dma guidelines 2016-17 prepare

DMAGUIDELINES

POLICIESANDPROCEDURESFORSTUDENTSMATRICULATINGINTOTHEDOCTOROFMUSICALARTSDEGREE

ATTHEPEABODYCONSERVATORYINTHEFALLSEMESTEROF2017

AVAILABLEONLINEAT:http://www.peabody.jhu.edu/dma

T H E O F F I C E O F The Peabody Institute of The Johns Hopkins University A C A D E M I C 1 East Mount Vernon Place • Baltimore, MD 21202-2397

A F F A I R S T E L E P H O N E 6 6 7 . 2 0 8 . 6 6 8 5

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TIMELINEFORTHEDMAPROGRAM

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Residency:YearOne

• DMAResidency:Requiredcoursework(see“RequirementsbyMajor”)• Recitals• PreliminaryOralExam(springsemester)

Residency:YearTwo

• Requiredcoursework(see“RequirementsbyMajor”)• Recitals• Finalizeandreportchosenmusicologyandtheoryadvisors• MeetwithDeanMathewsinJanuarytoapplyforDIPstatus• Inthespringsemesterregisterfor:

o PY.610.755-756GraduateResearcho PY.610.813Consultationo PY.310.793Compositions/Commentaryo PY.610.791Dissertation(ifyouhavechosenthedissertationtrack)

Degree-in-Progress

• LanguageExam:3hours• MusicHistoryExam:8hours• MusicTheoryExam:8hours• MajorFieldExam:3hours

DMACandidacy

• FinalOralTopicsApproval• FinalOralExam(penultimatesemester)• FinalDocument• LectureRecital

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August2017GreetingsandwelcometoPeabody’sDMAProgram!Thefollowingpagesprovideadetailedoverviewoftheprogram.Inadditiontospecificsaboutcoursework,recitals,advisorycommittees,thepreliminaryoralexam,andqualifyingexaminations,thispacketincludessamplelanguageexamsandtemplatesubmissionforms.Ifyouhaveanyquestionsaboutthecontentsofthispacket,pleasemakeanappointmenttoseeme.Ilookforwardtoworkingwithyou.Sincerely,

Dr.PaulMathews(Peabody,1998)AssociateDeanforAcademicAffairs667.208.6685|[email protected]

Mission ofTheJohnsHopkinsUniversity

↓ThemissionofTheJohnsHopkinsUniversityistoeducateitsstudentsandcultivatetheircapacityforlife-longlearning,tofosterindependentandoriginalresearch,andtobringthebenefitsofdiscoverytotheworld.

Mission ofthePeabodyInstitute

↓ThePeabodyConservatorystrivestoprovideaspiringartistswiththeskillstopursueprofessionalcareersintheartsaswellastheeducationtobecomeleadersintheculturallifeoftheircommunities.

Mission oftheDoctorofMusicalArtsDegree

®

TheprogramleadingtothedegreeofDoctorofMusicalArts(DMA)providesstudentswiththehighestlevelofprofessionaltrainingintheartofmusicalperformanceorthecraftofmusicalcomposition.Tothisend,appliedstudyinthemajorfieldissupportedbyextensiveacademicworkinmusicologyandmusictheory.TheDoctorofMusicalArtsdegreecertifiesthatitsholderisasophisticatedprofessionalwiththerequisiteskillsandunderstandingtobeaneffectiveleaderinhisorherfield.

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TABLEOFCONTENTSTimelinefortheDMAProgram...............................................................................................2

TableofContents...................................................................................................................5

DMARESIDENCY....................................................................................................................7FoundationalRequirements.............................................................................................................7

MajorLessons......................................................................................................................................7MusicologyColloquium.......................................................................................................................7MusicologyandMusicTheory.............................................................................................................7HumanitiesElective.............................................................................................................................7GeneralElectives.................................................................................................................................7GraduateResearch..............................................................................................................................7

RequirementsbyMajor....................................................................................................................8Composition........................................................................................................................................8OrchestralConducting.........................................................................................................................9WindConducting...............................................................................................................................10Guitar.................................................................................................................................................11OrchestralInstruments......................................................................................................................12PianoandOrgan................................................................................................................................13Voice..................................................................................................................................................14

AdvisoryCommittees.....................................................................................................................15AcademicAdvisoryCommittee.........................................................................................................15MajorFieldCommittee......................................................................................................................15DoctoralCommittee..........................................................................................................................15Recitals..............................................................................................................................................16Registration.......................................................................................................................................16ProgramApproval..............................................................................................................................16ProgramNotes...................................................................................................................................16RequirementsbyMajor.....................................................................................................................16SpecializedRecitals............................................................................................................................17

PreliminaryOralExamination.........................................................................................................18ComponentsoftheExam..................................................................................................................18ExamPreparation..............................................................................................................................18

DEGREEINPROGRESS............................................................................................................20RegistrationRequirements.............................................................................................................20QualifyingExaminations.................................................................................................................20

LanguageProficiencyExam...............................................................................................................21MajorFieldExam...............................................................................................................................21MusicologyExam...............................................................................................................................21MusicTheoryExam............................................................................................................................22

DMACANDIDACY..................................................................................................................22FinalOralExamination...................................................................................................................22

ComponentsoftheExam..................................................................................................................22FinalOralExamTopics.......................................................................................................................23SchedulingtheExam..........................................................................................................................24

Lecture-RecitalPaper.....................................................................................................................24CompositionPortfolio/Commentary..............................................................................................25

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Dissertation....................................................................................................................................26

Appendix...............................................................................................................................28AppendixA:SampleFrenchExam..................................................................................................28AppendixB:SampleGermanExam.................................................................................................29AppendixC:SampleItalianExam...................................................................................................30AppendixD:FinalOralExaminationTopicTemplate.......................................................................31AppendixE:SampleTitlePage.......................................................................................................32AppendixF:DissertationProposalForm.........................................................................................33AppendixG:PreviouslyApprovedFinalOralExamPresentationTopics..........................................34AppendixH:PreviouslyApprovedFinalOralExamRepertoireTopics.............................................35AppendixI:ConductingProposal....................................................................................................36

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DMARESIDENCYThe program of study for the Doctor of Musical Arts degree normally requires anattendance of two years. Studentmust attend full time for at least one year (earning aminimumof18 credits andamaximumof36 credits for one academic year, including8creditsofprivatestudy),andmaycompletetheremainderoftheirrequirementsonapart-timebasis.However,studentsintheUnitedStatesonanF-1visamustremainfull-timeforthedurationoftheirstudies.FoundationalRequirementsMajorLessonsIndividualstudioworkfocusesonrepertoiredevelopmentandculminatesinaseriesofrecitalsorfinalprojects,dependingonthechosenpathofstudy.DMAstudentsmayelectalternativeprogramsofstudyinsomeareas(seeindividualcurriculumdescriptions).DMAstudentsmayperforminlargeensemblesonaspace-availablebasis.MusicologyColloquiumDMAstudentsarerequiredtoenrollinonesemesterofMusicologyColloquium(610•847or610•848)duringtheirfirstyearandwillbeplacedinafallorspringsemesterattheirinitialorientationsession.DMAColloquiumhasastrictattendancepolicy.StudentswhomustmissaclassduetoprofessionalengagementsshouldpetitiontheDoctoralCommitteeforapproval.MusicologyandMusicTheoryDMAstudentstypicallytakesixcreditsofmusictheory(twograduateseminars)andthreecredits of musicology (one graduate seminar). However, some majors (such ascomposition) requireadditionalgraduateseminars.Studentsare limited to twograduateseminarspersemester.HumanitiesElectiveDMA students are required to take one 3-credit upper-level (300 level) course inHumanitiesattheSchoolofArtsandSciencesofTheJohnsHopkinsUniversityoranotheraccreditedinstitution.Thetopicofthecoursemustbeonanon-musicalsubject.QuestionsabouttheappropriatenessofcoursescanbedirectedtotheAssociateDeanforAcademicAffairsortheAcademicProgramCoordinator.GeneralElectivesUnlessotherwisespecified,thetermelectivemeansclasselective.Onlycourseslistedas“G”intheMasterScheduleofClassescancountforgraduateelectivecredit.Ensemblecreditsdonotcountaselectives.GraduateResearchDuring the final semester of coursework, students must register for Graduate Research(PY.610•755-756)toavoidper-creditchargesduringtheirDegree-in-Progressstatus.

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RequirementsbyMajorComposition

MAJORAREAMajorLesson PY.100.100 16DepartmentalSeminar PY.310.845–846 4Compositions/Commentary PY.310.793 3

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PROFESSIONALSTUDIESBuild PY.123.201 2

BusinessofMusic PY.123.203 2Implement PY.123.301 1

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SUPPORTIVECOURSESINMUSICMusicologyColloquium PY.610.847,848 3

MusicologySeminars PY.610.6xx 6MusicTheorySeminars PY.710.6xx 12GraduateResearch PY.610.755 2Consultation[DIP] PY.610.813 2

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ELECTIVESElectives xxx•xxx 7HumanitiesElective xxx•xxx 3

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TOTAL 63

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OrchestralConducting

MAJORAREAConductingSeminar PY.330.847-848 16

Recital PY.330.721 2Recital PY.330.722 2Recital PY.330.723 2Recital PY.330.725 2Document PY.610.792 2

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MusicologySeminar PY.610.6xx 3MusicTheorySeminars PY.710.6xx 6GraduateResearch PY.610.755 2Consultation[DIP] PY.610.813 2

16


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TOTAL 63

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WindConductingMAJORAREA

ConductingSeminar PY.330.851-852 16Recital PY.330.721 2Recital PY.330.722 2Recital PY.330.723 2Recital PY.330.725 2Document PY.610.792 2

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5



16


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TOTAL 63

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GuitarMAJORAREA

MajorLesson PY.100.100 16Recital(solo) PY.470.721 2Recital(solo) PY.470.722 2Recital(solo) PY.470.723 2Recital(concerto) PY.470.725 2Recital(chamber-music) PY.470.726 2Recital(LectureRecital) PY.470.727 2Document PY.610.792 2

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5



16


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TOTAL 63

DISSERTATIONTRACK SameNumberofCreditsSubtract:Recital(concerto) PY.190.797 -2Subtract:Recital(chamber-music) PY.190.798 -2Subtract:Recital(LectureRecital) PY.190.799 -2Subtract:Document PY.610.792 -2Add:GraduateResearch PY.610.755 2Add:Dissertation PY.610.791 6

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OrchestralInstruments

MAJORAREAMajorLesson PY.100.100 16

Recital(solo) PY.xxx.721 2Recital(solo) PY.xxx.722 2Recital(solo) PY.xxx.723 2Recital(concerto) PY.xxx.725 2Recital(chamber-music) PY.xxx.726 2Recital(LectureRecital) PY.xxx.727 2Document PY.610.792 2

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5



16


12

TOTAL 63


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PianoandOrgan

MAJORAREAMajorLesson PY.100.100 16

Recital(solo) PY.450.721 2Recital(solo) PY.450.722 2Recital(solo) PY.450.723 2Recital(concerto) PY.450.725 2Recital(chamber-music) PY.450.726 2Recital(LectureRecital) PY.450.727 2Document PY.610.792 2

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5


MusicologySeminar PY.610.6xx 3MusicTheorySeminars PY.710.6xx 6PianoSeminar PY.450.845 1GraduateResearch PY.610.755 2Consultation[DIP] PY.610.813 2

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TOTAL 64

VariationforOrgan: 63Credits PianoSeminar PY.450.845 -1

Allrecitalswilluseorganprefix(PY.460)insteadofpianoprefix(PY.450)


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VoiceMAJORAREA

MajorLesson PY.100.100 16Coaching PY.186.711-714 4Recital(solo) PY.530.721 2Recital(solo) PY.530.722 2Recital(solo) PY.530.723 2Recital(solo) PY.530.725 2Recital(Chamber-music) PY.530.726 2Recital(LectureRecital) PY.530.727 2Document PY.610.792 2

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5



16


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TOTAL 64


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AdvisoryCommitteesThe Office of Academic Affairs, in coordination with the major teacher, an AcademicAdvisory Committee, and the Doctoral Committee, oversees the work of DMA students.Somedepartmentsassignagroupof faculty togradeall recitals forperformancemajors,whichmaybeconsideredasecondadvisorycommittee,orMajorFieldCommittee.AcademicAdvisoryCommitteeTheAcademicAdvisoryCommitteeconsistsof:

1. TheMajorTeacher2. TheMusicologyAdvisor3. TheMusicTheoryAdvisor

Themembers of this committee are available to the student for consultation and adviceconcerningcurriculumandpossibledissertation/papertopics.Membersofthiscommitteealsosubmitquestionsforthewrittenqualifyingexaminationsandserveonthecommitteefor the Final Oral Examination. Each student must select the members of his or hercommittee before entering Degree-in-Progress status. The student’s DIP status will befinalizedonlyafter the student confirmshisorheradvisorswithDeanMathewsand theAcademicProgramCoordinator.MajorFieldCommitteeTheMajorFieldCommitteeconsistsofthemajorteacherandoneortwofacultymembersfromthestudent’smajorfieldandisresponsibleforapprovingrepertoireandgradingthestudent’srecitals.ThepianodepartmentspecificallyassignseachDMApianist’sMajorFieldCommitteewhenastudentmatriculates.DoctoralCommitteeThe Doctoral Committee is a standing committee of the Conservatory Faculty Assemblythat oversees all aspects of each student’s program in coordination with the Office ofAcademicAffairs. Themembers are appointedby theSeniorAssociateDeanof InstituteStudies, and the committee is governedby a faculty co-chair and theAssociateDean forAcademic Affairs. The Doctoral Committee is comprised of nine faculty members andmeetsmonthlyduringeachacademicyear.Forthe2017-18academicyear,themembersoftheDoctoralCommitteeare:

• OscarBettison• VictoriaChiang• SharonLevy• LauraProtanoBiggs• BorisSlutsky• KipWile• 7thMemberTBD

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RecitalsAminimumofthreerecitalsisrequiredofallperformancemajors.Anystudentnotplayingadegree recital in a yearof residencywill be scheduled for a gradedhearingbefore thedepartment faculty at the end of the spring semester. Students should be registered formajorlessonsineverysemesterinwhicharecital ispresented,withtheexceptionofthechambermusicandlecturerecital.RegistrationRegistration for recital dates is set according to schedules and guidelines posted by theConcertOffice.Studentsshouldtakecaretoregisterforthecorrectcoursenumberforeachrecital(“xxx”referstothedepartmentalprefix):

xxx.721.....1stsolorecital xxx.725....Concertoxxx.722.....2ndsolorecital xxx.726....ChamberMusicxxx.723.....3rdsolorecital xxx.727....LectureRecital

ProgramApprovalTherepertoireforeachrecitalprogrammustbeapprovedbytheOfficeofAcademicAffairsandthestudent’smajorteacher.Whenselectingrepertoire,pleasenotethefollowingtimerequirements.ProgramNotesEach DMA student must write original program notes of publishable quality andappropriatelengthforeveryrecital.Allprogramnotesmustbeapprovedbythestudent’sMusicologyadvisorbeforetherecitalprogramwillbeapprovedbytheOfficeofAcademicAffairs. Studentsshouldforwardtheiradvisor’semailapprovaldirectlytotheAcademicProgramCoordinator. StudentswithoutaconfirmedMusicologyadvisorcanaskanyfull-timememberoftheMusicologyDepartmentforapproval.RequirementsbyMajor

PerformanceMajors:One recital program may be specialized in content if the others are varied. Oneensembleprogrammaybepresented (forpianomajors,oneensembleprogram isrequired).

ConductingMajors:Students make arrangements for their recitals in coordination with their majorteacher and the Administrator of the Conducting Program. The recital programmustbeapproved inadvanceof theperformanceandstudentsmustcomplete thenecessary paperwork for scheduling and registration as required by the ConcertOffice in consultationwith the Ensemble Office. Each conducting recitalmust berecorded (both audio and video) and presented to the faculty for review andgrading.

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SpecializedRecitals

ConcertoRecitalAs a rule, the concerto recital is performed with piano accompaniment. AperformancewithorchestraatPeabodyorelsewheremaybeacceptedinfulfillmentoftherequirement,providedthatallmembersofthestudent’sMajorFieldAdvisoryCommitteearepresentattheperformance.Ajointconcertorecitalmaybegivenbya DMA conducting student and a DMA instrumental/ vocal student. Studentsmustbeenrolledinlessonswhenperformingtheconcertorecital.

ChamberMusicRecitalThe chambermusic recitalmust be coached by amember of the chambermusicfaculty as designated in the Peabody Catalog. Students are not required to beenrolledinlessonswhenperformingthechambermusicrecital.

LectureRecitalThelecturerecitalisbaseduponaresearchpaperpreparedundertheguidanceofafaculty advisor and is presented in a semester in which the DMA student is notregisteredfor lessons.Themusicalportionofthelecturerecitalshouldnotexceed20 minutes. Multimedia and notes are allowed, however students should avoidreadingfromapaper.TheserecitalsmusttakeplaceinCohenDavisoninordertobevideoandaudiorecorded.The lecture-recitalpapermustbecompletedbeforetherecitaloccurs,orbyApril15of theyear inwhichthestudent intendstograduate,whichever comes first. Conducting and composition majors are not required tocompletealecturerecital,however,bothmajorsarerequiredtowriteafinalpaperofequivalentsubstancetothelecture-recitalpaper.

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PreliminaryOralExaminationStudentstakethePreliminaryOralExaminationduringthesecondsemesterofstudy.Theexamisintendedtodemonstrateastudent’sabilitytospeakaboutasinglesubstantialpieceofrepertoire,whichischosenbythestudentandapprovedbytheDoctoralCommitteeinthefirstsemesterofstudy.Thegoalistoidentifyareasinwhichthestudentmayneedadditionalstudy.TheexamisadministeredbymembersoftheDoctoralCommittee,whichmaystipulateremediationbeforethestudentsitsforaretake.ThePreliminaryOralExaminationisgradedona“pass/fail”basis. StudentswhofailpartorallofthePreliminaryOralExaminationarerequiredtoretakeitatadatedeterminedbythe Office of Academic Affairs. All DMA students must pass the Preliminary OralExaminationinordertoachieveDegree-in-Progressstatus.ComponentsoftheExam

1)Repertoireexamination(15minutes)During this portion of the exam, the student demonstrates his or her ability torespondtoquestionsaboutachosentopic.ThemembersoftheDoctoralCommitteeprovide approximately five repertoire options fromwhich the studentmay selecthis or her piece. Students should not prepare a memorized presentation orstatement.Nowrittenmaterialsarepermitted.

2)Listeningexamination(60minutes)The written listening exam consists of three musical excerpts chosen by themembersof theDoctoralCommittee. The listeningexcerptsarebetweenoneandtwominutesinlengthandmayincludemusicfromanyera.Thestudentisgivenatotal of fifteen minutes to respond in writing to specific questions about eachexcerpt. Thestudent isnotnecessarilyexpectedtocorrectly identifyeachexcerptbytitleandcomposer,however,thestudentmustbeabletoidentifyspecificmusicalfeatures of the excerpt and demonstrate critical thinking skills as a way ofpinpointingstyle.

ExamPreparationFortherepertoireportionoftheexam,studentsshouldbeabletospeaktothefollowingtopics:

• Historical context (e.g.when thepiecewascomposed;whatwasgoingon in theworldat that time;whatotherpiecesthecomposerwasworkingonat thetime;whatcontemporarycomposerswereworkingon).

• Form (e.g.whether composition follows any recognizable formal template; howdoes the form work; how, if at all, does the formal structure deviate from thestructuralnormsofthetime).

• Harmony (e.g. identify chords and key areas throughout the composition,includingmodulatoryandunstablesections; identifynon-tonaldevices includingmodes,quartalharmonies,exoticscales,extendedtertianharmonies).

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• Counterpoint(e.g.identifyandexplainanyaspectsofcontrapuntaltechniquesandtextures).

• Pitchorganization(e.g.explainsystemsofpitchorganization includingmodality,tonality,atonality,serialism,pan-tonality).

• Instrumentation (e.g. how the instruments are used in the composition; theirtranspositions;non-traditionaltechniques).

• Text(e.g.translation;textsetting).• Expression(e.g.thecharacterofthecomposition;thedramaticornarrativeshape

ofthepieceincludingitsclimax).• Critical view (e.g. your opinion of the merits of the composition; substantive

reasonsthatsupportyouropinions).• Individuality(e.g.explainwhythiscompositionisuniqueorspecial; identifyany

aspectswhicharegroundbreakingforfutureworks).• Performanceissues(e.g.particularperformanceissuesinvolvingscoring,balance,

particularinstrumentaldifficulties,performancepractice,orinterpretiveissues).• Secondarysources(e.g.familiaritywiththeideasofothermusicians/scholars.)

Forthelisteningportionoftheexam,studentsmustrespondtothefollowingquestionsforeachexcerpt:

• Whenandwheredoyouthinkthispiecewaswritten?Bereasonablyspecific,givingbothaperiod(e.g.earlyBaroque,lateRomantic,etc.)andapproximatedecadesortimeincentury,(e.g.,early17thcentury,c.1840-1860,etc.)

• Whatgenre(i.e.symphony,stringquartet,lied,aria,sonata,etc.),orpossiblyform,doyouhear?

• Whomighthavebeenalikelycomposer?• Whataresomemusicalspecificswhichledyoutoyouranswers,above?Usebullet

points,notprose.Consideraspectssuchas,butnotlimitedto,harmony,texture,phrasestructure,timbre,etc.

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DEGREEINPROGRESSAfterpassingthePreliminaryOralExamination,completingallacademicrequirements,andperformingatleasttworecitals—orthenumberofrecitalsprescribedbythedepartment—DMAstudentsachieveDegree-in-Progress(DIP)status.Forthepurposesofstudentloansandvisas,Degree-in-Progressstudentsarefull-timestudents.RegistrationRequirementsBefore attaining Degree-in-Progress (DIP) status, each student must meet with theAssociateDean in January.During thismeeting, studentswill be required to confirm themembers of his or her Academic Advisory Committee and provide a timetable forcompletingrecitals,qualifyingexams,andtheFinalOralExam.

IntheirlastsemesterofstudybeforeDIPstatus,studentsmustregisterforPY.610.755-756GraduateResearch. Failure to register for this classwill incur substantialprogrammaticand financial penalties. In Graduate Research, students identify independent researchtopicswithamemberofthemusicologyfacultywhowillbecometheirmusicologyadvisorfortheremainderoftheirdoctoralprogram.WhileaDegree-in-Progressstudent,thegradeforGraduateResearchwill be recorded as “IP” (“in progress”) andwill resolve once thelecture-recitalpaperiscompleted.At this time, DMA students are also required to register for PY.610.813 Consultation,PY.310.793Composition/Commentary(compositiononly),andPY.610.791Dissertation(ifthedissertationtrackischosen).Thegradeforthesecourseswillberecordedas“IP”(“inprogress”) for each subsequent semester until the respective degree requirements havebeencompleted.QualifyingExaminationsAdmissiontocandidacyisdeterminedinpartbytheresultsofthefourwrittenqualifyingexaminations: Language Proficiency,Major Field,Music History, andMusic Theory. Allexaminations are graded on a “pass/fail” basis. A student who fails any qualifyingexaminations twice must petition the Doctoral Committee for permission to take theexaminationathirdtime.

Written exams are created by the respective faculty advisor in a student’s AdvisoryCommitteeandadministeredbytheOfficeofAcademicAffairs.Theymaybetakenduringthefollowingperiodsbeginninginthesecondyearofcoursework:• OctoberthroughNovember• JanuarythroughMarch(SpringBreak)

Students must pass all qualifying examinations before sitting for the Final Oral Examination.

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• 15Mayto15AugustInordertoscheduleanyqualifyingexams,theDMAstudentshouldsubmitarequest(viaemail)totheAcademicProgramCoordinatoratleasttwoweeksinadvance.Thestudentisresponsible for confirming the proposed exam date with the pertinent faculty advisorbeforescheduling it through theOfficeofAcademicAffairs.Examsmustbescheduledonweekdaysduringbusinesshours(9AM–5PM).TheMusicologyandMusicTheoryExamsmaybesplitintotwosegmentsonconsecutivedays.Ontestingday,studentsmayretrievetheexamfromtheOfficeofAcademicAffairs,wheretheywillbeaskedtosurrendertheirmobilephoneandothermaterials except thosenecessary for testing. Studentsmay thencarrytheexamtotheArthurFriedheimLibrarytocompletetheirwork.Examtimescannotoverlapwithothersandschedulingisonafirstcome,firstservebasis.LanguageProficiencyExamDMAstudentsarerequiredtodemonstrateproficiencyinFrench,German,orItalian. Forthe Language Proficiency Exam (3 hours), students must translate 2-3 passages intoEnglishwiththeaidofalanguagedictionary(printedbookonlyprovidedbythestudent).Noelectronicdevicesareallowed.Students who wish to take the Language Examination in a language other than French,German,orItalianmustpetitiontheDoctoralCommitteeforpermission.Permissionisonlygranted in cases where the student’s field of study is strongly related to the proposedlanguageandpendsupontheavailabilityofanappropriateevaluator.MajorFieldExamThe Major Field Exam (3 hours) is designed to test students on the historical, stylistic,and/orpedagogicalaspectsofabroadrangeofrepertoirewithintheirmajorfieldofstudy.The student is expected to recognize and discuss individual characteristics of theworksunder consideration. DMA piano majors must pass the Piano Literature Examination(offeredonceeachsemester)inlieuoftheMajorFieldExaminationandareencouragedtotakethisexamasearlyaspossible.ConductorsshouldconsultAppendixI.MusicologyExamTheMusicologyExam(8hours)iscomprisedofessayquestionsonsubjectsinthefieldofWesternmusic from classical antiquity to the present. This exammay be split into twosegmentsonconsecutivedays.Ifpreferred,astudentmayrequestalaptopfromtheOfficeofAcademicAffairstotypetheiranswersonaWorddocument.Nootherresourcesaretobeaccessedonthecomputer.

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MusicTheoryExamTheMusicTheoryExam(8hours)iscomprisedofthefollowingtopics:

• RenaissanceorBaroquecounterpoint• Figuredbass• Formalanalysisofaclassicalform• HarmonicanalysisofaRomanticpiece• Identification of excerpts from six (6) pieces by 20th-century composers or a

comprehensiveanalysisofa20th-centurypieceThisexammaybesplitintotwosegmentsonconsecutivedays.DMACANDIDACYTheperiodofDMACandidacycomprisesthefinalmeasuresforcompletingthedegreeandconsistsoftwoorthreestepsinthefollowingorder:

1. TheFinalOralExamination2. TheFinalDocument,inoneofthefollowingformats:

a. TheLectureRecitalDocument;b. TheCompositionPortfolioandCommentary;orc. TheDissertation

3. (Formostmajors)TheLectureRecitalFinalOralExaminationThe Final Oral Examination is taken after successful completion of all course work,qualifyingexams,andrecitals(solo,chamber,andconcerto),butbeforethelecturerecitalandlecture-recitaldocumentordissertation.The Final Oral Exam must take place in the student’s penultimate semester ofenrollment. Formoststudents,thiswillbeafallsemesterbeforegraduatinginthespring.Pleasenotethefollowingdeadlines:

• TheFinalOral Exam canonly be scheduled fromSeptember through the endofFebruary

• RetakesfortheFinalOralExamcanonlybescheduledMarchthroughApril15th• TopicsmustbeapprovedinthefallsemesterforFinalOralExamsscheduledinthe

springandinthespringforexamsscheduledinthefallComponentsoftheExamTheFinalOralExaminationconsistsof threepartsand isapproximately sixtyminutes induration:

Presentation(35minutes)

Thestudentmustgiveanoralpresentationofnomorethantwenty(20)minutesontheirselectedtopic(seebelow).Theexaminerswillthenquestionthestudentonanyaspectofthepresentation.Thepresentationshouldnotbereadbutwrittennotesmay

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beused. Handoutsmaybeuseful,butpre-recordedexamplesandliveperformancesarenotpermitted.

Repertoire(15minutes)

TheMusicology advisor will select an excerpt from the student’s chosen repertoiretopic (see below). The studentwill receive the specific excerpt from the AcademicProgramCoordinatorthirtyminutesbeforetheFinalOralExamisscheduledtobegin.During this time, students may study the excerpt without the aid of additionalmaterials. During the exam, the student will be asked to identify the excerpt andrespond to questions on details such as harmony, counterpoint, performanceindications,editorialpractices,backgroundandcontext.

Listening(10minutes)

Thestudentwillbeaskedtolistentoaperformanceofmusic(anexcerptorcompletepieceofapproximatelythreetofourminutesinlength)fromthestandardrepertoirefor his or her major instrument, or, in the case of a composition major, from thestandardrepertoireofthepastonehundredyears.Thestudentwillthendiscussandrespondtoquestionsontheperformanceandthemusicintermsofbothinterpretiveandstylisticissues.

Students receive a grade of “P” (Pass) or “F” (Fail) for each part of the Final OralExamination. Withthatinmind,studentsmayberequiredtoretakeoneorbothpartsoftheexam.StudentswhofailtheretakewillbedismissedfromtheDMAprogram.FinalOralExamTopics Presentationtopic

Thepresentationtopicischoseninconsultationwiththestudent’sMusicologyadvisorandshouldbeaccompaniedbyaone-paragraphstatementwhichservesasanabstractof the thesis.The statementmust indicate:1) a lineof argument that the candidateproposestotake,2)whatthepresentationspecificallyintendstodemonstrate,and3)howitwilldoso.Theparagraphabstractshouldincludethetitleofthepresentation.Whenformulatingapresentationtopicandpreparingitforapprovalitishelpfultoaskthefollowingquestions:

• Doestheproposalhaveaclear,concise,andcogentthesisstatement?• Does the proposal articulate equally clearways inwhich the presenterwill

supportthethesisduringthepresentation?• Is the topic asproposedone that canbe reasonably addressedwithina20-

minutetimeframe? Repertoiretopic

Therepertoiretopicisbasedonmusicchosenbythestudentinconsultationwiththestudent’s advisor. The repertoire topic should be of sufficient scope to allow thestudent to demonstrate command and breadth. The repertoire topic should be

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submitted in the following format: “I will be prepared to answer questions on thefollowingpiece(s):_____________________.”NOTE: The repertoire topic must differ from the presentation topic in terms ofhistorical period. In addition, topics must differ in terms of genre (e.g. symphony,sonata,stringquartet,opera,etc.)orinstrumentation.

TopicsforthepresentationandrepertoireportionoftheexammustbeapprovedbyboththeAcademicAdvisoryCommittee and the fullDoctoral Committee. The student shouldsubmitfinalizedtopicsandapprovalemails fromeachmemberoftheAcademicAdvisoryCommittee to the Academic Program Coordinator at least oneweek before the DoctoralCommittee is scheduled tomeet. Topicsmust be approved in the fall semester for FinalOralExamsscheduledinthespringandinthespringforthosescheduledinthefall.Pleasenotethattopicsarenotalwaysapproveduponfirstsubmissionanditisimportanttobeginthisprocessearly.TopicsrejectedbytheDoctoralCommitteemustberevisedandresubmitted for approval before the Final Oral Examination can be scheduled. Revisedtopicsmustbere-approvedbyeachmemberoftheAcademicAdvisoryCommittee. SincetheDoctoralCommitteeisseekingbreadthineachstudent’sprogram,thePreliminaryOralExamtopicmaynotbeusedforanyportionoftheFinalOralExamination. SchedulingtheExamAfter a student’s topics have been approved by the Doctoral Committee, he or she isresponsibleforcontactingthemembersofhisorherAdvisoryCommitteeandconfirmingpossible dates/times for the exam. Once a few options have been finalized, the studentshould contact the Academic Program Coordinator, who will then confirm with DeanMathews.Theexamcanonlybescheduled fromSeptember through theendofFebruaryandwithinnormalofficehours(MondaythroughFriday,9amto5pm).Lecture-RecitalPaperFormostDMAstudents,thefinalrecitalwillbealecturerecital,basedonananalyticalorhistorical essay written under the guidance of a member of the student’s AcademicAdvisory Committee. This essay must be submitted before the lecture recital may beperformed.ThestudentmustenrollinPY.610.792Lecture-RecitalPaperinthesemesterinwhichheorsheplanstocompletethisrequirement. Thefacultyadvisorfortheprojectisselectedbythe student and is usually theMusicology advisor from the student’sAcademicAdvisoryCommittee.AdraftoftheLecture-RecitalPapermustbesubmittedtothefacultyadvisorbyMarch15oftheyear inwhichthestudent intendstograduate. Allchangesrequiredbythefacultymustbemadeintimeforthefacultytoapprovethecompletedpaperbeforethesubmissiondeadline.

25

ConductorsshouldconsultAppendixI.CompositionPortfolio/CommentaryStudents in Composition or Computer Music must enroll in Compositions/Commentary(310 • 793) in their final semester of major lessons. This capstone project for DMAstudentsmajoringincompositionconsistsoftwoelements:

CompositionPortfolioThe Composition Portfolio should consist of an original composition of majorproportionsastolengthandmedium,aswellasanaccompanyingportfoliooftwoormoresmallerworks.Allworksshouldbeprofessionallybound.CommentaryAll DMA composers are required to submit a substantial research paper on a topicapproved by the student’s Academic Advisory Committee. The topic of thecommentarymaybetheaforementionedmajorwork,inwhichcase,thepapermustbeapprovedby themajor teacher. The commentarymustdescribe the composition inconsiderable detail, discussing aspects such as form, pitch relationships, rhythmicdesign,performancemedium,andtherelationshipoftheseelementstocontemporarystylisticpractices.Withtheapprovalofthestudent’smajorteacherandthemembersoftheCompositionDepartment,astudentmayalsochoosetowriteapaperonasubjectdeemedrelevanttothestudent’sfinalcompositionproject,insteadofacommentaryonthemajorwork.Inthiscase,thestudenttypicallyworkswiththeMusicologyadvisor.

The entire portfoliomust be submitted to faculty onMarch15 of the year inwhich thestudentintendstograduateforreview.CompositionsmustbesubmittedtotheMajorFieldCommitteeandthecommentarytothemajorteacher.Iftheresearchpaperrouteischoseninstead,thedocumentmustbesubmittedtotheMusicologyadvisor.Revisionsrequiredbytherespectivefacultyadvisorsmustbemadeintimefortheirapprovaltobegivenbeforethesubmissiondeadline.

Two clean copies of the paper (unbound, single-sided,printed on acid-free paper) must be submitted to theAcademic ProgramCoordinator byApril 15 of the year inwhichthecandidateintendstograduate.

Two clean copies of the research paper (unbound, single-sided, printed on acid-free paper), and one copy of eachcomposition must be submitted to the Academic ProgramCoordinatorbyApril15.

26

DissertationTopicProposalInfieldswherestudentsfortheDMAdegreehavetheoptionofwritingadissertation,theymust chooseamusical subject tobeapprovedby theDoctoralCommittee. Dissertationsmay dealwith any aspect ofmusic (e.g., analysis, theory, history, criticism, performancepractice, development of a critical edition, etc.). Please note students who choose thedissertationtrackmuststillpresentaFinalOralExam.TopicsfortheFinalOralExamanddissertationmustdiffer.In the third semester of residency, the studentmust enroll inGraduateResearch (610 •755-756)andundertakepreliminaryresearchtodefinehisorherdissertationtopic.Eachstudentmustchooseadissertationadvisor(typically,theMusicologyadvisor)andpreparea proposal in consultationwith his or her advisor. In the final semester of coursework,studentsmustregisterforDissertation(610•791).Toenrollinthecourse,studentsmustconfirmtheirdissertationadvisorwiththeAssociateDeanforAcademicAffairs.The student must then submit a dissertation topic proposal, including an outline andbibliography,totheAcademicProgramCoordinatortobereviewedbytheDMACommittee.Once approved, each student must register the topic with Doctoral Dissertations inMusicology through the American Musicological Society’s website (http://www.ams-net.org/ddm/) and submit the completed registration form to the Office of AcademicAffairs.DissertationReadersIn addition to the dissertation advisor, each dissertationmust have at least two readerswhowillserveontheExaminationCommitteeattheoraldefenseofthedissertation.Thereadersare typicallymembersof thePeabody facultywithaparticularknowledgeof thetopic.Thestudentshouldsubmitthenamesoffacultymemberswillingtoserveasreadersto the DMA Committee for approval and, if necessary, petition the DMA Committee forpermissiontoappointoutsideindividualsasreaders.OralDefenseThedissertationmustberendered to theadvisorandreadersbyMarch1of theyear inwhich thestudent intends tograduate. Theadvisormustapprove thesubmittedcopyofthedissertationandnotifytheAcademicProgramCoordinatorthedocumentisreadytofororal defense. An oral defense of the dissertationmust take placewithin threeweeks ofsubmissionandnolaterthanApril1.Thepresentationshouldbebetween20-30minutes,withtheremainderofthehourleftforquestions.TheoraldefenseofthedissertationdoesnottaketheplaceoftheFinalOralExam,whichmustoccurafterthedissertationdefense.Studentsmustinquireafterwhichreaderswouldpreferahardcopy,andnolessthanthreeweekspriortothescheduleddefense,deliverthemtotheAcademicProgramCoordinator.

27

At the conclusion of a successful oral defense, the dissertation advisor will inform theAcademicProgramCoordinatorifthestudenthas“passed”or“passedwithrevisions.”AnychallengeorrevisionmadeatthisstagemustbesubmittedinwritingtotheAssociateDeanfor Academic Affairs within twenty-four hours of the close of the oral defense. TheAssociate Dean, in consultation with the advisor and readers, will then determine whatfurtheractionshouldbetaken. Except inthecaseofchallengeofauthorship,thewrittenapproval of the advisor and readerswill be honored. Any post-defense comments as tosubstanceorformatwillbenotedfortherecordtotheDissertationDefenseCommittee,butthe student will not be required to make further changes. If the oral defense isunsuccessful, a memorandum to that effect will be sent to the Associate Dean by thedissertationadvisorFinalSubmissionFollowing a successful defense, the student will make any required corrections to thedissertationnecessitatedbytheexaminationandsubmittwocorrectedcopies(anabstract,double-spacedand less than350words in lengthshouldbeapartofyourdocument)onacid-freepaper,togetherwithallrequiredforms,totheAcademicProgramCoordinatornolaterthanApril15oftheyearinwhichthestudentintendstograduate.Alongwiththetwofinal copies of the dissertation, you must provide printed proof of submission to thefollowing:

1) DoctoralDissertationsinMusicology,AmericanMusicologicalSocietyhttp://www.ams-net.org/ddm/ddm-submission.php.

2) RépertoireInternationaldeLittératureMusicale(RILM)http://www.rilm.org/submissions/index.php.

3) ProQuestDissertationsPublishing http://www.etdadmin.com/cgi-bin/home

ThefollowingarealsoavailablethroughProQuest:U.S.CopyrightRegistration($55),boundsoftorhardcovercopy($34/$55),traditionpublishing(Free),openaccesspublishing($95).All dissertations should use the Chicago Manual of Style (16th Edition; 2010) as theirprimarystyleguide.RequestsforExtensionIf unforeseen circumstances cause a student to seek an extension of any deadline forcompletion of the dissertation, a written petition must be submitted to the DMACommittee.Thispetitionmustinclude:

1)astatementexplainingthereasonforthepetition2)anoutlineoftheprogressofworkonthedissertationtodate3)aproposedscheduleforthecompletionofthedissertation4)acorroboratingstatement insupportofthepetitionfromthedissertationadvisor

28

APPENDIXAppendixA:SampleFrenchExamPleasetranslatethefollowingpassagesintoidiomatic,legibleEnglish.Aliteraltranslationisnot

necessary.Payparticularattentiontotheuseoftensesandthemeaningofthetexts.

Part1:Voicidesfruits,desfleurs,desfeuillesetdesbranchesEtpuisvoicimoncœurquinebatquepourvous.NeledéchirezpasavecvosdeuxmainsblanchesEtqu’àvosyeuxsibeauxl'humbleprésentsoitdoux.J’arrivetoutcouvertencorederoséeQueleventdumatinvientglaceràmonfront.Souffrezquemafatigue,àvospiedsreposée,Rêvedeschersinstantsquiladélasseront.SurvotrejeuneseinlaissezroulermatêteToutesonoreencoredevosderniersbaisers;Laissez-las'apaiserdelabonnetempête,Etquejedormeunpeupuisquevousreposez.Part2:NadiaBoulangernaîtdansunefamillecomportantquatregénérationsdemusiciens.Encouragéeparsonpère,Ernest(1815-1900),compositrice,chefd'orchestreetprofesseurdechant,ellecommenced’étudierl’orgueetlacompositionàneufans.Dès1903,elledevientorganistesuppléantedeGabrielFauréàl’orguedel’églisedeLaMadeleine.AuConservatoiredeParis,elleestélèvedeLouisVierneetfaitunescolaritébrillante:à16ans,elleobtientlespremiersprixd’orgue,d’accompagnementetdecomposition.En1908,elleremporteunDeuxièmeSecondGrandPrixdeRomedecomposition.Quandsasœur,Lili,meurten1918àl’âgede24ans,Nadiadéclarequ’ellenecomposeraplusjamaisetcommenceàseconsacreràladirectionmusicale,àladiffusiondel’œuvredesasœur,et,surtout,àlapédagogie.Ellemènesafabuleusecarrièredeprofesseurjusqu’àsamort,à93ans.Ayantsuuserdeméthodesetdetechniquesmodernes—parexemplel’ordinateur—,NadiaBoulangerest,durantplusde70ans,l'undesprofesseursdecompositionlesplusinfluentsduXXesiècle,comptantparmisesélèvesplusieursgénérationsdecompositeursaméricains,telsAaronCoplandetPhilipGlass,chefdefiledelamusiqueminimaliste.NadiaBoulangerfutdirectriceduConservatoireaméricaindeFontainebleau,desacréation,en1921,àsamort,en1979.Dèslapremièresession,elleétablitsaréputationderemarquableprofesseurtantellesembletoutconnaîtredel’harmonieetdelatonalitéoccidentales.Elleestcapable,parexemple,d'expliquercommentchaqueaccorddespréludesdeBachserattacheàlamusiquemoderne:«Certainscroientquelesjeunescompositeursd’aujourd’huicherchentàéviterlaconsonance.Maisqu’appelle-t-onconsonance?Rappelons-nousquelorsqueDebussyétaitpetitgarçon,lesecrétaireduConservatoireluiademandéunjours’ilavaitfinid’empoisonnerlesoreillesdesesamisavectoutecettedissonance.Debussy,âgéde12ans,luirépondit:M.leSecrétaire,ladissonance,c’estaujourd’hui.Laconsonance,celaviendrademain.»Aucoursdesalonguecarrière,lesmilliersd’étudiantsquivinrentdel’étrangerpourassisteràsescoursontétécaptivésparsontalent,sesconnaissancesetsaphilosophie:«Jesuisvotredegrédetensionleplusélevé,disait-elle.Écoutez-leenvous-même.»

29

AppendixB:SampleGermanExamPleasetranslatethefollowingpassagesintoidiomatic,legibleEnglish.Aliteraltranslationisnot

necessary.Payparticularattentiontotheuseoftensesandthemeaningofthetexts.

Part1:Der Wind spielt mit der Wetterfahne Auf meines schönen Liebchens Haus. Da dacht ich schon in meinem Wahne, Sie pfiff den armen Flüchtling aus. Er hätt' es ehr bemerken sollen, Des Hauses aufgestecktes Schild, So hätt' er nimmer suchen wollen Im Haus ein treues Frauenbild. Der Wind spielt drinnen mit den Herzen Wie auf dem Dach, nur nicht so laut. Was fragen sie nach meinen Schmerzen? Ihr Kind ist eine reiche Braut. Part2:BeethovenselberwarineinerJackevonlanghaarigemdunkelgrauemZeugeundgleichenBeinkleiderngekleidet.DaspechschwarzeHaarsträubtesichzottigumseinenKopf.DerseiteinigenTagennichtrasierteBartschwärztedenunterenTeilseinesGesichts.Auchbemerkteichsogleich,daßerinbeidenOhrenBaumwollehatte,welcheineinegelbeFlüssigkeitgetauchtschien.DochwardamalsanihnnichtdiegeringsteHarthörigkeitbemerkbar.Ichmußtesogleichetwasspielen,unddaichmichzusehrscheute,miteinervonseinenCompositionenanzufangen,sospielteichdasMozart’schegroßeC-durConcert(KV503).Beethovenwurdebaldaufmerksam,nähertesichmeinemStuhleundspieltebeidenStellen,woichnuraccompagnierendePassagenhatte,mitderlinkenHanddieOrchestermelodiemit.SeineHändewarensehrmitHaarenbewachsen,unddieFinger,besondersandenSpitzen,sehrbreit.DieZufriedenheit,dieeräußerte,machtemirMutdieebenerschieneneSonatePathétiqueundendlichdieAdelaïdevorzutragen,welchemeinVatermitseinerrechtgutenTenorstimmesang.Alsichvollendethatte,wendetesichBeethovenzumeinemVaterundsagte:‘DerKnabehatTalent,ichselberwillihnunterrichtenundnehmeihnalsmeinenSchüleran.SchickenSieihnwöchentlicheinigemalzumir.VorallemaberverschaffenSieihmEmanuelBachsLehrbuchüberdiewahreArtdasClavierzuspielen,daserschondasnächsteMalmitbringenmuß.’IndenerstenLektionenbeschäftigtemichBeethovenausschließlichnurmitdenScaleninallenTonarten,zeigtemirdiedamalsdenmeistenSpielernnochunbekannteeinzigrichtigeHaltungderHände,derFingerundvorzüglichdenGebrauchdesDaumens.ErmachtemichvorzüglichaufdasLegatoaufmerksam,daserselberineinersounübertrefflichenArtinseinerMachthatteunddaszujenerZeitalleanderenPianistenaufdemFortepianofürunausführbarhielten.

30

AppendixC:SampleItalianExam

Pleasetranslatethefollowingpassagesintoidiomatic,legibleEnglish.Aliteraltranslationisnotnecessary.Payparticularattentiontotheuseoftensesandthemeaningofthetexts.

Part1:Malinconia,Ninfagentile,lavitamiaconsacroate;ituoipiacerichitieneavile,aipiacerverinatononè.

FontiecollinechiesiagliDei;m'udiroalfine,pagoiovivrò,némaiquelfonteco'desirmiei,némaiquelmontetrapasserò.Part2: GiovanniBattistaFerrandinièstatounodeitipici–anchesecronologicamentetragliultimi–rappresentantidiquell'ampiaschieradimusici/musicistichepercircaduesecolipropagaronol'artemusicaleitalianainEuropa. Ferrandininacquenel1710aVeneziaequiricevettedaAntonioBiffileprimenozionidimusicapressoilConservatoriodeiMendicanti.Nel1722sitrasferìaMonaco,dovevenneassunto–inqualitàdioboista–nell'orchestradelducaFerdinandoMariaInnocenzo,terzofigliodelprincipeelettoreMassimilianoEmanuele.Importantiperilsuoperfezionamentofuronoirapporticheebbeconilprimomaestrod'orchestraGiovanniAntonioBernabeieconPietroTorri,organistaedirettoredellamusicadacamera.Nel1732Ferrandinivennenominato«Kammer-Compositor»enel1737successeaTorrinellacaricadiconsigliereelettoraleedirettoredellamusicadacamera.Versoil1755,permotividisalute,vennepensionatoeritornòinItalia,aPadova,dovefondòun'accademiaesidedicòall'insegnamento,soprattuttodelcanto,eallacomposizione.IsuoirapporticonlacortediMonaco(difattolasuasecondapatria)noneranoperòconclusi:inpiùoccasioniglifuronocommisionateopereinmusicaeinfinenel1790deciseditornarecolà,dovesispensel'annosuccessivo. LeSeisonateaflautotraversierediG.B.Ferrandinisonodedicateallostrumentodanoicomunementedetto‘flauto’machenelcorsodeisecoliXVIeXVII,efinoaiprimiannidelXVIII,eraindifferentementechiamato«flautotraverso»,«atraversa»o«traversiere»perdistinguerlodalflautodiritto,alqualespettavaperimportanzailsempliceterminedi‘flauto’.Ilrovesciamentogerarchicotraquestiduestrumentiavvenneversoil1730,quandoiltraversosostituìcompletamenteilflautodirittonellamusicaprofessionale.Infatti,lecapacitàdinamichedeltraverso,nonaffettedaparticolariproblemidiintonazione,lorendevanopiùadattoallenuoveesigenzemusicali,mentreilflautodirittononèingradodiprodurreun'apprezzabiledinamicasenzaalterarel'intonazionedellenote.Comunque,ilflautodiritto,nonostantequestelimitazioni,continuòagoderediunacertapopolaritàtraidilettantipertuttoilXVIIIsecolo.

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AppendixD:FinalOralExaminationTopicTemplate

DMAFINALORALEXAMINATIONTOPICAPPROVALName: D.EmmaystudentMajor: ViolinAcademicAdvisors:MajorTeacher:ProfessorJanetStudioteacherMusicTheoryAdvisor:Dr.JamisonTheoryfacultyMusicologyAdvisor:Dr.PierceHistoryfaculty1.PresentationTopic:

Loremipsumdolorsitamet,consecteturadipiscingelit.Sedacfelisneceroscondimentumplaceratacinmauris.Nullasempermiacmaurislaoreetrhoncus.Etiamviverrapellentesquerisus,egetpharetrapurussemperrhoncus.Duisblanditvehiculatellusnecelementum.Utlacinia,ipsumquiseleifendpulvinar,arcuturpiseuismoddiam,atportanullamaurisvitaevelit.Maecenasetdoloreteratvenenatiseuismodutnonquam.Nuncultriciestinciduntmollis.Aliquamconvallisblanditcondimentum.Utvitaeturpissapien.Nullafacilisi.Donecornarenullasedipsumcondimentum,acimperdietnisllobortis.Morbigravidajustosuscipitultriciesbibendum.Sedsedsollicitudinnisl.Phasellussemperurnamauris,iddapibusmidictumid.Donecetpretiumtellus.

2.ExaminationTopic:

Iwillbepreparedtoanswerquestionson:Suspendisseporttitoretrisusetcondimentum.Ihaveattachedtheemailsfrommyadvisorsapprovingmytopics.

32

AppendixE:SampleTitlePage

SYMPHONYNO.1Formezzo-sopranoandorchestra

ACommentary

JOHNQ.PUBLIC

Submittedinpartialfulfillmentoftherequirementsforthedegree

DoctorofMusicalArtsatthe

PeabodyConservatoryofMusicTheJohnsHopkinsUniversity

Baltimore,Maryland

May2017

33

AppendixF:DissertationProposalForm

DMADISSERTATIONPROPOSAL

Name:___________________________________Advisor:________________________Major:________________________________DateofEntryintoProgram:____________DissertationTitle:_________________________________________________________________________________________________________________________________________________________________________________________________________Proposeddevelopmentplan:

1. Outline

2. Methodofprocedure

3. Citeimportantsourcesconcerningsimilarorrelevanttopics

4. Bibliography

a. Primarysourcematerialsb. Secondarysourcematerials

Student’ssignature:_______________________________Date:_________________Advisor'ssignature:____________________________________Date:_______________N.B.BibliographyandfootnotesmustbewritteninformspecifiedintheChicagoManualofStyle.

34

AppendixG:PreviouslyApprovedFinalOralExamPresentationTopics

• FromtheNorthCoasttoNiterói:TheGuitarDuoMusicofRolandDyens• LisztandGrieg:AreexaminationofMusicalneoclassicismasa20thCenturyPhenomenon• TheMusicalInvasionoftheMachines:AStudyofGeorgeAntheil'sPianoWorksinthe

1920s• ReadingBeethoven’sNinthinthe1840s:TheoriesoftheOdeviaWagnerandBerlioz• OrganCultureinJapan;HistoricalPrecedentsandContemporaryPractice• VariedSonata-AllegroProceduresinBeethoven’sConcertOvertures• IssuesofAttributionwithRegardtoGiovanniGabrieli’sSymphoniaeSacrae(1615)• IntentionalContradiction:TheOrderingofGyörgyKurtág’sKafkaFragments,Op.24• MusicalandLiteraryAllusionsinJohannesBrahms’sPianoTrioinBMajor,Op.8• NationalisminTwenty-CenturyArgentineanMusic• Mozart’sPost-1781SubstitutionArias• Stockhausen’sKlavierstückeNos.I,V,IX,XI,XIV• TheinfluencesoftheluteinFranceonthe17thcenturyclavecinists:specifically

Chambonnières,LouisCouperin,D’AnglebertandFroberger• QuotationinthemusicofJudithZaimont,withafocusonherpianomusic• TheuseoftheorganintheAnglican/EpiscopalchurchesinAmericabefore1830• BrazilianNationalismintheEarly20thcenturyasseenintheGuitarWorksofHeitorVilla-

Lobos• Brahms'sgminorPianoQuartetandHandel’sConcertoGrosso,Op.6,No.7,asarrangedby

ArnoldSchoenbergforsymphonyorchestra• HarmonicCentersinMozart’sDevelopments• Neo-classicisminEugeneYsaÿe’sSixSonatespourViolonSeul,Op.27• Schumann'sPianoSonatainfminor,Op.14:CompositionalHistory,VersionsandCritique• Convention and New Paths in Chopin’s Polonaise, Op.44 and Polonaise-Fantasy, Op.61 • TheTooShortTime:AnExaminationofGeraldFinzi’sSongsforBaritoneonTextof

ThomasHardy • TonalStructureinRobertSchumann’sPianoSonatainf-sharpminor,Op.11• ConflictingelementsofstyleandgenreinFranzSchubert'sFantasyforviolinandpiano,D.

934• Rossini’sPechesdevieillesse• MiltonBabbitt’sSheerPluck• TheEarlyPianoSonatasofJohannesBrahms:TheInfluenceofE.T.A.Hoffman’sLiterary

Style• ThelatepianoworksofFranzLiszt• FrankTicheliSymphony#2forConcertBand

35

AppendixH:PreviouslyApprovedFinalOralExamRepertoireTopics

• Schoenberg:VerklärteNachtOp.4(TransfiguredNight)• Mozart'sSixStringQuintetsK.174,K.406,K.515,K.516,K.593,andK.614• SymphoniesofAaronCopland• FranzSchubert’sTwoLatePianoTrios:Op.99andOp.100• MauriceDuruflé'sPréludeetfuguesurlenomd'Alainop.7.• Meyerbeer’s“LesHuguenots.”• Brahms’sSymphoniesNos.1and2• Schumann’sDichterliebeandFrauenliebeund–leben• IgorStravinsky:Firebird,Petrushka,TheRiteofSpring• WinterreisebyFranzSchubert• Beethoven’sOp.48,SechsLiedervonGellert,andOp.98,AndieferneGeliebte• Beethoven’sOpus18StringQuartets• Beethoven’sSymphonyNo.3inEbMajor,Op.55andEroicaVariationsinEbMajor,Op.35• Bach’sBrandenburgConcertos• Mozart’sTheMagicFlute• J.S.Bach’ssolokeyboardconcertos,BWV1052-58• BeethovenConcertos:ViolinConcerto,TripleConcerto,PianoConcertoNo.4• ChambermusicofBrahms(ClarinetOps.114,115,120)• Schubert’sDieschöneMüllerin• Beethoven’sOp.48,SechsLiedervonGellert,andOp.98,AndieferneGeliebte• Beethoven’smiddleperiodpianosonatas,op.53-90• Messiaen’sQuatuorpourlafindutemps• ThemajororganworksofCésarFranck• WorksforlutebyJ.S.Bach• TheearlysymphoniesofTchaikovsky• HildegardvonBingen’sOrdoVirtutum• JosefHaydn’sStringQuartets• Bartók’sConcertoforOrchestra,Sonataforsoloviolin,andPianoConcertoNo.3• FrédéricChopin’sNocturnes• FlutequartetsofMozart,K.285,285a,285b(171),298• Monteverdi’sFifthBookofMadrigals• J.S.Bach:Well-TemperedClavier:Book1• Debussy’sPréludeàL'Après-midid'unfaune,LaMerandNuages• Schubert’sWinterreise• SongsandAyresofJohnDowland• ThematuresymphoniesofStravinsky• GeorgeCrumb’sAncientVoicesofChildren,BlackAngels,andVoiceoftheWhale

AppendixI:ConductingProposal

DMACONDUCTINGPROPOSAL|FALL2017

EXECUTIVESUMMARY

ProfessorAlsopwouldliketoreactiveandrevitalizethelongdormantDMAMajorFieldExaminConductingandusetheexamtoassessanessentialskillforconductors:ananalysisandconductingplanforanunfamiliarscore.TheDMAMajorFieldExamcouldthenbelinkedtotheLectureRecitalandLectureRecitalPaperasalineargroupingofassessmentsthattestdifferentskills.

BACKGROUNDTheDoctorofMusicalArts(DMA)ProgramatthePeabodyConservatoryconsistsofatwo-yearresidency,followedbyaperiodinwhicheachstudent’sstatusiscategorizedasDegreeInProgress(DIP).iTheDIPperiodconsistsofseveralcumulativeassessments.Theyare:

1. LanguageProficiencyExam(3hours)2. MusicTheoryExam(8hours)3. MusicologyExam(8hours)4. MajorFieldExam(3hours)5. FinalOralExam(1hour)6. LectureRecital(1hour)7. LectureRecitalPaper

TheseitemsaredescribedinfullerdetailintheDMAGuidelines,whichisayearlyadvisingdocumentdistributedtoallDMAstudents.Anappendixfollows,whichcontainsthedescriptionsfromthe2017DMAGuidelines.Formanyyears,conductorshavenottakenaMajorFieldExamorgivenaLectureRecital.

PROPOSALProfessorMarinAlsopproposesthatwemergetheDMAMajorFieldExam,theLectureRecital,andtheLectureRecitalPaperasoneprojectthatconsistsofananalysis,aperformance,andawrittenreportthatreflectsontheexperience.

PY.190.799

ONE DAY EARLY IN SPRING

SEMESTER

○1 Studentswouldreceiveacontemporaryscoreforapproximatelytenplayers. MAJOR

FIELD EXAM ○2 Thestudentswouldhavetwenty-fourhourstomakean

analysisandrehearsalplan

○3

Then,thefollowingdaytheycouldrehearsetheworkforonehourandpresentaperformanceproceededbya10-minuteintroductionofthepieceforthejury.Thetotaltimecommitmentforthelecturerecitalisapproximately90minutes.

LECTURE RECITAL

PY.620.792

WITHIN 5 WEEKS OF TESTING

DAY

○4 Thestudentswouldwriteadocumentexplainingtheirpreliminaryanalysisandrehearsalplan;theirexperiencewithrehearsingthepiece;andtheirreactiontoanyfeedbackonthedayofthereading.

LECTURE RECITAL PAPER

○5 Thedocumentandallnoteswouldbesubmittedby15Aprilinthefinalsemesterofenrollment.

Asatechnicalmatter,boththeLectureRecitalandtheLectureRecitalPaperareenrollmentswithcoursenumbers,whiletheMajorFieldExamisarequirementmonitoredbyAcademicAffairs.WewillneedtoreactivecoursenumbersfortheConductingStudentsandchangeonecoursewiththetitletoreflectthattheLectureRecitalalsoincorporatestheMajorFieldExam.However,wethinkitappropriatethatthereremaintwogradesattachedtothisseriesofassessments(asseeninthefar-leftcolumn):

1. PY.190.799|ExamandLectureRecital:Likeanyrecital,gradedwithalettergrade.

2. PY.610.792|LectureRecitalPaper:Gradedpass/failbyConductingFacultywithMusicologyadvisor.

NEXTSTEPSProfessorAlsophasmadeinitialcontactwithpublisherstosecureworksthatcouldbeused.ThenextstepistoclearadatewiththeEnsemblesOfficeandarrangeforplayers. iTechnically,oncompletionofthefourqualifyingexams,thestudentstatusispromotedfrom“DMADegreeinProgress”to“DMACandidacy.”However,thatchangeisnotnotedinSIS.

dma guidelines 2016-17 prepare

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