studies in Music History (2 hours, 3 credits) These courses offer a selection from a broad range of music history topics. Prerequisite: MHL 202, 203 and 204 or consent of instructor. The following topics are offered on a rotating basis: 100 Years of American Music, 1845–1945 American Song Beethoven Electronic Music and Electronica Folk Song and Art Song The Genius of J.S. Bach History of Jazz 88 Course Descriptions Music since 1975 Musica Antiqua Musical Life of the Middle Ages and Renaissance Nineteenth-Century Opera and its Literary Sources Nineteenth-Century Program Music The Symphonic Poem Twentieth-Century Opera MHL 504 History of Jazz This course explores the evolution of jazz from its early roots to the present. Students will study the musical elements of jazz styles within the cultural context of the times. We will listen to recordings by Scott Joplin, Louis Armstrong, Fats Waller, Count Basie, Duke Ellington, Charlie Parker, Miles Davis, Art Blakey, John Coltrane, Chick Corea and many, many others. (Offered fall semester.) Fettig MHL 513 Nineteenth-Century Program Music This course examines symphonic program music in the nineteenth century and its relation to literature. Students will read excerpts from Ovid, Byron, Goethe and Burns and study works by Beethoven, Schumann, Liszt, Tchaikovsky, Strauss and Chadwick, examining the process of instrumental adaptation from narrative works. Themes will include changing theories of representation in music and the interaction of narrative literature with established musical forms. (Offered fall semester.) Laurance MHL 515 Tape, Vinyl, Byte: Electronic Music and Electronica Electronic music was born in the studios of the French avant-garde, but it has moved into the clubs and warehouses where techno lives today. As powerful music software has shrunk large studios inside laptops, electronic music has become more accessible to composers and non-composers alike. This course surveys electronic music from the perspective of today’s electronica. Early innovators often cited by techno artists (Stockhausen, Reich, Eno and others) will be examined alongside important artists of today (Aphex Twin, Mouse on Mars, The Books and others). The course also includes a “hands-on” component, where students will be able to try out some of the techniques and software we study and create mixes that incorporate improvisations on instruments of their choice. (Offered spring semester.) Bates MHL 516 The Genius of J. S. Bach This undergraduate course surveys the career, works and musical styles of Johann Sebastian Bach. We will get acquainted with the prevailing national musical styles of his time and composers who influenced him. We will inquire into his beliefs, his social circles and the circumstances of his employment and see what impact these had on his work. Finally we will try to understand his rhetorical language and approaches to form— including concerto, fugue, cantata and dances—in a variety of instrumental and vocal genres. Representative works will be drawn from the church cantatas, keyboard and solo suites, Brandenburg concertos and Bach repertoire of students in the class. (Offered fall semester.) Lamott MHL 518 German Lieder This course explores nineteenth-century German Lieder with a focus on Schubert, Robert and Clara Schumann, Felix Mendelssohn, Fanny Mendelssohn Hensel, Brahms, Wolf and Strauss. We will study the relationship between poetry and music while familiarizing ourselves with each composer’s distinct style. We will also consider the nature of the song cycle as a genre in composition and performance. Finally, we may use recordings to examine how performance practices of Lieder have changed over time. Some familiarity with German will be helpful but not mandatory, since we will work from translations alongside original texts. (Offered fall semester.) Plack MHL 520 The Musical Language of Mozart It can be said that all of Mozart’s music is opera. His symphonies and chamber music share a common expressive vocabulary which is defined by the texts and musical references found in his operas. This undergraduate course will examine representative instrumental and operatic works through the lens of the musical “topics” which were common to Mozart and his contemporaries, including the significance of keys, instrumentation, dance rhythms, and the hierarchy of styles. We will explore the musical subtexts which accompany music previously described as “absolute” and the foundations of Viennese classicism. Through a survey of Mozart’s life and career, we will also examine the influences which most affected his musical style. This course will also serve as an introduction to the resources of Mozart scholarship. (Offered spring semester) Lamott All courses MHL 602–799 taken at the Conservatory will be applied towards the required 15 credits of music history. GRADUATE COURSES IN MUSIC HISTORY AND LITERATURE American Music to 1876 The graduate music history sequence consists of three types of courses: Topics courses, Proseminars and Seminars. The Bartók String Quartets • Topics courses (MHL 602/603) review essential repertory, events and concepts in music history from 1700 to the present. • Proseminars (MHL 650–699) combine research and writing with investigation of a specific issue in music history. • Seminars (MHL 702–799) investigate specific music historical subjects in depth through lecture, discussion and student presentations. Beethoven’s Symphonies Students must either place out of or enroll in the Topics in Music History courses (MHL 602/603). Entering students will take a music history placement exam, which covers two periods of music history: 1700–1900 and 1900–present. Students who fail the first part must take MHL 602; students who fail the second part must take MHL 603. Students will not receive credit by exam for placing out of MHL 602 or 603. If a student needs to enroll in one or both of these courses, it is recommended that he or she do so during the first year. Students must also enroll in one Proseminar (MHL 650–699) during their residencies at the Conservatory. The following course topics are offered on a rotating basis: American Song Art Song through Schubert Beethoven’s Piano Sonatas Beethoven’s String Quartets Bel Canto Opera Benjamin Britten Carl Orff Chamber Music of the Second Viennese School Charles Ives Chopin Classical and Popular Song Cycles Claudio Monteverdi and the Emergence of the Baroque Composer Biographies Dmitri Shostakovich: His Later Music French Opera in the Nineteenth Century German Lieder Giuseppe Verdi Handel and the Theatre Improvisation in Contemporary Music Instrumental Music, 1600–1700 The Instrumental Music of J.S. Bach Joseph Haydn: Life and Works Minimalism Mozart’s Quartets and Quintets Music for Film Music since 1975 Musical Quotation from Bach to Berio Course Descriptions 89 Nineteenth- and Twentieth-Century Chamber Music Masterworks Nineteenth- and Twentieth-Century Orchestral Masterworks Olivier Messiaen: Selected Works Opera before Handel Operetta The Operas of Wolfgang Amadeus Mozart The Orchestra – Past and Present Performance Practice: Baroque Music Performance Practice: Classical Era Performance Practice: Nineteenth Century Performance Practice: Twentieth Century The Piano Trio Richard Strauss Revisited Schubert: The Last Year MHL 603 Topics in Music History – Twentieth and Twenty-First Centuries Schumann’s Life and Work (3 hours, 3 credits) The String Quartets of Elliott Carter This course reviews twentieth-century music history and contemporary music by focusing on five topics, each involving important and characteristic issues, repertories, composers and areas of musical life. Students will broaden their acquaintance with twentieth- and twentyfirst century genres and repertories with analytical approaches to these repertories; they will study the social contexts of this music, as well as the contexts in the lives of the people who composed, performed and patronized it. Students who fail the second part of the music history placement exam must take MHL 603. Students who pass the exam may take this course, space permitting. (Offered both semesters.) Lee, Spitzer The Rise of Comic Opera in the Eighteenth Century The Symphonic Poem The Symphony before Beethoven The Vocal Music of J.S. Bach Twentieth-Century Song Wagner’s “Celtic” Operas: Lohengrin, Tristan, Parsifal Wagner’s Changing Views of Love West Meets East in Music Words and Music The World of Wagner’s “Ring” Cycle MHL 602 Topics in Music History – Eighteenth and Nineteenth Centuries (3 hours, 3 credits) This course reviews eighteenth- and nineteenth-century music history by 90 focusing on five topics, each involving important and characteristic issues, repertories, composers and areas of musical life. Students will broaden their acquaintance with eighteenth- and nineteenth-century genres and repertories with analytical approaches to these repertories; they will study the social contexts of this music, as well as the contexts in the lives of the people who composed, performed and patronized it. Students who fail the first part of the music history placement exam must take MHL 602. Students who pass the exam may take this course, space permitting. (Offered both semesters.) Gardner, Harvey Course Descriptions MHL 650–699 Graduate Proseminars Proseminars combine research and writing with investigation of a specific issue in music history. MHL 652 Giuseppe Verdi (Proseminar) This course surveys several Verdi operas, all adapted from plays. In different years the course will focus on operas based on works of William Shakespeare and Friedrich Schiller or Victor Hugo and Antonio García Gutiérrez. We will review some of the standard plot, scenic and melodic structures of Italian opera and how Verdi integrated them with his literary sources. Particular attention will be paid to Verdi’s relationship to Italian literary romanticism, the loosening of operatic conventions over Verdi’s career and issues of revision and production history. This will include Verdi’s relationships with major theaters and publishers (particularly Ricordi), with his librettists, and with the singers who premiered his works. Like other proseminars, the course emphasizes reading, research and writing about music history and requires a research paper. (Offered spring semester.) Laurance MHL 656 The Symphonic Poem (Proseminar) This course is an in-depth examination of the rise and fall of the symphonic poem. Beginning with the eighteenth-century emergence of the characteristic symphony, the concert overture and melodrama, we will explore how the relationship between words and instrumental music was reevaluated at the beginning of the nineteenth century, paving the way for the introduction of the symphonic poem. We will discuss works by Dittersdorf, Beethoven, Mendelssohn, Schumann, Liszt, Dvorák, Tchaikovsky, Strauss and Debussy. We will also consider the fate of the symphonic poem in the twentieth century, particularly its survival in the musical vocabulary of classic film scores. Like other proseminars, this course requires a term paper. (Offered fall semester.) Laurance MHL 658 The Rise of the Comic Opera (Proseminar) This course surveys the changing expressions of the comic in European music drama between 1619 and 1816. We will trace the history of several comic genres (opera buffa, intermezzo, opéra comique, Singspiel, ballad opera) and their cross-fertilization. We will see how the values and issues of the seventeenth and eighteenth centuries (humanism, neoclassicism, the Enlightenment and several cycles of operatic reforms) are reflected in comic opera. The approach will include both historical background and stylistic analysis. The course will explore works by Monteverdi, Landi, Pergolesi, Gay, Grétry, Piccinni, Paisiello and Mozart. Like other proseminars, this course emphasizes reading, research and writing about music history. (Offered spring semester.) Harvey MHL 668 East Meets West in Music (Proseminar) European music was introduced into Japan, China and Korea in the late nineteenth and early twentieth centuries. By the 1930s Asian performers were performing European works, and there were Chinese and Japanese composers in Western-influenced styles. After World War II came an explosion of interest and training in Western music (despite the Cultural Revolution in China), and a productive dynamic developed between Eastern and Western musical styles. The course will consider the culture of Western music in Asian countries and the responses of Asian composers to Western music. Composers studied will include Matsudaira Yoritsune, Takemitsu Toru, Mayuzumi Toshiro, Miki Minoru, Yun Isang, Chin Unsuk, Xian Xinhai, Chou Wen-chung, Bright Sheng, Zhu Jianer, Chen Yi and Tan Dun. We will consider Asian countries besides China, Korea and Japan as time permits. Like other proseminars, this course requires a term paper. (Offered spring semester.) Lee MHL 669 German Lieder (Proseminar) This course explores German Lieder in the long nineteenth century, focusing on Schubert, Schumann, Brahms, Wolf, Strauss and Mahler. We will familiarize ourselves with each composer’s distinct style while considering the evolution of the Lied genre. In the process, we may also touch briefly on the Lieder of Mozart, Zelter, Reichardt, Loewe, Felix Mendelssohn, Fanny Mendelssohn Hensel, Clara Schumann and Robert Franz. There will be some emphasis on the relationship between poetry and music and some on the evolution of the song recital and performance traditions, which we will explore through documents and historic recordings. A working knowledge of German will be helpful but not mandatory, since we will work from translations alongside original texts. Like other proseminars, this course requires a term paper. (Offered fall semester.) Plack MHL 670 Orfeo’s Lyre: Elevation of Instrumental Music (Proseminar) Through the end of the Renaissance, only vocal music genres were considered to be serious art music; by the middle of the seventeenth century, music for instruments had become a profoundly expressive vehicle. This course will explore the transfer of expressive power from human voice to instrument, the increasing importance of individual experience, the rise of amateur and domestic musicmaking, and issues of fantasy and privacy in musical expression in a range of works by seventeenth- and eighteenth-century composers, including Monteverdi (Possente spirito, Il Combattimento), Marini (Affetti musicali), Biber (Mystery Sonatas), Corelli (Opus 5), Couperin (Concerts royaux), Vivaldi, Albinoni, J.S. Bach, Handel, Quantz, C.P.E. and J.C. Bach. The course will focus on solo repertory and include works for lute, guitar, and viols. (Offered fall semester.) Harvey MHL 671 The Life and Works of Robert Schumann (Proseminar) This course considers the works of Robert Schumann in the dual contexts of his life and the music of his contemporaries. We will compare various biographical portraits of Schumann, and construct a picture of the composer from these and from his own published writings and diaries. Works studied will include a selection of Schumann’s keyboard pieces, songs, symphonies and chamber music. Like other proseminars, this course requires a term paper. (Offered spring semester.) Plack Course Descriptions 91 MHL 672 Mozart and the Classical Style (Proseminar) MHL 720 Improvisation in Contemporary Music The operas of Mozart may well be the epitome of the Viennese Classical Period, reflecting both the musical and political climate of the era. This proseminar will examine representative operas, symphonies and chamber music by Mozart and the context in which they were created, including influential developments in France, Germany, and Italy. Through a study of the topoi, musical topics which formed a common vocabulary of musical references, we will explore the subtexts of meaning which underscore all of his works. In preparation for a major written project, this course will also introduce the resources of research, the discipline of academic writing and critical analysis. (Offered fall semester.) Lamott This class is designed to expose the student to the ever-changing space that has been given to improvisation and improvisational behaviors in new music from World War II to the present. The course will consider music by Luciano Berio, Karlheinz Stockhausen, John Cage, Sylvano Bussotti, Cornelius Cardew and Krzysztof Penderecki, among others, and will attempt to characterize the varying degrees of musical freedom in their scores. How have these composers conceived of improvisation and how have they created space for it in their musical notation? Are there extra-musical (socio-political) implications of improvisation in their thought? Issues of performance practice will be addressed, as well as copyright and ethical responsibility in the relationship between performers and composers. The class will include lectures, listening, score analysis, readings and projects in which students can experiment with improvisation, notation and performance. (Offered spring semester.) Chessa MHL 702–799 Graduate Music History Seminars (2 hours, 3 credits) Seminars investigate specific music historical subjects in depth through lecture, discussion and student presentations. MHL 710 Chamber Music of the Second Viennese School The class will study the chamber music of Schoenberg, Berg and Webern. We will examine in detail Schoenberg’s Verklärte Nacht, string quartets and String Trio, Op. 45; Berg’s Lyric Suite and Webern’s Bagatelles, Five Pieces for String Quartet, Quartet Op. 28 and String Trio, Op. 20. Analysis, performance practice and historical background will all be important. (Offered spring semester.) Hersh 92 Course Descriptions MHL 725 Music for Film This course explores the history, aesthetics and technique of composing music for films. Students will study how music in film creates a sense of dramatic structure, of time and place, of character, and what is unseen and unspoken, all in the service of telling a story. Emphasis is placed on film music’s incorporation of folk music, popular music, nineteenth-century symphonic style, twentieth-century modernism, jazz, minimalism and pre-existing classical music. (Offered spring semester.) Conte MHL 726 Music Since 1980 Can we find an orientation within the most recent developments of musical literature? Music Since 1980 consists of lectures, listening, score analysis, readings and group projects designed to expose students to some of the main trends of the last 30 years of music history. We will study music by composers like Anthony Braxton, Giacinto Scelsi, Frederic Rzewski and György Kurtág and discuss their backgrounds (cultural, spiritual, ethnic), musical styles and notation. We will also discuss performance practice, marketing modern music and what makes for artistic and commercial success. (Offered fall semester.) Chessa MHL 732 Nineteenth and TwentiethCentury Orchestral Masterworks In this course students will do in-depth analysis of orchestral scores by Brahms, Tchaikovsky, Debussy, Ravel, Stravinsky, Britten, Copland and Barber. Emphasis will be placed on formal analysis and the methods of orchestration of the various composers. (Offered fall semester.) Conte MHL 733 Performance Practice: Baroque Era This course addresses the important issues we face when we perform baroque music, exploring them through the study of baroque performance practice. We begin with the diminution repertoire of the sixteenth century and continue through music of the 1750s using primary source materials. Topics include rhetoric, tempo and meter, historical instruments, vibrato, articulation, ornamentation and cadenzas, thoroughbass, and the social context of the original performances. Each student will focus in particular on primary sources relevant to his or her field. (Offered fall semester.) Jamason MHL 734 Performance Practice: Classical Era This course provides a basic introduction to Classical-era performance practice and the changes that occurred in keyboard, string, wind playing and singing from the 1730s onwards. We will examine important primary source materials so as to inform our own performances of Classical-era repertoire according to what that generation of performers and composers thought. Mozart’s delightful and informative letters as well as Czerny’s writings on Beethoven’s performances will be studied in detail. Important issues addressed will include rubato, tempo and its relationship to meter, the improvisation of cadenzas, vibrato and articulation. (Offered spring semester.) Jamason MHL 754 Twentieth-Century Song In its treatment of text, language and the singing voice, twentieth-century art song encompassed a wealth of diversity of innovation. Through in-depth analysis of art song masterworks by Poulenc, Webern, Barber, Shostakovich, Bolcom and many others, this class will address the particulars of such diversity and innovation as well as how vocalists can fully inform their performance of particular songs. Class is limited to 20 students. Grades will be determined by attendance, in-class participation and a paper. (Offered spring semester.) Garner MHL 761 The Chamber Music of Brahms This course offers an in-depth study of the major chamber music of Johannes Brahms. Repertoire will include the trios, quartets, quintets and sextets, with special emphasis on structural presentation, specific dramatic and expressive elements and performance problems from the performer’s and listener’s viewpoint. Students will give class presentations in a lecture/performance format. (Offered fall semester.) Hersh MHL 762 Schoenberg This seminar surveys a number of works of Schoenberg in conjunction with his pedagogical writings, including his Fundamentals in Musical Composition and Preliminary Exercises in Counterpoint. We will assess the relationship between theory and practice by applying the ideas Schoenberg articulates in his writings to some of his most representative works. Repertoire to be studied will include Pierrot lunaire, Verklärte Nacht and String Quartet Op. 10, as well as later 12-tone works. Students will be encouraged to investigate individual pieces of their choice, including those of Schoenberg’s pupils. (Offered fall semester.) Conroy MHL 763 The Broadway Musical, Behind the Scenes How is a musical created? How do composers and librettists interact with choreographers, directors, producers and performers to create a final product? This course will explore the Broadway musical as a collaborative effort. We will focus on musicals from Broadway’s golden age, beginning with Show Boat and concluding with the work of Stephen Sondheim. We will explore how interactions between members of the creative teams impacted the musical scores of the shows under examination. Our repertoire will consist of songs, overtures and dance music, and we will consider the roles of orchestrators and dance arrangers who are often overlooked in the history of the musical. (Offered fall semester.) Gardner MMT MUSICIANSHIP AND MUSIC THEORY MMT 100 Fundamentals of Musicianship (3 hours, 3 credits) This course will prepare beginning musicians for the coursework of MMT 102 and MMT 112. The material covered includes: 1) basic notation of pitch and rhythm; 2) basic music theory (scales, triads, intervals, keys, rhythm and meter); 3) aural recognition of scales, keys, triads and simple intervals within the context of major and minor scales; 4) sight-singing and dictation of simple diatonic, nonmodulating melodies and of elementary rhythmic patterns and meters; 5) simple keyboard work reinforcing the above. Placement is determined by the results of the musicianship placement examination. Gladysheva Course Descriptions 93 MMT 102–105 Musicianship The musicianship program is a two-year course sequence (running concurrently with MMT 112-115 Music Theory) that enhances the student’s understanding of musical language. The program’s emphasis is five-fold: 1) developing aural perception of musical materials and their relationships—rhythmic, melodic and harmonic; 2) developing dictation skills in those same materials; 3) acquiring skill in the F, G and C clefs using both fixed-do solfège and scale degree numbers; 4) acquiring skill in the use of the conductor’s beat; 5) learning the basic tools of formal analysis. Students are placed into the appropriate level and section through examination. The two-year sequence is as follows: MMT 102/103 (4 hours, 3 credits) First-year musicianship builds a firm foundation through drills, dictation and performance. The syllabus includes sightsinging and melodic dictation of major and minor melodies in F, G and C clefs, rhythmic drills involving simple and compound meter, diatonic harmonic dictation and sing-and-play drills involving similar harmonic materials. Staff MMT 104/105 (4 hours, 3 credits) Second-year musicianship expands skills through dictation and performance of relatively more complex musical materials. The syllabus contains sight-singing and melodic dictation in F, G and C clefs that incorporate modulation and chromaticism, rhythmic drills involving polyrhythms and 94 Course Descriptions complex divisions of the beat, diatonic and chromatic harmonic dictation and singand-play exercises involving modulation and chromaticism. Staff includes phrase expansions and basic phrase structures. Staff MMT 112–115 Music Theory (2 hours, 2 credits) The music theory program is a two-year course sequence that trains students in the basic elements of homophonic music. Running concurrently with Musicianship MMT 102-105, the four semesters cover diatonic and chromatic harmony, as well as the structures of Western music from the baroque era to the present. By the end of the fourth semester all students will be competent in applying standard analytic techniques to a multi-movement work from the standard literature. Students are placed into the appropriate level and section through examination. The two-year sequence is as follows: MMT 112/113 First-Year Music Theory (2 hours, 2 credits) First-year music theory strengthens perceptions of common-practice harmonic language through voice-leading exercises and harmonic analysis, and also introduces the rudiments of musical form and structural analysis. The first semester covers elementary harmonic principles, figured bass, harmonization of melodies, voice leading, cadences and chord progressions. Simple phrases, motives and cadences serve as an introduction to formal analysis. In the second semester, the harmonic language broadens to include tonicization and modulation, figuration, non-chord tones and elementary chromaticism. Formal analysis MMT 114/115 Second-Year Music Theory Second-year music theory increasingly focuses on formal analysis while continuing training in harmony. In the first semester, studies in harmony include modulation to near-related and foreign keys, secondary harmony and basic chromaticism. Formal analysis includes the various song forms. The second semester focuses entirely on formal structure and analysis, emphasizing the larger homophonic forms such as aria, sonata-allegro, rondo, ritornello and fugue. Staff MMT 116 Chromatic Harmony (3 hours, 3 credits) This course offers investigation into chromatic harmonic practices beyond the coverage in MMT 115. The coursework involves part-writing exercises and short analysis with diatonic modulation, altered chords and common-tone and distant modulations. The emphasis will be on the writing styles of the German composers of the late romantic period. Prerequisites: MMT 103, MMT 115 or consent of instructor. (Offered spring semester.) Desjardins MMT 117 Twentieth-Century Harmony (3 hours, 3 credits) This course investigates the harmonic techniques of the impressionist and neoclassical schools, including parallelism, modalism, “synthetic” scales, added-note chords and extended and non-triadic harmony. As time permits, the course also will touch on serial and jazz harmony. Prerequisites: MMT 103, MMT 115 or consent of instructor. (Not offered 20122013.) Desjardins MMT 202/203 Advanced Musicianship (4 hours plus optional lab, 3 to 4 credits) This two-semester course emphasizes advanced study of rhythm, tonal and atonal sight-singing and dictation, C clefs, transposition and score-reading. Completion of the first semester is a prerequisite to enrollment in the second. This course may be taken for three or four credits. The fourth credit is for the piano score-reading component of the course. Prerequisites: completion of the keyboard skills requirement, completion of MTT 105 for undergraduates or MMT 602 for graduate students with a grade of B or better or consent of instructor. Neblett MMT 222 Modal Counterpoint (3 hours, 3 credits) The course is a study of the procedures of sixteenth-century counterpoint using the works of Palestrina and other composers as models. Background work covers the study of church music, liturgical forms and traditions, plainchant and the beginnings of polyphony. Writing motets and madrigals is included. Model and student works will be sung in class. Prerequisite: MMT 115 or consent of instructor. (Offered fall semester.) Susa MMT 223 Tonal Counterpoint (3 hours, 3 credits) This course extends the work begun in MMT 222 by studying tonal contrapuntal procedures of the seventeenth through twentieth centuries, with an emphasis on baroque practice. Students will compose and analyze examples including dance forms, inventions, chorale preludes and fugues. It is strongly recommended that MMT 222 be taken prior to this course. Prerequisite: MMT 115 or consent of instructor. (Offered spring semester.) Susa MMT 232/233 Keyboard Harmony (2 hours, 2 credits) Through the use of the keyboard itself, this course enables keyboard players to master the following skills: 1) realizing figured bass symbols and idioms; 2) transposing harmonic progressions, cadences, sequences and other materials; 3) harmonizing melodies; 4) improvising modulations and short harmonic progressions; 5) reading orchestral scores at the piano. The class starts fall semester only. Prerequisite: MMT 103, MMT 113. Foglesong MMT 602–604 Graduate Review Courses Graduate students are required to take review courses when they do not demonstrate proficiency at the graduate level on placement exams. Credit earned in review courses may not be applied toward satisfying degree requirements. MMT 602 Musicianship Review (3 hours, 3 credits) Musicianship Review is a one-semester course that improves ear training and sight-singing skills in fixed-do solfège, melodic and harmonic dictation through altered-chord harmony and other materials as necessary. Placement into or out of Musicianship Review is determined by the musicianship placement exam, required of all entering graduate students. Desjardins MMT 604 Music Theory Review (3 hours, 3 credits) MMT 252/253 Advanced Analysis (2 hours, 3 credits) This two-semester course, designed to follow the formal analysis training offered in MMT 112–115, focuses on modern analytical techniques, emphasizing their applicability for performers and composers. The fall semester covers basic principles of Schenkerian analysis with excerpts from a wide variety of literature; the spring semester focuses on analyzing compositions of varying styles and genres using the skills acquired in the previous semester. The class starts in the fall semester only. Prerequisite: MMT 105, MMT 115 or consent of instructor. Foglesong This one-semester course is designed to bring the graduate student’s knowledge of musical form and analysis up to the standard required for graduate course offerings and seminars. The course is split into two seven-week modules. The first is an intensive overview of musical terms, chord structures and part-writing; the second places these elements into the context of basic harmonic and formal analysis. Placement into or out of Music Theory Review is determined by the graduate theory placement exam, which is required of all entering graduate students. Schroeder Course Descriptions 95 MMT 702 Topics in Musical Analysis PRF 212 R Clarinet Class (2 hours, 3 credits) (1 hour, 0 to 1 credit) trumpet ensemble. Students in this class receive a letter grade. Guarneri/Burkhart/ Inouye The study and application of various approaches to musical analysis. This course includes comprehensive analyses of extended musical compositions and an exploration of the relationship of analysis to performance. An extensive analysis project is required. (Offered spring semester.) Foglesong Master class, practice auditions and performance of orchestral literature. Pass/Fail grading system only. Anderle PRF 302 R Double Bass Class PRF (1 hour, 0 to 1 credit) A performance class of major flute solo repertoire and orchestral material. Pass/Fail grading system only. Day COURSES IN PERFORMANCE PRF 232 R Oboe Class PRF 150/151 Keyboard Skills Workshop in reed-making and studies in orchestral excerpts. Pass/Fail grading system only. Moore/Bennett (1 hour, 1 credit) This course develops basic keyboard ability in keeping with the requirements of core curriculum courses such as Musicianship and Music Theory, as well as individual departmental requirements for keyboard competence. Sections of the course are limited to 11 students, and are arranged on the basis of required placement examinations in keyboard proficiency given during the orientation period for new students. Prerequisite for PRF 151: completion of PRF 150. Required of all non-keyboard majors except for composition majors. Students should plan on taking this course during their first year at the Conservatory. Gladysheva PRF 202 R Bassoon Class (1 hour, 0 to 1 credit) Workshop in reed-making. Pass/Fail grading system only. Paulson 96 (1 hour, 0 to 1 credit) PRF 222 R Flute Class Course Descriptions (2 hours, 0 to 1 credit) PRF 252 R Horn Class (2 hours, 0 to 1 credit) Master class, practice auditions, performance of orchestra literature and horn choir. Pass/Fail grading system only. Ring/Roberts/Ward PRF 262 R Low Brass Class Performance of solo and ensemble music for bass. Pass/Fail grading system only. Tramontozzi PRF 304 R Orchestral Excerpts for Double Bass (1 hour, 0 to 1 credit) Pingel PRF 312 R Orchestral Excerpts for Violists (1 hour, 0 to 1 credit) Preparation for orchestral auditions. The excerpts to be performed will include: Strauss Don Juan and Don Quixote; Mendelssohn Scherzo from Midsummer Night’s Dream; Berlioz Roman Carnival Overture; Beethoven Symphony No. 5; Brahms Variations on a Theme by Haydn; Mahler Symphony No. 10. A mock audition will be held at the end of the semester. Pass/Fail grading system only. Kadarauch (2 hours, 0 to 1 credit) Master class, practice auditions, performance of orchestral literature and trombone choir. Pass/Fail grading system only. Lawrence PRF 272 R Trumpet Class (2 hours, 0 to 1 credit) Master class, practice auditions, performance of orchestral literature and PRF 324 R Orchestral Excerpts for Violinists (2 hours, 0 to 1 credit) Preparation for orchestral auditions. A mock audition will be held at the end of the semester. Pass/Fail grading system only. Van Hoesen PRF 332 R Cello Performance Class (2 hours, 0 to 1 credit) Performance of solo and ensemble music for cello. Class also includes studies in audition preparation, pedagogy and period techniques. Pass/Fail grading system only. Culp/Fonteneau and awareness of body position and tension. Sight reading includes exercises in reading melodies in several positions, rhythmic training and chord recognition. (Offered spring semester.) Teicholz PRF 348 Historical Plucked Strings (2 hours, 2 credits) PRF 334 R Baroque Cello (2 hour, 2 credits) This course will combine group lessons in baroque cello with a repertoire class exploring the role of the cello from the late renaissance to the early classical period. By the end of the course students will have a clear sense of late renaissance and baroque performance practice and repertoire and will feel comfortable playing with gut strings and a baroque bow. Reed PRF 342 Guitar Performance (1 hour, ½ credit) This class addresses aspects of performance such as stage presence, programming and speaking to audiences. Students perform frequently. Pass/Fail grading system only. Teicholz PRF 346 Technical Training and Sight Reading for Guitarists (2 hours, 2 credits) The course is designed to offer exercises in developing guitar technique and sight reading. Guitar technique includes scales, arpeggios, slurs, rasqueados, tremolo, finger independence, chord orchestration, balance between melody, bass and accompaniment, control of tone, hand positions, rest and free stroke, breathing In this course students will focus on a variety of issues relating to the study of historical plucked stringed instruments. These will include applied music performance practice (techniques and interpretation), notational systems, instrument maintenance, repertoire and accompaniment practices. The specific focus of one’s study will depend on the students’ particular area of interest, instrument and ability. Savino PRF 352 R Piano Forum (1½ hours, ½ credit) This class gives pianists an opportunity to try out new repertoire for each other. Each performance is followed by a discussion among the pianists and faculty members present. All undergraduate pianists must take four semesters of this course; all graduate pianists must take two semesters. Students who enter the school midway through their undergraduate studies will receive an adjustment on the number of semesters required. Pass/Fail grading system only. McCray PRF 354 R Harpsichord Class (2 hours, 1 credit) This course investigates baroque keyboard music through hands-on experience on an historical copy of an eighteenth-century harpsichord and discussions of specific performance practice issues particular to the distinct national styles and genres of the era. All students have daily practice time available. Grading based upon class participation and preparation of in-class performances. Jamason PRF 356 R Organ for Pianists and Harpsichordists (1 hour, 1 credit) Introduction to the literature for organ; using the pedal as an independent, contrapuntal line; freeing the left hand from its usual bass role; baroque and romantic styles of playing; hymn playing; understanding organ registration; intense listening for releases as well as attacks. Preparation: four hours per week. (Not offered 2012-2013.) Gehrke PRF 358 R Fortepiano Class (2 hours, 1 credit) A performance course for keyboard players exploring the works of C.P.E. Bach, Haydn, Clementi, Mozart and Beethoven through study and performances on an historical copy of a late eighteenthcentury fortepiano. The course offers an introduction to learning what the instrument known to these masters was actually like and provides an opportunity to learn about specific performance practice issues of this period through hands-on experience with an early piano. All students have daily practice time available. Grading based upon class participation and preparation of in-class performances. Jamason Course Descriptions 97 PRF 362 R Harp Class (1 hour, 0 to 1 credit) Performance of harp ensemble music, as well as orchestral and solo harp literature. Pass/Fail grading system only. Rioth PRF 363 Baroque Violin and Viola (2 hour, 2 credit) This course will offer hands-on instruction in baroque violin and viola playing through the use of instruments in the school’s period instrument collection. Each student will be loaned an instrument from the collection. Priority for enrollment will be given to members of the Baroque Ensemble and will be limited to a total of eight violin students and three viola students. Projects will include solo, chamber and orchestral repertoire. Enrollment by permission of instructor. (Offered fall and spring semesters.) Blumenstock and perform existing works utilizing electronics and create our own music as well, utilizing the wide range of software and hardware in the Conservatory studio. Along the way there will be listening and occasional reading assignments. A concert of electronic music performed and/or composed by students will be the final outcome of the class. (Offered fall semester.) Jenks PRF 405 Projects with Electronics (2 hours, 1 credit) Individual compositional projects to be developed in consultation with the instructor. Special topics will be addressed in response to the needs of students. Prerequisite: PRF 404 or consent of instructor. (Offered spring semester.) Jenks PRF 452/453 Introduction to Conducting (3½ hours, 2 credits) PRF 402 R Composition Seminar (2 hours, ½ credit) A weekly two-hour meeting required of all composition majors with junior, senior or graduate standing. Student works, contemporary scores, departmental concerns and career issues such as competitions, résumés and commissions are studied and discussed. Often includes guest speakers and performers. Becker/ Conte PRF 404 Creative Uses of Electronic Music (2 hours, 1 credit) An introduction to the tools and literature of electronic music, with both performers and composers in mind. We will examine 98 Course Descriptions Studies in the physical technique of conducting, score preparation and rehearsal techniques. Course may be repeated for credit with consent of instructor. Note: PRF 452/453 is a sequence and should begin in the fall semester. Prerequisites: MMT 105 and MMT 115 for undergraduates or MMT 602 and MMT 604 for graduate students and keyboard skills requirement; MMT 202/203 recommended. Neblett PRF 462 R Vocal Performance Lab (2 hours, ½ credit) Required of all voice majors every semester, this course meets once a week for two hours. This class includes student performances which are critiqued by the voice faculty, master classes, panel discussions and individual studio classes. Satisfactory completion of course requirements includes a performance on at least one of the voice department recitals presented throughout the year. Pass/Fail grading system only. Cook PRF 464 R Oratorio Workshop (2 hours, 1 credit) Students will identify, learn and perform appropriate oratorio literature with an eye focused on historical stylistic context. (Offered spring semester.) Kromm PRF 506 R Bel Canto for Wind Instruments (2 hours, 2 credits) Through creatively dramatic collaboration and exercises, students study the elements that give personality, profile and meaning to a musical line, allowing it to “truly sing.” The course is inspired by Marcel Moyse’s book, Tone Development Through Interpretation—the study of expression, vibrato, color, suppleness and their application to different styles. (Not offered 2011–2012.) Dibner PRF 508 R Improvisational Techniques for the Performer (2 hours, 1 credit) This course focuses on the development of the emotional palette of the performer as related to the performance of written works. Class exercises range from improvisational exercises to the performance of written repertoire with the application of improvisational techniques. The course is designed to hone the performer’s listening skills and freedom of expression. The class is open to all students. (Offered spring semester.) Guarneri PVL PRIVATE LESSONS PRF 510 R Community Service Performance (1 hour, 1 to 2 credits, depending on number of community performances completed) Advanced performers are selected to give performances in a wide variety of venues throughout the Bay Area, such as schools, hospitals and retirement homes. Students come in close contact with their audiences. In-class activities include discussions of communications with diverse audiences and guest speakers talking about a variety of career-related topics. Audition required. Pass/Fail grading system only. Lowry PRF 602 R Audition Workshop for Singers (2 hours, 1 credit) Specifically designed for students who will be graduating and auditioning for jobs in the opera/musical theater business. Includes instruction in creating a résumé and the business of singing, as well as specific dramatic instruction on each student’s two audition arias. The class will culminate in a mock audition for a director in the business, where the student will receive immediate feedback on all aspects of the audition. Prerequisite: Priority will be given first to postgraduate diploma candidates, then to second-year master’s students, and afterward to first-year master’s students in voice with two arias already prepared. Students may only repeat this course if available spots cannot be filled by postgraduate and master’s voice students who have not already taken the course. (Offered fall semester.) Cook Students who major in either performance or composition typically receive weekly 50-minute lessons. Instruction must be taken with a member of the collegiate performance/ composition faculty. Depending upon the instructional needs of particular students and the professional obligations of certain students and members of the faculty, other schedules of private instruction may be arranged. Full-time performance majors receive private lessons in their major area of study and are provided practice facilities on a space-available basis without additional charge. Fulltime composition majors receive private lessons in composition and are provided access to compositional resources, e.g., the Electronic Music Studio, without additional charge. Staff PVL 100 R Major Instrument – Undergraduate (1 hour; 4 credits) PVL 110 R The Composer at the Piano – Undergraduate (50 minutes; 4 credits) Freshman and sophomore composition majors take this course as their studio lessons. They will learn the basic keyboard skills required of composers: scales, arpeggios, sight-reading, transposition, arranging and improvisation—as well as piano repertoire of all periods including their own. A memorized jury recital will be required at the end of each year, to include an original work. Composition Workshop will be a co-requisite for this course. Staff PVL 112 R Composition Major Instrument – Undergraduate (50 minutes; 4 credits) Juniors and seniors who major in composition typically receive weekly one-hour lessons. Instruction must be taken with a member of the collegiate composition faculty. PVL 120 R Minor Instrument – Undergraduate (½ hour or 50 minutes, 1 to 2 credits) Studio teachers are available on a spaceavailable basis for those students who wish to continue private study in a secondary performance area or who are qualified to pursue composition as a secondary interest. Instruction must be taken with a member of the Conservatory collegiate faculty. Special fee and audition/interview required. Staff PVL 600 R Major Instrument – Graduate (50 minutes, 4 credits) Private instruction must be taken with a member of the Conservatory collegiate faculty. PVL 620 R Minor Instrument – Graduate (½ hour or 50 minutes, 1 to 2 credits) Studio teachers are available on a spaceavailable basis for those students who wish to continue private study in a secondary performance area or who are qualified to pursue composition as a secondary interest. Instruction must be taken with a member of the Conservatory collegiate faculty. Special fee and audition/interview required. Staff Course Descriptions 99 Faculty Biographies COLIN MURDOCH President Colin Murdoch has served as President of the San Francisco Conservatory of Music since 1992. In 1998 Murdoch received a citation from the Governor of California for Distinguished Achievement in Service to the “Education of Our Youth,” and in the same year the Pacific Musical Society recognized him with the Excellence Award for “Significant Contributions to the Musical World of San Francisco.” Murdoch studied violin with Josef Gingold, Daniel Majeske, Eduard Melkus and Paul Rolland, and attended Brown University before completing his bachelor’s degree summa cum laude at Case Western Reserve University. Upon completion of his M.M. at the University of Illinois, he performed as a member of the New Orleans Symphony before joining the music faculty of Lawrence University, where he continued performing widely, especially chamber music. In 1978, Murdoch accepted the position of dean at Lawrence University Conservatory of Music. An active member of the National Association of Schools of Music (NASM), he has served as a member of the Futures Committee, the Undergraduate Commission, the Commission on Accreditation and as an NASM representative for the National Office for Arts Accreditation in Higher Education. Murdoch joined the Conservatory as Dean in 1988. MARY ELLEN POOLE Dean A native of Louisiana, Mary Ellen Poole earned degrees in flute performance from Baylor University and Michigan State University and a Ph.D. in musicology from the University of Illinois at Urbana. Dr. Poole joined the Conservatory in 2003 after 18 years at Millikin University in Decatur, Illinois, where she was named director of the School of Music in 1997. In 2002 her Millikin colleagues recognized her achievements with the Teaching Excellence and Campus Leadership Award. Her research, publications and presentations have focused on fin-de-siècle Paris: cabaret chansons and chansonniers, music as political propaganda during the Radical Republic and the ideology of teaching music to the working class. Dean Poole is currently active as a visiting evaluator and member of the Commission on Accreditation for the National Association of Schools of Music (NASM). JASON SMITH Associate Dean for Student Life Originally from Pennsylvania, Jason Smith joined the San Francisco Conservatory of Music in September 2010. He received a B.A. in political science and M.S. in higher education administration from the University of Rochester. Prior to coming to the Conservatory, he served as Assistant Dean for Student Life at the Eastman School of Music, where he revitalized undergraduate and graduate activity and wellness programs by increasing cooperation between student activities, residential life and academic programs, in addition to directing orientation programs, student conduct and support systems, and disability support services. Faculty Biographies JEFF ANDERLE Clarinet Class; Bass Clarinet; Coordinator, Woodwind Chamber Music Clarinetist/bass clarinetist Jeff Anderle is currently enjoying an extremely diverse musical life. An exponent of contemporary classical music, he is a member of Sqwonk, a bass clarinet duo; the bi-coastal ensemble REDSHIFT; Edmund Welles: the bass clarinet quartet; and the Magik*Magik Orchestra. In addition, he performs regularly with other cutting-edge groups in the San Francisco Bay Area, including the San Francisco Contemporary Music Players, Paul Dresher Electro/Acoustic Band, Left Coast Chamber Ensemble and Earplay. Anderle is a co-founder of Switchboard Music, an organization dedicated to supporting music that fuses different genres and styles of music through its annual marathon concert and other activities. Anderle received an M.M. from the San Francisco Conservatory of Music, where he studied under Luis Baez, and a B.A. from the University of California– Los Angeles as a student of Gary Gray. Other influential teachers include Dennis Smylie and Ben Freimuth. When not making music, Anderle makes clarinet equipment and is a Reiki practitioner. www.jeffanderle.com 102 Faculty Biographies JEFFREY ANDERSON Tuba; Brass Chamber Music Jeffrey Anderson joined the San Francisco Symphony as principal tuba in 2002. He holds a B.M. and Performer’s Certificate from Indiana University, where he studied with Harvey Phillips. He received an M.M. from Arizona State University as a student of Daniel Perantoni. Prior to joining the San Francisco Symphony, he held positions with the New Mexico Symphony and Rochester Philharmonic Orchestra, and has been featured numerous times as soloist with both ensembles. MILES ANDERSON SYLVIA ANDERSON ELINOR ARMER In his 50+ year career, trombonist Miles Anderson has performed in a variety of musical genres, working for musicians as diverse as John Williams, John Cage, Pierre Boulez and Les Brown. He performed as a soloist in the United States, Mexico, Europe, Australia and Japan, and was the first brass player to receive a Solo Recitalists’ Fellowship from the National Endowment for the Arts. Sylvia Anderson, mezzo and dramatic soprano from Denver, Colorado, earned an M.M. at the Eastman School of Music and was granted a Fulbright Stipend to Cologne, Germany, where she received a Postgraduate Diploma in voice and opera. There she began a career which brought her to the major opera houses of Europe, South America and the United States. She is remembered especially for her Octavian and Marschallin in Der Rosenkavalier as well as the title roles in Carmen, Arabella, Tosca and Salome, each of which she sang over 100 times. In the United States she sang at the San Francisco Opera, the Kennedy Center, Washington, D.C., the New York City Opera and Santa Fe Opera, among others. She sang in Berlin, Hamburg, Dusseldorf, Stuttgart, Frankfurt and Saarbrucken, as well as Zurich, Toulouse, Vienna, Amsterdam, Brussels, Moscow, Warsaw, Trieste and Tehran. She sang four years with the Salzburg and Bayreuth festivals, and was Orff’s Antigone at the Greek Festival in Athens. Returning from Europe in 1990, she accepted a full-time position at the San Francisco Conservatory of Music and has helped many successful singers toward careers in the United States and abroad. Anderson is founder of the Bay Area Summer Opera Theater Institute. Elinor Armer has been associated with the San Francisco Conservatory of Music since 1969. In 1985 she established the Composition Department and served as its chairman for eleven years. She studied composition with Darius Milhaud, Leon Kirchner and Roger Nixon, and piano with Alexander Libermann. Recipient of numerous awards, fellowships and commissions, Armer has performed and lectured throughout the country, and her works are performed regularly in the United States and abroad. Armer is one of the co-founders of Composers, Inc., and a member of ASCAP. Her compositions are published by J. B. Elkus & Son, a division of Subito Music Corporation. Among her best-known works is the eight-part fantasy, Uses of Music in Uttermost Parts, written in collaboration with Ursula Le Guin. Her many references include the Elinor Armer Archive in the University of California–Berkeley Music Library and Grove Dictionary of Music and Musicians. Brass Chamber Music Voice Composition Faculty Biographies 103 KAYLEEN ASBO SÉRGIO ASSAD Kayleen Asbo holds an M.M. in piano performance from the San Francisco Conservatory of Music, where her principal teachers were Paul Hersh and Mack McCray. Also educated at Smith College, Mills College and the University of California–Santa Barbara, she holds M.A. and B.A. degrees in psychology, an Expressive Arts Therapy Certificate and an Orff Schulwerk Teaching Certificate. She has investigated issues of cognitive and emotional development in young children at the Institute for Human Development at the University of California–Berkeley and the Transition to Middle Childhood Project at Mills College. She has lectured widely on the intersection of psychology and the arts, including presentations at Oxford University and Chartres Cathédral. Asbo has a private studio in Sonoma County, where she teaches individual piano lessons and pedagogy workshops for music teachers. Sérgio Assad is widely considered one of the most popular and virtuosic guitarists in the world. His exceptional artistry and uncanny ensemble playing come from both a family rich in Brazilian musical tradition and from studies with the best guitarists in South America. In addition to setting new performance standards, Assad has played a major role in creating and introducing new music for guitar along with his brother Odair. Their virtuosity has inspired a wide range of composers to write for them: Astor Piazzolla, Terry Riley, Radamés Gnatalli, Marlos Nobre, Nikita Koshin, Roland Dyens, Jorge Morel, Edino Krieger and Francisco Mignone. Now Assad is adding to their repertory by composing music for the Assad Brothers duo and for various musical partners both with symphony orchestras and in recitals. The duo has worked extensively with such renowned artists as Yo-Yo Ma, Nadja Salerno-Sonnenberg, Fernando Suarez Paz, Paquito D’Rivera, Gidon Kremer and Dawn Upshaw. Early Childhood Education 104 Faculty Biographies Guitar; Guitar Ensemble TIMOTHY BACH Chair, Piano Accompanying; Chair, Ensembles; Vocal Literature Timothy Bach is founder and director of the Collaborative Piano Program at the San Francisco Conservatory of Music. He has appeared in performances in the United States, Europe and Asia with artists such as mezzo-soprano Elena Obratsova, soprano Jane Marsh, tenor David Gordon, violinists Chee Yun and Jennifer Koh and cellists Hai-Ye Ni and Wendy Warner. He has recorded on the Crystal and Cantabile labels and has been broadcast on National Public Radio. He has also been official keyboardist at the Carmel Bach Festival, Music Academy of the West, Banff Festival of the Arts, I.M. Klein International String Competition and the Gregor Piatigorsky Memorial Cello Seminars. He is a founder of California Summer Music. In addition, he has assisted many artists including Yo-Yo Ma, Lynn Harrell, Zara Nelsova, Janos Starker, Hans Hotter, Peter Pears, Martial Singher, Gerard Souzay and Thomas Hampson in master classes. Bach completed a D.M.A. with highest honors at the University of Southern California, after studies with Gwendolyn Koldofsky, Brooks Smith and Adolf Baller. He also has served as acting dean of the San Francisco Conservatory of Music. LUIS BAEZ ALEXANDER BARANTSCHIK MASON BATES Luis Baez earned a B.M. from the Peabody Institute. His teachers include Robert Marcellus, Larry Combs, Roger Hiller, Steven Barta, Marshall Haddock and Sidney Forrest. Baez is the associate principal and E-flat clarinetist of the San Francisco Symphony, where he began his tenure in 1990, and acted as principal clarinetist from 2004 to 2007. His numerous solo appearances include San Francisco Symphony, National Symphony Orchestra, Chautauqua Festival Orchestra, New Mexico Symphony Orchestra and the United States Navy Band. Baez has also performed chamber music extensively throughout the Bay Area and at the Telluride Chamber Music Festival. He has performed on many critically acclaimed recordings with the San Francisco Symphony as well as film scores and various recording projects, and he was featured on the Symphony’s Keeping Score videos. A sought-after clinician, Baez has presented master classes throughout California, at the University of Michigan, Manhattan School of Music, New World Symphony and Eastman School of Music. Alexander Barantschik joined the San Francisco Symphony as concertmaster in September 2001, having served as concertmaster of the London Symphony Orchestra and Netherlands Radio Philharmonic. Born in Saint Petersburg in 1953, he attended the Saint Petersburg Conservatory and performed with major Russian orchestras, including the Saint Petersburg Philharmonic, before immigrating in 1979. His awards include first prizes in the International Violin Competition in Sion, Switzerland, and the Russian National Violin Competition. Barantschik has performed as soloist with the San Francisco Symphony in the Mendelssohn Violin Concerto, Bach’s Concerto No. 3 for Two Violins (with Gil Shaham), Schnittke’s Violin Concerto No. 4, Mozart’s Violin Concerto No. 3, Brahms’s Double Concerto for Violin and Cello, Britten’s Double Concerto, Prokofiev’s Violin Concerto No. 1 in D Major, Op. 19 and all the Bach Brandenburg concertos. He has performed throughout Europe with such artists as André Previn, Mstislav Rostropovich, Maxim Vengerov and Yuri Bashmet. Through an arrangement with the Fine Arts Museums of San Francisco, Barantschik has the exclusive use for three seasons of the 1742 Guarnerius del Gesù violin once owned by Jascha Heifetz. The music of Mason Bates fuses innovative orchestral writing, the rhythms of electronica and techno, and imaginative narrative forms brought to life by cutting-edge sound design. A composer of symphonic music who often includes live electronica in his orchestral music, he has become known as an artist who moves fluidly between those two worlds—performing on electronic drumpad and laptop, for example, under Michael Tilson Thomas in “The B-Sides” at Carnegie Hall. Recent commissions have explored everything from the marriage of orchestral sonorities and earthquake recordings (Music From Underground Spaces for the California Symphony, where he served as composerin-residence) to siren poetry from various cultures (Sirens, for Chanticleer). A variety of purely acoustic works fill his diverse catalogue, including many works for the voice. He is currently composerin-residence with the Chicago Symphony and makes his home in North Oakland. Clarinet Violin Music History and Literature Faculty Biographies 105 DAN BECKER Chair, Composition; Music History and Literature Dan Becker received D.M.A., M.M.A. and M.M. degrees in composition from Yale University and a B.M. from the San Francisco Conservatory of Music. His teachers include Jacob Druckman, Elinor Armer, Martin Bresnick, Louis Andriessen and Terry Riley. Recent commissions include works for the Kronos and Ives string quartets, the Other Minds Festival and the San Francisco Chamber Orchestra. Awards and grants include those from the American Academy of Arts and Letters, Meet the Composer, the Mary Flagler Cary Charitable Trust, the Aaron Copland Fund for Music, ASCAP, the Jerome Foundation, the Argosy Foundation and the San Francisco Arts Commission. He is the founder and artistic director of the Common Sense Composers’ Collective, an eight-member composers’ group that has collaborated with such ensembles as the Afiara String Quartet, the Meridian Arts Ensemble, the New Millennium Ensemble, the American Baroque period instrument ensemble and the Albany Symphony’s Dogs of Desire Ensemble. CDs of his works are on the New World, Albany and Santa Fe New Music labels. An advocate for new music, Becker served on the board of the American Music Center from 2001 to 2009. For more information, visit www. DanBecker.org. 106 Faculty Biographies WILLIAM BENNETT JEFFREY BIANCALANA William Bennett is principal oboist of the San Francisco Symphony and occupies the Edo de Waart Chair, a position he has held since September 1987. He studied at Yale University and The Juilliard School with Robert Bloom and joined the symphony in 1979 as assistant principal to Marc Lifschey. A frequent soloist with the orchestra, Bennett gave the world premiere of John Harbison’s Oboe Concerto, commissioned for him by the San Francisco Symphony and recorded for London Records. He has also been soloist with the orchestra in Richard Strauss’s Oboe Concerto, Françaix’s The Flower Clock and Mozart’s Oboe Concerto, as well as in concertos by Vivaldi, Bach, Haydn, Barber, Martin and Cordero-Saldivia. Bennett has performed at the Marlboro Festival, Festival D’Inverno in Sao Paolo, the Aspen Festival, the Berkshire Music Center and Music@Menlo. Born and raised in the Chicago area, Jeffrey Biancalana began his formal studies at the Eastman School of Music. He has performed with various ensembles including the Milwaukee Symphony, Chicago Chamber Musicians and New York Philharmonic. From 2001 to 2006 he was acting second trumpet of the San Francisco Symphony. In addition to coaching chamber ensembles at Boston University’s Tanglewood Institute, Biancalana has worked with students at Louisiana State University, the Harrid Conservatory and the New England Conservatory of Music. He is the primary coach for Brassissimo Vienna, a brass quintet now under Columbia Management, and is a spokesman and clinician for Conn Selmer, Inc. Biancalana has recorded for Argo/Decca, d’Note Entertainment/Sony Classical, Cedille Records, Teldec Classics International and others. Formally associate principal trumpet of the Colorado Music Festival, he now spends his summers performing with the Sun Valley Summer Symphony and at the Grand Teton Music Festival in Jackson Hole, Wyoming. He is currently principal trumpet of the San Francisco Contemporary Music Players and professor of trumpet at California State University–East Bay. Oboe Orchestral Training ELIZABETH BLUMENSTOCK RAGNAR BOHLIN CHRISTINE BRANDES Widely admired as a performer of interpretive eloquence and technical sparkle, Elizabeth Blumenstock is a frequent soloist, concertmaster and leader with American Bach Soloists, Philharmonia Baroque Orchestra and the Italian ensemble Il Complesso Barocco. She plays with several of California’s finest period instrument ensembles, including Musica Pacifica, Ensemble Mirable, the Arcadian Academy and Trio Galanterie, and has appeared with many ensembles nationally and abroad. She has performed for the Boston and Berkeley early music festivals, Germany’s Göttingen International Handel Festival, Los Angeles Opera, the Carmel Bach Festival, the Oulunsalo Soi festival in Finland and the San Luis Obispo Mozart Festival. Blumenstock has recorded for harmonia mundi, Deutsche Grammophon, Virgin Classics, Dorian Sono Luminus, BMG, Reference Recordings and Koch International. She is instructor of baroque violin at the University of Southern California, teaches regularly at the International Baroque Institute at Longy School of Music and has taught or coached at the Austrian Baroque Academy, Roosevelt University, the University of Virginia and California Institute of the Arts. Ragnar Bohlin has directed the San Francisco Symphony Chorus since 2007. His performances of Handel’s Messiah, Bach’s Christmas Oratorio and other works have been radio broadcast, and his recent recording of Mahler’s Symphony No. 8, with Michael Tilson Thomas conducting the San Francisco Symphony, won three Grammy awards, including Best Choral Performance. He holds an M.M. in church music and a postgraduate degree in conducting from the Conservatory of Music in Stockholm. Bohlin studied conducting with legendary choir director Eric Ericson, piano with Peter Feuchtwanger in London and singing with the great Swedish tenor Nicolai Gedda. His Swedish choirs have won numerous prizes in international competitions, and he was awarded the prestigious Johannes Norrby-medalion for expanding the frontiers of Swedish choral music making. Bohlin appears frequently on Swedish public radio with the world-renowned Swedish Radio Choir and has worked with The Ericson Chamber Choir and the Royal Opera Choir of Stockholm. Besides teaching at the San Francisco Conservatory of Music, he has taught at the Stockholm Conservatory and Indiana University. In 2012, Bohlin made his debut with the Sao Paulo Symphony and Malmö Symphony. Noted for her crystalline voice and superb musicianship, soprano Christine Brandes brings her committed artistry to repertoire ranging from the seventeenth century to newly composed works. She has appeared with many of the finest orchestras, including those of Cleveland, Chicago, Los Angeles, Philadelphia, San Francisco, New York, Houston, Tokyo, Detroit, Minnesota, Baltimore, Milwaukee, Toronto, St. Louis and the National Symphony, with such conductors as Esa-Pekka Salonen, Sir Simon Rattle, Pierre Boulez, Sir Charles Mackerras, Hans Graf, Rafael Frühbeck de Burgos, Nicholas McGegan, Kent Nagano and Peter Oundjian among many others. On the operatic stage Brandes has appeared with the San Francisco Opera, Seattle Opera, Houston Grand Opera, Washington National Opera, Opera Company of Philadelphia, New York City Opera, Minnesota Opera, San Diego Opera, Opéra de Montréal, Glimmerglass Opera and the Opera Theatre of St. Louis in operas of Handel, Mozart, Monteverdi, Britten, Bolcom, Glück and Verdi. She has recorded for EMI/Virgin, BMG, harmonia mundi, Koch, Bridge and Dorian. Historical Performance—Violin Conservatory Chamber Choir Historical Performance—Voice Faculty Biographies 107 ROBERT BRITTON Alexander Technique; Chair, The Complete Musician Robert Britton graduated as an Alexander Technique teacher in 1978. In addition to his private practice in San Francisco and Marin County, he has taught the Alexander Technique to musicians at the San Francisco Conservatory of Music since 1984. He served as chairman of the American Society for the Alexander Technique from 1997 to 1999. He has helped train Alexander Technique teachers since 1989 and teaches at the Alexander Educational Center in Berkeley. He regularly teaches in Berlin at the Ausbildungszentrum für F.M. AlexanderTechnik Berlin. He is actively involved in the international Alexander Technique Affiliated Societies and participates in its Annual Members Meeting. He is also a faculty member of the Bay Area Summer Opera Training Institute. 108 Faculty Biographies DAVID BURKHART SARAH CAHILL David Burkhart is an honors graduate of Yale University, where he received B.A. and M.M. degrees. His teachers include Adolph Herseth, Arnold Jacobs, Robert Nagel, William Vacchiano and Charles Geyer. Burkhart has served as principal trumpet of the Sacramento, Oakland, San Jose and Jerusalem symphonies, the Santa Fe Opera, and as acting principal of the San Diego Symphony. His five seasons as acting member of the San Francisco Opera Orchestra include many performances as principal trumpet, most recently in Saint-Saëns’ Samson and Delilah, plus the recordings Symphony at the Opera and DVDs of Boito’s Mefistofele and Puccini’s Turandot. He has taught at Stanford University, San Jose State University and at the Menlo Summer Brass Institute. A member of The Bay Brass and the San Francisco Brass Quintet, Burkhart also performs regularly with the San Francisco Symphony, including the Keeping Score Mahler Project and over a dozen CDs. He can also be heard on The Star Wars Trilogy with John Williams, A Brass & Organ Christmas at Grace Cathedral and The Bay Brass album Sound the Bells! Sarah Cahill has commissioned, premiered and recorded numerous compositions for solo piano. Composers who have dedicated works to her include John Adams, Frederic Rzewski, Terry Riley, Julia Wolfe and Evan Ziporyn, and she has premiered pieces by Lou Harrison, Ingram Marshall, George Lewis, Leo Ornstein and many others. Recent appearances include the Triptych Festival in Scotland and the Pacific Crossings Festival in Japan. She hosts a weekly music show on KALW 91.7 FM, and her radio show with Meredith Monk and Björk can be heard at www.counterstreamradio. org. Last year she hosted two discussions with pianist Richard Goode at the Metropolitan Museum (with some fourhand playing). Cahill’s writings have appeared in the John Adams Reader, Historical Performance, Contemporary Music Review and other publications. For her latest project, called A Sweeter Music, she commissioned 16 composers, including Frederic Rzewski, Terry Riley, Meredith Monk, Yoko Ono, Pauline Oliveros, Jerome Kitzke and Peter Garland, to write compositions on the theme of peace. Her recordings are on the New Albion, Cold Blue, CRI, New World, Tzadik and Albany labels. Trumpet Keyboard Literature MILISSA CAREY LUCIANO CHESSA An award-winning Bay Area actress, Milissa Carey has performed leading roles with many Bay Area theatre companies including American Musical Theatre of San Jose, TheatreWorks, Center Repertory Theater of Walnut Creek, Foothill Theatre Company, San Jose Repertory Theatre, Pacific Alliance Stage Company, San Francisco Playhouse, Thick Description, 42nd Street Moon, Theatrefirst, George Coates Performance Works and Urban Opera. She toured the United States and Canada on the 25th Anniversary Broadway National Tour of Evita under the direction of Hal Prince. Carey is a teacher and stage director at various Bay Area organizations including Foothill College and American Conservatory Theater’s Young Conservatory. Her training includes a B.M. in vocal performance from the San Francisco Conservatory of Music, an M.M. in vocal performance from the University of Southern California, a Certificate of Acting from the American Conservatory Theatre and three seasons with the Wesley Balk Music Theatre Institute in Minneapolis. Luciano Chessa received a Ph.D. in musicology from the University of California–Davis; at the Conservatory of Bologna he earned a D.M.A. in piano and a M.A. in composition. His research focuses on twentieth-century and experimental music and can be found in Musica e Storia (Levi Foundation, Venice); he is the author of Luigi Russolo, Futurist (University of California Press), the first English monograph dedicated to the Art of Noises. Chessa is active as a composer, performer and conductor. His scores are published by RAI TRADE and Carrara and performed in Europe, the United States and Australia. Recent compositions include A Heavenly Act, an opera with video by Kalup Linzy commissioned by SFMOMA for Nicole Paiement and Ensemble Parallèle. Chessa’s Futurist expertise resulted in a commission by New York City’s Biennial PERFORMA to direct the first reconstruction of Russolo’s intonarumori orchestra and to curate/ conduct concerts which received a “Best of 2009” mention in the New York Times. In March 2011 Chessa conducted a soldout intonarumori concert for Berliner Festspiele-Maerzmusik Festival; in December, for Art Basel Miami Beach, he conducted the New World Symphony with Lee Ranaldo in the premiere of Ranaldo’s It All Begins Now! Acting Music History and Literature THOMAS CONROY Musicianship and Theory; Music History and Literature Thomas Conroy earned a D.M.A. in composition at the Shepherd School of Music, Rice University and an M.M. from the San Francisco Conservatory of Music. He has served on the faculties of Texas A&M University and The Moores School of Music. His works have been performed by the Shepherd School Symphony (Symphonic Metamorphosis— Paul Copper prize), the Woodlands Symphony (four orchestral sketches), the Conservatory Orchestra (Essay for Orchestra—Highsmith Award) and the Houston Chamber Choir (This is Why I Sing). He has worked as a professional actor and singer and has done several national tours of musicals. Additional studies have been at the European American Musical Alliance, Paris, and St. John’s College, Santa Fe, where he is currently studying philosophy during summer sessions. Searching for Spinoza, a musical drama for which he has written lyrics and composed music, premiered at the University of North Carolina–Chapel Hill in April 2010. He also works with the San Francisco Opera (composer/teaching artist), the San Francisco Ballet (class accompanist) and St. John the Evangelist Church (music director/organist). Faculty Biographies 109 DAVID CONTE Composition; Musicianship and Theory; Director of Chorus; Music History and Literature David Conte has received commissions from Chanticleer, the San Francisco Symphony Chorus, the Dayton, Oakland East Bay and Stockton symphonies, the American Choral Directors Association, the American Guild of Organists, Sonoma City Opera and the Gerbode Foundation. The composer of five operas and a musical, he has published over 80 works with E.C. Schirmer, and his work is represented on numerous recordings. A Fulbright Scholar in Paris with Nadia Boulanger, a Ralph Vaughan Williams Fellow and an Aspen Music Festival Conducting Fellow, he earned a B.M. from Bowling Green State University with Wallace DePue and Ruth Inglefield, and an M.F.A. and D.M.A. from Cornell University with Karel Husa, Robert Palmer, Steven Stucky and Thomas Sokol. In 1982 he worked with Aaron Copland preparing a study of the composer’s sketches. He has taught at Cornell, Keuka College, Colgate University and Interlochen. He co-composed the score for the documentary Ballets Russes and composed the score for the documentary Orozco: Man of Fire in 2007. In 2009 he composed “An Exhortation,” a setting of words by Barack Obama performed at President Obama’s inauguration. 110 Faculty Biographies CATHERINE COOK Chair, Voice Department; Audition Workshop for Singers American mezzo-soprano Catherine Cook has excelled in a wide range of roles with leading companies throughout the United States, including the Metropolitan Opera, Lyric Opera of Chicago, Los Angeles Opera and the Houston Grand Opera. Cook was a former Merola participant and Adler Fellow with the San Francisco Opera, where she continues to be a frequent presence. She has performed more than 45 roles to date with the company, including Suzuki in Madame Butterfly, Tisbe in La Cenerentola, Marcellina in Le nozze di Figaro and La Frugola in Il tabarro. Cook is a graduate of the Cincinnati College-Conservatory of Music, where she was the winner of the Norman Triegle Award in opera and the same year was a Metropolitan National Council Winner. Cook’s students have been winners in many vocal competitions, including the Metropolitan Opera Auditions, and are chosen to participate in many apprentice programs throughout the country. In addition to maintaining a full voice studio, she holds annual audition workshops in the Bay Area and teaches Audition Workshop for Singers at the San Francisco Conservatory of Music. DARRYL COOPER Assistant Music Director, Opera Program Darryl Cooper, pianist and coach, has been the assistant music director of the San Francisco Conservatory of Music’s Opera Program since 2003. He studied at Florida State University, Brevard Music Center and the New England Conservatory, and he holds an M.M. from the Conservatory. His teachers have included James Streem, Marilyn Neeley, Margo Garrett and Timothy Bach. He is also on the faculty of the American Institute of Musical Studies in Graz, Austria, and has been a member of the opera and coaching faculties of The Boston Conservatory, Boston University Summer Theatre Institute, Crittenden Opera Studio, Chautauqua Opera, Bay Area Summer Opera Theatre Institute, SummerSong and an Artist-In-Residence at Brandeis University. Cooper has prepared numerous professional and workshop opera productions in the Bay Area, New England and Italy. In addition, he has prepared Jerome Robbins’ West Side Story ballet for the San Francisco Ballet and is a teaching member of The Singer’s Gym. He is an active recital partner and has been heard on WGBH Radio, Boston. PATRICIA CRAIG CLIFFORD CRANNA Renowned American operatic soprano Patricia Craig made her Metropolitan Opera debut in 1978 as Marenka in The Bartered Bride, and has performed leading roles in Madame Butterfly, Dialogues of the Carmelites, La bohème and Mahagonny. Her performing career spans over three decades of major roles in the world’s leading opera houses, specializing in Puccini and Verdi heroines. Credits include performances with the New York City Opera; Teatro La Fenice in Venice, Italy; the Festival of Two Worlds in both Spoleto, Italy, and Charleston, South Carolina; L’Opera de Marseilles; Frankfurt Opera, Frankfurt, Germany; and the companies of Cincinnati, Miami, Baltimore and Washington, D.C. A faculty member of the New England Conservatory from 1990 to 2009, Craig also teaches at the American Institute of Musical Studies in Graz, Austria, the Chautauqua Institution and the Bay Area Summer Opera Theater Institute. She received a B.S. from Ithaca College, pursued postgraduate studies in opera at the Manhattan School of Music, and gained her first critical vocal acclaim as a winner of the Metropolitan Opera National Council Auditions. Clifford (Kip) Cranna is director of musical administration at the San Francisco Opera, where he joined the staff in 1979. In 2008 he received the San Francisco Opera Medal, the company’s highest honor. He coordinates the opera’s musical operations, commissions, music staff, libraries and supertitles, and acts as staff musicologist. He holds a B.A. in choral conducting from the University of North Dakota and a Ph.D. in musicology from Stanford University. He has served as vocal adjudicator for the Metropolitan Opera National Council and numerous other organizations. For many years he was program editor and lecturer for the Carmel Bach Festival. He lectures and writes frequently on music and chairs the Opera Guild’s “Insight” panels. He has frequently hosted intermission features for the San Francisco Radio Opera Broadcasts and has been a music study leader for Smithsonian Tours. He has taught opera appreciation in the Conservatory’s Adult Extension Division since 2000 and joined the collegiate faculty in 2007. He was named 2006 “Man of the Year” by Il Cenacolo, a San Francisco men’s Italian cultural organization. Voice Practical Aspects of a Career in Music JENNIFER CULP Violoncello; String and Piano Chamber Music Jennifer Culp has been an active chamber musician for the past 25 years. She was a member of the Kronos Quartet for seven years beginning in 1998, during which time she performed at Sydney Opera House, Zankel Hall at Carnegie Hall, London’s Barbican Centre, Walt Disney Concert Hall in Los Angeles, Concertgebouw in Amsterdam and the WOMAD Festival in New Zealand. The quartet won many awards, including Musical America’s 2003 “Musicians of the Year” and a Grammy award for Best Chamber Music Performance of Berg’s Lyric Suite in 2004. Culp has collaborated with artists such as Zakir Hussein, Dawn Upshaw, Tom Waits, Sandor Vegh, Asha Bhosle and Irina Schnittke and is currently a member of the Feinsmith Quartet. She received a B.M. and M.M. from the San Francisco and New England Conservatories, studying with Bonnie Hampton and Laurence Lesser. Culp was also cellist with the Dunsmuir Piano Quartet, Empyrean Ensemble, Philadelphia String Quartet, San Francisco Opera Orchestra and Orpheus Chamber Orchestra and has recorded numerous world premieres for Nonesuch, New Albion, CRI, Orion, New World and Sony. Faculty Biographies 111 TIMOTHY DAY ERIN DEBAKCSY RUSS DELUNA Timothy Day joined the San Francisco Conservatory of Music faculty in 1987. In 2006 he was appointed principal flutist of the San Francisco Symphony. In addition he spent 12 seasons as principal flute with the Baltimore Symphony and taught at the Peabody Institue. He has served as acting principal flute with the Minnesota Orchestra and the Boston Symphony. During the summers, Day is on the faculty of the Music Academy of the West in Santa Barbara. He has participated in festivals in San Diego, Moab, Mohonk, St. Bart’s and Montreal and served as wind coach for the New World Symphony. He is a graduate of Oberlin Conservatory, where he studied with Robert Willoughby. Erin DeBakcsy began her undergraduate studies at the University of California–San Diego, and went on to receive a B.A. in German with a minor in music from the University of California–Berkeley. She received an M.A. in German literature with an emphasis on early twentiethcentury works from the University of California–Berkeley, where she has also taught German language classes. DeBakcsy also enjoys playing the violin and has been a member of the La Jolla, University of California–Berkeley and Prometheus symphony orchestras. Russ deLuna joined the San Francisco Symphony as English horn player in 2007 and is occupant of the Joseph and Pauline Scafidi Chair. He was previously principal oboist of the Atlanta Opera Orchestra and Columbus Symphony Orchestra of Georgia; he played English horn in the Atlanta Ballet and the Alabama Symphony. He holds an M.M. from Boston University, has taught at Emory University and Columbus State University and has given master classes at Manhattan School of Music. He performs on the Noe Valley Chamber Music Series as well as with the Gold Coast Chamber Players. Flute 112 Faculty Biographies German Oboe; English Horn JACQUES DESJARDINS Assistant Conductor, New Music Ensemble; Musicianship and Theory Born in Montréal, Canada, Jacques Desjardins completed his studies in composition at McGill University and the University of Michigan. A frequent grant recipient from the Canada Council, he has also won two first prizes at the SOCAN competition, and has represented Canada at the first International Forum of New Music of the Nouvel Ensemble Moderne. Desjardins has received commissions from the Sherbrooke Symphony Orchestra, the Ensemble Contemporain de Montréal, the Arthur-LeBlanc Quartet and the Musica Nova Ensemble. His music has been performed by internationally acclaimed ensembles such as the Toronto Symphony Orchestra and the Ijsbreker Ensemble in Amsterdam. From 1993 to 2002 he taught music theory and composition at l’École de Musique de l’Université de Sherbrooke, where he also conducted the choir and the New Music Ensemble. STEVEN DIBNER DON EHRLICH Steven Dibner is a native of Michigan and began his career as a violinist, actor and singer. He began serious study of the bassoon with Leonard Sharrow at Indiana University, where he attained degrees in music, French/Italian and a Performer’s Certificate, and with Stephen Maxym at The Juilliard School, obtaining an M.M. Dibner served as principal bassoonist of the New Jersey Symphony Orchestra from 1978 to 1983, during which time he maintained a busy freelance career performing with the Metropolitan Opera Orchestra, the Chamber Music Society of Lincoln Center, the New York Chamber Soloists and Parnassus. He has regularly appeared as a bassoon soloist and chamber musician with San Diego’s Mainly Mozart Festival, as well as the San Francisco Symphony. He has performed chamber music at leading festivals around the world, including those of Salzburg, Lucerne, Spoleto, Marlboro, Mostly Mozart (NYC), Caramoor and Aspen. Dibner also presents solo appearances for sick and disadvantaged people in the San Francisco Bay Area through the organization Bread and Roses. Until his recent retirement, Don Ehrlich was assistant principal viola in the San Francisco Symphony. He received a B.M. from the Oberlin Conservatory, an M.M. from the Manhattan School of Music and a D.M.A from the University of Michigan. He has been a member of the Aurora and Stanford string quartets and is principal viola of the Mendocino Music Festival. Ehrlich plays an ergonomically corrected Pellegrina model viola designed and made by David Rivinus of Portland, Oregon. His recent recording of the Six Suites by Bach, originally for cello, is available through the San Francisco Symphony Store. Bel Canto for Winds Viola Faculty Biographies 113 JOHN R. ENGELKES LAWRENCE FERRARA MARY FETTIG John Engelkes has been a member of the San Francisco Symphony since 1981 and a San Francisco Conservatory of Music faculty member since 1985. He has also been a member of the Florida Symphony Orchestra, Baltimore Symphony Orchestra and acting bass trombone with the Minnesota Orchestra. Engelkes participated in the Grand Teton Music Festival from 1983 to 1986 and again in 2004. He has given numerous master classes and clinics throughout Asia, Europe and the United States, has been a featured artist at the International Brass Conference and is a founding member of The Bay Brass. Engelkes studied trombone with Jon Hansen, Frank Crissafulli, Don Yaxley and Edward Kleinhammer. He has a B.M. from the University of Northern Iowa and attended graduate school at Northwestern University. In his spare time, he is an avid golfer. Distinguished as a teacher and performer, Lawrence Ferrara is the first guitarist to receive an M.M. degree from the San Francisco Conservatory of Music. A committed educator, Ferrara is also on faculty at City College of San Francisco and San Francisco State University. He has performed major recitals in San Francisco, Toronto, Barcelona and Los Angeles, and at Carnegie Hall in New York. He has appeared as soloist with the San Francisco Ballet Orchestra, Bay Chamber Symphony, Classical Philharmonic and the Conservatory’s Chamber Orchestra and New Music Ensemble. Ferrara was twice a prizewinner at the Carmel Classic Guitar Competition, has served on the Music Advisory Panel to the National Endowment of the Arts and is the author and performer of a sequence of music books titled The Student Repertoire Series for Guitar Vol. 1 and 2, with accompanying CDs, published by Guitar Solo of San Francisco. He has a solo CD of American guitar works on the VGo label and was a winner of the California Virtual Campus Award in 2004 for the Best Online Teaching Website in Music Appreciation. Saxophonist Mary Fettig has recorded and traveled with such greats as Stan Kenton, Marian McPartland, Tito Puente, Flora Purim and Airto. Her first album as a leader, In Good Company, was released on the Concord Jazz label with Marian McPartland, Ray Brown, Peter Sprague and Jeff Hamilton. Her newest release on Lau Lau Records is Relativity. Fettig has also recorded with Marcos Silva, Ray Brown, Dave Eshelman, Nnenna Freelon, Ray Obiedo, Kit Walker, Charles Brown, Richard Greene, Sandy Cressman, Christy Dana and many others. She has had the privilege of performing with jazz legends Joe Henderson, Louis Bellson, Jake Hanna, Rosemary Clooney, Bobby Shew, Mary Osborne, Dottie Dodgion, Bobby McFerrin, Jon Faddis, Ray Charles, Natalie Cole and Michael Feinstein, among others. She has numerous studio credits in film, cartoons, TV and radio commercials and video game soundtracks. Fettig is a veteran of San Francisco musical theatre orchestras as a woodwind doubler and regularly performs with the San Francisco Symphony in pop and jazz roles. Bass Trombone; Brass Chamber Music 114 Faculty Biographies Guitar; Guitar Ensemble Jazz History SCOTT FOGLESONG JEAN-MICHEL FONTENEAU PAMELA FRY Scott Foglesong, 2008 recipient of the Sarlo Family Foundation Award for Excellence in Teaching, is also on the faculties of the Fall Freshman Program of the University of California–Berkeley and the Fromm Institute of the University of San Francisco, where he teaches music appreciation and literature. He serves as a contributing writer and pre-concert lecturer for the San Francisco Symphony; for the Philharmonia Baroque Orchestra he serves as Program Annotator and Scholar in Residence. He has published numerous articles on music, including program and liner notes, and appears on radio and video as a commentator on music. His 12-part podcast series From the Archives: An Audio History of the San Francisco Symphony has been published on the San Francisco Symphony web site. He studied piano with Elizabeth Katzenellenbogen at the Peabody Institute, after pre-college study with Bernhard Weiser and Max Lanner. Foglesong received his B.M. and M.M. at the San Francisco Conservatory of Music, where he studied piano with Nathan Schwartz, harpsichord with Laurette Goldberg and theory with Sol Joseph and John Adams. Jean-Michel Fonteneau is a founding member of the Ravel String Quartet, winner of two prizes at the Evian String Quartet Competition, and of the first French Grammy award “Les Victoires de la Musique Classique.” They toured extensively around the world and singlehandedly created the first-ever string quartet residency program in France. Highly sought after, Fonteneau performs frequently with such renowned artists as Leon Fleisher, Menahem Pressler, Gilbert Kalish, Claude Frank, Peter Frankl, Kim Kashkashian and members of the Amadeus, Juilliard, Pro Arte and Fine Arts quartets. A passionate and devoted teacher, he served on the faculty of the Conservatoire National Supérieur de Musique in Lyon, France, until 1999, when he moved to the United States to join the faculty of the San Francisco Conservatory of Music. His students have won national and international competitions, appeared on From the Top and received Presidential Scholar honors. He appears regularly at summer festivals including the Yellow Barn Music Festival, Domaine Forget, Oberlin at Casalmaggiore, MYA and ARIA. Fonteneau’s recordings can be found with Musidisc-France and Albany Records. Coloratura soprano Pamela Fry has been on the faculty of the San Francisco Conservatory of Music since 1989. She served as departmental co-chair from 2001 to 2006 and as chair of the department from 2006 to 2010. Her students have been national finalists in the Metropolitan Opera National Council Auditions; they perform with New York City Opera, Portland Opera, Dallas Opera, San Diego Opera, in Europe and on Broadway, as well as participate in numerous apprentice programs. Fry earned a B.M. from the University of Iowa and an M.M. in opera theater and voice from the Manhattan School of Music. As a soloist she has appeared with the Fremont-Newark Symphony, Artea Symphony and West Bay Opera. Versatile in many idioms, her oratorio repertoire includes Vivaldi’s Gloria, Fauré’s Requiem, Mozart’s Solemn Vespers and Respighi’s Lauda per la Natività del Signore. Fry has taught classical and musical theater technique and vocal rehabilitation in the Bay Area for over 30 years. Chair, Music Theory and Musicianship Violoncello Voice Faculty Biographies 115 KARA GARDNER Music History and Literature Kara Gardner received a Ph.D. in music and humanities from Stanford University. Her dissertation dealt with the responses American composers had to a culture that was perceived as feminized. An expanded version of one of the chapters appeared in The Musical Quarterly under the title “Edward MacDowell, Antimodernism, and ‘Playing Indian’ in the Indian Suite.” She has also published several book reviews in the journal American Music and authored entries on Max Bendix, Frederick Delius and Trude Rittmann for the New Grove Dictionary of American Music. After completing her degree, Gardner worked as a postdoctoral teaching fellow in the humanities at Stanford. She was also an affiliated scholar at Stanford’s Institute for Research on Women and Gender. She is currently writing a book entitled Agnes de Mille on Broadway, to be published by Oxford University Press in their Broadway Legacies series. She has taught music history courses at the University of San Francisco since 2002 and begins teaching at the San Francisco Conservatory of Music in August 2012. 116 Faculty Biographies DAVID GARNER Composition; Musicianship and Theory; Music History and Literature David Garner is a graduate of the San Francisco Conservatory of Music. He was chairman of the department of Musicianship and Music Theory for 15 years, and he received the 1997 George Sarlo Excellence in Teaching Award. Garner studied piano with Virginia Danforth, Beatrice Beauregard and Nathan Schwartz and cello with Priscilla Parsons and Roman Dukson. His music has been performed widely in the San Francisco Bay Area and beyond, from New York City to Tokyo. His piano music has been performed in competitions in Latvia and Russia. Garner has received commissions from numerous soloists, from Volti, Citywinds and QUADRE, and Shams Ensemble, among other ensembles. RODNEY GEHRKE Organ Rodney Gehrke, professor of organ at the San Francisco Conservatory of Music, is also director of music at All Saints’ Episcopal Church, Palo Alto, and organist and choir director at San Francisco’s Temple Emanu-El. Gehrke has performed and recorded with Philharmonia Baroque Orchestra and has also made two recordings of Mexican Baroque music with Chanticleer, with whom he toured the Southwest and Mexico. He has performed with the American Bach Soloists as continuo organist and harpsichordist. He has been heard with the Berkeley Contemporary Chamber Players and the Conservatory’s BluePrint series. He can be heard on the Organ Historical Society collections Historic Organs of San Francisco and Historic Organs of Seattle. Recent performances have included Seoul Theological University, Korea, and J.S. Bach’s St. Thomas Church, Leipzig, Germany. His first organ teacher was his father, Hugo Gehrke, followed by David Dahl at Pacific Lutheran University, Lawrence Moe at the University of California–Berkeley and Harald Vogel of the North German Organ Academy. He holds an M.A. in musicology from the University of California–Berkeley. ALLA GLADYSHEVA Musicianship; Keyboard Skills Alla Gladysheva received an M.A. from Leningrad State Conservatory, where she studied with J.G. Kon, after starting a solfège and piano teaching career at age 17. She also served Karelian Radio and Television as a journalist, writing on musicology in Russia. She immigrated to the United States in 1995 and is currently a pianist with the San Francisco Ballet School. She regularly appears as a member of various performing groups, including Lark, Tango #9 and Adama. She is an active member of the Music Teachers Association of California. MARIO GUARNERI Trumpet; Brass Chamber Music Coordinator; Jazz and Improvisation; Practical Aspects of a Career in Music Mario Guarneri’s career has encompassed everything from playing with Louis Armstrong at age 13 to 15 seasons with the Los Angeles Philharmonic. Guarneri has recorded solo albums on the Crystal and Nonesuch labels, played principal trumpet with the Los Angeles Chamber Orchestra and the Los Angeles Opera Orchestra for ten seasons and appeared on over 300 television and motion picture soundtracks (most notably as soloist on The Godfather III). He has performed with the San Francisco Symphony, Opera and Ballet, New York Philharmonic, American Ballet Theater and Radio City Music Hall orchestras. His teachers include James Stamp, Lester Remsen (University of Southern California) and William Vacchiano (The Juilliard School). Guarneri has lectured and performed at clinics and workshops across the United States, Europe and Asia. He is the inventor of the B.E.R.P., a teaching tool used by brass players all over the world. His most recent CD, Choices, with the Guarneri Jazz Quartet, was recorded live at the Conservatory. RICHARD HARRELL Director, Opera Program Richard Harrell is a recognized leader in the field of opera training and production. He currently serves as visiting faculty for the Opera Studio of the Netherlands and as Associate Director of the Orfeo Foundation, an international non-profit organization that supports young opera performers. Previously, he was director of the Juilliard Opera Center, director of the San Francisco Opera Center, including the Merola Opera Program, artistic advisor and head of faculty for the Opera Training Program of the New National Theatre in Tokyo and artistic consultant and principal stage director for the Bangkok Opera. He is an active regional stage director and has been a director, voice teacher and guest master class instructor at many universities and opera training programs. As well as being a frequent adjudicator for the Metropolitan Opera National Council Auditions, his essays on artist training and the business of opera appear in many Opera America publications. As a vocalist, Harrell has recorded on the Deutsche Grammophon label and has performed with various national and international opera companies and symphony orchestras. Faculty Biographies 117 SUSAN HARVEY WEI HE DAVID HERBERT Susan Harvey holds a Ph.D. in musicology from Stanford University, as well as a degree in philosophy from the University of Victoria (British Columbia) and diplomas in piano performance and pedagogy from the Victoria Conservatory of Music. An active freelance harpsichordist in the Bay Area, she has performed and recorded with such groups as Magnificat, Philharmonia Baroque Orchestra and the Bay Area Women’s Philharmonic. Her research interests center on opera parody in eighteenth-century France and music and technology. Chinese-American violinist Wei He won numerous awards in his native China before coming to the United States. He played with the San Francisco Symphony for two seasons and was a founding member of the award-winning New China Trio, top prize winner of the Yellow Springs Chamber Music Competition and Carmel Chamber Music Competition in 1996. He gives regular solo recitals and master classes at conservatories and festivals both in the United States and Asia. He is also an active chamber musician, playing with artists and ensembles across the United States and abroad. Passionate about teaching, He was approached by his mentor Camilla Wicks to become her teaching assistant upon his graduation from the San Francisco Conservatory of Music in 1998. The following year, he joined the Conservatory’s collegiate faculty. He is a faculty artist at Icicle Creek Chamber Music Festival in Washington and former artistic director of The Crowden School in Berkeley. His major teachers include Wen Yuan Chen, Eugene Gratovich and Camilla Wicks. He lives in the Bay Area with his wife, Ming, and their dog, Pingping. David Herbert is principal timpanist of the San Francisco Symphony, a title he has held since 1994. After earning an M.M. from The Juilliard School, Herbert performed with the New World Symphony in addition to performing with the Pittsburgh and Saint Louis symphony orchestras. He is an active advocate for the advancement of solo timpani repertoire, and since his 1991 solo debut with the Saint Louis Symphony, he has appeared as timpani concerto soloist with major orchestras worldwide. With the San Francisco Symphony Herbert has performed as a soloist on many works, including William Kraft’s first and second timpani concertos, of which the latter was written specifically for him. As an active chamber musician and clinician, he continues to perform around the world and has conducted master classes throughout North America, Japan, China and Europe. He is also a frequent featured artist at the Percussive Arts Society International Convention. Herbert was international principal percussion instructor and soloist of the Pacific Music Festival in Sapporo, Japan from 2004 to 2007 and currently teaches and performs at the San Francisco Conservatory of Music and the Aspen Music Festival. Music History and Literature 118 Faculty Biographies Violin Timpani BRIAN HERNDON Beginning Acting Most recently appearing in Cymbeline with the San Francisco Shakespeare Festival, Brian Herndon has performed as an actor all over the Bay Area. He has been a part of the musical Jane Austen’s Emma throughout its development, playing Mr. Elton in performances in Mountain View, Cincinnati, St. Louis, San Diego and New York. He has also appeared with Marin Theatre Company, Aurora Theatre, California Conservatory Theatre and TheatreWorks, among others. Favorite roles include Charlie in The Foreigner, Dromio of Syracuse in The Comedy of Errors and Seymour in Little Shop of Horrors. Herndon also teaches theatre at Solano College in Fairfield and Odyssey Middle School in San Mateo. His favorite co-production with his wife Jocelyn is his daughter Gwen. PAUL HERSH Piano; Viola; String and Piano Chamber Music; Music History and Literature; James D. Robertson Professor of Piano Equally active in piano and viola, Paul Hersh studied viola with William Primrose and piano with Leonard Shure and Edward Steuermann. From 1961 to 1971 he was violist and pianist of the Lenox Quartet and made his piano debut at Carnegie Recital Hall in 1964. Hersh attended Yale University and teaches poetry and literature in addition to piano and chamber music at the San Francisco Conservatory of Music. He is a former faculty member of Grinnell College and SUNY–Binghamton, and he has been artist-in-residence and visiting faculty at the University of California– Davis, Temple University, Oregon State University, University of Western Washington and the University of Montana. He has given concert tours in Taiwan, China, Korea and Russia and has recorded on the RCA, CRI, Desto, Orion, Dover and Arch Street labels. Hersh has performed at the Berkshire, Aspen, Skaneateles, Moab and Olympic music festivals, as well as the Santa Fe Chamber Music Festival, the Spoleto (Italy) Festival of Two Worlds and the Caramoor Center in New York, and has taught and performed at Kneisel Hall. TIMOTHY HIGGINS Trombone Timothy Higgins was appointed principal trombone of the San Francisco Symphony by Michael Tilson Thomas in 2008. He was previously acting second trombonist with the National Symphony Orchestra. He has a music performance degree from Northwestern University and has performed with the Chicago Symphony, Grand Teton Music Festival, Sun Valley Symphony and Baltimore Symphony. His principal teachers have been Michael Mulcahy (Chicago Symphony) and Michael Warny (Houston Ballet). He is currently on faculty at the Affinis Music Festival in Japan and Northwestern University. In 2005 Higgins won the Robert Marstellar Solo Trombone Competition, as well as the ITA Trombone Quartet competition with CT3. Faculty Biographies 119 NIKOLAUS HOHMANN History; Philosophy A Fulbright Scholar, Nikolaus Hohmann received a Ph.D. in history from the University of California–Berkeley. He also holds a B.A. in humanities from Stanford University and an A.A. in French from Foothill College. While conducting his dissertation research in Berlin, Hohmann was an eyewitness to the fall of the Berlin Wall and the collapse of East Germany, a subject on which he has frequently lectured. At the San Francisco Conservatory of Music he teaches Western Civilization and 12 different history and philosophy courses. On occasion, he serves as narrator for Conservatory performances. 120 Faculty Biographies MARK INOUYE Trumpet Mark Inouye is principal trumpet of the San Francisco Symphony. He has held principal trumpet positions with the Houston and Charleston symphony orchestras and has performed under the baton of Kurt Masur with the New York Philharmonic. He has also appeared as a guest artist at the Playboy Jazz Festival, with The Who at Carnegie Hall and as a founding member of the Juilliard Jazz Sextet at Lincoln Center. As a soloist Inouye played the Tartini violin concerto arranged for trumpet with the Houston Symphony, as well as the Haydn and Tomasi concertos with the New World Symphony. He performed the Carnival of Venice Variations by J.B. Arban and the Hummel trumpet concerto with the Tangelwood Wind Ensemble and Seiji Ozama for the video production Marsalis on Music. An active composer, he has premiered two of his jazz compositions, “Find the Cheese” and “The Bull Behind the Horns,” on the San Francisco Symphony Chamber Music Series. Both of these works are featured on his debut album The Trumpet and the Bull. KRZYSZTOF IZDEBSKI Vocal Physiology Krzysztof Izdebski, founder and chairman of Pacific Voice and Speech Foundation, a non-profit organization dedicated to voice and speech dysfunction, is an internationally recognized scientist, clinician and voice-speech pathologist. He is also a co-founder of the World Voice Consortium, an international body of individuals and institutions dedicated to the study and care of the human voice. Born in Poland, he received degrees from the University of Lund, Sweden, the University of California-Los Angeles and the University of California-San Francisco. He is currently an associate clinical professor at the Voice and Swallowing Center and Department of OtolayrngologyHead & Neck Surgery at the Stanford University School of Medicine. Izdebski has authored over 100 peer-reviewed scholarly publications on voice functions and restoration of head and neck functions and serves on editorial boards of many professional journals. A Fellow and committee member of the American Speech-Language-Hearing Association, Izdebski has received numerous awards and is a frequent visiting scholar and lecturer in Europe, Asia and South America. He also maintains his own private practice in San Francisco. COREY JAMASON Harpsichord; Keyboard Literature; Music History and Literature; Co-Director, Conservatory Baroque Ensemble Corey Jamason is a Grammy-nominated harpsichordist whose playing of Bach was described by the Los Angeles Times as displaying “the careful, due balance of objective detachment and lofty passion.” He appears frequently with American Bach Soloists, with whom he is principal keyboardist and co-director of the ABS Summer Academy. He has performed with a variety of ensembles including the San Francisco Symphony, Los Angeles Opera, Philarmonia Baroque Orchestra and El Mundo. Festival appearances include the Berkeley, Bloomington, Bach Aria, San Luis Obispo Mozart and Norfolk Festivals. He received degrees from SUNY–Purchase, Yale University, where he was a student of Richard Rephann, and the Early Music Institute at Indiana University, where he received a D.M. degree. Recent recordings include appearances with the violinist Gilles Apap, El Mundo and American Bach Soloists. He is artistic director of the San Francisco Bach Choir and a contributing author to The History of Performance, published in 2012 by Cambridge University Press. He is director of the San Francisco Conservatory of Music’s Historical Performance Program. ALDEN JENKS KATIE KADARAUCH Alden Jenks presides over the computers, synthesizers and other state-of-theart equipment in the San Francisco Conservatory of Music’s electronic music studio. Jenks received a B.A. from Yale University and an M.A. from the University of California–Berkeley, where he studied composition with Andrew Imbrie and Seymour Shifrin. He also studied composition with Karlheinz Stockhausen and electronic music with David Tudor. Jenks collaborated with the Canadian composer Martin Bartlett in Deus ex Machina, a touring performance ensemble utilizing homemade electronics in eccentric and sometimes noisy compositions. Later he became involved in the design and creation of the Grand Canonical Ensemble, an ambitious digital synthesizer. After joining the Conservatory faculty, he was persuaded by the availability of skilled performers to introduce traditional instruments into his electronic music more frequently (as well as to compose music for concert, theatre, dance, video, CD-ROM and recorded works for playback alone). His music has been widely performed. His works Nagasaki and Marrying Music won awards at the Bourges Electronic Music and Viotti-Valsesia International Music Competitions, respectively. Hear his works at www.jendopress.com. Katie Kadarauch has been assistant principal viola of the San Francisco Symphony since 2007. A Bay Area native, she studied at the Colburn School Conservatory of Music (while performing frequently as a substitute with the Los Angeles Philharmonic), the New England Conservatory and the Cleveland Institute of Music. Principal teachers include Paul Coletti, Kim Kashkashian and Robert Vernon, as well as members of the Cleveland, Cavani and Takács string quartets. At Colburn she formed the Janaki String Trio, which won the Concert Artists’ Guild International Competition in 2006. The trio was hailed by the New York Times at their subsequent Carnegie Hall debut as “magnificently polished” and exhibiting “an irresistible electricity.” They have recorded Beethoven, Penderecki and Vanhal for Yarlung and Naxos. Active in the commissioning of new works, the Janaki Trio performed throughout North America, Europe and Australia. A threetime veteran of the Marlboro Festival, Kadarauch also tours with Musicians from Marlboro in performances across the United States. Electronic Music Orchestral Excerpts for Viola Faculty Biographies 121 MATTHEW KENNEDY LEROY KROMM BRUCE LAMOTT Matthew Kennedy is the author of three biographies of classic Hollywood: Marie Dressler: A Biography, Edmund Goulding’s Dark Victory: Hollywood’s Genius Bad Boy, and Joan Blondell: A Life Between Takes. His newest book, Roadshow! The Fall of Film Musicals in the 1960s, will be published by Oxford University Press in 2013. In addition, he has written for the San Francisco Chronicle, Gay & Lesbian Review Worldwide, and Bright Lights online film journal. He has been a guest speaker on film history at the Museum of Modern Art, Pacific Film Archive, Mechanics Institute Library and on radio, podcasts, film and television. He has taught in Spain and England through the American Institute for Foreign Studies and is presently on the full-time faculty at City College of San Francisco. He holds a B.A. in theater arts from the University of California–Los Angeles and an M.A. in anthropology from the University of California–Davis, where he was awarded a Fulbright fellowship. His website is www.matthewkennedybooks. com. Leroy Kromm specializes in oratorios of all eras, having performed most bass and baritone oratorio roles in concert throughout the United States and Europe. A strong advocate for new music as well, he has worked closely with some of the most prominent composers of our day including George Crumb, Lou Harrison, Jake Heggie, Kirke Mechem, Henry Mollicone and Ned Rorem. Kromm has been a devoted advocate of singing “Nature’s Way” as taught by his teacher and mentor of 30 years, William H. Miller, from the University of Illinois. He has performed with Philharmonia Baroque Orchestra, Aspen Music Festival, Anchorage Festival of Music, Carmel Bach Festival and Midsummer Mozart under Maestro George Cleve. Among his numerous opera roles are the title roles in Mechem’s Tartuffe and Mozart’s Le nozze di Figaro, as well as musical theatre and one-act contemporary operas produced for PBS television. Kromm has recorded on various labels including harmonia mundi and Musical Heritage Society, and he continues to serve as a clinician and consultant nationally in academia as well as the film industry in Hollywood. Bruce Lamott is director of the Philharmonia Chorale, the professional chorus of Philharmonia Baroque Orchestra, and was formerly choral director and harpsichordist at the Carmel Bach Festival and assistant conductor and choral director of the Sacramento Symphony. A graduate of Lewis and Clark College, Dr. Lamott received an M.A. and Ph.D. in musicology from Stanford University, with research in the keyboard improvisation practices of the seventeenth century. Formerly on the music history faculty at the University of California–Davis, he has performed as harpsichordist with the San Francisco Opera, Philharmonia Baroque Orchestra and Sacramento Symphony. His popular lectures for the San Francisco Opera Guild have focused on Handel and the repertoire of the eighteenth century. Lamott is an instructor in music and Western Civilization at San Francisco University High School and teaches continuo realization for the apprentice coaches in the Merola Opera Program of San Francisco Opera. Film History 122 Faculty Biographies Voice Music History and Literature EMILY LAURANCE Chair, Music History and Literature Emily Laurance holds a B.A. from Oberlin College, an M.M. from the New England Conservatory and a Ph.D. in musicology from the University of North Carolina– Chapel Hill. Her 2003 dissertation was a study of Gustave Charpentier’s opera Louise (1900) and its relationship to realist aesthetics in the operatic tradition. In addition to French opera and aesthetics, Laurance has research interests in nineteenth-century American music, the French romance of the late eighteenth and early nineteenth centuries and the early pedal harp. She co-founded the duo DoubleAction (with tenor Thomas Gregg), an ensemble that specializes in harpaccompanied song from 1770 to 1840, which they perform using an 1829 singleaction pedal harp. Her recording credits include Luciano Berio’s Sequenza II on Neuma Records as well as the Squirrel Nut Zippers album Perennial Favorites, which won the Recording Institute Association of America’s Gold Sales award. In 2005-2006 Laurance held a postdoctoral fellowship at the John W. Kluge Center at the Library of Congress. Before coming to the San Francisco Conservatory of Music, she taught at UNC–Chapel Hill and Duke University. MARK LAWRENCE Tenor Trombone; Chair, Brass Department Principal trombone with the San Francisco Symphony from 1974 to 2008, Mark Lawrence was also principal trombone with the Denver Symphony from 1973 to 1974. A graduate of the Curtis institute of Music, he is currently active as a soloist, clinician, conductor and chamber musician. He has given master classes around the world and been featured at the International Brass Conference and the International Trombone Conference. As a chamber musician, he is a founding member of the famed Summit Brass Ensemble, was a member of the Empire Brass Quintet and is currently a member of The Bay Brass ensemble in San Francisco. As a teacher, he has been on the faculties of Boston University, Northwestern University, and the Tanglewood Institute. Besides the San Francisco Conservatory of Music, he also teaches at the Colburn School in Los Angeles and the Music Academy of the West in Santa Barbara. His lengthy discography includes three solo recordings, many chamber ensemble recordings with the Summit Brass, Bay Brass, Empire Brass quintet, the Center City Brass Quintet and the famed Four of a Kind Trombone Quartet, and over 30 recordings with the Grammy Awardwinning San Francisco Symphony. JODI LEVITZ Viola; Chair, String Department; Co-Chair, String and Piano Chamber Music; Orchestral Training Jodi Levitz is an active performer of international reputation and passionate advocate of new music for viola. She was principal viola and soloist with the Italian chamber group I Solisti Veneti for 12 years, a position she won while still a student at The Juilliard School. She has performed as soloist throughout Europe, South America, the United States and the Far East, and she has recorded works of Cambini, Giuliani, Hummel, Porter, Mendelssohn, Rolla, Schoenberg and Schubert on the Concerto, Dynamic, Naxos and Erato labels. She served on the faculties of the Ars Musica Academy at Imola, Progetto Orchestra, numerous European summer festivals, and is a core faculty member of the Zephyr International Chamber Music Festival in Courmayeur, Italy. Levitz attended the Juilliard Pre-College Division from age 12 and received her B.M. and M.M. from Juilliard. Her principal teachers were Margaret Pardee, Paul Doktor, William Lincer and Dorothy DeLay. She serves on the board of the San Francisco Friends of Chamber Music and is violist of the Ives Quartet. Faculty Biographies 123 ANDREW LUCHANSKY String Pedagogy Cellist Andrew Luchansky earned a B.M. from the New England Conservatory and an M.M. from the State University of New York-Stony Brook, studying cello with Laurence Lesser and Timothy Eddy as well as chamber music with members of the Guarneri Quartet, the Juilliard Quartet and the Beaux Arts Trio. He has performed in nearly every other major U.S. city, including numerous appearances at Carnegie Hall and Avery Fisher Hall. Luchansky has participated in master classes with Gregor Piatagorsky, Bernard Greenhouse and Anner Bylsma and has given his own at the universities of Florida, Southern Florida, Colgate and Princeton. He has worked with such ensembles as The Classical Band, Musica Sacra, the Brooklyn Philharmonic and New Jersey Symphony Orchestra. As a soloist, he has played at the Deià International Music Festival in Spain, Italy and Denmark and on the Warner Brothers film Sugar Hill starring Wesley Snipes. A former faculty member of Florida State University, Luchansky is currently director of string studies at the California State University-Sacramento School of Music. 124 Faculty Biographies ADAM LUFTMAN Trumpet Adam Luftman is principal trumpet of the San Francisco Opera Orchestra. He previously held positions with the Baltimore Symphony, New World Symphony and Civic Orchestra of Chicago. He has been a guest artist with The Cleveland Orchestra, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony and Seattle Symphony. Luftman has performed at the Grand Teton Music Festival, Tanglewood Music Center, National Repertory Orchestra, National Orchestral Institute, Spoleto Festival, Music Academy of the West and Pacific Music Festival. He has recorded with the Philadelphia Orchestra, San Francisco Symphony, Baltimore Symphony, for ESPN Sunday Night Football and on many soundtracks. Luftman has performed with The Bay Brass, SF Chamber Brass and the New World Brass Quintet. He is on faculty at the University of California–Berkeley, San Francisco State University and St. Mary’s College and has given master classes at the Curtis Institute of Music, New World Symphony, Baltimore School for the Arts, the University of California–Davis and Tanglewood. An honors graduate of the Cleveland Institute of Music and the Interlochen Arts Academy, Luftman’s teachers include Michael Sachs, Raymond Mase, Mark Gould and Adolph Herseth. ROBERT MANN Visiting Professor, String and Piano Chamber Music Founder and first violinist of the Juilliard String Quartet for 52 years, Robert Mann has appeared frequently as a soloist and recorded a number of solo violin works. He made his debut as a conductor with the Seattle Symphony during the 19881989 season, and conducted Mozart’s Jupiter Symphony the following year in New York. Mann has composed more than 70 works, including an orchestral fantasy performed by Dimitri Mitropoulos; a duo premiered by violinist Itzhak Perlman and pianist Samuel Sanders at Carnegie Hall; and a string quartet included in the repertoires of both the La Salle and Concord quartets. In December 1991, his Concerto for Orchestra was performed by The Juilliard Symphony at Alice Tully Hall. Mann studied violin with Edouard Déthier at Juilliard. He is a recipient of the Naumburg Award, gave his New York recital debut in 1941 and formed the Juilliard String Quartet in 1946. SHARON MANN BETSY MARVIT Sharon Mann is widely respected for her penetrating interpretations of Bach’s keyboard music. Her recording of the Six Partitas has recently been re-released by Cappella Records. She holds degrees from The Juilliard School, Stanford University and Northwestern University. Early studies were with Rudolph Ganz, Isador Buchhalter, Irwin Freundlich, Rosalyn Tureck and Dorothy Taubman. Mann was a recipient of the George Eastman Fellowship and was artistic director of the Governor’s Series in Ohio, co-producer of the Soviet Émigré Orchestra, Switzerland’s Somermusikwochen and artistic director of the Junior Bach Festival. She has served on the faculties of the California Summer Music Festival and Itzhak Perlman’s summer music program. Her recent master classes were in Greece, Illinois, Indiana, Massachusetts, Utah and California. Mann taught in Birklehof, Germany in 2009 and performed and gave master classes at several conservatories in China in 2010, including the Sichuan Conservatory of Music. In summer 2012, Mann taught at the Bowdoin International Music Festival. Betsy Marvit studied composition with Elinor Armer and David Garner at the San Francisco Conservatory of Music. She also holds a B.S. from the California Institute of Technology and a Certificat Practique from the Sorbonne. Marvit has been with the San Francisco Boys’ Chorus since 1998, and is currently the senior director for their East Bay division. When she isn’t teaching, doing music or taking care of her children, Marvit can be found at the dojo. Piano Acoustics; Mathematics HEATHER MATHEWS Assistant Director, Opera Program; Director, Musical Theatre Workshop Heather Mathews, whose productions have been called “magnificent” and “splendid” by the San Francisco Chronicle, is a 15-year veteran stage director and performer. A native of the San Francisco Bay Area, she holds B.M. and M.M degrees from the San Francisco Conservatory of Music. Her more than 100 productions as a stage director/ choreographer have been performed by the San Francisco Conservatory of Music, Opera San Jose, Aspen Music Festival’s Opera Theatre, Festival Opera, Livermore Valley Opera, San Francisco Opera Center, Western Opera Theatre, Holy Names College, Grove Street Opera, Symphony Parnassus and San Francisco Lyric Opera, where she has been the resident stage director since 2005. As a performer, she has been seen on stages both in Europe and the United States with leading roles in such productions as Così fan tutte, Carousel, The Music Man, Le nozze di Figaro, The Fantasticks, Carmen, La bohème, Daughter of the Cabinet, A Midsummer Night’s Dream, Into the Woods, City of Angels, The Sound of Music, The King and I, South Pacific, Transformations, The Boyfriend and many more. She is perhaps most proud of her new role as mom to her son Zane. Faculty Biographies 125 MACK MCCRAY KEVIN MCLAUGHLIN Mack McCray received B.M. and M.S degrees from The Juilliard School, where he studied under Irwin Freundlich. He won the silver medal in the International George Enescu Competition, first prize in the Charleston Symphony and San Francisco Young Artists competitions, Juilliard’s Edward Steuermann Memorial Prize and a grant from the Martha Baird Rockefeller Foundation—all in one season (1969-1970). He has been invited guest artist at the Festival d’Automne in Paris, Seville’s Great Interpreters Cycle, the UNESCO Festival of International Artists at Monte Carlo, the Bucharest Philharmonic’s Bach/Beethoven/Brahms Festival and the Hong Kong City Hall Series. He has performed under such conductors as Michael Tilson Thomas, Edo de Waart, Josef Krips, Leon Fleisher and Arthur Fiedler. In 1991, he performed the U.S. premiere of John Adams’ Eros Piano. Recently he has performed with the Japan Philharmonic in Suntory Hall, Tokyo, at the Carmel Bach Festival and on the Trinity Wall Street concert series in Manhattan. McCray is artistic director of Zephyr International Chamber Music Festival in Courmayeur, Italy, and has been on the San Francisco Conservatory of Music faculty since 1971. Kevin McLaughlin has an M.M. from Yale University, a D.M.A. from the University of Minnesota and a Master of Library and Information Science degree from the University of Washington. Before coming to the San Francisco Conservatory of Music in June 2007, he served for five years as the performing arts librarian at the California Institute of the Arts. In addition to his library career, McLaughlin has been active as a trumpet player, having worked professionally in Vienna, Los Angeles and the Twin Cities. He has also hosted a classical radio program for KSER in Seattle. He has served as chair of the Southern California chapter of the Music Library Association, and in 2009 he hosted the annual meeting for the MLA Northern California chapter. Chair, Piano Department; Co-Chair, String and Piano Chamber Music 126 Faculty Biographies Head Librarian; Music History and Literature DANIEL MOBBS Voice In a career spanning more than two decades, bass-baritone Daniel Mobbs has firmly established himself as one of America’s most versatile operatic artists. In the 2011-2012 season, Mobbs returned to Portland Opera for the title role in Le nozze di Figaro; Minnesota Opera for Don Alfonso in Così fan tutte; and Opera Company of Philadelphia, as Geronte in Manon Lescaut. Additionally, he makes his debut with Lyric Opera Baltimore as Mozart’s Figaro and joins the Cincinnati Symphony Orchestra for Handel’s Messiah. He has appeared at the Metropolitan Opera (Cascada in The Merry Widow; Yamadori in Madama Butterfly), Washington National Opera (Ping in Turandot), Santa Fe Opera (Dominik in Arabella), Polish National Opera (title role in Guillaume Tell), for 20 seasons at New York City Opera and for 12 seasons at the Caramoor International Music Festival, where he also serves as Master Teacher. Additional credits include Florida Grand Opera, Opera Orchestra of New York and Baltimore Opera. Mobbs is a graduate of the Academy of Vocal Arts in Philadelphia and a native of Louisville, Kentucky. MICHAEL MOHAMMED Stage Director/Choreographer, Opera Workshop Michael Mohammed’s directing credits include X: The Life and Times of Malcolm X, Queenie Pie and White Darkness (Oakland Opera Theater), I Pagliacci (Cinnabar Theater), Trial by Jury (L/GCSF) and Men in Uniform (New Conservatory Theater). His production of Wilde Boys (New Conservatory Theater) is a 2008 Bay Area Critics Circle Award winner for Best Musical Production. As a performer, his roles include St. Ignatius (Four Saints in Three Acts), Avenant (Philip Glass’s La Belle et la Bête), Jake (Porgy and Bess), Bobby (Hijra) and Rabbi Motke Schmerel (Meshuga Nutcracker!). He studied classical ballet at Dance Theater of Harlem (scholarship) and Evansville Dance Theater and modern techniques at Alvin Ailey School, Barnard College and Joan Peters Dance Company. He has created original works for Orchesis Dance Group (New York) and Children’s Center of Dance Education (Indiana), and his choreography has been featured in productions by Peninsula Teen Opera, Bay Area Summer Opera Theatre Institute, Ragazzi Boys Chorus and Pocket Opera. He holds an M.M. in vocal performance from the San Francisco Conservatory of Music and a B.A. in music and history/ sociology from Columbia University. JAMES MOORE MICHAEL MORGAN James Moore performs with the San Francisco Ballet and Opera orchestras, the California Symphony and frequently with the San Francisco Symphony. He was appointed to the San Francisco Conservatory of Music faculty in 2000 as teacher of oboe and chamber music. In addition to his work at the Conservatory, he is a coach for the San Francisco Symphony Youth Orchestra. He has also taught at the Oberlin Conservatory and the Aspen School of Music, where he was assistant to John de Lancie. Moore received B.A. and B.M. degrees from Oberlin College and Conservatory of Music and an M.M. from the Conservatory. He has performed for the national touring productions of Ragtime, Aida, James Joyce’s The Dead, Beauty and the Beast and Fiddler on the Roof as well as the world premiere of Wicked. His teachers were James Caldwell and John de Lancie. Music Director of the Oakland East Bay Symphony for over twenty years, Michael Morgan was born in Washington, D.C., where he began conducting at age 12. Morgan studied at the Oberlin College and Conservatory of Music and at the Berkshire Music Center at Tanglewood, with such masters as Gunther Schuller, Seiji Ozawa and Leonard Bernstein. In 1980 he won first prize in the Hans Swarovsky Interna-tional Conductors Competition in Vienna, Austria. Morgan has held positions with some of the world’s finest orchestras, including a post as assistant conductor with the Chicago Symphony Orchestra under Sir George Solti. During his tenure in Chicago he was also conductor of the Civic Orchestra of Chicago and the Chicago Youth Symphony Orchestra. He has conducted the New York Philharmonic, San Francisco Symphony and San Francisco Ballet. Morgan is artistic director of the Oakland Youth Orchestra, music director of the Sacramento Philharmonic and artistic director of Festival Opera in Walnut Creek. Oboe; Chair, Woodwinds Conducting Faculty Biographies 127 BETTINA MUSSUMELI YOSHIKAZU NAGAI First violinist of the Ives Quartet since 2005, Bettina Mussumeli received B.A. and M.M. degrees from The Juilliard School. She has studied with Ivan Galamian, Dorothy DeLay and Paul Doktor, as well as chamber music with members of the Juilliard, Guarneri and Cleveland quartets. She has studied with Kato Havas in Oxford, England, focusing on the elimination of tension in violin playing. After completing her studies at Juilliard, Mussumeli became co-concertmaster and soloist with the Italian chamber group I Solisti Veneti. She has performed throughout Europe, Australia and the Far East and has made numerous recordings for the Erato, RCA, Tactus and Concerto labels. She has collaborated frequently as guest concertmaster with the Orchestra Toscanini of Parma, Orchestra del Teatro Comunale di Bologna, Orchestra del Teatro di Cagliari and the Orchestra della Fenice. Praised by audiences and critics alike for his fresh interpretations and dramatic presentation style, Yoshikazu Nagai has performed as soloist and chamber musician in Taiwan’s National Recital Hall, Hong Kong, Italy, Canada, at Kennedy Center’s Terrace Theatre, Carnegie Recital Hall, Merkin Concert Hall, Seattle’s Benaroya Hall, Phillips Collection in Washington D.C., on National Public Radio’s Performance Today and at the Aspen, Sarasota and Spoleto music festivals. Winner of numerous international competitions, including the 2002 Washington International Piano Competition, he is recognized by the National Foundation for Advancement in the Arts and gives frequent master classes throughout the United States and Asia. His students have been top prizewinners of numerous piano and chamber music competitions. Principal teachers include John Perry at Rice University, Paul Schenly at the Cleveland Institute of Music (M.M.), Sergei Babyan and Duane Hulbert. Nagai teaches at the Eastern Music Festival and School, the Beijing International Music Festival and Academy at the Central Conservatory in China, and formerly taught at the Interlochen Arts Academy. Violin; Orchestral Training 128 Faculty Biographies Piano; String and Piano Chamber Music ALASDAIR NEALE Principal Guest Conductor, Conservatory Orchestra; Conducting Alasdair Neale has been music director of the Marin Symphony since 2001, following 12 years as associate conductor of the San Francisco Symphony and Wattis Foundation music director of the internationally acclaimed San Francisco Symphony Youth Orchestra. He also holds the posts of music director of the Sun Valley Summer Symphony and principal guest conductor of the New World Symphony. Neale has been a guest conductor with the New York Philharmonic, Saint Louis Symphony, Houston Symphony, Sydney Symphony, Orchestre National de Lyon, St. Paul Chamber Orchestra, Royal Scottish National Orchestra and the Kansas City Symphony, among others. He is a graduate of Yale University, where his principal teacher was Otto-Werner Mueller. He has served as music director of the Yale Symphony Orchestra and as conductor of The Juilliard School’s Pre-College Orchestra. He lives in San Francisco. SONJA NEBLETT BRIAN NEILSON BRYAN NIES Sonja Neblett studied conducting with David Lawton and Arthur Weisberg, piano with Gilbert Kalish and Dalcroze Eurythmics with Inda Howland and later Lisa Parker and Anne Farber at the Longy School of Music. Neblett holds a B.A. from the University of California– Berkeley, where she graduated Phi Beta Kappa, and an M.M. from SUNY– Stony Brook. She formerly taught musicianship at both schools and at Brooklyn College. Brian Neilson earned a B.A. in English at the University of Southern California. He lived in Florence, Italy for three years while earning a diploma from the University of Perugia and teaching at the American Institute. He has also taught at the University of California–Berkeley, the University of California Extension program and at Doposcuola Italiana in San Francisco. Neilson received the Sarlo Foundation Award for Excellence in Teaching for the 2005-2006 year. Bryan Nies is the principal conductor of Festival Opera, assistant conductor of the Oakland East Bay Symphony and former principal conductor of the Oakland Youth Orchestra, which he led on International tours including Australia and New Zealand during the orchestra’s 40th season. With “superb musical direction,” Nies conducted soldout performances of Puccini’s Turandot, Loesser’s The Most Happy Fella and Bizet’s Carmen at Festival Opera to rave reviews that stated, “Nies is undeniably a talent to watch.” In addition, he has been a cover conductor for the St. Louis Symphony and conducted performances with Opera Idaho and the Oakland Chamber Ensemble. With Eugene Onegin Nies made his Opera San Jose debut as principal conductor, after serving as assistant conductor for nine company productions between 2003 and 2012, including the West Coast premiere of Anna Karenina, becoming the second conductor to perform the work. In 2002, Nies was honored with a Leonard Bernstein Fellowship to participate as a conductor at the Tanglewood Music Center. Chair, Conducting; Musicianship Italian; English; Chair, General Education Musical Director, Musical Theatre Workshop Faculty Biographies 129 JASON O’CONNELL NICOLE PAIEMENT CURT PAJER Jason O’Connell holds a B.M. in viola performance from the University of Victoria, British Columbia, and an M.M. in sound recording from McGill University, Québec. Before becoming director of recording services at the Conservatory, O’Connell worked as a freelance producer/engineer in both Canada and Belgium. He has recorded in venues throughout North America and Europe for the record labels Naxos, Analekta, BIS, Polytone and EMI. During the summer he works as a senior recording engineer at the Aspen Music Festival and continues an active freelance schedule. His work has received numerous honors from the Audio Engineering Society, and his recordings are frequently heard on National Public Radio and Canadian Broadcasting Corporation radio programs. Nicole Paiement is artistic director of Ensemble Parallèle, a professional contemporary opera company resident at the San Francisco Conservatory of Music. With this ensemble she has recorded world premiere performances, commissioned new works and toured internationally. Recent productions include the world premiere of the commissioned re-orchestration of John Harbison’s The Great Gatsby; the West Coast premiere of Berg’s Wozzeck; the world premiere of Lou Harrison’s Young Caesar; and the California premiere of Philip Glass’s Orphée. Paiement made her Korean opera debut in 2004 conducting world premiere performances. This year she joined the Dallas Opera to conduct The Lighthouse by Peter Maxwell Davies. Paiement is artistic director of BluePrint, a new music series sponsored by the Conservatory. BluePrint has collaborated with such Bay Area organizations as the Asian Art Museum, Other Minds Festival and International Women Composers Festival. She is also conductor of the New Music Ensemble and director of ensembles at the University of California– Santa Cruz. Paiement holds a D.M.A. in conducting from the Eastman School of Music and has been recognized with the Conservatory’s Sarlo Award for teaching excellence. Curt Pajer is music director of the Opera Program at the San Francisco Conservatory of Music, where he joined the faculty in 2010. He is also head of the music staff at Opera Theatre of Saint Louis and the Wexford Festival Opera in Ireland, and a frequent guest coach at the San Francisco Opera Center. In the 2012 season he joins the music staff of the San Francisco Opera. Before moving to the San Francisco Bay Area in 2010 Pajer was based in New York City, where he maintained an active coaching studio and worked as an assistant conductor at New York City Opera. He has also served on the music staffs of prestigious opera companies, orchestras and festivals, including Santa Fe Opera, Dallas Opera, Boston Lyric Opera, Houston Grand Opera, San Diego Opera, Opera Colorado, Prague National Theater, the Nissei Theater (Tokyo), New York Philharmonic, Bard SummerScape, Astoria Music Festival, Palm Beach Opera, Toledo Opera and Baltimore Opera. Sound Recording 130 Faculty Biographies Artistic Director, New Music Ensemble Music Director, Opera Program EITHNE PARDINI STEPHEN PAULSON SCOTT PINGEL Eithne Pardini received a B.A. in French and an M.A. in French literature from the College of Notre Dame, studying for a year in Aix-en-Provence, France. She also holds D.A.L.F. and D.E.L.F. diplomas and is a member of the Foreign Language Honor Society Alpha Mu Gamma. In addition to teaching French, Pardini teaches piano privately. Currently principal bassoon and a regular soloist with the San Francisco Symphony, Stephen Paulson has served as co-principal bassoon of the Pittsburgh Symphony Orchestra and principal bassoon of the Rochester Philharmonic Orchestra. Paulson studied bassoon with K. David Van Hoesen and composition with Samuel Adler at the Eastman School of Music. A conductor as well as a bassoonist, Paulson has been music director of Symphony Parnassus since 1998. Scott Pingel began playing the double bass at age 17 because of a strong interest in jazz, Latin and classical music. In 2004, at age 29, he became principal bass of the San Francisco Symphony. Previously he served as principal bass of the Charleston Symphony Orchestra, performed with the Metropolitan Opera, the Boston Symphony Orchestra at Tanglewood and the Metamorphosen Chamber Orchestra and served as guest principal with the National Arts Center Orchestra in Canada. Festival performances include Bellingham, Spoleto, Verbier, Tanglewood, Attergau/ Salzburg and with David Finckel and Joseph Silverstein at Music@Menlo. Pingel is also an active educator, having taught master classes at the Curtis Institute of Music, The Juilliard School, The Colburn School, Manhattan School of Music, Shanghai Conservatory and with the New World Symphony. Pingel’s primary instructors were James Clute, Peter Lloyd and Timothy Cobb. He earned a B.M. from the University of Wisconsin–Eau Claire, an M.M. from the Manhattan School of Music and spent two years as a fellow at the New World Symphony. French Bassoon Double Bass Faculty Biographies 131 REBECCA PLACK Music History and Literature; Vocal Pedagogy Rebecca Plack earned a B.A. in music from Princeton University, an M.M. in voice from the Manhattan School of Music, a Postgraduate Diploma in vocal performance from the San Francisco Conservatory of Music and a Ph.D. in musicology from Cornell University. An active performer, she has given solo recitals for the A. Jess Shenson Series at Stanford University, the International Great Romantics Festival in Hamilton, Canada, the ATERForum Festival in Ferrara, Italy and the Franz Liszt Museum in Budapest. She has given master classes and lectured widely on her research, which involves historic recordings, German Lieder, performance practice and the relationship between vocal technique and musical style. Plack has also taught voice for many years and currently maintains a voice studio in Davis. 132 Faculty Biographies RUBY PLEASURE MADELINE PRAGER Ruby Pleasure earned a B.A. from Fisk University and an M.A. from Stanford University. She studied early music with George Houle and Imogene Horsley, theory with Arthur Crowley and Leonard Ratner and voice with James Van Lowe, Phillip Jones, Marie Gibson, Elizabeth Appling and Hermann le Roux. She serves as choir director and organist for St. Edward’s Episcopal Church in Pacifica. An active chamber musician, soloist and recording artist, Madeline Prager has performed extensively in Europe and the United States. In 2007 she premiered Kurt Rohde’s viola concerto with the San Francisco Chamber Orchestra. She has recorded chamber works of Max Bruch on the CPO label with the Ulf Hoelscher ensemble, and currently performs with local ensembles. She holds degrees from the University of California–Berkeley and Detmold Music Conservatory. Her principal teachers were Detlev Olshausen and Bruno Giuranna. Prager has served as principal violist of the Wuerttemberg Chamber Orchestra and the Stuttgart Philharmonic Orchestra. She has taught on three German college faculties, most recently at the Music Conservatory in Karlsruhe, and at the University of the Pacific. Besides playing as much chamber music as possible, Prager is an avid supporter of public education, teaching music in the Berkeley Unified School District and in her private East Bay studio. Voice Viola CAROL PRAGIDES JANE RANDOLPH Carol Pragides received an M.A. in English with a concentration in teaching English to speakers of other languages and a certificate in the teaching of composition from San Francisco State University. Since then, she has taught a variety of ESL courses at San Francisco State University and at the Academy of Art University. Pragides spends most of her non-working time taking care of her two small boys. She loves a good read and is a great admirer of musicians everywhere. Jane Randolph’s 25 years of experience teaching voice to students has led her across North America, from L’Atelier de L’Opéra de Montréal and L’Université de Montréal to establishing private studios in San Diego, San Francisco and New York. Her students have sung in major national and international opera companies and have been winners of countless prestigious competitions, such as the Metropolitan Opera National Council Auditions, the San Francisco Opera Auditions and the Operalia-Domingo Competition. After completing her studies at the University of California–Santa Barbara, the University of California–Los Angeles and the Hochschule für Musik in Freiburg, Germany, Randolph spent four seasons as a coloratura soprano at the Staatstheater in Luzern, Switzerland. She subsequently enjoyed an extensive career in opera, recital and oratorio in the United States, Europe and Australia. Randolph is renowned for her commitment to her students as well as her passion for the art of singing. Advanced ESL Voice ELISABETH REED Co-Director, Conservatory Baroque Ensemble; Baroque Cello Elisabeth Reed is co-director of the Baroque Ensemble at the San Francisco Conservatory of Music, where she teaches baroque cello and viola da gamba. In demand throughout the country as a chamber musician and soloist, she is a member of the American Bach Soloists, Voices of Music and Wildcat Viols. She has also appeared with the Seattle, Portland, and Philharmonia Baroque orchestras and at the Boston and Berkeley Early Music Festivals as well as the San Luis Obispo Mozart Festival. A graduate of the North Carolina School of the Arts, the Oberlin Conservatory, the Eastman School of Music and Indiana University’s Early Music Institute, she can be heard on the Virgin Classics, Focus and Magnatune recording labels. She also teaches baroque cello and viola da gamba at the University of California–Berkeley and the American Bach Soloists Summer Academy and is a guild-certified practitioner of the Feldenkrais Method of awareness through movement, with a focus on working with musicians and performers. Faculty Biographies 133 YORIKO RICHMAN JONATHAN RING DOUGLAS RIOTH Yoriko Richman earned a B.A. in piano performance from the Musashino Academia in Tokyo, Japan, and studied jazz drums at the Yamaha Drum School. Upon her arrival in the United States, she received a professional performance degree in jazz piano and arranging from the Berklee College of Music. Richman’s Dalcroze Method experience is extensive: she graduated from the Dalcroze School of Music in New York, receiving a Dalcroze International License, and attended the postgraduate program at Institut Jaques-Dalcroze in Geneva, Switzerland. Her extensive teaching experience includes teacher training programs at the Dalcroze School of Music, the Maister Music School, the Microcosms Music School and The Dalcroze School in Japan. In addition, she has taught the Dalcroze method to children at Showa Academia Musicae in Japan. A former preparatory faculty member at Mannes College, Richman also teaches in the Preparatory Division at the San Francisco Conservatory of Music. San Francisco Symphony hornist Jonathan Ring joined the orchestra in 1991 after holding positions in the Columbus Symphony Orchestra and Fort Wayne Philharmonic. Ring earned a B.M. from Northwestern University, where he studied with Dale Clevenger. He also studied with Robert Fries and Jerry Peel. He has participated in the New College Music Festival, the Spoleto Festival, the Berkshire Music Center at Tanglewood, the Colorado Philharmonic (NRO) and the Grand Teton Music Festival. Ring is a founding member of The Bay Brass and has appeared on numerous television and motion picture soundtracks. In addition to his work on the horn, Ring is an accomplished keyboard player and composer, writing in both classical and jazz idioms. Douglas Rioth, San Francisco Symphony principal harpist, joined the orchestra in 1981 and made his solo debut in 1984 in Handel’s Harp Concerto in B-flat Major, with Raymond Leppard conducting. He has performed as soloist in works of Mozart, Ginastera, Debussy and Frank Martin, and he has appeared many times in the symphony’s Chamber Music Series and in Wondrous Sounds of Christmas concerts. Born in Missouri in 1953, Rioth studied with Alice Chalifoux and Elisa Smith Dickon, attended the Interlochen Arts Academy and Cleveland Institute of Music and studied at the Berkshire Music Center as a fellowship student. Before coming to the San Francisco Symphony, he was principal harpist of the Indianapolis Symphony for six years. He has appeared with the Cleveland Orchestra, Detroit Symphony, Royal Winnipeg Ballet Orchestra and in concert with the Caselli Ensemble and Chamber Music Sundaes. For 30 years he was a regular participant in the Salzedo Summer Harp Colony in Camden, Maine. Rioth has performed as a soloist at the American Harp Society’s National Conventions in 1985, 2006, and 2008. Harp instructor at the San Francisco Conservatory of Music since 2007, he is also a coach for the San Francisco Symphony Youth Orchestra. Early Childhood Education 134 Faculty Biographies Horn; Brass Chamber Music Harp BRUCE ROBERTS STEVE SÁNCHEZ RICHARD SAVINO Assistant principal and third horn of the San Francisco Symphony, Bruce Roberts joined the Symphony in 1988. He spends his summers with the Grand Teton Music Festival Orchestra. He was a founding member of the Mexico City Philharmonic and subsequently performed with the Utah Symphony for seven years. He was a featured recitalist at the 1987 International Horn Society Convention. Roberts attended California State University–Northridge and California Institute of the Arts, studying with Ralph Pyle, Lawrence Christianson, Fred Fox and Wendell Hoss. He is a former horn instructor at the University of Utah, where he was a member of the faculty brass and woodwind quintets. He is currently acting associate principal horn of the San Francisco Symphony. Steve Sánchez is currently second clarinet of the Monterey Symphony Orchestra and has performed with the San Francisco Symphony, the San Francisco Opera and the San Francisco Ballet orchestra. Previously, Sánchez was principal clarinet of the Kalamazoo Symphony Orchestra and also performed with the Detroit Symphony Orchestra. Sánchez received an M.M. in music as a Fellow from the University of Michigan School of Music, Theatre and Dance. His principal teachers included Dan Gilbert of the Cleveland Orchestra and famed pedagogue Fred Ormand. Awards include scholarships from the Gordon Getty Foundation and the Leni Fe Bland Foundation Award. As an educator, Sánchez is on faculty at the San Francisco Conservatory of Music and Chabot College. During the summers, Sánchez has been a guest with Music in the Mountains and the Utah Festival Opera and has been a faculty member of the Blue Lake Fine Arts Camp in Michigan. Sánchez also co-administers the popular online forum for clarinetists, Clarinet Jobs. Away from the clarinet, Sánchez spends his time pursuing the perfect cup of coffee, snowboarding in Lake Tahoe and camping in the beautiful state parks of California. Richard Savino’s performances and recordings have been praised by critics throughout the world. In addition to receiving two prestigious French awards, a Diapason d’Or and a 10 du Repertoire, he has been praised for recordings of eighteenth-century Mexican guitar music by Santiago de Murcia, as well as works by Giovanni Buonamente, Robert de Visée and Luigi Boccherini. As a member of Ensemble Galatea, Savino has recorded a collection of monody by Barbara Strozzi and works by Biagio Marini and Buonamente. His most recent recordings feature the music of de Visée, Mauro Giuliani and the first full orchestral period instrument version of Boccherini’s Guitar Symphonia with the Portland Baroque Orchestra. As a continuo player and accompanist, Savino has worked with some of the world’s most important artists and is a principal performer with the Houston Grand Opera, New York Collegium, Portland Baroque Orchestra, San Francisco Symphony and Glimmerglass Opera. Presently director of the ensemble El Mundo, Savino is also an avid writer, published by Cambridge University Press, Editions Chantarelle and Indiana University Press. Horn; Brass Chamber Music Bass Clarinet Guitar; Guitar Literature; Historical Plucked Strings Faculty Biographies 135 MICHAEL SCHROEDER MATTHEW SIEGEL ADAM SMYLA Michael Schroeder received a bachelor’s degree from Indiana University and an M.M. in composition from the San Francisco Conservatory of Music, where he studied with David Conte and Conrad Susa. As musical director of the Lawrence Pech Dance Company, Schroeder conducted the world premieres of Julia Adam’s Newton: Three Laws of Motion and Pech’s Chaverim. He was a member of the San Francisco Symphony Chorus from 1995 to 2002, and in February 2001 performed with them in Carnegie Hall. In February 2002, Mack McCray performed Schroeder’s Piano Suite as part of the Conservatory’s Faculty Artist Series. In May 2002, the University of California–Santa Cruz Chamber Singers performed a new work of his based on texts from the Song of Solomon, commissioned by Nathaniel Berman. Song of Solomon received two additional performances in February 2005 by the chamber chorus Sacred and Profane, under the direction of Rebecca Seeman. Future projects include a work for the Conservatory’s New Music Ensemble with conductor Nicole Paiement featuring accordion soloist Krassimir Sterev. Matthew Siegel was a 2009-2011 Wallace Stegner Fellow at Stanford University and earned degrees from the University of Houston and Binghamton University. Poems and essays appear or are forthcoming in Indiana Review, The Journal, The Lumberyard, Lo-Ball, Mid-American Review, TheRumpus.net and elsewhere. In addition to teaching literature and writing at the San Francisco Conservatory of Music and Stanford University’s Online Writer’s Studio, he is a contributing editor at The Offending Adam and reviews editor at Mantis: A Journal of Poetry, Criticism & Translation. Originally from New York, he lives in San Francisco. Adam Smyla first received recognition at the age of 17 when he won first prize in the National Viola Competition in his native Poland. Within six months, he became a member of the Polish National Radio and Television Orchestra, as well as violist with the Penderecki String Quartet. As a member of this quartet he toured throughout the world for nearly a decade, performing numerous concerts a year, with major performances in Europe and the United States. He has participated in the Oregon Bach Festival, the San Antonio Festival, the Peninsula Music Festival in Wisconsin, the Rome Festival and the Midem-Classique Festival in France. He has made numerous recordings for radio and television broadcasts throughout the world. Tours have included China in 1997 and Portugal in 1999, where he was featured soloist with the Orchestra Metropolitana de Lisboa. From 1995 to 2000 Smyla resided in Chicago, where he held the position of assistant principal violist of the Lyric Opera of Chicago. Currently he is acting associate principal violist of the San Francisco Symphony, and he enjoys performing chamber music with his wife and pianist, Edna Koren. Musicianship and Theory 136 Faculty Biographies Literature and Creative Writing Orchestral Training MARK SOKOL JOHN SPITZER MARCIE STAPP Mark Sokol studied violin with his father, Vilem Sokol, and with Dorothy DeLay and Robert Mann at The Juilliard School. He was first violinist of the United States Military Academy Quartet from 1967 to 1969, and violinist with the Center for the Creative and Performing Arts, directed by Lukas Foss, from 1970 to 1971. From 1971 to 1987 he was first violinist of the Naumburg Award-winning Concord Quartet, in residence at Dartmouth College. The quartet won Best Record of the Year awards from various magazines and journals, two Grammy nominations and two Emmy awards. Their recordings can be found on CRI, Vox-Turn-About, Nonesuch and RCA. Sokol has served on the composer and librettist panel of the National Endowment for the Arts and on the juries of the Naumburg and Carnegie Hall international violin competitions. A Berkeley, California native, John Spitzer studied bassoon in San Francisco with Walter Green and played in the Oakland Symphony under Gerhard Samuel. He earned a B.A. in history and literature from Harvard University (1967) and a Ph.D. from Cornell University in musicology (1983). From 1987 to 2004 he was on the faculty at the Peabody Institute of the Johns Hopkins University. He has also taught at University of Michigan and the University of California–Berkeley. Spitzer’s research interests include the history of the orchestra, American song, authorship and authenticity of musical works and relations between Western and Eastern music. He is the author of many reviews, essays and articles in the daily press, scholarly journals and also online. His book The Birth of the Orchestra (with Neal Zaslaw) was published in 2004 by Oxford University Press. Marcie Stapp, author of The Singer’s Guide to Languages, is a well-known vocal coach, accompanist and translator whose operatic translations are performed by leading music schools and professional companies across the country. She taught English and French at the Mangold Institute in Madrid, served as conductor/coach for the Academy of Vocal Arts, the Curtis Institute of Music, Indiana University, the Mozart Opera Studies Institute in Austria, Japan’s Osaka College of Music and Sakai City Opera, the Gernot-Heindl Opera Studio of Munich, San Francisco Opera Center and Hawaii Opera Theatre, among others. Stapp has accompanied the master classes of Margaret Harshaw, Renato Capecchi, Max Rudolf, Jess Thomas and Gerhard Hüsch and has appeared in recital with members of the Metropolitan, San Francisco and New York City opera companies. The Metropolitan Opera’s renowned diction coach Nico Castel selected her as the editor of his popular Opera Libretti Series, and the two collaborate annually on the Castel-Stapp Master Classes in San Francisco. String and Piano Chamber Music Music History and Literature Lyric Diction Faculty Biographies 137 AXEL STRAUSS CONRAD SUSA IAN SWENSEN Equally passionate about teaching and performing, German violinist Axel Strauss joined the San Francisco Conservatory of Music faculty in 2001. In 1998 he won the Naumburg Violin Award in New York, and in the seasons since has performed throughout North America as recitalist and soloist with major orchestras. His international concert appearances have taken him to Germany, Japan, China and Eastern Europe. Strauss has served as guest concertmaster of the Berlin Philharmonic as well as the Montreal Symphony Orchestra. His recordings include Kodály’s Duo for Violin and Cello, Brahms’s Sonatas, Op. 120, Sibelius’s Violin Concerto in D Minor, Op. 47 and Mendelssohn’s Songs Without Words. Most recently, Naxos released his recording of the 24 Caprices by Pierre Rode. Strauss taught violin at the Music Academy in Rostock, Germany, while completing his studies with Petru Munteanu. In 1996 he began working with Dorothy DeLay at The Juilliard School, and he became her teaching assistant in 1998. He performs on a violin by J.F. Pressenda, Turin 1845, generously loaned to him by the Stradivari Society in Chicago. Conrad Susa was resident composer for the Old Globe Theatre in San Diego and served as dramaturge for the O’Neill Center in Connecticut. He also has written numerous scores for documentary films and PBS television productions, choral and instrumental works and operas (Transformations, Black River and The Love of Don Perlimplín) commissioned by the Minnesota Opera Company, San Francisco Opera and Pepsico. He has written a church opera (The Wise Women) for the American Guild of Organists and an opera (The Dangerous Liaisons) for San Francisco Opera. He has served as staff pianist with the Pittsburgh Symphony Orchestra and as assistant editor of Musical America magazine. He has won numerous awards, including Ford Foundation fellowships, National Endowment for the Arts grants and a National Endowment Consortium grant. Susa earned a B.F.A. from Carnegie Institute of Technology and received a M.S. from The Juilliard School, where he studied with William Bergsma, Vincent Persichetti and P.D.Q. Bach. A native of New York, violinist Ian Swensen came from a musically gifted family of Norwegian and JapaneseHawaiian descent. He studied at The Juilliard School with Dorothy DeLay and the Eastman School of Music with Donald Weilerstein. He has lived in the Bay Area for nearly 20 years, teaching at the San Francisco Conservatory of Music and Sacramento State University. He is a passionate pedagogue, and his students have gone on to major positions in orchestras and teaching institutions around the world. Swensen also maintains an active schedule as soloist and chamber musician, appearing at Music@Menlo, with the Chamber Music Society of Lincoln Center, the Smithsonian Chamber Music Society and other venues. He has performed with members of the Juilliard, Cleveland, Emerson, Takács, Concord and Tokyo quartets, as well as Menahem Pressler, Gilbert Kalish, Mark O’Connor and Yo-Yo Ma. He is one of the few musicians to have been awarded the Walter W. Naumberg International Competition’s top prize for both chamber music and violin. His recordings can be found on the Telarc and Deutsche Grammophon labels. Violin 138 Faculty Biographies Composition; Musicianship and Theory Violin; String and Piano Chamber Music DAVID TANENBAUM MARC TEICHOLZ TANYA TOMKINS David Tanenbaum has performed in more than 40 countries and has been guest soloist with the San Francisco Symphony, Los Angeles Philharmonic, Minnesota Orchestra and others. He has worked tirelessly to expand the guitar repertoire, and composers such as Hans Werner Henze, Terry Riley, Lou Harrison and Aaron Jay Kernis have dedicated pieces to him. His more than three dozen recordings can be found on EMI, Nonesuch, Rhino, GSP, New Albion, Stradivarius and other labels. Tannenbaum’s most recent release is Awakenings: New American Chamber Music for Guitar on Naxos, for which he conducts the Conservatory Guitar Ensemble. He has produced many editions of guitar music, including the David Tanenbaum Concert Series for Guitar Solo publications. He has also written a series of three books, The Essential Studies, which analyzes the études of Sor, Carcassi and Brouwer and complements his recordings of those works on GSP. His chapter on “The Classical Guitar in the 20th Century” appears in the Cambridge Companion to the Guitar. Marc Teicholz won first prize in the 1989 International Guitar Foundation of America competition. He has toured extensively throughout the United States, Canada, Europe and Russia, receiving critical acclaim for his recitals and master classes. Teicholz also has toured Southeast Asia under the auspices of the U.S.I.A. Artistic Ambassador program and has appeared as a soloist with orchestras in Spain, Portugal, California and Hawaii. He currently records for Naxos and Sugo records. Teicholz graduated magna cum laude from Yale University and received an M.M. from the Yale School of Music and a J.D. from the Boalt School of Law at the University of California–Berkeley. Tanya Tomkins returned to the United States in 1998 after living in Holland for 14 years, where she toured and recorded extensively as a chamber musician. The first cellist ever to win the international Bodky Competition for Early Music Soloists, she is equally at home on baroque and modern instruments and has performed on many chamber music series, including the Frick Collection, Lincoln Center, the 92nd Street Y, San Francisco Performances and the Concertgebouw Kleine Zaal. Currently one of Philharmonia Baroque and Portland Baroque’s principal cellists, she has performed as soloist with both orchestras, including in the Beethoven Triple Concerto with Colin Jacobsen and Eric Zivian, featured on Philharmonia’s season highlights CD. She has performed at Umea, Sweden, the Oregon Bach Festival, Music in the Vineyards, Olympic Chamber Music Festival and Moab Chamber Music Festival. She is a member of the TomkinsZivian Duo, the Left Coast Chamber Ensemble and the Benvenue Fortepiano Trio with Monica Huggett and Zivian. The trio has recorded Mendelssohn and Schumann for the Avie label. Tomkins has performed and recorded the Bach cello suites on baroque cello, including an appearance at the Library of Congress featuring all six suites in one day. Chair, Guitar Department; Guitar Ensemble Guitar; Guitar Ensemble Orchestral Training Faculty Biographies 139 STEPHEN TRAMONTOZZI CÉSAR ULLOA Stephen Tramontozzi, assistant principal double bass of the San Francisco Symphony, studied with Robert Olson of the Boston Symphony Orchestra and Oscar Zimmerman at the Eastman School of Music. He held the position of principal bass of the Symphony Orchestra of Sao Paolo, Brazil and has also performed with the Chamber Music West Festival, San Luis Obispo Mozart Festival, Grand Teton Music Festival and the Cabrillo Music Festival. Formerly on the faculties of Stanford University and the Universities of California at Berkeley and Santa Cruz, Tramontozzi currently serves on the faculties of the San Francisco Conservatory of Music and Mills College. He has been called upon to present clinics and master classes for the Hammond Ashley Double Bass Symposium, Indiana University, University of Michigan, University of Texas, New England Conservatory, New World Symphony, Pacific Music Festival and the Asian Youth Orchestra. Engagements as a recitalist have taken him to Japan, Washington and throughout California. He received a B.M. from the New England Conservatory of Music, where he studied with Lawrence Wolfe, and an M.M. from the Conservatory. After an international opera career of more than 15 years, César Ulloa devotes his time to the development of opera singers around the world. He has taught at young artist programs in Israel, Puerto Rico, Italy, China, Mexico and Canada, as well as teaching at both the Domingo-Thorton YAP in Los Angeles and Domingo-Cafritz YAP in Washington, DC. He has held the position of Master Teacher for the past six years at the Merola and Adler programs of the San Francisco Opera Center and for the past 15 years for S.I.V.A.M., Mexico’s most renowned young artist program. His students perform at major opera houses and concert halls around the world and are winners in countless international vocal competitions. With 50 roles in his repertoire, his singing career brought him to the Metropolitan Opera, New York City Opera, Washington Opera, Canadian Opera, Dallas Opera and L’Opéra de Monte Carlo, among others. As a concert artist, he performed with the Israel Philharmonic, New York Philharmonic, as well as with the Boston, Milwaukee and Cleveland Symphony orchestras. He was the first prize winner of the American Opera Auditions. Double Bass; Orchestral Training 140 Faculty Biographies Voice JACK VAN GEEM Chair, Percussion; Director, Percussion Ensemble Jack Van Geem has been principal percussion and assistant timpanist of the San Francisco Symphony for 23 years. He has performed and recorded with the symphony as a mallet soloist, solo timpanist, snare drum soloist and featured solo percussionist. Before joining the Symphony in 1981, he performed for five years with the San Francisco Ballet Orchestra. He studied in Germany with Cristoph Caskel on a Hertz Fellowship and holds B.A. and M.A. degrees from California State University–Hayward, where he also taught. In addition to his work with the San Francisco Symphony, Van Geem has recorded and performed chamber music, music soundtracks and marimba and xylophone music. He recently finished recording a CD of marimba duets with Nancy Zeltsman and premiered Island Music, a work written especially for them by Michael Tilson Thomas. CATHERINE VAN HOESEN INDRE VISKONTAS LORI VOBEJDA The 2011–2012 season marked Catherine Van Hoesen’s 30th season in the first violin section of the San Francisco Symphony. She graduated from the Eastman School of Music Preparatory Department and earned a B.M. at The Juilliard School and an M.M. from Eastman. Her teachers have included Zvi Zeitlin, Ivan Galamian and David Nadien. During her master’s degree work with Zeitlin, she became his assistant. Van Hoesen has been heard as a soloist with many orchestras, including the Baltimore Symphony, the San Francisco Symphony, the Rochester Philharmonic and the Colorado Philharmonic. She maintains a busy teaching schedule and takes great pride in her students’ achievements. Many of her students now hold positions with local and major orchestras. A native of Rochester, New York, Van Hoesen was born into a musical family. One of her greatest influences was her grandfather, Karl Van Hoesen, who studied with Leopold Auer, Otakar Sevcik and Franz Kneisel. Indre Viskontas received a Ph.D. (cognitive neuroscience) from the University of California–Los Angeles, a M.M. (voice) from the San Francisco Conservatory of Music, and a B.Sc. (psychology and French literature) from the University of Toronto. An active performer, she specializes in contemporary opera, having created several opera roles and continuously collaborating with living composers in New York and San Francisco. She is cofounder and director of Opera on Tap: San Francisco and Vocallective, a consortium of musicians dedicated to vocal chamber music. Bridging science and art, Viskontas made her television debut as co-host of the docuseries Miracle Detectives on the Oprah Winfrey Network. She has published more than 30 original articles and chapters on the neural basis of memory and creativity, in prestigious journals and edited volumes. Her work has also been featured in Oliver Sacks’ best-selling book Musicophilia and in Discover magazine. She lectures widely on topics ranging from music and the brain to the allure of mystery. She serves as the editor of Neurocase and is a host of the Point of Inquiry podcast. www.indreviskontas.com. Lori Vobejda is the curriculum and educator adviser at San Francisco Opera. She has an extensive teaching and opera background and recently moved to the Bay Area from upstate New York in summer 2009. Prior to the move, she taught grades 1-3 for ten years, developed curricula for grades 1-6 and supervised preschool through grade 6 educators for two years as the lower school education director at Woodstock Day School. Prior to teaching, Vobejda held administrative positions with Opera America in Washington, D.C., and the Metropolitan Opera Association. She has 15 years of onstage experience singing and dancing and received a diploma in voice from Boston Conservatory. Orchestral Excerpts for Violin Training the Musical Brain Teaching Artistry Faculty Biographies 141 PETER WAHRHAFTIG ROBERT WARD PAUL WELCOMER Peter Wahrhaftig is principal tuba of the San Francisco Ballet Orchestra and the Sun Valley Summer Symphony and is a member of The Bay Brass. He performs frequently with the San Francisco Symphony, the San Francisco Opera, the San Francisco Contemporary Music Players and numerous other Bay Area ensembles. He studied with Arnold Jacobs at Northwestern University, where he earned a B.M., and also with Floyd Cooley. He has performed with many other groups including the Israel Philharmonic, the Chicago Symphony, the St. Louis Symphony, the Ringling Brothers-Barnum and Bailey Circus, the Spoleto Festival Orchestra and Metallica. Additionally, he has appeared on many recordings and movie soundtracks. When not behind his tuba, Wahrhaftig enjoys exploring the ample offerings of Bay Area hiking trails. Robert Ward has been a part of the Bay Area classical music scene since he joined the San Francisco Symphony in 1980 as associate principal horn. Since September 2007 he has held the position of principal horn, and can be heard on many of the symphony’s CDs, most recently playing solo horn in all of the Mahler symphonies, as well as the symphony’s Emmy-winning television production of Sweeney Todd. He has appeared at the Grand Teton Music Festival, the Peninsula Music Festival, the Colorado Music Festival and the Berkshire Music Center at Tanglewood, and he is a founding member of The Bay Brass. His Quartet for Horns was given its premiere at the International Horn Society Conference in Eugene, Oregon in 1996, and his Sound of the Sea and And All the Sea Sang for chorus and solo horn have been performed with San Francisco Choral Artists. A native of Schenectady, N.Y., he received a B.M. from Oberlin Conservatory in 1977. Paul Welcomer was born in West Chester, Pennsylvania. He joined the San Francisco Symphony in 1993 and currently holds the second trombone position. Welcomer studied trombone and received a B.M. from the Eastman School of Music under John Marcellus. Subsequently he attained an M.M. from the New England Conservatory, studying with John Swallow. Before joining the San Francisco Symphony, Welcomer served as principal trombone with the Alabama Symphony Orchestra and the Air Force Band in Washington, D.C. He has also played with the Boston Symphony, the Boston Pops and the National Symphony. A founding member of the Bay Brass, San Francisco’s large brass ensemble, Welcomer is also a partner with fellow symphony member Mark Lawrence in the company MarcoPaulo Publishing, which sells trombone music in stores and online. Tuba 142 Faculty Biographies Horn Trombone; Brass Choir WILLIAM WELLBORN CHEN ZHAO William Wellborn is in demand as a pianist, teacher and lecturer throughout North America and Europe and has given concerts in 25 states and ten countries. He received an M.M. (New England Conservatory) and D.M.A. (University of Texas) in performance, and a B.M. in piano pedagogy (University of Texas), where his teachers included Gregory Allen, Patricia Zander and Nancy Garret, and two leaders in the field of piano pedagogy, Amanda Vick Lethco and Martha Hilley. A scholar of historic musicians, Wellborn hosted the radio program Piano Legacy from 1995 to 1997. Since 1999 he has directed European musical tours exploring the lives and music of the composers Chopin, Liszt, Debussy, Ravel, Mendelssohn and Haydn. He has taught at master classes of the Saint Malo (1998–2003) and Franz Liszt Summer Piano Academy (2004–2007) programs and is currently on the faculty of the Austrian International Piano Seminar. Wellborn is the founding president of the San Francisco Bay Area chapter of the American Liszt Society. He records for the Marco Polo and Cambria Master Recordings labels and has been on the San Francisco Conservatory of Music faculty since 1989. Violinist Chen Zhao joined the San Francisco Symphony in August 2000. Since then he has participated in highly acclaimed performances and recordings of Mahler’s symphonies and the Keeping Score PBS documentary films under the direction of Michael Tilson Thomas. Chen has toured throughout the United States, Europe and Asia and performed at prestigious festivals such as Ravinia, La Jolla, Santa Fe, San Juan Islands, Evian and Lucerne. He has served as concertmaster of the New World Symphony and the Round Top Festival Orchestra, and he has appeared as a soloist with the Curtis Symphony Orchestra and Oslo Chamber Orchestra. He was also a founding member of the Round Top String Quartet. A graduate of the Curtis Institute of Music, San Francisco Conservatory of Music and Shanghai Conservatory of Music, his teachers include Camilla Wicks, Felix Galimir, Heiichiro Ohyama and Martin Lovett of the Amadeus Quartet. He is currently on faculty at the San Francisco Symphony Youth Orchestra and San Domenico School of Music. Piano Pedagogy Orchestral Training Faculty Biographies 143 144 Faculty Biographies Board of Trustees Officers Timothy Foo Chair Colin Murdoch President Deepa R. Pakianathan Executive Vice-Chair Edward W. Beck Vice-Chair William K. Bowes, Jr. Vice-Chair Michael R.V. Whitman Vice-Chair Joshua M. Rafner Treasurer Karen J. Kubin Secretary Kathryn Wittenmyer Assistant Secretary Trustees Kent Baum Patricia B. Berkowitz Eileen Blum-Bourgade Richard A. Bohannon, M.D. Mrs. Dix Boring Mrs. James F. Buckley, Jr. Mrs. Carol W. Casey Steven A. Cinelli Robert D. Cory Christiane P. de Bord Delia Fleishhacker Ehrlich Christian P. Erdman Mrs. A. Barlow Ferguson Mrs. Ernest Goggio Lisa M. Grotts Mrs. Jaquelin H. Hume—in memoriam Aditi Mandpe, M.D. Rose C. Meltzer Lorna F. Meyer Maura B. Morey Peter Pastreich Nancy Probst Matthew Raphaelson Diane M. Rubin Gary A. Rust, M.D. George S. Sarlo Camilla Smith Maureen O’Brien Sullivan Joan Traitel Barbara Walkowski Robert H. Zerbst Lifetime Trustees John M. Anderson John C. Beckman Ava Jean Brumbaum Reid Dennis Mrs. Harold B. Getz, Jr. Bruce W. Hart Warren R. Hashagen, Jr.—in memoriam Mrs. Richard C. Otter—in memoriam Michael J. Savage James H. Schwabacher, Jr.—in memoriam Mrs. Eugene Shurtleff John B. Stuppin Ashford D. Wood Advisory Board Gordon P. Getty Thomas Hampson Lotfi Mansouri Robert K. McFerrin, Jr. Frederica von Stade Isaac Stern—in memoriam Robin Sutherland ‘75 Michael Tilson Thomas Faculty Representative Robert Britton Administrative Staff Administration Business Office Information Systems Colin Murdoch President Mary Ellen Poole Dean Jason Smith Associate Dean for Student Life Kathryn Wittenmyer Vice President, Finance and Administration Jennifer Seaman Executive Assistant to the President Alice Beckett Assistant to the Dean Caitlin Shepherd Student Life Assistant Whitney Valentine Senior Accounting Manager Jennifer Chang Payroll Manager Filiz Caglayan Student Accounts Manager Eileen Brown Accounts Receivable Technician Marina Shapiro Accounts Payable Technician Jeff Fisher Director Brann Mitchell Network Administrator Admission Melissa Cocco-Mitten Director of Admission Tessa Borelli Associate Director of Admission Advancement Elizabeth Touma Vice President for Advancement Lisa M. Jones Advancement Assistant Communications Sam Smith Director of Communications Beatriz Américo Graphic Design Manager John Bischoff Communications Coordinator Christopher Basso Communications Assistant TBA Digital Communications Manager 146 Community Service/Music To Go! Kevin McLaughlin Head Librarian Rodney Linebarger Assistant Librarian Brittany Hicks Evening/Weekend Circulation Supervisor Sara Hagenbuch Evening/Weekend Circulation Supervisor Elisabeth Lowry Performance Outreach Manager Orchestra and Ensembles Concert Office Seth Ducey Production Manager Lauren Brown Assistant Production Manager Chris Ramos Coordinator, Box Office and Online Book Sales Jason O’Connell Director of Recording Services Melodie Myers Assistant Director of Recording Services Facilities David Mitchell Chief Facilities Engineer Anthony Vella Assistant Chief Engineer Valentin Ponce Stationary Engineer Charles Coones Assistant Facilities Manager, Maintenance Specialist Development Financial Aid Murrey Nelson Director of Development June Hom Manager of Individual Giving Jessica Neaves Institutional Gifts Manager Mario Lemos Development Information Manager Christian Mills Special Events Manager Doris Howard Director of Financial Aid Katelyn Buttaro Assistant to the Financial Aid Director Administrative Staff Library Human Resources Michael Patterson Director Erika Johnson Orchestra Manager Kathryn Curran Assistant Orchestra Manager Preparatory and Adult Extension Divisions Joan Gordon Director Debora Tully Assistant to the Director Laura Reynolds Summer Programs Coordinator Reception Janice Vierra Administrative Reception Coordinator Registrar and Student Records Jonas Wright Registrar Ruby Pleasure International and Transfer Student Advisor Carissa Ibert Assistant to the Registrar Index A Academic advising 32 Academic calendar 2 Academic regulations 28–36 Accompanists and Vocal Coaches 6 Accreditation 8 Adding courses 31 Administrative staff 146 Admission 19–22, 37–40, 57–62 Adult Extension Division 8 Alexander Technique 76 Alumni 9–10 Appeals, academic policies 32 Applying to the Conservatory (see “Admission”) Artist Certificate in Chamber Music 63–64 Assistantships (graduate) 26 Attendance 28–29 Auditions Graduate 21–22, 57–62 Undergraduate 21–22, 37–40 B Bachelor of Music 40–56 Baroque program 15, 17, 76–78 Bass (see “Double bass”) Bassoon 38, 47, 51, 58, 69, 96 BluePrint 16, 77 Board of Trustees 145 Brass/Woodwind Ensemble 15, 16, 77, 78 C Calendar, academic 2 Cello (see “Violoncello”) Chamber music 13, 15, 16, 17, 58, 63–64, 78 Change of major teacher 31 Clarinet 38, 47, 50, 59, 68, 96 Classical Guitar (see “Guitar”) Collaborative Piano 64-65 Concert Hall 10 Community Service Program 16, 99 Composition 38, 42, 59, 65, 75, 99 Computer Center 11 Conducting 59-60, 65–66, 98 Conservatory Baroque Ensemble 15, 77 Conservatory Chorus 15, 77 Conservatory Opera Program 14–15 Conservatory Orchestra 14, 76–77, 79 Course descriptions 73–99 Credit by examination 31–32 Curriculum Graduate 62–63 Undergraduate 40–41 D Degrees Bachelor of Music 37–40 Master of Music 54–70 Diplomas Postgraduate Diploma in vocal performance 57, 62, 70–71 Professional Studies Diploma in instrumental perforamnce 57, 62, 71 Dismissal 30 Double bass 38, 47, 49, 59, 60, 96 Dropping courses 31 E Elective options, Undergraduate 41 Electronic music studio 11 English as a second language 21, 80 English proficiency 20–21 Ensembles 14–16, 76–79 F Facilities 10–11 Faculty 3–6 Faculty biographies 100–143 Fees and deposits 23 Financial aid 25–28 Financial information 23–28 Flute 38, 47, 50, 60, 68, 96 Foreign language courses 80–81 French 74, 81 French horn (see “Horn”) Full-time status 28 G General education courses 79–85 German 75, 81 Grading 29–30 Graduate study 57–71 Application and auditions 57–62 Assistantships 26 General requirements 57–62 Graduation requirements Graduate 62–71 Undergraduate 40–56 Grants 26 Guitar 15, 38, 43–44, 60, 66, 77, 87–88 Guitar Ensemble 15, 77 H Harp 38, 49, 60, 68, 99 Harpsichord 38, 46–47, 60, 67–68, 99 Health insurance 24 Historical Performance Program, Emphasis in 17, 43, 46–47, 66, 67–68 History courses 82–83, 86–93 Honor Code 32–35 Horn 38, 47, 51–52, 60, 68, 99 Housing 25 Humanities (see “General Education”) I Improvisation 98 Incomplete grade 29–30 Independent studies 85–86 Individual instruction 40, 62, 99 International students 21 Italian 75, 80 J Job placement (see “Music to Go!”) Jury examinations Graduate 62–71 Undergraduate 40, 42–56 Index 147 K Keyboard instrument requirements, Graduate 67–68 Undergraduate 44–47 L Language courses 74–75, 80–81 Leaves of absence 29 Library 11 Listening room 11 Literature courses 81–82 Living expenses 24 Loans 27 M Master classes 13–14 Master of Music 57–63 Master of Music in chamber music 57–59, 63–64 Master of Music in conducting 59–60, 65–66 Master of Music in collaborative piano 64–65 Musical Theatre Workshop 16, 78 Music History and Literature 86–93 Musicianship and Music Theory 93–96 Music to Go! 16–17 N New music 16–18 New Music Ensemble 16, 77 New student testing 22 O Oboe 39, 47, 50–51, 60, 68, 98 Opera 14–15, 78–79 Orchestra 14, 76–77 Orchestral instrument requirements, Undergraduate 47 Graduate 68 Organ 39, 44–45, 60, 67, 99 Osher Salon 10-11 148 Index P Part-time status 28 Pedagogy 75–76 Percussion 16, 39, 53–54, 68, 78 Personal expenses 24 Philosophy courses 83 Piano 39, 44–45, 60–61, 67–68, 97, 99 Piano for non-majors 97 Placement and proficiency 19–22 Postgraduate Diploma in vocal performance 57, 62, 70–71 Practical Aspects of a Career in Music 76 Probation 30 Professional Studies Diploma in instrumental performance 57, 71 R Recital Hall 10 Recitals 40–41, 62–63 Recording studio 11 Refunds 24 Regulations 28–36 Remedial courses 79–80 Repertoire requirements Composition 42 Guitar 43–44 Keyboard instruments 44–47 Orchestral instruments 47–54 Voice 54–56 S Scholarships 25–26 Science and mathematics courses 84 Social science courses 84 Special student status 28 Staff 146 T Testing for new students 22 TOEFL 21, 37, 57 Transfer students 20, 32 Trombone 39, 52, 61, 68, 99 Trumpet 39, 52, 61, 68, 99 Tuba 39, 52–53, 61, 68, 99 Tuition 23 U Undergraduate study Applications and auditions 19–22 Core curriculum 40–41 General Requirements 37–40 Major field requirements: Composition 42 Guitar 43–44 Keyboard instruments 44–47 Orchestral instruments 47–54 Voice 54–56 V Veterans 27 Viola 39, 48, 59, 61, 68, 98, 99 Violin 40, 47, 59, 61, 68, 99 Violoncello 40, 48, 59, 62, 68, 97, 99 Voice 40, 54–56, 62, 70–71, 74–75, 99 W Withdrawal 24, 29 Work-study 26 Innovative. Intimate. Inspiring. 50 Oak Street San Francisco CA 94102-6011 Tel. 800.899.SFCM Fax. 415.503.6299 [email protected] www.sfcm.edu
