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374 / The Hartt School

T

The Hartt

School

he Hartt School is an internationally

acclaimed performing arts school with

programs in music, dance, and theatre.

The school was established by Julius Hartt,

Moshe Paranov, and Associated Teachers in

1920 and was one of the three founding institu-

tions of the University of Hartford in 1957.

Alongside the traditional performance-oriented

majors in music, theatre, and dance, the school

offers programs in music history, music theory,

music education, and composition. Hartt also

offers innovative programs in pre-cantorial

studies, music management, performing arts

management, and music production and tech-

nology.

With a strong tradition of excellence, Hartt

takes pride in its talented artist-faculty. Recog-

nized nationally and internationally as perform-

ers, educators, and scholars, The Hartt School

faculty members are active in their areas of ex-

pertise. Through performances, recordings,

books, articles, major awards, grants, and fel-

lowships, faculty members set an excellent ex-

ample for their students. Interaction between

faculty and students provides the framework for

the development of future professional perform-

ing artists, arts managers, composers, music and

production technologists, and teachers. A strong

commitment to a select student body ensures a

high quality of education.

A wide range of opportunities is available to

Hartt students. Musicians benefit from partici-

pation in large orchestral, wind, or choral en-

sembles. Smaller chamber music ensembles as

well as solo opportunities help to create well-

rounded musicians. Each year, master classes

are given by guest artists that have included

Sherrill Milnes, Hank Jones, Vieri Bottazzini,

Eugene Levinson, Pamela Frank, Maureen

O’Flynn, Angel Romero, Elly Ameling, John

Musto, Amiri Baraka, Eugenia Zuckerman,

Daniel Pinkham, Midori, Bright Sheng, Joseph

Schwantner, John Corigliano, the American

Brass Quintet, and the Miami, Emerson, Colo-

rado, Lark, and Miró string quartets. Hartt also

boasts Performance 20/20, a highly competitive

honors chamber music program that provides its

students with the opportunity to perform even

more extensively. Vocal performance opportu-

nities include a variety of choral performing or-

ganizations as well as black-box and fully

staged operas. Voice students also have the

opportunity to audition for and perform in pro-

ductions by Connecticut Concert Opera, and to

hold section-leader positions in many fine area

choirs. Future music educators have years of

hands-on practical training with children from

The Hartt School Community Division, the

Hartt String Project, the Hartt Band Project, and

area schools. Management majors have special

opportunities to participate in a comprehensive

internship program. Interns have worked at the

Bushnell Center for the Performing Arts, with

the Hartford Symphony Orchestra, at the John

F. Kennedy Center for the Performing Arts, at

Creative Artists Agency, and in a wide variety

of other arts-related organizations and record

companies in New York City and around the

country.

Dancers thrive in workshops and large-scale

productions. They benefit from working with

professional arts organizations like the Ameri-

can Ballet Studio Company and Full Force

Dance Theatre, as well as collaborating with

Hartt music and theatre students. They also per-

form, teach, and choreograph works throughout

the four-year, comprehensive curriculum. Ballet

pedagogy majors have four semesters of hands-

on teaching with students in the Hartt Commu-

nity Division.

In the Theatre Division, the classroom expe-

rience is enhanced by the yearly production of

16 plays and musicals, incorporating a broad

repertoire of contemporary and classical works.

A highlight of the actor training program is the

third-year semester in England. Both the music

theatre and actor training programs present a

yearly showcase in New York City, and actor

training students present an additional showcase

in Los Angeles. Music theatre students have the

opportunity to participate in Goodspeed Musi-

cals’ annual Festival of New Artists. Actor

training students have the opportunity to partic-

ipate in activities with the Hartford Stage

Company, in roles or understudying in the com-

pany’s productions.

For more than four decades, the growth of

The Hartt School was nurtured by the philan-

thropy of Alfred C. Fuller, founder of the fa-

mous Fuller Brush Company. Fuller’s

generosity helped to create scholarship opportu-

nities that continue to benefit Hartt students.

Additional support from the Fuller family ena-

bled Hartt to build the Alfred C. Fuller Music

Center, the four-story complex that houses The

Hartt School music divisions, administration,

and community division. In the same spirit of

The Hartt School / 375

generosity demonstrated by her husband, Mary

Primrose Fuller left a bequest of $19.8 million

in 1998, creating new opportunities for Hartt.

The Hartt School of the University of Hart-

ford is an accredited institutional member of the

National Association of Schools of Music, the

National Association of Schools of Dance, and

the National Association of Schools of Theatre.

Its programs in music education are accredited

by the National Council for Accreditation of

Teacher Education, and it shares University of

Hartford accreditation by the Commission of

Higher Education of the State of Connecticut

and the New England Association of Schools

and Colleges.

Mission The Hartt School provides preprofessional train-

ing in the performing arts characterized by artis-

tic and academic rigor, individualized attention

including mentorship and peer support, and a

synthesis of tradition and innovation leading to

lifelong service to, and advocacy for, the arts.

Values We believe in an education that

• Promotes a contextual understanding of the

arts from historical, cultural, and theoretical

perspectives;

• Is rich in performance and collaboration op-

portunities within the school, University,

community, and professional world;

• Cultivates broadly educated individuals and

performing artists of vision, depth, and confi-

dence through unique opportunities available

throughout the University;

• Is connected with the professional world and

the evolution of the field;

• Fosters and develops teaching excellence,

which equips and inspires future teachers to

positively impact the field; and

• Underscores the essential role of the arts in en-

riching society and the human experience.

Facilities

The Hartt School operates the Mort and Irma

Handel Performing Arts Center, the Alfred C.

Fuller Music Center, and Lincoln Theater.

The Mort and Irma Handel Performing Arts

Center was converted from an industrial build-

ing designed in 1929 by pioneering industrial

architect Albert Kahn. This vibrant new center

for performing arts education serves as a re-

source for the entire community. The 56,000-

square-foot center provides performance and

rehearsal space, classrooms, and studios for stu-

dents in The Hartt School’s Dance, Theatre, and

Community Divisions. Housed in the Handel

Performing Arts Center are the 184-seat Edward

C. and Ann T. Roberts Foundation Black Box

Theater and the 96-seat McCray Theater, given

through the generosity of Kent ’51 and Susan

McCray. Performances in these venues include

the third-year student public performances in

theatre and music theatre, recitals, lectures, and

Community Division performances. Each thea-

ter has a state-of-the-art, computerized light

board and sound equipment.

All courses for dance majors are taught at the

Mort and Irma Handel Performing Arts Center.

The south wing includes five spacious studios,

artistic and production offices, a conference

room, and dressing and shower facilities. The

9,000 square feet of dance studios have high

ceilings, hallway observation windows, wooden

barres, mirrors, and Gerstung multilayered

dance floors.

The Fuller Music Center consists of three

wings:

Millard Auditorium provides one of the main

performance venues on the University of Hart-

ford campus. An intimate, 428-seat house, Mil-

lard is used for operas; theatre productions;

orchestra, wind ensemble, and chamber music

concerts; solo recitals; and lectures. Millard has

computerized sound and lighting equipment, a

50-foot proscenium arch with a stage depth of 32

feet, a 22-line-set fly rail, and a full orchestra pit.

O’Connell Hall houses the organ studio,

Berkman Recital Hall, practice rooms, teaching

studios, and offices for the Hartt Community

Division.

Paranov Hall, a four-story instructional

building, houses classrooms, the Hartt recording

studios, faculty and administrative offices, the

University of Hartford Center for Computer and

Electronic Music, and the LEGO Learning Cen-

ter, a state-of-the-art research facility housing a

large classroom and an adjoining observation

room designed to further the understanding of

how children in their first seven years develop

musical understandings and skills.

Lincoln Theater accommodates outside

bookings as well as campus-based activities. It

is used for commencements, lectures, concerts,

theatre and music theatre performances, solo

performances, orchestra/wind ensemble con-

certs, and a variety of other activities. Lincoln

Theater seats 716 and has a thrust stage that

measures 65 feet at its widest, 52 feet from back

wall to front edge of thrust. It has a full orches-

tra pit as well as sound and computerized light-


ing equipment with follow spots. The dressing

rooms easily accommodate up to 50 performers.

The Mildred P. Allen Memorial Library

is located adjacent to The Hartt School on the

second floor of the east wing of the Harry Jack

Gray Center. The Allen Library provides refer-

ence, circulating, and online materials in the

fields of music, dance, and related arts. Its hold-

ings include approximately 22,000 books and

bound journals, 41,000 scores, more than

23,300 sound recordings (including recordings

of Hartt operas, concerts, and recitals), more

than 1,100 videocassettes and DVDs, and thou-

sands of audio tracks streamed over the Internet.

Subscriptions to more than 400 online and print

journals allow students and faculty to remain

abreast of current research.

In addition, the Allen Library website

(http://library.hartford.edu/allenlibrary) presents

extensive resources in music, dance, and thea-

tre. The library catalog and other online re-

search aids help users identify and locate all the

scholarly resources managed by University Li-

braries. Members of the University community

holding University of Hartford e-mail accounts

(available from Information Technology Ser-

vices) may access subscription databases and

electronic journals from locations off campus.

Professional library staff members are available

to help users find materials, and library instruc-

tion is available upon request.

The Allen Library’s facilities include 18

iMacs with both Windows XP and Mac OS X

installed, as well as Microsoft Office, to provide

access to online resources. The library has three

fully equipped listening/viewing rooms to allow

for in-library use of audiovisual materials. Eight

individual audio carrels provide another option

for in-library listening. A teaching seminar

room, fitted with a full complement of listening

and viewing equipment, iMac computer (Win-

dows XP and Mac OS X), and overhead projec-

tion, is available to faculty for classes and

lectures. An additional small seminar room with

a PC, overhead projection, and some listening

and viewing equipment, is available for group

study and meetings. Self-service photocopying

($ .10/copy) and printing ($ .05/page) is availa-

ble, payable only with HawkCASH.

The Allen Library is open Monday through

Thursday from 8:30 a.m. until 11 p.m., Friday

from 8:30 a.m. until 6 p.m., Saturday from

11 a.m. until 5 p.m., and Sunday from noon

until 11 p.m. Special hours are observed during

the summer and holidays, and are posted on the

library website.

Faculty

Instrumental Studies Division Strings

Robert Black, double bass, Chair for Strings

Renato Bonacini, violin, emeritus

Melinda Daetsch, viola

Teri Einfeldt, Suzuki pedagogy (violin)

Rebecca Flannery, harp

Terry King, violoncello

Christopher Ladd, guitar

Katie Lansdale, violin

Steven Larson, viola

David Madsen, Suzuki pedagogy (guitar)

Anton Miller, violin

Emlyn Ngai, violin

Rita Porfiris, viola

Richard Provost, guitar, Chair

for Guitar and Harp

Mickey Reisman, violin

Mihai Tetel, cello

Keyboard

Gregory Babal, class piano Amy

Champagne, class piano Luiz de

Moura Castro, piano Margreet

Pfeifer Francis, piano,

Co-chair for Keyboard, Co-director

for Performance 20/20

Raymond Hanson, piano, emeritus

Barbara Johnson, class piano

Phillip Kawin, piano

Watson Morrison, piano, emeritus

Hae Sun Paik, piano

Paul Rutman, piano

Patricia Snyder, organ

David Westfall, piano, Co-chair

for Keyboard and Accompanying

Woodwinds, Brass, Percussion,

and Ensemble

John Amina, percussion

Janet Arms, flute

Curt Blood, clarinet

Rogerio Boccato, percussion

Ronald Borror, trombone

Kevin Cobb, trumpet

Joseph Galeota, percussion

Marc Goldberg, bassoon

James Jackson III, euphonium

Carrie Koffman, saxophone

Jay Lichtmann, trumpet

Humbert Lucarelli, oboe

Scott Mendoker, tuba

Roger Murtha, trumpet, emeritus

Ayako Oshima, clarinet

Ted Piltzecker, percussion

Greig Shearer, flute

http://library.hartford.edu/allenlibrary)

http://library.hartford.edu/allenlibrary)


Benjamin Toth, percussion, Chair for

Woodwinds, Brass, and Percussion

David Wakefield, French horn

Conductors

Glen Adsit, Wind Ensemble and Foot in the

Door, Assistant Director of Instrumental

Studies

Edward Cumming, Primrose Fuller Associate

Professor of Orchestral Studies

James Jackson III, Symphony Band

Gary Partridge, Capitol Winds

Vocal Studies Division Voice and Vocal Coaching

Edward Bolkovac, Director of Vocal Studies,

Chair of Choral Department

Nancy Andersen, voice

Robert Barefield, voice

Colin Britt, diction

Cherie Caluda, voice

Miguel Campinho, accompanist

Sanford Cohn, cantorial coach

Richard Hereld, accompanist

Kevin Jones, diction

Doris Lang Kosloff, coach Michael

Kutner, voice and diction Kamilla

Mammedova, accompanist Joanna

Levy, voice, Chair

of Voice Department

Michele McBride, voice

Marjorie Melnick, voice

Korby Myrick, voice

Wayne Rivera, voice

Barbara Robbins, accompanist

Stephen Scarlato, accompanist

Kyle Swann, coach

Technical Staff Marla Perlstein, costumer/designer

Larry Z. Rowe, Technical Director

Conductors for Vocal Studies Division

Edward Bolkovac, Director of Vocal

Studies, Chair of the Choral Department

Colin Britt

Stuart Younse

Music Education Division Music Education

John Feierabend, Director of Music Education

Sallie Ferrebee

Demaris Hansen, Chair of Graduate

Music Education

Warren Haston

Geoffrey Reynolds

Joshua Russell

Stuart Younse

Academic Studies Division Music History, Composition,

and Music Theory

Ira Braus, music history

Robert Carl, Chair for Composition

Edward Diemente, composition,

music theory, emeritus

Alexander Farkas, music theory, emeritus

Stephen Gryc̆, composition, music theory

Donna Menhart, music theory

David Macbride, composition, music theory

Patrick Miller, Chair for Music Theory

Akane Mori, music theory

Kenneth Nott, music history, Chair

for Music History

Michael Schiano, music theory Thomas

Schuttenhelm, music history Myron

Schwager, music history, emeritus Larry

Alan Smith, composition

Kenneth Steen, composition, music theory

Charles Turner, music history

Gabor Viragh, music theory, Supervisor

of Ear Training

Imanuel Willheim, music history, emeritus

Peter Woodard, music theory

The Jackie McLean Institute of Jazz

Kristopher Allen

Chris Casey

Steve Davis

Richard Goldstein

Randolf B. Johnston Jr.

Andrew Laverne

René McLean

Eric McPherson

Shawnn Monteiro

Nat Reeves

Rick Rozie

Gabor Viragh

Peter Woodard, Chair of the Jackie McLean

Institute of Jazz

Music and Performing Arts Management

Irene Conley, Chair of Music and Performing

Arts Management, Director of Undergraduate

Studies

Susan Davison

Lief Ellis

Erika Haynes

B. Gabriel Herman

Kathleen MacHose

Brian Smith

Music Production and Technology

Jim Chapdelaine, instructor

Mark Goodell, instructor

B. Gabriel Herman, Assistant Director

of Music Production and Technology


Justin Kurtz, Director and Chair of Music

Production and Technology

Kathleen MacHose, coordinator,

recording studio

Bachelor of Arts in Music Kenneth Nott, Program Director

Dance Division Miguel Campaneria, ballet, men’s class

Lorelei Chang, modern dance, composition

Lief Ellis, dance technology

Katrina Hawley, movement, Pilates

Denise Leetch-Moore, ballet, pointe

Amy Lesko, dance pedagogy

Tim Melady, pas de deux, men’s class

Hilda Morales, ballet, pointe, pedagogy

Alla Nikitina, ballet, character dance

Ralph Perkins, Martha Graham technique

Amy Piantaggini, Martha Graham technique

Stephen Pier, ballet, repertory, Director

of the Dance Division

Ann Quinn, kinesiology, dance administration

Leana Reisman, music history and theory

Larry Rowe, dance production

Debra Ryder, ballet, pointe, music

in the ballet studio

Katie Stevinson-Nollet, modern,

composition, repertory

Rae Tattenbaum, issues in pedagogy

Nina Watt, Limon technique, modern, repertory

Bonita Weisman, improvisation

Theatre Division Annmarie Davis, movement

Robert Davis, acting, voice and speech

Robert Felstein, vocal coach

Paul Feyer, vocal coach

Kevin Gray, acting, career preparation

Kristin Huffman, voice

Denise Leetch-Moore, dance

Debbie Markowitz, production stage manager

Diana Moller-Marino, movement, acting

Michael Morris, Director of Music

Johanna Morrison, voice and speech

Malcolm Morrison, phonetics and language

Carolyn Paulus, voice

Ralph Perkins, dance

John Pike, text analysis

Mark Planner, voice

Larry Raiken, voice

Philip Rittner, vocal coach

Alan Rust, acting, Director

of Theatre Division

Humphrey Tonkin, Shakespeare

Leslie Unger, dance

David Watson, voice and speech, acting

Joni Weisfeld, movement

Marishka Wierzbicki, voice

Stanley Wietrzychowski, vocal coach

Faculty in England Peter Craze

Barbara Houseman

Ilona Linthwaite

Bruce Malkin

Francis Thomas

Admission

Requirements for Admission

Each fall, The Hartt School admits more than

160 new students. A very small number of

students are also admitted in January. To be

considered a candidate, The Hartt School

requires of all applicants:

• University of Hartford and Hartt School

applications and fees ($80)

• High school/college transcript(s) and

SAT/ACT scores

• Two letters of recommendation

• Application essay

In addition, specific majors’ requirements

are as follows:

Instrumental Performance

Jazz Studies

B.S. Acoustical Engineering and Music

• Performance résumé/repertoire list

• Audition

Vocal Performance

• Performance résumé/repertoire list

• A recent full-length photograph

• Audition

• Musicianship interview

Music Education—Vocal Emphasis

Music Education—Instrumental Emphasis

Music History—Performance Practices

Music History—Scholarship and Research

Music Management


Music Theory

• Résumé/repertoire list

• Audition

• Interview with department

• Music education applicants only: sing-back test

• Vocal applicants only: recent full-length photograph and musicianship interview

Composition

• Two or three original compositions

(recordings and/or paper scores)


• Audition


B.A. Music and B.A. Performing Arts

Management


• B.A. Music with lessons only: audition

Dance Performance

Ballet Pedagogy

• Performance résumé

• Recent full-length photograph in leotard and tights

• Audition

• Interview with department Actor Training

Music Theatre

• Performance résumé

• Recent head-shot photograph

• Audition

• Music Theatre applicants only: group dance

audition

Applicants to The Hartt School must be

graduates of, or students who will graduate

from, an accredited secondary school; or they

must have successfully passed a high school

equivalency examination. It is expected that a

college preparatory program of studies will have

been pursued in high school.

Candidates for admission to the freshman

class should file application as early as possible

during the senior year of high school but no lat-

er than January 15. Students seeking entrance in

January should apply by November 1. Late ap-

plications will be considered only if vacancies

exist.

Prospective students are strongly encouraged

to visit the campus. To arrange an information

session, request application forms, or obtain

other information, contact

The Hartt School

Office of Admissions

University of Hartford

200 Bloomfield Ave.

West Hartford, CT 06117-1599

Telephone: 860.768.4465

Fax: 860.768.4441

[email protected]

http://harttweb.hartford.edu

Transfer Students Qualified transfer students, including inter-

school transfer students, are accepted to Hartt in

both fall and spring semesters for music pro-

grams, and in fall only for theatre and dance

programs. In order to be considered for admis-

sion, applicants must be in good standing from

other regionally accredited institutions or from

another school at the University of Hartford.

(Note: Individual programs within Hartt often

have additional admission requirements and

standards. These may include, but are not lim-

ited to, cumulative GPA requirements and addi-

tional academic review.)

Official transcripts from each institution pre-

viously attended are required, whether or not

transfer credit is desired. Students who have

earned fewer than 30 transferable credits are al-

so required to submit official high school tran-

scripts and ACT or SAT scores, unless 15

appropriate nondegree credits have been suc-

cessfully completed at the University of Hart-

ford through the Center for Graduate and Adult

Academic Service. All credentials must be sent

directly from the institutions attended to the

University of Hartford, Office of Admission

and Student Financial Assistance.

Transfer credit is limited to work completed

at regionally accredited colleges and universi-

ties in the United States. Course work complet-

ed abroad will be evaluated case by case, based

on submission by the student of relevant course

materials and grading information. Previous

studies should have been completed within a

10-year period immediately preceding applica-

tion for admission; credits over 10 years old

may not be accepted. A minimum grade of C–

at the undergraduate level is required for

transfer credit. Credits granted by previous col-

leges for CLEP, nontraditional learning experi-

ences, and other examinations will be evaluated

on a separate basis and generally may not be

used to fulfill All-University Curriculum re-

quirements. Credit may be granted for service-

connected learning as recommended by the

A.C.E. Guide for Evaluation of Educational Ex-

periences in the Armed Forces; form DD214 or

295, or Course Completion Certificates, should

be forwarded to the office of Admission and

Student Financial Assistance.

Grades do not transfer, even when credits do.

Grade point averages are computed solely on

courses completed at the University of Hartford.

A preliminary transfer evaluation is done upon

acceptance to The Hartt School. The student

must furnish course descriptions for all college-

level courses previously taken. A final evalua-

tion cannot be completed until a final transcript

is received.

Bachelor of Music and Bachelor of Arts

Applicants

Transfer students seeking admission to B.Mus.

or B.A. degree programs should note that their

class ranking may be diminished from their

mailto:[email protected]

mailto:[email protected]


most recent standing at another institution (i.e.,

if a student is currently a sophomore, the

student may not automatically enter Hartt as a

junior). The University evaluates previous

course work for transfer to satisfy academic

degree requirements; performance-related

courses may require that a student demonstrate

proficiency, measured through a placement

examination, an audition, or a jury with Hartt

faculty, before transfer credit is granted for pre-

vious performance-related course work. In

many instances, a full course description and

syllabus are required to determine if a course

satisfies a University of Hartford requirement.

The Hartt School retains the authority to make

all decisions regarding transfer of music-related

credits, and also has the authority to evaluate

and place transfer students in programs at the

level deemed appropriate by faculty.

Bachelor of Fine Arts in Dance Applicants

Students seeking admission into the dance pro-

grams should understand that all students enter-

ing these majors enter as first-year students in

the performance areas, regardless of previous

work. The Hartt School does consider previous

course work for transfer to satisfy academic de-

gree requirements; however, the performance-

related courses in dance may require a full eight

semesters of study at The Hartt School. The

Dance Division generally accepts transfer stu-

dents for fall-semester matriculation only and

considers each candidate for scholarship based

on the audition.

Bachelor of Fine Arts in Theatre Applicants

(Music Theatre and Actor Training) Transfer students seeking admission to the The-

atre Division should understand that all students

enter the music theatre and actor training pro-

grams as first-year students, regardless of previ-

ous work. The Hartt School does consider

previous course work for transfer to satisfy aca-

demic degree requirements; however, the per-

formance-related courses of these programs

require a full eight semesters of study at The

Hartt School to fill program degree require-

ments. The Theatre Division considers transfer

students for fall-semester matriculation only and

considers each candidate for scholarship based

on the audition.

Performing Arts Scholarships Hartt School applicants are eligible for Hartt’s

performing arts scholarships, which are awarded

based on the student’s audition/interview and

are therefore primarily talent/merit awards.

Scholarships are awarded for fall entrance only.

No separate application is necessary; all Hartt

applicants are automatically considered. Hartt

scholarships may not be combined with any

other scholarships or grants from the University.

Scholarships are awarded upon acceptance and

are renewable each year for the length of the

degree program into which the student has been

accepted, contingent upon continued academic

performance and progress at the level required

each semester. Need-based aid is awarded ac-

cording to the results of the FAFSA (Free Ap-

plication for Federal Student Aid), which should

be filed by February 1.

Audition Information The Hartt School schedules audition days in

December, January, and February of each year,

plus additional regional dates for theatre. See

The Hartt School website (http://harttweb

.hartford.edu) for specific dates and locations.

Student Performing Organizations

Hartt’s professional character is reflected in the

richness of performance opportunities afforded

its students. Membership in all performing

organizations of the instrumental and vocal

divisions is by audition and is open to all

University students.

The Hartt School Theatre Division offers a

performance degree (B.F.A.) in two distinctive

programs: Actor Training and Music Theatre.

The Hartt School Theatre Division is distin-

guished by its professional connections. All

members of the faculty are artists who maintain

their contacts with regional theatres, Broadway,

film, and television. The school regularly in-

vites guest directors, agents, managers, and

casting directors to enhance the work done in

each of the programs. The Theatre Division also

employs many guest teachers and directors who

provide coaching and stage productions.

Performance is an essential part of the train-

ing experience. Casting is supervised by the

director of the division, in consultation with

the faculty and visiting artists. The plays

chosen for production in each of the majors

(music theatre or acting) are selected from a

broad range of classical, modern, and new mate-

rial. The intent is to provide experience for the

student in many styles of theatre, supporting the

work of the classes and expanding the student’s

knowledge of the theatrical repertoire.

Currently, the Theatre Division is enjoying

partnerships-in-training with Tony Award–

winning (for regional theatre) Hartford Stage

http://harttweb/

Performing Organizations / 381

Company and Tony Award–winning (for re-

gional theatre) Goodspeed Musicals.

Instrumental Hartt Symphony Orchestra

Hartt’s principal instrumental performing or-

ganization, the Hartt Symphony Orchestra, is

intended for training in orchestral techniques.

Six public concerts, featuring a healthy balance

of classic symphonic literature and newly

composed music, are presented.

Foot in the Door (Hartt Contemporary

Players)

Foot in the Door (Hartt Contemporary Players)

is a mixed ensemble of advanced players whose

repertoire includes music of established as well

as emerging 20th-century composers. The en-

semble has appeared in New York, Boston,

Cleveland, and Indianapolis; has recorded for

Opus One and CRI; and has been heard on

Connecticut Public Radio and WNYC-FM New

York.

Hartt Wind Ensemble and Symphony Band

The Hartt Wind Ensemble and Symphony Band

are intended for training and developing careers

in music performance, music education, music

theory/composition, music management, and

music production and technology. Each ensem-

ble performs the highest-quality repertoire writ-

ten for winds and percussion ranging from small

chamber ensembles to the full symphony band

orchestration. Regularly, the ensembles have as

guests internationally acclaimed composers, so-

loists, and conductors. In addition to regular

tours, community concerts, and convention ap-

pearances, the Hartt Wind Ensemble and Sym-

phony Band give four to six performances

annually.

Hartt Concert Jazz Band and Combos

These organizations prepare and perform music

in the jazz style, with both functional and artis-

tic objectives.

Hartt Percussion Ensemble

With an emphasis on chamber music, the Hartt

Percussion Ensemble’s repertoire includes

works for both small and large ensembles. Pro-

gramming includes percussion ensemble ―clas-

sics‖ (by Varese, Cage, Harrison, Reich, etc.),

as well as contemporary literature and premiere

performances. Concerts have also featured the

folk music of various cultures, including that of

Mexico, Africa, Cuba, Brazil, and the Middle

East, as well as American Ragtime. In addition,

the Hartt Graduate Percussion Group and the

Hartt Steelband serve as extensions of the Hartt

Percussion Ensemble. Ensemble members are

pursuing a wide variety of majors at The Hartt

School, including percussion performance, mu-

sic education, music management, acoustics,

music production and technology, and compo-

sition.

Hartt Steelband Featuring the music of the Caribbean, the Hartt

Steelband serves as an extension of the Hartt

Percussion Ensemble. The group performs on

authentic Trinidadian steel drums, created from

finely tuned, 55-gallon oil barrels, accompanied

by an authentic calypso percussion section. The

Hartt Steelband’s repertoire includes traditional

Jamaican folk songs, Afro-Cuban salsa, Ameri-

can popular music, Western European classics,

and features the calypso and soca music of Trin-

idad.

Hartt Baroque Collegium The Hartt Baroque Collegium performs instru-

mental and vocal music of the Baroque and ear-

ly Classic periods. The Collegium performs

regularly at Hartt and in concert series through-

out the Hartford area. Past concerts have includ-

ed works by J. S. Bach, Handel, C. P. E. Bach,

and Vivaldi.

Capitol Winds Capitol Winds is a symphonic band comprising

students from the University of Hartford as well

as members of the Greater Hartford community.

The group plays challenging concert band litera-

ture and performs several concerts each year.

The band has premiered works by Hartt com-

posers and hosted guest soloists from the Hart-

ford area.

Vocal Recent performances of major choral works

have included Brahms’s Schicksalslied, Duru-

fle’s Requiem, Mozart’s Coronation Mass, Ber-

lioz’s Te Deum, Verdi’s Requiem, and Vaughan

Williams’s A Sea Symphony. In addition, the

Hartt choral ensembles frequently perform a

cappella works by composers such as Argento,

Britten, Copland, and Poulenc.

Choral department auditions for placement in

choral ensembles take place during the first

week of classes in the fall. The audition consists

of singing a prepared piece, sight-reading, and

some musicianship testing. Based on the audi-

tion, the educational needs of the students, and

the artistic needs of the department, students are

assigned to four hours per week in appropriate

choral ensembles. Choral ensembles are open to

all University of Hartford students as well.


Hartt Chorale

A mixed chorus for about 45 voices that per-

forms a wide variety of a cappella and accom-

panied repertoire from the Baroque period to the

present in four to six concerts each year.

Hartt Choir

A mixed choir of 60 voices that performs a

variety of both mixed-choir and men’s or

women’s repertoire.

Hartt Chamber Choir

A mixed chorus for about 20 voices performing

advanced repertoire.

Camerata A treble choir of about 30 women that performs

a variety of music for female voices, both a

cappella and accompanied repertoire. Occasion-

ally, the Camerata combines with the other

choirs to perform major choral works.

Opera Black Box and Mainstage

Opera Black Box provides opportunities for vo-

cal performers to learn stagecraft through the

performance of a variety of opera scenes each

semester. Recent performances include Die

Zauberflote, L’Enfant et les Sortileges, The Old

Maid and the Thief, Orpheus in the Under-

world, The Tender Land, and Hansel and

Gretel.

Dance Performing opportunities for Hartt dance majors

include two fully produced series in Millard

Auditorium and/or Lincoln Theater, productions

in the Handel Performing Arts Center’s black-

box theaters, studio showings of works-in-

progress, lecture-demonstrations, and open re-

hearsals. Outreach performances in local

schools and community centers offer students

valuable performance and production experi-

ence. There is also the opportunity for students

in good standing to perform with various pro-

fessional and semiprofessional companies with

permission from the division director. The

school has performed at Jacob’s Pillow, The

Kennedy Center, and American College Dance

Festival Association events, among other festi-

vals and venues.

Dance majors have performed on tour at

Jacob’s Pillow, The Hollywood Bowl, and the

Kennedy Center.

Chamber Music

Coached by faculty artists, chamber ensembles

for strings, woodwinds, and brass perform at

Hartt and throughout the Greater Hartford area.

Six semesters of chamber music are required in

all instrumental performance majors.

Performance 20/20 Performance 20/20 is Hartt’s innovative honors

chamber music program for exceptionally

talented instrumentalists. Admission is by audi-

tion, and all members are given a full-tuition

scholarship. The program offers students the

opportunity to be part of an advanced chamber

music program that supplements the traditional

performance major. Accepted students partici-

pate in 20/20 in lieu of the curricular chamber

music requirement. The program allows stu-

dents to work in a professional atmosphere

where they can learn and study chamber music

in addition to their other courses.

An entering undergraduate or graduate per-

formance major who performs exceptionally

well at the initial Hartt audition will be nomi-

nated by that committee for inclusion in the live

20/20 audition. A continuing Hartt student who

is not a member of 20/20 is considered for in-

clusion upon the recommendation of his/her

teacher and after passing an intraschool prelimi-

nary audition. The performance and progress of

20/20 participants are reviewed on a continuing

basis. A student who contributes to the goals of

the program and who continues to mature musi-

cally may continue in 20/20 for the length of

time normally associated with completion of the

course of study.

Performance 20/20 provides students the op-

portunity to perform advanced chamber music

with other talented and motivated students. A

wide range of instruments allows for unique

combinations and the opportunity to perform a

varied repertoire of chamber music. In addition

to on-campus performances, 20/20 performs off

campus at a variety of venues. 20/20 ensembles

are coached by eminent members of Hartt’s

faculty who are experienced chamber music

performers. Workshops, retreats, and special

master classes by visiting international artists

are an integral part of the 20/20 experience.

Friendships and artistic alliances formed with

20/20 colleagues help develop important profes-

sional connections and contacts for the future.

Other Performing Opportunities Special master classes are programmed within

all performance areas. Pianists perform in the

Hammerklavier series. Guitar students present

works of leading composers in the series ―An

Evening with Guitar.‖ Master classes by some

of the world’s foremost musicians take place

regularly at The Hartt School. Many of the most

distinguished artists appear as guest soloists,

recitalists, chamber musicians, and lecturers in

Performing Organizations / Student Organizations / 383

special workshops. Recent appearances include

Edward Carroll, Charles Castleman, Glenn

Dodson, the Emerson String Quartet, Norman

Krieger, Edgar Meyer, David Finckel and Wu

Han, the New York Brass Quintet, the St. Law-

rence Quartet, the Orion Quartet, Nelita True,

William Vacchiano, and Glen Velez.

The Paranov Competition is open to all ma-

triculated students (with some restrictions).

Winners are selected to perform with one of

the major instrument ensembles during the next

school year. Some of the finalists in this compe-

tition may be awarded a reading session. Pre-

liminary and final audition dates are announced

in the fall.

Special Lectures and

Performance Series

Institute of Contemporary American Music

(ICAM)

Founded in 1948, ICAM is Hartt’s link to the

larger new-music community. ICAM provides a

forum for the presentation and comparison of

various styles and trends in new music. Such

noted figures as Milton Babbitt, Earle Brown,

John Cage, Elliot Carter, Aaron Copland, An-

thony Davis, Ross Lee Finney, Steve Reich,

Ralph Shapey, and Michael Torke have been

featured on the ICAM Lecture Series.

Hartt Music History Forum The Music History Forum, founded in 1987,

has brought to Hartt accomplished musicolo-

gists like Joshua Rifkin, who has visited several

times in recent years. Other participants have

included John Devario, Barbara Heymen, and

Walter Frisch. The program provides students

with opportunities to learn about the latest in

musicological research.

Hartt Music Theory Forum The Hartt Music Theory Forum was established

in 1988 for musicians and scholars to visit

The Hartt School to share their theoretical ideas

and research with students, faculty, and the

community. Forum speakers have included

James Baker, Benjamin Boretz, Charles

Burkhart, Scott Burnham, Mark DeVoto, Allen

Forte, Joel Lester, Robert Morgan, Dorothy

Payne, Lee Rothfarb, Carl Schachter, Janet

Schmalfeldt, and Robert Wason.

Hartt Choral Workshops The Hartt School sponsors an annual High

School Choral Festival in which high school

choirs come from Connecticut and the sur-

rounding states for a day of choral workshops,

vocal master classes, and choral concerts.

Faculty Artist Series

Appearances by members of Hartt’s prestigious

faculty occupy an important place on the annual

performance calendar. Featured in the Faculty

Artists Series are instrumental and vocal solos,

duos, trios, quartets, and quintets in perfor-

mances of both classical and contemporary

literature.

Students are afforded an additional oppor-

tunity to hear and learn from Hartt’s master

teachers through an ongoing schedule of

faculty solo recitals, master classes, and faculty

guest appearances with Hartt performing organ-

izations.

Student Organizations

MEISA

The Music and Entertainment Industry Student

Association (MEISA) provides its members

with information regarding career opportunities

in the music and performing arts industries and

provides experience in the field of arts man-

agement through a variety of events, including

seminars, concerts, and workshops. Member-

ship is open to any University of Hartford

student.

Music Educators National Conference

(MENC) Student Chapter 227

As part of their course requirements, music edu-

cation majors are expected to maintain member-

ship in the Hartt chapter of this national

professional association of music educators.

Elected student officers, along with the mem-

bership, plan an agenda of activities designed to

provide hands-on experience in the planning

and execution of events that will play an

important part in their future as music educa-

tors. Activities typically include a weekend

professional conference with invited guest clin-

icians jointly sponsored by Hartt and MENC

chapters, and hosting and planning a junior high

school choral or jazz band festival.

American String Teachers Association The Hartt School Student Chapter of American

String Teachers Association (ASTA) is open to

all string music education and performance ma-

jors. The club sponsors activities such as faculty

recitals, play for your peers, instrument dona-

tion drives, and guest speakers. All string stu-

dents are encouraged to join. For more

information, contact the Music Education de-

partment of The Hartt School.


American Choral Directors Association

The American Choral Directors Association

(ACDA) is an organization dedicated to the en-

hancement and enrichment of choral music and

choral music education. The club sponsors ac-

tivities that further the understanding and prac-

tice of choral music in our University, district,

state, division and national levels. All students

are encouraged to join, regardless of their ma-

jor. Guest conductors and speakers give work-

shops. Hartt’s chapter hosts informal readings

of choral music and sponsors school and Uni-

versity activities as well as travel to local, state,

and national festivals of ACDA.

Phi Mu Alpha Sinfonia Phi Mu Alpha Sinfonia is a national music fra-

ternity for men. Membership is open to all men

who have a sincere love of music and brother-

hood. Phi Mu Alpha Sinfonia was founded

in 1898 at the New England Conservatory of

Music, when a group of 13 young men, under

the guidance of Ossian Everett Mills, ―met to

consider the social life of the young men stu-

dents of that institution‖ and to ―devise ways

and means by which it might be improved.‖

Sinfonia became a national fraternity in 1900

with the admission of another group of men into

the group at the Broad Street Conservatory in

Philadelphia. Since that time, Sinfonia has

grown into the largest music fraternity in the

world, with more than 140,000 brothers and sis-

ters, and chapters on more than 200 college and

university campuses across the nation. Phi Mu

Alpha Sinfonia has a history at The Hartt

School dating back to 1955. The Zeta Omega

chapter of Sinfonia was founded in 1955 at the

Hartt College of Music.

Pi Kappa Lambda National Honors Society,

Epsilon Gamma Chapter

Pi Kappa Lambda was organized in 1918 at

Northwestern University in Evanston, Ill.

Epsilon Gamma Chapter was installed at The

Hartt School in 1981. Currently, there are over

155 active chapters. The primary objective

of Pi Kappa Lambda is the recognition and

encouragement of the highest level of music

achievement and academic scholarship. Consid-

eration for membership is based on the

recommendation of the Faculty Committee.

Membership eligibility:

1. Any junior considered by the Faculty Com-

mittee to be outstanding in scholarship and

musicianship, provided the student has been

in residence the equivalent of at least four

semesters and ranks not lower than the

highest 10 percent of the junior class as de-

termined by GPA.

2. Any graduating senior considered by the

Faculty Committee to be outstanding in

scholarship and musicianship, provided the

student has been in residence the equivalent

of at least four semesters and ranks not low-

er than the highest 20 percent of the graduat-

ing class.

Sigma Alpha Iota Sigma Alpha Iota (SAI) is an international mu-

sic fraternity for women. The SAI Manual for

Members states that fraternity, which comes

from the Latin feminine noun fraternitas, refers

to both men and women. All the music fraterni-

ties have used it for many years.

The Eta Mu chapter was installed at The

Hartt School in 1987. Since that time, its mem-

bers have sought to promote an interest in

music within the chapter, the school, and the

community.

Summerterm

Undergraduate courses are offered in the sum-

mer for undergraduates matriculated in The

Hartt School. Three- and six-week core curricu-

lum classes are offered from mid-May to

mid-August.

Registration

Students are strongly encouraged to register as

early as possible and at least three weeks prior

to the first day of Summerterm.

The Core Summerterm Catalog may be found

online at www.hartford.edu/summerterm. For

undergraduate Core Summerterm Registration

forms, contact

Summerterm Office

University of Hartford

200 Bloomfield Ave.

West Hartford CT 06117-1599

860.768.5020

Online registration is available at

www.hartford.edu under Self-Service Center/

Students.

Academic Load

Students normally carry a maximum load of

6 credits per session during Summerterm. In

special cases, and with permission of the

advisor, undergraduates may carry 8 or 9 credits

simultaneously.

http://www.hartford.edu/summerterm

http://www.hartford.edu/

Community Division / Degree Programs / 385

The Hartt School Community Division

A variety of noncredit activities is offered

through the Community Division of The Hartt

School. The Community Division provides not

only music and dance instruction for students

preparing to enter the field of music, dance, and

theatre, but also training and experiences for in-

dividuals of all ages and levels of experience

who wish to enhance their ability and

knowledge. Study is offered in 28- and 34-week

increments plus a summer session. More than

2,500 students, including many enrolled at the

University of Hartford, participate in Commun-

ity Division activities each year.

The Hartt Community Division offers a

comprehensive program for the study of instru-

mental music. Private lessons are available for

all orchestral instruments, in addition to piano,

organ, and guitar. Precollege students may par-

ticipate in a variety of ensembles, including

Concert Ensemble for middle school students

and the Greater Hartford Youth Wind Ensemble

and Connecticut Youth Symphony for advanced

high school students.

The Community Division has one of the

most successful Suzuki programs in the nation,

offering instruction for violin, viola, cello, bass,

piano, guitar, and flute. The Suzuki program in-

cludes five string orchestras, multiple group

classes, weekend workshops, and the weeklong

Hartt Suzuki Institute in early August.

For vocalists, opportunities include private

voice lessons and regular master classes. Precol-

lege students, beginning at age 6, may partici-

pate in the five premier ensembles of the

Connecticut Children’s Chorus. Choral ensem-

bles regularly perform with the Hartford Sym-

phony Orchestra.

The Community Division Dance department

offers programs for beginning through advanced

students at the Handel Performing Arts Center.

Serious pre-college dancers participate in either

the Ballet or Modern Theater dance programs,

which provide intensive training and unique

performance opportunities. In addition, classes

in Jazz, Salsa, Hip-Hop, Yoga and Pilates are

offered.

Early childhood education in music is of-

fered through the First Steps in Music program.

Parents, along with their infant and toddler chil-

dren, attend music and movement classes to-

gether, thereby providing a foundation for

future study in the performing arts. Adult stu-

dents also have many opportunities for partici-

pation at the Community Division, including

private instruction, dance classes and adult

string and wind ensembles.

All programs of the Community Division are

open as noncredit options to University of Hart-

ford students. Community Division students en-

joy access to the Mildred P. Allen Memorial

Library and to all events presented by The Hartt

School.

For further information, contact the Hartt

Community Division at 860.768.4451, visit the

website at www.hcd.hartford.edu, or visit the

Community Division office in room 19 of the

Fuller Music Center.

Undergraduate Programs

DEGREE PROGRAMS

Offered at the undergraduate level are the Bach-

elor of Music, the Bachelor of Fine Arts, and

the Bachelor of Arts. Additionally, an

interdisciplinary program is available: the Bach-

elor of Science in Engineering with a

major in acoustical engineering and music,

which is offered by the College of Engineering,

Technology, and Architecture.

Bachelor of Music

The Bachelor of Music may be achieved

with a major in any of the following areas:

performance, music education, composition,

music theory, music history, jazz studies, music

production and technology, and music man-

agement.

All Hartt students pursuing the Bachelor of

Music degree receive a common body of

knowledge and skills, consisting of

• Private lessons (up to eight semesters) and

participation in large and/or small ensembles

(up to eight semesters)

• Music theory, ear-training, and music history

(a minimum of four semesters each)

• Four All-University Curriculum (AUC) cours-

es

• Two semesters of reading and writing courses • One semester of math

• Academic electives

A minor in music is also available. See page

391 for more information.

Performance:

Instrumental and Vocal The Hartt School’s Bachelor of Music in Per-

formance has a distinct profile that sets it apart

from other conservatories and music schools in

the United States. In addition to the required

http://www.hcd.hartford.edu/


course work, the major consists of three signifi-

cant elements: performance, pedagogy, and

career development.

Performance: Majors are involved with solo,

chamber, and large-ensemble performances.

Pedagogy: Course work ensures that all

performance students leave Hartt prepared as

private teachers. The program includes a special

class in the techniques of teaching and an

observation program in Hartt’s Community

Division.

Career development: For instrumentalists,

this consists of two classes: Communicating

with an Audience and Building a Music Career.

These courses prepare students for artist resi-

dencies, community performances, and arts in

education programs. Students are provided with

the information and skills to present themselves

effectively in these activities through prepara-

tion in content and repertoire selection, stage

presentation and speaking techniques, and

building a relationship with the audience. Stu-

dents also are provided with information on

résumé preparation, negotiating a contract,

making a recording, and other career-related

concerns. Vocal performance majors address ca-

reer-related issues in the vocal performance

seminar, which meets weekly for all eight

semesters of the program.

Please refer to curricula on pages 395–403.

Music Education (includes Music

Teaching Certification requirement) Music education applicants are accepted in a

vocal, orchestral instrument, or double emphasis

major; or as a double major combining instru-

mental music education with the instrumental

performance major; or as a double major com-

bining vocal music education with the vocal

performance major. During the audition pro-

cess, all students interested in music edu-

cation will have an interview with a music edu-

cation faculty member, which includes singing a

patriotic song and a test of singing and aural

skills. In addition, all students have an audition

with the Vocal or Instrumental Division with

classical repertoire.

There are a variety of music education

major possibilities; each emphasis has its

own curriculum requirements. Please contact

the Hartt Admissions Office at 860.768.4465

or a music education faculty member at

860.768.4479 for details.

Studies for the Bachelor of Music in Music

Education at The Hartt School consist of a bal-

anced program of specialized music, profes-

sional education, and liberal arts studies de-

signed to develop musician-teachers.

Students in music education programs are

required to master the ability to model, observe,

and assess music and movement behaviors in

both large- and small-group settings in pre-

school through grade 12.

Students in both the instrumental and vocal

tracks are required to master crucial philoso-

phies and methodologies and be able to pre-

scribe appropriate strategies that will enhance

the development of music and movement skills

as described in the pedagogies of Kodály, Gor-

don’s Music Learning Theory, Orff, Dalcroze,

Laban, and the ―Conversational Solfège‖ and

―First Steps in Music‖ curricula.

To be considered for certification, each can-

didate must complete, or be waived from, the

Praxis I Computer-Based Test (CBT) exam in

basic mathematics, reading, and writing skills,

administered by Educational Testing Services at

Sylvan Learning Center facilities nationwide

(see page 252 for waiver information). The

Praxis II exam, taken in the junior year, covers

music education, music history, and music theo-

ry. Students are encouraged to take the Praxis I

CBT exam in their freshman or sophomore year

and complete Praxis II in order to qualify for

student teaching. Contact the Music Education

office for test materials and information.

Students are required to study their principal

instrument or voice each semester (except dur-

ing Student Internship) and attain a minimum

accomplishment level to be determined by the

department. A minimum cumulative grade point

average (GPA) of 2.67 must be maintained and

a sophomore evaluation successfully completed

before students are allowed to register

for junior-level music education classes. Stu-

dents are responsible for providing their own

transportation to and from all Student Intern-

ship commitments. Public transportation is not

usually available.

A minor in music education is also available.

It does not result in state certification. See page

391 for more information.

Music Education Core Curriculum The core curriculum prepares students to as-

sume positions at a variety of levels (N–12) in

vocal and instrumental music education. Stu-

dents choose either a vocal or instrumental em-

phasis in which they would like to specialize.

Four semesters of methods classes form the core

of each program.



Composition The Bachelor of Music in Composition offers a

balanced curriculum of courses that emphasizes

traditional skills, classical practice, and contem-

porary techniques. Beyond Hartt’s core theory

and music history sequence, required courses

for undergraduate composers include orchestra-

tion, analysis, and electronic music. From the

sophomore year on, all majors receive a weekly

lesson with a faculty member. The department

also encourages students to take electives in

conducting, sound technology, music manage-

ment, and jazz studies. The program includes a

wide range of performance opportunities, by

which students can hear, and receive recordings

of, their music. This program involves instruction in both tra-

ditional techniques and practical experience with

new and emerging musical and media technolo-

gies. Studio D is the composition department’s

teaching and composition studio. At its heart is a

MacPro workstation with multiple displays and a

flexible, multichannel audio system. Sequencing/

digital audio, notation, digital audio editing and

sound design, synthesis, sampling, CD mastering,

sound and music for picture, and algorithmic

composition are taught through the realization of

compositional concepts and use of the following

software: Logic Studio, Finale, MetaSynth, Pro-

Tools, MAX/MSP, Komplete7, East/West Plati-

num Complete + Symphonic Choirs, Kenaxis,

StutterEdit, and others.

Please refer to curriculum on page 404.

Music Theory Music theory is a vital component in the educa-

tion of musicians. Music theory instruction at

The Hartt School provides students majoring in

music, dance, and theatre with experiences in

perceiving, analyzing, and performing music.

The core music theory and ear training curricu-

lum for undergraduates is two to five semesters

of music theory with two to six semesters of ear

training. Kodály instruction is used for all levels

of ear training.

Applicants for the Bachelor of Music in Mu-

sic Theory usually have preparatory training in

music theory and performance. A total of 137.5

credits is required for the bachelor’s degree,

which is usually completed in eight full-time

semesters. Music theory majors follow a care-

fully planned curriculum under the supervision

of a faculty member of the music theory de-

partment. The undergraduate degree program

includes instruction in the fundamentals of mu-

sic theory, tonal harmony, tonal analysis, post-

tonal analysis, tonal counterpoint, modal coun-

terpoint, keyboard harmony, orchestration,

score reading, music theory pedagogy, and ear

training pedagogy. A senior essay is completed

during the senior year. The senior essay topic is

selected by the student and is supervised by a

faculty member of the music theory department.

Undergraduate music theory majors are required

to maintain an overall grade point average of B–

throughout their degree programs.

Please refer to curriculum on pages 410–11.

Music History Hartt’s Department of Music History, Litera-

ture, and Criticism teaches students not only

about the various musical styles throughout his-

tory but also about recent views on performance

practices. Candidates for the Bachelor of Music

in Music History may select an emphasis in ei-

ther performance practices or research. The de-

partment provides opportunities for students to

perform through the Collegium, a select group

of singers and instrumentalists.


African American Music/ Jazz Studies

The Jackie McLean Institute of Jazz

In celebration of the jazz legacy that Jackie

McLean (1931–2006) created for The Hartt

School, the University renamed its African

American Music program The Jackie McLean

Institute of Jazz in 2000, honoring McLean’s

30th anniversary at the school.

An American jazz saxophone great, McLean

enabled Hartt to offer its first classes in jazz,

and in 1980 the Department of African Ameri-

can Music was founded with McLean as its di-

rector. In 1981 the Bachelor of Music in Jazz

Studies was approved by the National Associa-

tion of Schools of Music, and the program

accepted its first class of 10 students in the

1981–82 academic year. The Bachelor of Music

in African American Music/Jazz Studies pro-

gram continues to thrive, offering students the

opportunity to focus on the jazz and African

American idiom, perform in jazz ensembles, in-

teract with internationally recognized jazz mu-

sicians in special workshops and master classes,

and participate in a creative cultural relationship

with Hartford’s community-based Artists Col-

lective, an organization founded by McLean and

his wife, Dollie, and dedicated to the promotion

of African and Caribbean art forms.


Degree Programs / 387

Music Production and Technology The world of music has taken great strides due

to the many technological advances in audio

production tools. The computer has moved to

the center of the modern production studio, al-

lowing artists to create high-quality recordings

that once required access to often prohibitively

expensive facilities. The Internet has leveled the

distribution playing field between the major la-

bels and smaller, independent labels. Artists and

producers can more affordably than ever create

recordings—with a fidelity that was once im-

possible on a small budget—and distribute them

through online sales of CDs, DVDs, and/or

formats like MP3, AAC, and RealAudio. Much

like the transition experienced by the photog-

raphy industry—from expensive, highly tech-

nical cameras to point-and-shoot models that

anyone could use—recording equipment has

followed a similar path, making powerful tools

available to nearly anyone. What is still com-

mon to both industries is the sensibility and

technique of the operator: a photographer must

understand image composition and lighting,

while the music producer must be a knowledge-

able and practiced musician. It is the goal of the

Music Production and Technology (MPT) de-

partment to train musicians to be producers of

quality music products (thus the audition re-

quirement and core music curriculum).

What is a ―music producer‖? There are many

acceptable definitions, depending on the musi-

cal genre in question. To produce a quality re-

cording, however, one must have strong musical

skills and instincts, and be proficient as a re-

cording engineer to exploit the full capabilities

of the production studio. Training in the studio

is approached in much the same fashion as the

process of learning an instrument. To play an

instrument, one must spend a great deal of time

practicing in order to make a connection be-

tween the written music, or music heard in

one’s head, and where to place one’s hands and

fingers. Eventually a level of proficiency is

reached at which that connection is made sub-

consciously—it is at that level that one truly be-

comes a musician. Students in the Music

Production and Technology program are trained

to view the studio as an instrument through

which they will create music, both their own

and the collaborative product of working with

other artists. Reaching that level means dedica-

tion to learning and practicing the craft.

Students follow a course of study that com-

bines a traditional music conservatory curricu-

lum (including study of an instrument or voice

in classical or jazz) with courses in recording

engineering, music production, electronic mu-

sic, acoustics, and music business. Included are

both a practicum (working in Hartt’s profes-

sional recording studio) and an internship at a

production facility off campus. In the final se-

mester of the senior year, students work in small

teams to engineer and produce a full-length re-

cording. These senior projects become a valua-

ble part of the student’s portfolio.


Music Management The arts industry, a multibillion-dollar, highly

globalized enterprise, ranks among the 10

largest industries in the United States. It is a

diverse, challenging, fiercely competitive field,

constantly affected by changes in technology,

legislative issues, and the economic environ-

ment. Students interested in careers in this in-

dustry must be well prepared in budgeting,

accounting, economics, marketing, and man-

agement theory.

This major provides performing musicians

with a broad background in the business of

the arts. Students receive weekly private

lessons, play in ensembles, and study music

theory, history, ear training, and keyboard.

Business courses include accounting, econom-

ics, marketing, computers, and finance. A core

curriculum of 12 specialized music and arts

management courses provides a synthesis of

music and business studies. Students apply their

knowledge using case studies, small-group

discussions, and projects. In addition, students

complete at least one 180-hour internship.

All management students are required to com-

plete the internship sequence MUM 420 and

MUM 421.

Management students have completed in-

ternships with SONY Music, Epic Records, the

Litchfield Jazz Festival, ASCAP, Aspen Music

Festival, Hartford Symphony Orchestra, The

Kennedy Center, New York Theatre Workshop,

the Bushnell Center for the Performing Arts in

Hartford, and many other arts organizations.

Graduates hold positions in recording compa-

nies, artist management, symphony and opera

administration, development and fundraising,

marketing, and public relations.


Five-Year Double Majors Students who meet admission requirements for

the Bachelor of Music degree in two fields may

elect an integrated program in which the student


fulfills the requirements of two majors. Such

programs require a minimum of five years,

often including summer study, and may result

in overload charges. A fee may be assessed

for private music instruction in the fifth year.

Participation in a performing organization is

required for a minimum of eight semesters. The

most popular of these programs combines

Music Education or Music Management with a

program in Performance. A complete list of

five-year, double majors may be found in the

Hartt School Supplemental Application.

Bachelor of Fine Arts

The Hartt School offers a Bachelor of Fine Arts

with majors in dance, music theatre, and actor

training.

Dance The Bachelor of Fine Arts in Dance was estab-

lished to provide rigorous preparation for pro-

fessional performance and teaching careers

along with a meaningful liberal arts education.

Both the performance and pedagogy majors

emphasize serious technical training in classical

ballet and classical modern dance techniques, as

well as contemporary dance forms, ballet peda-

gogy, composition, dance history, kinesiology,

music, technology for dance, and other dance

studies. Entering students in both programs

must have at least an intermediate technical

foundation in ballet or contemporary dance.

The primary focus of the performance em-

phasis is preparation for a professional perfor-

mance career. Performance opportunities

abound with the Hartt Dance Ensemble, main-

stage performances, black-box performances,

studio workshops, and apprentice positions in

professional companies.

The focus of the teaching emphasis is to pre-

pare professional dance educators to teach in

conservatories, schools of dance, and private

studios. Teaching majors work daily with the

ballet school’s master teachers and get hands-on

experience observing, assisting with, and teach-

ing children’s classes at the Hartt Community

Division’s ballet program. They are also in-

volved in the school’s public-service teaching in

Hartford public schools.

A minor degree in dance is also available.

See page 392 for more information.


Music Theatre The Bachelor of Fine Arts in Music Theatre

provides professional educational development

and experience to individuals who have chosen

to enter the field of music theatre by bringing

together as a core the disciplines of music,

dance, and acting. The program addresses the

ever-changing aspects and character of theatre

and performance. Embracing and at times sur-

passing contemporary standards in educational

approaches, the program develops in students

the skills and techniques necessary for the

transition to the professional, competitive field

of music theatre.


Actor Training The Bachelor of Fine Arts in Actor Training is

designed to provide students with the appropri-

ate training to prepare them for careers as actors

in the professional theatre. The program com-

bines a challenging and stimulating combination

of classes and performance.

Acting and scene study classes form the nu-

cleus of the training, which involves all tech-

nical aspects of voice and speech, movement,

and text analysis. Each semester offers the stu-

dent a different focus on the literature available

to the actor. Students then must apply this

knowledge and experience in rehearsals. In ad-

dition, there are workshops and seminars deal-

ing with special skills and career preparation.

Studio performances begin in the second

year of training. Plays are chosen for the train-

ing opportunities that they present to the stu-

dents. In the third year, students continue to

perform in works of increasing technical com-

plexity. In the spring of the third year, student

actors attend Hartt’s English Theatre Centre in

Birmingham, England.


Bachelor of Arts

Students who wish to enroll in a liberal arts

program with special emphasis on music may

elect the Bachelor of Arts with a major in mu-

sic. Students who wish to have an intense focus

on the business of the performng arts, without a

performance requirement, may elect the Bache-

lor of Arts with a major in performing arts man-

agement.

Performing Arts Management

The performing arts industry, a multibillion-

dollar enterprise, is among the largest industries

in the United States. It is a diverse, challenging,

highly competitive field, constantly affected by

changes in technology, legislative issues, and

the economic environment. Students interested

in careers in this industry must be well prepared

Degree Programs / 389

in business, including budgeting, accounting,

economics, marketing, and management.

The Bachelor of Arts in Performing Arts

Management provides training for a background

or interest in music, theatre, dance, or other per-

forming arts. The diverse curriculum includes

courses in liberal arts, humanities, music/arts

management, and business. Twelve specialized

courses in managing music and performing arts

form the core of this curriculum. All majors

complete a minimum of one 180-hour intern-

ship in either a for-profit or a not-for-profit or-

ganization. Management students are required

to complete the internship sequence MUM 420

and MUM 421 before graduation.

Management students have completed in- ternships with Goodspeed Musicals, BMG

Entertainment, WCCC Radio, Clear Channel

Entertainment, the Bushnell Center for the

Performing Arts in Hartford; in record labels

both major and independent; and in venues such

as the 9:30 Club (Washington, D.C.), Toad’s

Place (New Haven, Conn.) and the Black Rock

Center (Maryland). Graduates hold positions in

the industries of recording, artist management,

symphony and opera administration, develop-

ment and fundraising, marketing, and public

relations.


Music The Bachelor of Arts in Music is a rigorous ac-

ademic program that prepares the student for

graduate study in music or other disciplines.

Students in this program receive a broad over-

view of musical study with a heavy concentra-

tion on music history and theory.

Students in this program take the same core

courses as other Hartt School students, such as

harmony, ear training, form and analysis, piano

keyboard class, and music history. They also

take advanced courses in theory and history

and must complete a senior project, generally an

essay.

In addition, B.A. music majors take courses

from a variety of non-music disciplines, includ-

ing the physical sciences, social sciences, lan-

guage arts, communication skills, mathematics,

philosophy, history, and computer science as

part of their general education.

There are no performance requirements for

the B.A. in music. Students who wish their pro-

grams to include musical performance may take

private lessons through either the school (by au-

dition) or the Community Division.

Music courses and other required courses

may not be taken on a Pass/No Pass basis. An

average of C or better in all required music

courses is necessary for completion of the

major.


Bachelor of Science in Engineering

Acoustical Engineering and Music

Combined options in acoustics and music are

available within the Interdisciplinary Engineer-

ing Studies program at the College of Engi-

neering, Technology, and Architecture. This

rigorous curriculum leads to the Bachelor of

Science in Engineering and includes a basic

engineering core as well as a major concentra-

tion of courses offered by The Hartt School.

The program is designed for those students

who have the aptitude and desire for a career

involved with modern technology and the field

of music. To be accepted into this focused cur-

riculum, applicants must have the math and

science background required of all engineering

students and must successfully pass the entrance

requirements of The Hartt School, including au-

dition. See page 319 of the College of Engineer-

ing, Technology, and Architecture section of

this Bulletin.

Although the curriculum is scheduled to be

completed in four years, it is certainly one of

the most challenging undergraduate programs at

the University, requiring 141–144 credit hours

for completion. Close counseling is required by

engineering and music advisors.

Course Requirements Engineering and Arts and Sciences courses to-

taling 84 credit hours, including 71 credit hours

of core courses required of all engineering

students, and 55–59 credit hours in music are

needed for the completion of the degree.


Related Programs

Honors Program For an overview of the University-wide Honors

program and specific program requirements for

Hartt School students, see Special Academic

Opportunities, page 19. Hartt students interested

in the Honors program should contact the direc-

tor of undergraduate studies for additional de-

tails and Hartt-specific requirements.


Minors

Minor in Music The Minor in Music program is open to all non-

Hartt students who wish to broaden their expe-

rience in music in a formal program. Applicants

must have a rudimentary understanding of

music and an area of performance experience

(instrument or voice).

To complete the minor in music, the student

must register for a letter grade for all music

courses and must receive a grade no lower than

a C in each course. Hartt will notify the stu-

dent’s home college when requirements for the

minor have been completed.

Admission Process

Students should consult with and secure the ap-

proval of their home college academic advisor,

then proceed with the following:

1. Interview with The Hartt School evaluator to

determine course, examination, and audition

requirements.

2. Take the placement examination in harmony

and ear training, as required.

3. Take the audition for placement in a per-

forming organization (choir, band, orches-

tra), if such course electives are chosen.

4. Take the audition for acceptance and place-

ment in private music instruction, if such

elective lessons are chosen. An additional fee

is assessed for non-Hartt students electing to

register for private lessons.

To complete the admissions process, fill out

and process the University’s Change of Curricu-

lum Status form to add the minor. This form re-

quires the signatures of the major school

advisor and dean, as well as the Hartt director of

undergraduate studies. For additional infor-

mation on the minor in music, contact the Hartt

School evaluator in room 204–7 in the Fuller

Music Center.

Courses (18 credits minimum) Credits

Theory (choose from, depending on

placement exam): 4

TH 110 Music Theory Fundamentals

TH 111 Diatonic Harmony

TH 112 Chromatic Harmony

Ear Training: 4

TH 120-121 Elementary Ear Training I-II

Music History (choose from): 6

HLM 200 World Music Survey

HLM 212 Perspectives on Music History

HLM 213 Classicism to the Present

AFR 131 African American Music, 1890–1945

AFR 132 African American Music,

1945–Present

Credits

Performance Electives (choose from): 4

Performing organization

Private instrumental/vocal study

(not included in tuition charges)

Minor in Music Education*

Hartt Students The Minor in Music Education program is open

to all Hartt students who wish to broaden their

experience in music education. This program

does not qualify a student for state certification

in music education. To complete the minor in

music education, the student must register for a

letter grade for all music education courses and

must not receive more than one C+ or lower.

Admission Process

Secure approval from the director of the music

education division.

1. Complete the music education audition/

interview.

2. To complete the admissions process, a stu-

dent must fill out and process the University

Change of Major form to add the minor.

This form requires the signatures of the ma-

jor advisor and the music education advisor

and division director.


Required:

MED 110 Foundations of Music Ed. 2

Electives (choose from): 17

MEA 100 Classroom Instruments

MEA 102 Woodwinds I: Clarinet and Sax

MEA 103 Wind Instrument Class

MEA 104 Technology for Music Educators

MEA 200 Percussion Class

MEA 201 Brass Class

MEA 300 Woodwinds II: Flute, Oboe,

and Bassoon

MEA 303 String Class I

MEA 307 Vocal Development: K–12

MED 340 Elementary Vocal Methods: N–2

MED 341 Elementary Vocal Methods: 3–6

MED 310 School Choral Program

MED 413 Improvisation for Music Education

Minor in Music Education* Non-Hartt Students The Minor in Music Education program is open

to all non-Hartt students who wish to broaden

their experience in music education. Applicants

must have a rudimentary understanding of

music and an area of performance experience

(instrument or voice). This program does not

*This minor does not result in state certification.

Minor Programs / 391

qualify a student for state certification in music

education. To complete the minor in music edu-

cation, the student must register for a letter

grade for all courses and must not receive more

than one C+ or lower. Hartt will notify the col-

lege of the student’s major upon completion of

the program.

Admission Process Secure approval from major school advisor.

1. Interview with the Hartt academic advisor/

evaluator (Fuller Music Center, room 204) to

determine course, examination, and audition

requirements.

2. Complete the music education audition/

interview.

3. Take placement examination in harmony and

ear training as required.

4. Take audition for placement in a performing

organization (choir, band, orchestra).

To complete the admissions process, a stu-

dent must fill out and process the University

Change of Major form to add the minor. This

form requires the signatures of the major school

advisor and dean as well as the Hartt academic

advisor/evaluator and division director.


Theory: 2

TH 110 Music Theory Fundamentals

Ear Training: 4

TH 120-121 Elem. Ear Training I-II

Music History: 3

HLM 112 Intro to Music History

Performance Organization (choose from): 2

CPO 420-421 Hartt Chorale Ensemble

IPO 400-401 Orchestra

IPO 404-405 Symphony Band

Music Education Required Course:

MED 110 Foundations of Music Ed. 2

Electives (choose from): 7

MEA 100 Classroom Instruments

MEA 103 Wind Instrument Class

MEA 200 Percussion Class

MEA 303 String Class I

MED 340 Elem. Vocal Methods: N–2

MED 341 Elem. Vocal Methods: 3–6

Minor in Dance The minor in dance is open by audition to all

non-dance majors who wish to broaden their

experience in dance in a formal program. Ap-

plicants must have previous training to at

least an intermediate level of ballet or con-

temporary dance.

To complete the minor in dance, students

must register for a letter grade for all courses,

receive a grade no lower than C in each course,

and maintain a cumulative University GPA of

2.67.

Admission Process

1. Consult with and secure approval from aca-

demic advisor in the home college.

2. Interview with the Dance Division coordina-

tor. To arrange for an interview or to get ad-

ditional information, contact the Dance

Division coordinator at 860.768.2478 or in

the Handel Performing Arts Center, room

S141.

3. Audition for, and be approved by, the Dance

Division director.

4. Fill out the University’s Change of Curric-

ulum Status form (requires signatures of

the major school advisor and dean, as well

as those of the Dance Division director

and Hartt School director of undergraduate

studies).

Courses Credits

DFA 120, 121, 220, 221 Classical Ballet

Technique 6

The 6 credits of ballet technique must

be completed in three consecutive semesters.

DFA 124 Martha Graham Technique: Fall 1

DFA 127 Contemporary Dance Forms:

Spring 1

DFA 150 Improvisation: Spring 1

DFA 250 Elements of Composition: Spring 2

Select one:

DFA 125 Martha Graham Technique: Spring 1

DFA 224 Martha Graham Technique: Fall 1

DFA 226 Contemporary Dance Forms: Fall 1

Select a minimum of 6 credits:

DFA 170 Dance History I: Spring 3

DFA 171 Dance History II: Fall 3

DFA 270 Kinesiology I: Spring 3

DFA 140 Movement Fundamentals I: Fall 3

DFA 130 Ballet Pedagogy I: Fall 2

DFA 240 Dance Pedagogy I: Fall 2

Total credits 18

Minor in Performing Arts Management The minor in performing arts management is

open to non-Hartt students who wish to gain a

basic understanding of management in the arts.

To complete the minor in performing arts

management, the student must register for a let-

ter grade for all required Hartt courses and must

receive a grade no lower than a C in each

course. Hartt will notify the college of the stu-


dent’s major when requirements for the minor

have been completed.

Admission Process

Students should consult with and secure the ap-

proval of their home college academic advisor,

then proceed with the following:

1. Interview with The Hartt School evaluator

to determine course requirements and to de-

velop a plan for completing the minor. The

Hartt School evaluator is in the Fuller Music

Center, room 204–7.

2. Interview with the chair of the Performing

Arts Management Department.

To complete the admissions process, fill out

and process the University’s Change of Curricu-

lum Status form to add the minor. This form re-

quires the signatures of the home college

academic advisor and dean, as well as the Hartt

evaluator and the Hartt director of undergradu-

ate studies.


Required:

MUM 120 Intro to Music and Perf. Mgmt. 3

Choose one of the following:

MUM 220 Arts Mgmt.: Not for Profit 3

MUM 221 Music Mgmt.: For Profit 3


HLM 100 Intro to Music 3

HLM 200 World Music 3


ART 100 Aspects of Art 3

DRA 160 Intro to Theatre 3

DFA 170, 171 Dance History 3

Choose two of the following:

MPT 450 Sound Technology I 3

MUM 330 Entertainment Law 3

MUM 340 Survey of the Record Industry 3

MUM 350 Computers in the Arts 3

MUM 440 Fundraising 3

NONDEGREE PROGRAMS

Diploma program are not eligible for scholar-

ship or financial aid.

International students must have a minimum

TOEFL score of 550 for the written exam or

173 for the computer-based exam. Tuition for

the program is based on the University’s three-

fourths tuition rate, which includes programs of

9–11.5 credit hours per semester. Hartt perform-

ing arts scholarships are not available to diplo-

ma students.


Requirements for Graduation

Requirements in addition to those on page 75

are as follows:

Performance and B.F.A. Majors Performance majors take juries to establish pro-

ficiency level. A critical point in a student’s

progress is the achievement of junior standing,

a level determined by the jury taken in the

sophomore year.

In the Theatre Division, the two sophomore

evaluations, described in full in the Theatre Di-

vision Handbook, take the place of the jury to

confer junior standing.

In the Dance Division, majors are evaluated

twice a year. Details may be found in the Dance

Division Handbook.

Jazz students take juries and are evaluated on

an ongoing basis.

Composition Majors Students with a major in composition must have

the equivalent of one evening’s performance of

their music before graduation.

Programs of performances must be submitted

at least four months before the anticipated grad-

uation date.

Music Education Majors

Review Process

The Music Education Division conducts re-

At the undergraduate level, the nondegree

option is the Undergraduate Diploma in Music.

Undergraduate Diploma

The Undergraduate Diploma is a three-year

program open to all instrumental and vocal per-

formance majors, composers, and jazz studies

students. Students completing this program may

continue formal training at The Hartt School in

an undergraduate degree program or in the

graduate professional degree program, if they

desire. Students enrolled in the Undergraduate

views of all majors in the department each

semester. Students who fail to maintain a mini-

mum cumulative GPA of at least 2.67, who fail

to obtain a grade of B– or better in a music edu-

cation or education course, or who show a lack

of progress toward completion of the degree are

placed on departmental probation and receive

counseling and academic advice from the de-

partment. Students who are unable to maintain

the standards of the department are removed

from the music education major.

Students are required to submit an essay

concerning their educational objectives to the

Minor Programs / Nondegree Programs / 393

chairperson by December 1 of their first year. In

addition, all first-semester sophomores are re-

quired to pass a Sophomore Skills Evaluation

Exam, which assesses piano and solfège skill

development. The content of the exam may

be obtained from the chairperson. The essay and

the results of the skills exam will be used as

acceptance criterion to admit a student to the

final phase of the music education program.

Performing Organization Requirements To fulfill requirements for undergraduate de-

grees, most students at The Hartt School are re-

quired to participate in performing organi-

zations. In some cases students may be placed

in more than one organization.

Major choral performing organizations:

Camerata, Hartt Chorale, Hartt Choir

Major instrumental performing organizations:

Orchestra, Wind Ensemble, Symphony Band.

String instrumentalists, regardless of major,

are auditioned and placed in the orchestra.

Woodwind, brass, and percussion instrumen-

talists, regardless of major, are placed by audi-

tion in the orchestra, Symphony Band, or Wind

Ensemble.

Composition majors may participate in the

Composers’ Ensemble to fulfill the performance

organization requirement.

Jazz instrumentalists and vocalists are placed

in jazz ensembles, based on audition results and

on the needs of the individual ensembles.

Specific performing organization require-

ments for each curriculum may be found in

the individual degree program curricula.

All-University Curriculum All Hartt students are required to complete four

of the five AUCs, as follows:

1. Living in a Cultural Context: Western Herit-

age (AUCW)

2. Living in a Cultural Context: Other Cultures

(AUCC)

3. Living in a Scientific and Technological

World (AUCT)

Note: The AUCT is a 3- or 4-credit course.

The 4-credit AUCT includes a lab.

4. Living in a Social Context (AUCS)

Hartt students are not required to take Living

Responsively to the Arts (AUCA). However,

they may take this AUC as an academic elec-

tive.

Transfer and intercollege transfer students

are evaluated on an individual basis for AUC

requirements. The Hartt evaluator should be

consulted about the process of transferring

courses as AUC substitutions.

All students entering Hartt as first-year stu-

dents, as well as students who transfer from an-

other college or school (except Hillyer College)

within the University of Hartford, must take

a minimum of one course from each of the

four All-University Curriculum areas specified

above (totaling a minimum of 12 credit hours).

Students who transfer to Hartt from another

institution or Hillyer College must consult

with the Hartt School evaluator for an assess-

ment of their AUC topic requirements.

Information Literacy in the Performing Arts Information Literacy in the Performing Arts

(HLM 020) is an online course required for

all Hartt first-year and transfer students.

HLM 020 is an introduction to library resources

in the performing arts and in searching tech-

niques. The course may also include some class

meetings. Successful completion of HLM 020 is

required for graduation from The Hartt School.

Hartt Undergraduate Handbook The Hartt Undergraduate Handbook provides

students with details of the policies and

procedures particular to The Hartt School’s

academic programs (e.g., lessons, performing

organizations, juries, recitals, facilities, per-

forming arts scholarships). Students are respon-

sible for knowing, and expected to adhere to,

the policies and procedures set forth in the

handbook as an addendum to this Undergradu-

ate Bulletin. The handbook is available online

at www.hartford.edu/hartt.

http://www.hartford.edu/hartt


DEGREE PROGRAM CURRICULA

Bachelor of Music

Major in Guitar (125 credits) First Year

Credits Sem. 1

Credits Sem. 2

Instrumental study 4 4

APC 122-123 Piano Keyboard Class1

2 2

TH 111-112 Diatonic2–Chromatic Harmony 2 2

TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENS 422, 423 Guitar Ensemble 1 1

17.5 17.5 Second Year



2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 ENS 422, 423 Guitar Ensemble 1 1

17.5 17.5 Third Year

Instrumental study3

4 4 CON 314 Conducting Fundamentals – 2 ENS 422, 423 Guitar Ensemble 1 1 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3 HLM 314 Lute Tablature 1 – HLM 315 Guitar Tablature – 1 TPR 320 Teaching Principles 2 – TPR 321 Applied Teaching Principles – 2 ART 210/211/212 History of Western Art 3 –

14 13 Fourth Year

Instrumental study3

4 4 APC 414-415 Electric Guitar Styles I-II 1 1 APC 420 Communicating with an Audience 1 – ENS 422, 423 Guitar Ensemble 1 1 HLM 312-313 Guitar Literature 1 1

Academic electives 3 3 History elective 3 – Mathematics elective – 3

APC 423 Building a Music Career 1 – REC 440 Recital – 0

15 13 1If this requirement is waived, alternate course work must be chosen in consultation with assigned advisor to make up

equivalent credits.

2Enrollment dependent on placement exam.

3Baroque lute or baroque guitar may be included with approval of guitar faculty chair.

Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.

Guitar / 395

Major in Orchestral Instrument (127 credits) Credits Credits

First Year Sem. 1 Sem. 2 Instrumental study 4 4


TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 IPO Instrumental performing organization 1 1




2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1




2 2 APC 450-451 Orchestra Repertory Class 1 1 CON 314 Conducting Fundamentals 2 – TPR 420-421 Advanced Major Instrument Teaching 1 1 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3

Academic electives 3 3 ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1

18 16 Fourth Year

Instrumental study 4 4 APC 452-453 Orchestra Repertory Class 1 1 APC 420 Communicating with an Audience – 1 REC 440 Recital – 0

Academic electives 3 3 Mathematics elective 3 –

APC 423 Building a Music Career 1 – ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1 AUC All-University Curriculum 3 3

17 14 1Enrollment dependent on placement exam. 2 Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits

with equivalent credits approved by assigned advisor.


Organ / 397

Major in Organ (135.5 credits)

Credits Credits First Year Sem. 1 Sem. 2 AOR 499 Instrumental Study 4 4 Piano

1 2 2 CHU 112, 113 Organ Performance Class .5 .5 TH 111-112 Diatonic

2–Chromatic Harmony 2 2

TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18 18 Second Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 101 Voice Class 1 – TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 GER 110-111 Elementary German I-II

3 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 16 Third Year AOR 499 Instrumental Study 4 4 APC 420 Communicating with an Audience – 1 CHU 112, 113 Organ Performance Class .5 .5 CON 314 Conducting Fundamentals – 2 HLM 316 Music History: Medieval through Baroque 3 – Music history elective – 3 COM 340 Orchestration 3 – TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 CHU Liturgical music courses 2 2 AUC All-University Curriculum – 3 APC 423 Building a Music Career 1 – CPO Choral performing organization 1 1 16.5 18 Fourth Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 TH 333 Score Reading 2 – CHU Liturgical music courses 2 2 Academic electives (including philosophy or religion course) 6 3 AUC All-University Curriculum – 3 Mathematics elective – 3 CPO Choral performing organization 1 1 REC 440 Recital – 0 15.5 16.5

1A piano proficiency exam is taken at the end of the first year. Further required study is taken with additional charge. Harpsichord

may be substituted for piano with approval of the department chair. 2Enrollment dependent on placement exam.

3Further study in German or a second foreign language is encouraged.



Major in Piano (129 credits) Credits Credits

First Year Sem. 1 Sem. 2 API 499 Instrumental Study 4 4 ACC 110-111 Art of Accompanying I-II .5 .5 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization

2 1 1 16 16

Second Year API 499 Instrumental Study 4 4 ACC 220-221 Piano Ensemble I-II 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization

2 1 1 16.5 16.5

Third Year API 499 Instrumental Study 4 4 ACC 330-331 Vocal Repertory for Singers and Pianists 1 1

Music electives 3 3 ART 210/211/212 History of Western Art 3 –

Academic electives 3 3 Mathematics elective – 3

TH 330 Keyboard Harmony 2 – TPR 310-311 Piano Teaching Principles 1 1

17 15 Fourth Year API 499 Instrumental Study 4 4 ACC 440-441 Instrumental Accompanying I-II 1.5 1.5 APC 420 Communicating with an Audience – 1 HLM 430-431 Keyboard Literature 3 3

Music elective 3 – Academic electives 3 3

APC 423 Building a Music Career 1 – TPR 410-411 Student Applied Teaching 1 1 TPR 420-421 Advanced Major Instrument Teaching 1 1 REC 440 Recital – 0

17.5 14.5 1Enrollment dependent on placement examination.

2Major choral or instrumental performing organization or accompanying laboratory, four semesters.


AVO 499 Vocal Study1 4 4

APC 122-123 Piano Keyboard Class 2 2 DIC 110 English Diction .5 – DIC 111 Italian Diction – .5 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 OPR 160-161 Opera Stagecraft I-II 1 1 CPO Choral performing organization 1 1 APC 114-115 Vocal Seminar for Freshmen .5 .5 16.5 16.5 Second Year AVO 499

Vocal Study1

4

4 APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 Language

3 3 3 CPO Choral performing organization 1 1 OPR 260-261 Acting and Movement for Singers I-II 1 1 APC 214-215 Vocal Seminar for Sophomores .5 .5 18.5 18.5 Third Year AVO 499

Vocal Study1

4

4 ACO 488 Vocal Coaching .5 .5 DIC 210 French Diction .5 – DIC 310 German Diction – .5 TH 320-321 Advanced Ear Training I-II 2 2 Language

3 3 3 Mathematics elective 3 – AUC All-University Curriculum 3 3 CPO Choral performing organization 1 1 OPR 360 Opera Blackbox I 1 – Music history elective

4 – 3 APC 314-315 Vocal Performance Seminar .5 .5 18.5 17.5

Voice / 399

Major in Voice (139 credits)

Credits Credits First Year Sem. 1 Sem. 2


AVO 499 Vocal Study1 4 4

ACO 488 Vocal Coaching .5 .5 Language

3 3 3 HLM 322-323 Vocal Literature I-II

6 2 2 APC 410 Voice Pedagogy 2 – AUC All-University Curriculum 3 3 CPO Choral performing organization 1 1 OPR 460 Opera Blackbox II 1 – OPR 461 Opera Mainstage Performance – 1 MUS 110-111 Paranov Performance Hour .5 .5 APC 314-315 Vocal Performance Seminar .5 .5 REC 440 Recital

5 – 0 17.5 15.5

Credits Credits Fourth Year Sem. 1 Sem. 2

1 A total of 32 credits of applied voice lessons is required for a bachelor’s degree in voice. 2Enrollment dependent on placement exam. If TH 110 is taken in the first year, the math elective is taken in the second semester,

fourth year. 3Students must take 6 credits each of French, Italian, and German. Permission to substitute another language may be granted only

by the voice department chair or vocal division director.

4Students may choose HLM 200 or HLM 316.

5Must be taken concurrently with private vocal study.

6HLM 323 is offered every other year. In the years it is not offered, students take a second-semester AUC.

Note: Voice majors are required to earn a B– or higher in all applied lessons.

Pre-Cantorial Studies / 401

Major in Pre-Cantorial Studies (133.5 credits)

Credits Credits First Year Sem. 1 Sem. 2 AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching – .5 APC 122-123 Piano Keyboard Class

1 2 2 DIC 110 English Diction .5 – DRM 120-121 Acting for Singers I-II 1 1 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II2 2 2

RPW 110-111 Rhetoric and Writing I-II 3 3 HBR 113-114 Elementary Hebrew Conversation I-II 3 3 HLM 020 Information Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 17 Second Year AVO 488 Vocal Study 2 2 ACO Voice coaching .5 .5 APC 222-223 Piano Keyboard Class

1 2 2 DIC 111 Italian Diction – .5 AUC All-University Curriculum 3 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II

2 2 2 HBR 115-116 Intermediate Hebrew Conversation I-II 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 16 16.5 Third Year AVO 488 Vocal Study 2 2 ACO Voice coaching (cantorial) .5 .5 APC 322-323 Piano Keyboard Class

1 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 320-321 Advanced Ear Training I-II 2 2 HBR 118-119 Advanced Hebrew Conversation I-II 3 3 HIS/JS/REL Judaic studies electives 3 3 CPO Choral performing organization 1 1 16.5 16.5


Fourth Year

Credits Sem. 1

Credits Sem. 2

AVO 488 Vocal Study 2 2 ACO Voice coaching (cantorial) .5 .5 CON 314 Conducting Fundamentals 2 – CON 315 Choral Conducting – 2 COM 340 Orchestration 3 – TH 333 Score Reading 2 – TE 410 Senior Project – 2 AUC All-University Curriculum 3 3 HIS/JS/REL Judaic studies electives 3 3 M Mathematics elective – 3 CPO Choral performing organization 1 1 16.5 16.5

1If this requirement is waived, course work must be chosen in consultation with an advisor to make up equivalent credits. 2Enrollment dependent on placement exam.

Note: Pre-cantorial studies majors must earn a B– or higher in all voice lessons.

Jazz Studies / 403

Major in Jazz Studies (128 credits)

Credits Credits First Year Sem. 1 Sem. 2

Instrumental study 4 4 AFR 131 African American Music, 1890–1945 3 – AFR 132 African American Music, 1945 to Present – 3 AFR 242, 243 Repertory Building 1 1


2 2 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1



AFR 220-221 Jazz Keyboard Class1

2 2 AFR 222-223 Jazz Transcription I-II 1 1 AFR 242, 243 Repertory Building 1 1 AFR 342-343 Arranging (Jazz Styles) 2 2 HLM 212 Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1


Instrumental study 4 4 AFR 242, 243 Repertory Building 1 1 AFR 110-111 Jazz Improvisational Devices 1 1

Academic electives 3 3 AUC All-University Curriculum 3 3 ES 262 Acoustics for Musicians

3 3 –

ENS 402, 403 Jazz Combo Ensemble 1 1 16 13

Fourth Year

Instrumental study 4 4 AFR 321 Core course – 3 AFR 242, 243 Repertory Building 1 1 AFT 410 Senior Project 3 – MPT 450 Sound Technology I 3 –

Academic elective – 3 Mathematics elective 3 –

ENS 402, 403 Jazz Combo Ensemble 1 1 REC 440 Recital – 0

15 12 1If these requirements are waived, students must choose alternate course work, with the help of an advisor, to make up equivalent credits.


3Requires strong algebra background; CS 110 may be substituted.

Note: Students are required to demonstrate continued improvement in their performance and improvisation skills. Student

progress is evaluated through annual juries. Failure to demonstrate progress for two consecutive semesters may result in removal

from the major.


Major in Composition (137–141 credits) Credits Credits

First Year Sem. 1 Sem. 2 APC 122-123 Piano Keyboard Class

1 2 2

COM 110-111 First Course Composition 3 3 COM 461 Music Technology I 3 – COM 470, 471 Composers’ Seminar 0 0 RPW 110-111 Rhetoric and Writing I-II 3 3 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 AUC All-University Curriculum – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5

Performing organization3

– – 15.5 15.5

Second Year APC 222-223 Piano Keyboard Class

1 2 2

COM 210-211 Second Course Composition 3 3 COM 340 Orchestration 3 – COM 470, 471 Composers’ Seminar 0 0 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 3 M Mathematics elective – 3


– – 18.5 18.5

Third Year

Instrumental/vocal study or elective 2–3 2–3 COM 310-311 Third Course Composition 3 3 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3

Foreign language 3 3 COM 470, 471 Composers’ Seminar 0 0

Theory or composition electives 6 6 COM 472, 473 Composers’ Ensemble .5 .5

17.5–18.5 17.5–18.5

Composition / 405

Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study or elective 2–3 2–3 COM 410-411 Fourth Course Composition 3 3 COM 470, 471 Composers’ Seminar 0 0 TH 441 Music since 1950 – 3 ES 262 Acoustics for Musicians 3 – Theory or composition electives 6 3 Academic elective – 3 AUC All-University Curriculum 3 – CON 314 Fundamentals of Conducting – 2 COM 472, 473 Composers’ Ensemble .5 .5 17.5–18.5 16.5–17.5

1Exempted students take private instrumental/vocal study.


3Major choral or instrumental performing organization, four semesters. Composers’ ensemble, four semesters. Other approved

performing organizations may be substituted.

Note: Students with a major in composition must have the equivalent of one evening’s performance of their music before

graduation. Programs of performances must be submitted at least four months before the anticipated date of graduation.

Note: Composition majors should refer to the Hartt Undergraduate Handbook for departmental grade requirements.

Note: Students wishing to specialize in composition for electronic and digital instruments should include the following courses in

their elective choices: COM 462 Music Technology II; COM 463 Music Technology III; COM 466 Introduction to Computer

Music; COM 468 Scoring for Film, TV, and Video; MPT 450, 451 Sound Technology I and II; courses in Electro-Acoustic

Instrumentation (MIDI); Electronic Performance Techniques; and Seminar in Techniques of Experimental Music.

Students wishing to specialize in composition using more traditional musical materials should include the following courses

in their elective choices: TH 330 Keyboard Harmony, TH 333 Score Reading, TH 420 Modal Counterpoint, TH 421 Tonal

Counterpoint, and CON 314 Conducting Fundamentals.


Major in Music Education (four-year)—Vocal Emphasis (139 credits) First Year

Credits Sem. 1

Credits Sem. 2

AVO 488 Vocal Study 2 2 APC 122-123 Piano Keyboard Class 2 2 TH 111-112 Harmony I

1-II 2 2

TH 120-121 Ear Training I-II 2 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – RPW 110-111 Rhetoric and Writing I-II 3 3 DIC 110 IPA/English Diction – .5 MUS 110-111 Paranov Performance Hour .5 .5 General academic* 3 3 EDR 335 Language and Literacy Development for All Learners – 2 CPO Choral performing organization 1 1 HLM 020 Info Literacy in the Performing Arts

2 0 0 18.5 18 Winterterm MED 150 Freshman Partnership 0 – Second Year AVO 488 Vocal Study 2 2 APC 222-223 Piano Keyboard Class 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 CON 314 Conducting Fundamentals 2 – CON 315 Choral Conducting – 2 MEA 100 Classroom Instruments 1 – MEA 202 Percussion Class – 1 General academic* 3 3 MUS 110-111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year AVO 488 Vocal Study 2 2 APC 322-323 Piano Keyboard Class 2 2 TH 320-321 Ear Training V-VI 2 2 MEA 307 Vocal Development K–12 2 – MEA 103 Wind Instrument Class – 1 MEA 308 String Class/Vocal – 1 MED 310 School Choral Program and Lab – 3 MED 340-341 Elementary Vocal Methods 3 3 MED 413 Improvisation in Music Education 2 – DIC 111 or 210 Italian, German, or French Diction .5 –

or 310 HLM 316 Music History: Medieval through Baroque 3 – HLM 200 Music History: World Music Survey – 3 CPO Choral performing organization 1 1 17.5 18


Fourth Year (Semesters may be reversed.)

Credits Credits

Sem. 1 Sem. 2

AVO 488 Vocal Study – 2

MED 410 Student Internship (Practice Teaching)3

9 –

General academic* 3 3

General academic – 3




CPO Choral performing organization4

– 1

12 18

General Academics

AUCC All-University Curriculum 3

AUCS All-University Curriculum 3

AUCT All-University Curriculum 3

AUCW All-University Curriculum 3

EDR 335 Language and Literacy Development for All Learners 2

EDH 120 Psychology of Exceptionalities 3

EDP 230 Educational Psychology (EDP 132 may substitute) 3

Mathematics elective (M 116 recommended) 3

Science elective (CH 116 recommended) 4

Academic elective 3

HE 112 Modern Health Concepts 3

*Required general academics:

• May be taken in any order.

• No more than one AUC course should be taken per semester.

• EDH, EDP, and EDR courses should be taken before the senior year.

1Enrollment dependent on placement exam. 2Must be successfully completed before sophomore year.

3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.

4Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.

Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.

Music Education / 407

Major in Music Education (four-year)—Instrumental Emphasis (140 credits) Fourth Year

Credits Sem. 1

Credits Sem. 2

Instrumental study 2 2 APC 122-123 Piano Keyboard Class 2 2 MEA 101 Voice Class – 1 MEA 201 Brass Class – 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – TH 111-112 Harmony I

1-II 2 2

TH 120-121 Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 General academic* 3 – EDR 335 Language and Literacy Development for All Learners – 2 MUS 110-111 Paronov Peformance Hour .5 .5 IPO Instrumental Performing Organization 1 1 HLM 020 Info Literacy for the Performing Arts

2 0 0

18.5 17.5 Winterterm MED 150 Freshman Partnership – 0 Second Year Instrumental study 2 2 APC 222-223 Piano Keyboard Class 2 2 CON 314 Conducting Fundamentals 2 – CON 316 Instrumental Conducting – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 102 Woodwind Class: Clarinet, Saxophone 2 – MEA 300 Woodwind Class: Flute, Oboe, Bassoon – 2 MEA 303-304 String Class 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 MUS 110-111 Performance Hour .5 .5 IPO Instrumental performing organization 1 1 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year Instrumental study 2 2 MEA 200 Percussion Class 2 – MED 303 Elementary Instrumental Methods 3 – MED 304 Secondary Instrumental Methods – 3 MED 350 Jazz Ensemble for Music Educators – 1 MED 340 Elementary Vocal Methods (N–2) 3 – MED 413 Improvisation in Music Education 2 – HLM 316 Music History: Medieval through Baroque 3 – TH 320 Ear Training V 2 – HLM 200 Music History: World Music Survey – 3 General academic* – 3 General academic* – 3 IPO Instrumental performing organization 1 1 19 17


Fourth Year (Semesters may be reversed.)

Credits Credits

Sem. 1 Sem. 2

Instrumental Study – 2

MED 410 Student Internship (Apprentice Teaching)3

9 –

General academic* 3 –

General academic 3 3 General academic – 3




IPO Instrumental performing organization4

– 1

15 18 General Academics

AUCC All-University Curriculum 3

AUCS All-University Curriculum 3

AUCT All-University Curriculum 3

AUCW All-University Curriculum 3

EDR 335 Language and Literacy Development for All Learners 2

EDH 120 Psychology of Exceptionalities 3

EDP 230 Educational Psychology (EDP 132 may substitute) 3

Mathematics elective (M 116 recommended) 3

Science elective (CH 116 recommended) 4

Academic elective 3

HE 112 Modern Health Concepts 3

*Required general academics:

• May be taken in any order.

• No more than one AUC course should be taken per semester. • EDH, EDP, and EDR courses should be taken before the senior year.


2Must be successfully completed before sophomore year. 3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.

4 Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.

Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the

sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.

Music Education / 409


TH 120-121 Elementary Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 122-123 Piano Keyboard Class

2 2 2 COM 110-111 First Course Composition 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization

3 1 1 AUC All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 16.5 16.5 Second Year TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 222-223 Piano Keyboard Class

2 2 2 CON 314 Conducting Fundamentals – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization

3 1 1 AUC All-University Curriculum 3 3 GER 110-111 Elementary German I-II 3 3 16.5 18.5 Third Year TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 TH 400 Music Theory Pedagogy – 3 TH 410 Advanced Form and Analysis – 3 TH 475, 476 Music Theory Colloquium 0 0 COM 340 Orchestration 3 – COM 461 Music Technology I 3 – HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3 Performing organization

3 1 1 Instrumental/vocal study 2 2 Music theory/comp./history elective – 2 Music elective – 3 Mathematics elective 3 – 17 18.5

Major in Music Theory (137.5 credits) Credits Credits

First Year Sem. 1 Sem. 2

Music Theory / 411

Fourth Year

Credits Credits

Sem. 1 Sem. 2

TH 333 Score Reading 2 – TH 420 Modal Counterpoint 3 – TH 421 Tonal Counterpoint – 3 TH 405 Ear Training Pedagogy – 3 TH 475, 476 Music Theory Colloquium 0 0 TH 485 Senior Essay – 2


1 1 ES 262 Acoustics for Musicians 3 –

Instrumental/vocal study 2 2 Music electives 6 3 Academic elective – 3

17 17

1Enrollment dependent on placement exam. 2Exempted students take private instrumental/vocal study.

3Major choral or instrumental performing organization, eight semesters.

Note: Undergraduate music theory majors must maintain an overall grade point average of B– (2.67) or higher in order to remain

in the music theory program. Refer to the Hartt Undergraduate Handbook for further departmental grade requirements.


Credits Credits First Year Sem. 1 Sem. 2 Instrumental/vocal study 4 4 APC 122-123 Piano Keyboard Class

1 2 2 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 Foreign language

3 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Collegium Musicum, Early Music Ensemble,

Major in Music History—Performance Practices Emphasis (137.5 credits)

Second Year

or other performing organization 1 1 17.5 17.5

Instrumental/vocal study 4 4


2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3

Foreign language3

3 3 MUS 110, 111 Paranov Performance Hour .5 .5

Collegium Musicum, Early Music Ensemble, or other performing organization 1 1


Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –

Music literature course – 3 HLM Advanced music history course 3 – TH 420 or 421 Counterpoint 3 – TH 332 Continuo Realization – 1.5 HIS European history 3 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 3


18 16.5 Fourth Year

Instrumental/vocal study 2 2 Secondary instrumental/vocal study 2 2

CON 314 Conducting Fundamentals 2 – HLM 473 Seminar in Performance Practice – 3 HLM Advanced music history courses 3 3

Academic elective – 3 Mathematics elective 3 –

AUC All-University Curriculum 3 3 Collegium Musicum, Early Music Ensemble,

or other performing organization 1 1 REC 440 Recital

4 – 0 16 17

1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits



3Language should include two years of college-level German or equivalent. French is recommended as a second language.

4The minimum accomplishment of major 6 is required.

Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.

Music History / 413

Major in Music History—Scholarship and Research Emphasis (129.5 credits) Credits Credits



2 2 TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3

Foreign language3

3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5


16.5 16.5 Second Year APC 222-223 Piano Keyboard Class

1 2 2

TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 HIS European history 3 3

Foreign language3

3 3 MUS 110, 111 Paranov Performance Hour .5 .5



Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –

Music literature course – 3 HLM Advanced music history courses 3 3 TH 332 Continuo Realization – 1.5 TH 420 Modal Counterpoint 3 – TH 421 Tonal Counterpoint – 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 –


15 16.5 Fourth Year

Instrumental/vocal study 2 2 TE 410 Senior Essay – 2 HLM Advanced music history courses 6 6 PHI 110 Introduction to Philosophy 3 – ENG 140 English Literature 3 – M Mathematics elective – 3 AUC All-University Curriculum – 3


15 17

1Exempted students take private instrumental/vocal study.


3Language should include two years of college-level German or equivalent. French is recommended as a second language.

Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.


Major in Music Production and Technology (135 credits) Credits Credits

First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2


TH 120-121 Elementary Ear Training I-II 2 2 MTH 112-122 Math for Technologists I-II 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MPT 110 Fundamentals of Music Production 2 – MPT 210 Practicum in Music Production – 2 MUM 120 Introduction to Arts Management 3 – MUM 221 Arts Management: For Profit – 3 MUS 110, 111 Paranov Performance Hour .5 .5

Performing organization 1 1 18.5 18.5

Second Year

Instrumental/vocal study 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 122-123 Piano Keyboard Class

2 2 2

ECT 111 Introduction to Electricity and Electronics 4 – ECT 121 DC and AC Electrical Fundamentals – 4 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5

Performing organization 1 1 16.5 16.5

Third Year MPT 300-310 Music Production Technology I-II (lab) 4 4 ES 262 Acoustics for Musicians 3 – COM 462 Music Technology II – 3 MPT 305 Electronics for Music Systems I 3 – MPT 315 Electronics for Music Systems II – 3

Performing organization 1 1 Academic electives 3 3

AUC All-University Curriculum 3 3 17 17


Fourth Year

Credits Credits

Sem. 1 Sem. 2

MPT 400-410 Music Production Techniques I-II (lab) 4 4 MPT 420 Music Production Special Project/Internship – 3 HLM Music history elective – 3 COM 470, 471 Composition Seminar 0 0

Academic elective 3 – Professional elective 3 3 Performing organization 1 1

AUC All-University Curriculum 3 3 14 17

Professional Elective Options Electronic music: COM 466, 467 Business: AC 210, 211; MKT 310 Media/broadcast: CMM 110, 150, 240, 242, 244, 281 Audio technology/electronics: AUD 361; ECT 122, 231, 241, 352 Student’s performance area: repertory, improvisation (jazz), diction Other: conducting, orchestration, art history


2If this requirement is waived, alternate course work must be chosen in consultation with an advisor to make up

equivalent credits.

Note: Music production and technology majors should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.

Music Production and Technology / 415

Bachelor of Music

Major in Elective Studies in Business (Music Management) (140 credits) Credits Credits

First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2


2 2 M 110 or M 116 Precalculus or Contemporary Math 3 – TH 111-112 Diatonic


TH 120-121 Elementary Ear Training I-II 2 2 CS 110 Introduction to Computers – 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 MUM 120 Introduction to Arts Management 3 – AUC All-University Curriculum – 3


1 1 18.5 18.5

Second Year

Instrumental/vocal study 2 2


2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUM 220 Arts Management: Not for Profit 3 – MUM 221 Arts Management: For Profit – 3 EC 110 Principles of Macroeconomics 3 – EC 211 Principles of Microeconomics – 3 MUS 110, 111 Paranov Performance Hour .5 .5


1 1 18.5 18.5

Third Year

Instrumental/vocal study 2 2 MPT 450 Sound Technology I 3 – MUM 321 Arts Management Practicum – 3 MUM Music management electives

4 3 3

AUC All-University Curriculum 3 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 MKT 310 Principles of Marketing 3 – RLC 211W Advanced Composition/Business – 3


1 1 18 18


Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study 2 – HLM Music history electives 3 3 MUM 340 Survey of the Recording Industry 3 – MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM Music management elective

4 – 3 CMM Communication elective – 3 AUC All-University Curriculum – 3 Performing organization

3 1 – 15 15

1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits



3Major choral or instrumental performing organization, seven semesters.

4Choose from MUM 330 Entertainment Law, MUM 350 Computers in the Arts, MUM 440 Fundraising, or

MUM 480 Independent Study (MUM 480 by instructor permission only).

Note: Music management majors may earn no more than one grade below B– in MUM courses.

Music Management / 417

Bachelor of Fine Arts

Major in Dance—Ballet Pedagogy Emphasis (132 credits) Credits Credits


DFA 120-121 Classical Ballet I1

2 2

DFA 124-125 Martha Graham Technique I1

1 1 DFA 126-127 Contemporary Dance Forms I

1 1 1

DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I

1 1 1

DFA 150 Improvisation I – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3

17 18 Second Year DFA 134 Pilates I – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II

1 2 2

DFA 224-225 Martha Graham Technique II1

1 1 DFA 226 Contemporary Dance Forms II

1 1 –

DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II

1 1 1

DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance II – 1 DFA 267 Production Practicum II – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 HLM 100 Introduction to Music I 3 – MUS 110, 111 Paranov Performance Hour .5 .5 M Mathematics elective – 3

18.5 18 Third Year DFA 162-163 Variations/Pas de Deux I-II .5 .5 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III

1 – 1

DFA 266 Production Practicum II – .5

DFA 320-321 Classical Ballet III1

2 2

DFA 324-325 Martha Graham Technique III1

1 – DFA 332-333 Pointe III

1 1 1

DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384-385 Student Internship 1 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – DFA 470 Dance Administration – 1 AUC All-University Curriculum 3 3

17.5 13

Ballet Pedagogy / 419

Credits

Credits

Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 261, 360 Repertory/Performance II/III 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 420-421 Classical Ballet IV

1 2 2 DFA 432-433 Pointe IV

1 1 1 DFA 440 Issues in Dance Pedagogy – 1 DFA 450,451 Problems in Composition 1 1 DFA 484, 485 Student Internship 2 2 DFA Dance electives 1 2 DFA 474 Dance Production 2 – AUC All-University Curriculum 3 3 16.5 13.5

1Class-level placement based on audition or juries. Entrance by audition only.

Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.


Major in Dance—Children’s Dance Emphasis (137 credits) Credits Credits



2 2


1 1

DFA 126-127 Contemporary Dance Forms I1

1 1 DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I

1 1 1

DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 –

17 18 Second Year DFA 134 Pilates – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II

1 2 2


1 1

DFA 226 Contemporary Dance Forms II1

1 – DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II

1 1 1

DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance – 1 DFA 267 Production Practicum – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – M Mathematics elective – 3

18.5 18 Third Year DFA 151 Improvisation II – 1 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III

1 – 1

DFA 261 Repertory/Performance II – 1 DFA 266 Production Practicum II – .5

DFA 322-323 Intermediate Ballet1

2 2


1 1 DFA 331 Methods for Pre-Ballet 2 – DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384, 385 Student Internship 1 1 DFA 470 Dance Administration – 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum 3 3

18 14.5

Children’s Dance / 421

Credits

Credits

Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 326-327 Contemporary Dance Forms IV

1 1 1 DFA 360 Repertory/Performance III 1 – DFA 422-423 Advanced Ballet

1 2 2 DFA 424-425 Martha Graham Technique IV

1 1 1 DFA 440 Issues in Pedagogy – 1 DFA 450 Problems in Composition 2 – DFA 474 Dance Production 2 – DFA 484, 485 Student Internship 2 2 DFA Dance elective 1 2 MED 501 Teaching Music in Early Childhood – 3 AUC All-University Curriculum 3 3 18 15




Major in Dance—Performance Emphasis (130 credits) Credits Credits

First Year Sem. 1 Sem. 2 DFA 134 Pilates – 1


2 2


1 1 DFA 126-127 Contemporary Dance Forms I

1 1 1

DFA 130 Ballet Pedagogy I 2 – DFA 132-133 Pointe I

1 1 1

DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 162-163 Variations/Pas de Deux I .5 .5 DFA 166-167 Production Practicum I .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – M Mathematics elective 3 –

17.5 17.5 Second Year DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II

1 2 2


1 1

DFA 226-227 Contemporary Dance Forms II1

1 1

DFA 232-233 Pointe II1

1 1 DFA 250 Elements of Composition – 2 DFA 260-261 Repertory/Performance II 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 266-267 Production Practicum II .5 .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 DFA Pedagogy elective 2 – MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – AUC All-University Curriculum – 3

18.5 14.5 Third Year DFA 170 Dance History I – 3

DFA 320-321 Classical Ballet III1

2 2


1 1

DFA 326-327 Contemporary Dance Forms III1

1 1 DFA 332-333 Pointe III

1 1 1

DFA 350 Process of Composition 2 – DFA 360-361 Repertory/Performance III 1 1 DFA 362-363 Variations/Pas de Deux III .5 .5 DFA 371 Technology in Dance 3 – DFA Dance elective – 2 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum – 3

Academic elective 3 – 17.5 14.5

Dance Performance / 423

Credits Credits Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 420-421 Classical Ballet IV

1 2 2 DFA 424-425 Martha Graham Technique IV

1 1 1 DFA 426-427 Contemporary Dance Forms IV

1 1 1 DFA 432-433 Pointe IV

1 1 1 DFA 450 Problems in Composition 2 – DFA 460-461 Repertory/Performance IV 1 1 DFA 462-463 Variations/Pas de Deux IV .5 .5 DFA 474 Dance Production 2 – DFA Dance elective – 1 AUC All-University Curriculum 3 3 Academic elective – 3 16.5 13.5




AVO 488 Vocal Study 2 2 HTD 110-111 Ballet I 1 1 HTA 110-111 Voice I-II 3 3 HTS 140-141 Stagecraft 1 1 HTA 130-131 Acting I-II 3 3 TH 110 Music Theory Fundamentals 2 – TH 111 Diatonic Harmony – 2 TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 18.5 18.5 Second Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTD 210-211 Ballet II 1 1 APC 122-123 Piano Keyboard Class

1 2 2 HTA 230-231 Acting III-IV 3 3 DRA 362 Development of Theatre – 3 HTA 210-211 Voice III-IV 3 3 TH 220 Intermediate Ear Training I 2 – ENG 140 Introduction to Literature 3 – MUS 111 Paranov Performance Hour – .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 112-113 Tap I .5 .5 HTD 114-115 Jazz I .5 .5 18.5 17 Third Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 330-331 Acting V-VI 3 3 AUC All-University Curriculum 3 3 HLM 111 History of Music Theatre 3 – ENG 348/349 Modern Drama: 1870–1920/1920–Present – 3 HTA 325 Movement for the Music Theatre Actor – 3 Academic elective

2 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 212-213 Tap II .5 .5 HTD 214-215 Jazz II .5 .5 MUS 110 Paranov Performance Hour .5 – 17 16.5 Fourth Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 430 Acting VII 3 – HTA 451 Career Preparation – 3 ENG 361/362 Shakespeare: Plays to 1600/Plays after 1600 – 3 AUC All-University Curriculum 3 3 Academic elective 3 – M Precalculus or statistics or contemporary mathematics – 3 Academic elective 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 REC 440 Recital (or Cabaret) – 0 15.5 15.5

Major in Music Theatre (137 credits) Credits Credits


1If these requirements are waived, alternate course work must be chosen in consultation with an advisor to make up

the equivalent credits. 2Academic electives must be liberal arts courses approved by the advisor.

Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.


Major in Actor Training (134 credits) Credits Credits

First Year Sem. 1 Sem. 2 HTA 110-111 Voice I-II 3 3 HTA 120-121 Movement I-II 3 3 HTA 130-131 Acting I-II 3 3 HTA 140-141 Rehearsal/Performance I-II 1 1 AUCC, AUCS All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus Laboratory 1 1 HTS 140-141 Stagecraft 1 1 18.5 18.5 Second Year HTA 210-211 Voice III-IV 3 3 HTA 220-221 Movement III-IV 3 3 HTA 230-231 Acting III-IV 3 3 HTA 240-241 Rehearsal/Performance III-IV 1 1 AUCT, AUCW All-University Curriculum 3 3 M 110, 114, or 11 6 Precalculus/Statistics/Contemporary Mathematics 3 – MUS 110, 111 Paranov Performance Hour .5 .5 HTA 200-201 Text Analysis I-II 2 2 DRA 362 Development of Theatre – 3 18.5 18.5 Third Year HTA 305 Study in England – 6 HTA 310 Voice V 3 – HTA 320-321 Movement V-VI 3 3 HTA 330 Acting V 3 – HTA 360-361 Projects I-II 3 3 Academic elective

1 3 – HTA 300 The Shakespearean Context 3 – 18 12 Fourth Year HTA 410-411 Voice VII, VIII 2 2 HTA 331 Acting VI 3 – HTA 440-441 Rehearsal/Performance V-VI

2 6 3 HTA 451 Career Preparation – 3 HTA 461 Projects III – 1 Academic elective – 3 HTA 400 Shakespeare in Text and Performance 3 – HTA 412 Acting for the Camera – 4 14 16

1Academic electives must be liberal arts courses approved by the advisor. 2Students are expected to arrange schedules so that all other class obligations are completed before the beginning of this class.

Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.

Actor Training / 425

Bachelor of Arts

Major in Performing Arts Management (131 credits) Credits Credits

First Year Sem. 1 Sem. 2 MUM 120 Introduction to Arts Management 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 EC 110 Macroeconomics 3 – EC 211 Microeconomics – 3 AUC All-University Curriculum – 3 HLM Music history elective 3 – HLM Music history elective – 3

Academic elective 3 – M 110

or M 116 Precalculus or Contemporary Math – 3 CS 110 Introduction to Computers – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5

15.5 18.5 Second Year MUM 220 Arts Management: Not for Profit 3 – MUM 221 Music Management: For Profit – 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 ART 100 Aspects of Art 3 –

Concentration elective1

– 3 AUC All-University Curriculum 3 3 CMM 240 Introduction to Mass Communication 3 – CMM 260 Communication and Advertising – 3 RLC 211W Advanced Composition/Business 3 –

Academic elective – 3 MUS 110, 111 Paranov Performance Hour .5 .5

18.5 18.5 Third Year MUM 321 Arts Management Practicum – 3 MUM 330 Entertainment Law 3 – MUM 340 Survey of Record Industry 3 – MUM 350 Computers and the Arts – 3

Concentration elective1

– 3 MPT 450 Sound Technology I 3 – ENG 140 Introduction to Literature 3 – FIN 310 Business Finance – 3 MGT 310 Managing Organizational Behavior 3 – MKT 310 Introduction to Marketing – 3

15 15

Performing Arts Management / 427

Credits

Credits

Fourth Year Sem. 1 Sem. 2 MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM 440 Fundraising 3 – Concentration electives

1 3 3 AUC All-University Curriculum – 3 Business elective – 3 DRA 160 Introduction to Theatre 3 – ENG English elective – 3 15 15

1Students will construct a 12-credit concentration of liberal arts and/or business courses focusing on a core topic that

complements the MUM courses. Examples for the concentrations include, but are not limited to, theatre management,

public relations, fundraising, multiculturalism in management, and events management. Choice of appropriate courses

will be made in consultation with an advisor.

Note: Performing arts management students may earn no more than one grade below B– in MUM courses.


Major in Music (120 credits) Credits Credits

First Year Sem. 1 Sem. 2 TH 111-112 Diatonic-Chromatic Harmony

1 2 2

TH 120-121 Elementary Ear Training I-II 2 2 RLC 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 – HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENG 140 Intro to Literature – 3 M 110/116 Math elective – 3 PHI 110 Intro to Philosophy 3 – APC 122-123 Piano Keyboard Class

2 2 2 15.5 15.5

Second Year APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 – HIS 100/101 World History – 3 Foreign language Two semesters of a foreign language

or CMM 115, CS 110 Communications and a computer course 3 3

15.5 15.5 Third Year HLM Music history elective 3 – AUCT All-University Curriculum with lab 4 – EC, PSY, SOC Elective – 3 Lab science Biology or chemistry – 4

Writing-intensive course above 200 level with a W designation 3 3 Academic electives

5 6 6 16 16

Fourth Year HLM Music history elective 3 – TE 410/REC 440 Senior Project (Essay

3 or Recital

4) – 2

POL 100 American Government – 3 AUC All-University Curriculum 3 –

Academic electives5

6 6 12 14

1A placement exam is used for assignment into music theory courses. 2Required unless principal instrument is piano. If this requirement is waived, the credits must be made up with music electives

approved by the assigned advisor.

3Students who choose an essay as their senior project submit the title and outline of the essay to the division director for approval.

A faculty advisor will then be appointed. 4Students who choose a recital as their senior project are expected to have studied privately for five semesters at The Hartt School.

These students must register for private music study at the college level and pass an audition at the end of the first semester of their

junior year, followed by a recital of 30 minutes or more. 5These are classes taken in the College of Arts and Sciences, Barney School of Business, and the College of Engineering,

Technology, and Architecture. Students should consult with their advisors.

Instrumental/vocal/composition study1 4 4

TH 111-112 Diatonic2-Chromatic Harmony 2 2

TH 120-121 Elementary Ear Training 2 2 MUS 110-111 Paranov Performance Hour .5 .5 APC 122-123 Piano Keyboard Class

3 2 2 ENS/CPO Instrumental or Choral Ensemble 1 1 11.5 11.5 Second Year Instrumental/vocal/composition study

1 4 4 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 222-223 Piano Keyboard Class

3 2 2 ENS Ensemble 1 1 11 11 Third Year

Instrumental/vocal/composition study1 4 4

MUS 110-111 Paranov Performance Hour .5 .5 HLM 212 Music History: Perspectives on Music History 3 HLM 213 Music History: Romanticism to the Present 3

Music electives4 3 3

ENS Ensemble 1 1 REC 440 Recital 0 11.5 11.5

Composition / 429

Undergraduate Diploma Program

(68 credits; 65–68 credits for composition majors)

Credits Credits


1Total 24 credits; 18 credits for composition majors. (Note: composition study is 3 credits per semester.) 2Enrollment dependent on placement examination.

3Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits with music electives approved by assigned advisor.

4Total of 6 credits; a minimum of 9 credits for composition majors.


Bachelor of Science in Engineering

Major in Acoustical Engineering

and Music

(141–144 credits)

Credits in the Major: 46 plus at least

42 in Music

For a complete listing of courses, see pages

320–22 in the Engineering section.

Private Lessons

ACC 115, 116 Accompanying Laboratory

(Choral) [1, 1] Assigned accompanying for

Hartt Chorale or Hartt Chorus. May be repeated

for additional credit.

ACC 220-221 Piano Ensemble I-II [1-1]

Study and performance of the literature for duo

piano and piano duet from the baroque to the

20th century. One and one-half hours weekly.

Prerequisites: ACC 110-111.

ACC 330-331 Vocal Repertory for Singers

and Pianists [1-1] Detailed analysis and per-

Following are the course codes for private

lessons. Music entrance requirements may be

found on page 378; performance requirements

for graduation are specified on page 393.

The specific credits for private lessons in the

various curricula are indicated in the degree

programs.

A lab fee, which partially covers the cost of

a lesson accompanist, is charged for all voice

instruction.

Course Codes

AAN Ancient instrument AOB Oboe

ABH Baritone horn AOR Organ

ABN Bassoon API Piano

ACL Clarinet APR Percussion

CON Conducting ARC Recorder

ACO Vocal coaching ASX Saxophone

ADB Double bass ATB Trombone

AEU Euphonium ATP Trumpet

AFH French horn ATU Tuba

AFL Flute AVA Viola

AGT Guitar AVC Violoncello

AHD Harpsichord AVN Violin

AHP Harp AVO Voice

ALU Lute

Course Descriptions

Not all courses listed in this Bulletin are offered

each year. Offerings for each semester and for

Winterterm and Summerterm are listed in the

class schedules available during each registra-

tion period. The University reserves the right to

make changes in academic programs.

Accompanying

For Undergraduate Students

ACC 110-111 The Art of Accompanying

I-II [.5-.5] Practical approaches to accompany-

ing—sight reading, instant recognition of

rhythms, chords, and basic keyboard patterns.

Material drawn from the standard vocal and

instrumental literature. One hour weekly.

formance of the standard vocal repertory, in-

cluding songs, arias from operas, and oratorios.

Emphasis on accompanying problems, includ-

ing transpositions and language considerations.

One hour weekly. Prerequisites: ACC 110-111

(for pianists).

ACC 345, 346 Accompanying Laboratory—

Vocal [1, 1] Accompanying in studios of vocal

faculty and for student recitals. Two hours

weekly.

ACC 410, 411 Accompanying Recital [1, 1]

Assigned accompanying for a public vocal re-

cital and a public instrumental recital.

ACC 430, 431 Accompanying Laboratory—

Instrumental [1, 1] Accompanying in studios

of instrumental faculty and for student recitals.

Two hours weekly.

ACC 440-441 Instrumental Accompanying

I-II [1.5-1.5] Study of the standard string and

wind repertory with piano, including concerto

reductions. Emphasis on the varied technical

skills needed for collaborating with different

instruments. One hour weekly. Prerequisites:

ACC 110-111.

For Undergraduate and Graduate Students

ACC 540, 541 Special Studies in Accompany-

ing [1, 3] Special accompanying assigned on an

individual basis. May be repeated for additional

credit. Credits determined by department chair

based on number of hours of accompanying as-

signed.

African American Music (Jazz Studies)


AFR 110-111 Jazz Improvisational Devices

[1-1] A course in improvisational devices and

the application of these techniques in perfor-

mance and arranging. Two hours weekly.

AFR 131 African American Music, 1890– 1945 [3] Starting with an introductory back-

ground on the African empires, the slave trade,

and colonial American music, the course

focuses on social and stylistic developments

African American Music / Music Performance / 431

from ragtime to the Big Band era. Three hours

weekly.

AFR 132 African American Music, 1945 to

the Present [3] Contemporary African Ameri-

can music, the be-bop revolution, hard bop, free

and modal developments of the 1960s, and var-

ious artists and trends to the present. Three

hours weekly. Prerequisite: AFR 131.

AFR 220-221 Jazz Keyboard Class [2-2] This

two-semester course develops facility with har-

monic voicing systems, covering seventh

chords, extensions, harmonization of melodies,

block chord technique, and memorization of

standard chord progressions. Two hours weekly.

Prerequisites: APC 122-123.

AFR 222 Jazz Transcription I [1] Introduction

to solfège, rhythmic and melodic dictation,

melodic transcription from recordings. Two

hours weekly. Prerequisite: TH 121.

AFR 223 Jazz Transcription II [1] Melodic,

rhythmic and harmonic dictation, solo transcrip-

tions with harmonic progressions. Two hours

weekly. Prerequisite: AFR 222.

AFR 242, 243 Repertory Building [1, 1] In-

depth study of harmony and theory in the jazz

idiom. Analysis of standard African American

composition. Two hours weekly. Prerequisite:

Permission of instructor.

AFR 321 Jazz Studies Core Course [3] Lec-

ture seminar on a variety of music topics. Con-

tracts, copyright law, union issues, and other

aspects of the music business are discussed.

Students will be expected to prepare presenta-

tions and papers on related topics. Three hours

weekly.

AFR 342-343 Arranging (Jazz) [2-2] Writing

for small and large ensembles, starting with

rhythm section and combination of horns;

two-part writing, three-part writing, four-part

writing, and sectional writing for jazz orchestra;

and other criteria germane to jazz ensembles.

Two hours weekly. Prerequisite: Permission of

instructor.

AFR 480, 481 Independent Study in African

American Music [1–3, 1–3] An independent

study project conducted under the direction of

an assigned faculty member. Credit determined

by scope and nature of project.

AFR 490, 491 Special Topics in African

American Music [1–3, 1–3] Selected topics in

African American music, varying yearly with

needs of curriculum and availability of particu-

lar faculty. Credit determined by scope and

nature of work required.

AFT 410 Jazz Studies Senior Project [3] For

graduating seniors. Independent study on a

planned project. Includes one of the following:

lecture-demonstration, public performance, or

original large-scale composition or arrange-

ment, recording, video-sound tape.

Music Performance, Class Study


APC 110-111 Basic Guitar I-II [1-1]

APC 114-115 Vocal Seminar for Freshmen

[.5-.5] Students develop basic skills in memori-

zation, art-song analysis, musicianship shills,

use of the piano, and finding linguistic re-

sources. One hour weekly. Prerequisite: Voice

major.

APC 122-123 Piano Keyboard Class [2-2] A

first-level piano course that places equal empha-

sis on the tactile, visual, and harmonic aspects

of keyboard playing. Two hours weekly. Music

majors only.

APC 214-215 Vocal Seminar for Sophomores

[.5-.5] Students continue to develop skills in

score preparation, with the goal of fostering

independent musicianship on the level of the

vocal repertoire being prepared for the sopho-

more evaluation. One hour weekly. Prerequi-

sites: APC 114-115.

APC 222-223 Piano Keyboard Class [2-2]

Emphasis on the functional aspects of keyboard

playing. Technical, harmonic, and sight-reading

skills are integrated. Two hours weekly. Music

majors only. Prerequisites: APC 122-123 or

permission of instructor.

APC 310 Organ Class [2] For non–organ

majors. Fundamentals of organ playing tech-

niques in terms of the pedals, keyboard touch,

and registration; basic repertory, hymns,

anthems, and accompaniments. Essential skills

for church-service playing. Two hours weekly.

May be repeated for additional credit.

APC 314-315 Vocal Performance Seminar

[.5-.5] Vocal Seminar includes informal per-

formances, master classes, and lectures on top-

ics specifically related to vocal performance.

One hour weekly. Prerequisites: APC 214-215.

APC 311 Harpsichord Class [2] Fundamentals

of harpsichord playing techniques in terms of

keyboard touch, registration, and basic solo and

ensemble repertory. Two hours weekly. May be

repeated for additional credit.

APC 322-323 Piano Keyboard Class [2-2] A

two-semester skills course for students whose

repertoire placement is beyond APC 223. Sight


reading, transposition, melody harmonization,

improvisation, and score reading will be ex-

plored. Required of music education piano

majors; others by placement tests. Two hours

weekly. Prerequisite: APC 223 or permission of

instructor.

APC 410 Vocal Pedagogy [2] This course is an

introduction to voice pedagogy. Students learn

the anatomy and physiology of the voice, the

mechanics of breath management, as well as

the nature of sound. The scientific principles

of resonance and acoustics, and how these relate

to singing and the teaching of singing, are ex-

plored thoroughly. Students are required to cre-

ate a ―Resources in Voice Pedagogy Notebook,‖

in which they include assignments designed to

promote awareness of the rich array of voice

pedagogy publications available, a log of their

own voice lessons, and observations of voice

lessons from other studios. These assignments

prepare the students for the discussion and

comparison of teaching styles. Prerequisite:

Voice performance major or five-year voice

performance/music education major.

APC 414-415 Electric Guitar Styles I-II [1-1]

Introduction to electric guitar technique. Em-

phasis in Styles I on developing plectrum tech-

nique, harmonic concept, jazz scales, and gen-

eral methodology. Emphasis in Styles II on

basic improvisational skills, rhythm section, and

ensemble work. One hour weekly.

APC 420 Communicating with an Audience

[1] A course designed to give students infor-

mation, skill, and practical application in pro-

gramming and presenting themselves in a

variety of concert venues. Topics include pro-

gramming, presentational and performance

skills, repertoire selection, and educational pres-

entations.

APC 422 Piano Keyboard Class [2] Ad-

vanced-level course that encompasses score

reading, accompanying of choral scores, and

improvisation. Two hours weekly. Prerequi-

sites: APC 322-323.

APC 423 Building a Music Career [1] Career

preparation for instrumental and vocal per-

formance majors beyond the mastery of their

technical discipline. The course is in a modular

format with each module dealing with a specific

area of career development. Some of the topics

are résumé writing, auditions, producing a

demotape/CD, beginning a solo/chamber music

career, and beginning and developing a teaching

career.

APC 450, 451, 452, 453 Orchestra Repertory

Class [1, 1, 1, 1] A course designed to familiar-

ize students with the standard orchestral

repertory through actual rehearsal. Wind, brass,

and percussion students are grouped together.

String students are placed in separate sections

for violin, viola, violoncello, and double bass,

respectively. The course content covers the

major orchestral compositions from Haydn

through Stravinsky. One hour weekly.

APC 480, 481 Independent Study in Perfor-

mance Studies [1–4, 1–4] An independent

study project conducted under the direction of

an assigned faculty member. Credit determined

by scope and nature of project.


APC 500-501 Free Improvisation [1–1]

This course is designed to explore the genre

of free improvisation. Concepts, techniques, ap-

proaches and attitudes to music and free

improvisation will be learned in a performance

situation. Discussions, written assignments,

readings, and listenings will figure prominently.

APC 566-567 Performance 20/20 [1–1]

Selected individual and group projects of an ad-

vanced level, covering areas such as concert

performance, recording, radio/TV broadcast,

composition, and career promotion. May be re-

peated for credit. Prerequisite: By audition only.

APC 594, 595 Special Topics in Performance

[1–4, 1–4] Selected topics in performance tech-

niques, varying yearly with needs of curriculum

and availability of particular faculty. Credit de-

termined by scope and nature of work

required.

ISC 500-501 Instrumental Studio Class [0–0]

An extension of and requisite to individual

studio lessons. A laboratory environment for

students to practice and demonstrate those skills

developed in lessons. Students perform for

each other, work in small groups, and engage

in common activities beneficial to a particular

homogeneous instrumental grouping.

Liturgical Music


CHU 112-113 Organ Performance Class

[.5-.5] Performance observation, critical analy-

sis, registration problems, performance practic-

es, and general musicianship. One hour weekly.

May be repeated for additional credit.

CHU 312 Church-Service Playing [2] The

standard service music of various churches and

its proper performance. Special emphasis given

Liturgical Music / Composition / 433

to hymns, their history, their suitability for wor-

ship and performance. Two hours weekly. Pre-

requisite: Permission of instructor.

CHU 313 Church-Service Playing [2]

Choral conducting from the console, rehearsal

procedure, interpretation of standard anthems

and oratorios. Research and study. Two hours

weekly. Prerequisite: CON 314 or permission of

instructor.

CHU 314 Liturgies [2] The historical devel-

opment of liturgies and a study of their music.

The function of music in worship; practical

analysis of the church musician. Two hours

weekly.

CHU 390, 391 Special Topics in Liturgical

Music [2–3, 2–3] Selected topics in liturgical

music, varying yearly with needs of curriculum

and availability of particular faculty.

CHU 415 Foundations of Organ Perfor-

mance [2] An introductory course to gain the

technical and musical skills of organ playing.

Pedal technique, registration, articulation, and

touch are emphasized. Two hours weekly. May

be repeated for credit once. Prerequisite: Major-

level (1) piano skills.

CHU 460 Organ Literature [2] A historic sur-

vey of organ literature with attention given to

works suitable for recital and church service.

Works for organ and instruments. Survey of

editions and publishers. Two hours weekly.

CHU 470 History and Design of the Organ

[2] An approach to contemporary organ design

based on the study of the great historical

schools of organ building. Emphasis given to

the function of the organ in relation to organ lit-

erature. Discussion of the proper registration of

the various schools of organ composition in re-

lation to contemporary organ design. Two hours

weekly.

Composition


COM 110-111 First Course Composition

[3-3]*

COM 210-211 Second Course Composition

[3-3]*

COM 310-311 Third Course Composition

[3-3]*

COM 410-411 Fourth Course Composition

[3-3]*

COM 320 Compositional Techniques [3] In-

depth study of compositional techniques, pri-

marily for composers and theorists. Emphasis

on writing and drill instead of analysis, giving

the student a foundation in most technical

aspects of composition. Course includes some

discussion of aesthetics issues and music’s

relation to the other arts. Three hours weekly.

Prerequisite: TH 211. Usually offered alternate

years.

COM 340 Orchestration [3] The study of

acoustic instruments, their techniques and roles

in the symphony orchestra. Exercises in arrang-

ing music for orchestra and study of works from

the standard orchestral repertoire. Prerequisite:

TH 112.

COM 390, 391 Special Topics in Composition

[1–3] Selected topics in composition, varying

yearly with needs of curriculum and availability

of particular faculty. Credits determined by

scope and nature of work required.

COM 420, 421 Directed Studies in Composi-

tion [3–3] Special projects assigned on an indi-

vidual basis. May be repeated for additional

credit.

COM 461 Music Technology I [3] Introduc-

tion to traditional and contemporary music no-

tation through the use of Finale. Course work

includes the clear notation and copying of ex-

cerpts from the published literature as well as

student-composed works. Simple, single-line

melodies; chamber, choral, percussion, full or-

chestral, or band scores; as well as the creation

of MIDI demonstration recordings and extrac-

tion and preparation of parts are covered in

depth. Extensive use of computer workstations

by students. Laboratory fee.

COM 462 Music Technology II [3] Introduc-

tion to MIDI theory, sequencing, and digital au-

dio through the use of Logic and a variety of

software synthesizers and signal-processor

plug-ins. Special emphasis on the composition

of a variety of pieces in varied styles through

the use of the available technology. Class lec-

tures, demonstrations, and extensive laboratory

work in the electronic music studio. Laboratory

fee.

COM 463 Music Technology III [3] Directed

independent composition or research projects

utilizing the facilities of the music technology

studios. Prerequisite: COM 462 or permission

of instructor. Laboratory fee.

*These courses develop the student’s ability and technique in

musical composition and explore concepts of musical lan-

guage and rhythm. For COM 210-411, a weekly individual

lesson is taken with a faculty composer. Courses are open to

non–music majors by permission of the department chair.


COM 466 Introduction to Computer Music

[3] Introduction to fundamentals of digital syn-

thesis, sound editing, sampling, and aesthetic is-

sues of electronic and computer-aided music

composition. Topics include construction of

timbres using sampling, editing, signal pro-

cessing, various kinds of synthesis, and interac-

tive composition. Includes introduction to

ProTools, Metasynth, Unity Session, and other

computer applications. Prerequisite: COM 461

or 462, or permission of instructor. Laboratory

fee.

COM 468 Scoring for Film, TV, and Video

[3] This course is for composers who are inter-

ested in writing music for film and video. Stu-

dents study the technical aspects of film

scoring, including synchronization, SMPTE

code, click tracks, stopwatch and free timing,

spotting procedures, orchestration, and music

software. The aesthetics of film music are stud-

ied, and major film scores, past and present, are

analyzed. In addition, there is an exploration of

the business aspects of film scoring. Prerequi-

site: COM 462 or permission of instructor.

COM 470, 471 Composers’ Seminar [0, 0] A

forum for students to discuss issues related to

their compositional activities. Topics include

new compositions and contemporary compos-

ers, the role of the composer in contemporary

society, issues of aesthetics and style, and the

workings of professional organizations that

support composers (e.g., universities, founda-

tions, performing organizations, licensing or-

ganizations, etc.). Students have the opportunity

to speak with professional composers who will

be guests. Composition majors (except doctoral

students) are required to enroll every semester.


COM 472, 473 Composers’ Ensemble [.5, .5]

This ensemble is required for junior and senior

composition majors who are not enrolled in any

other ensemble. It is also open to other students

with permission of the instructor. Students re-

hearse existing repertoire as well as new pieces

composed by members of the ensemble. Stu-

dents plan, rehearse, and present one public

presentation per semester.

COM 510 Scoring for Wind Ensembles [3]

Students learn effective scoring techniques for

large ensembles of wind and percussion instru-

ments, known variously as wind ensembles,

wind symphonies, concert bands, and symphon-

ic bands. Essential to the course is intensive

score study of the wind band literature of the

past hundred years. Students gain experi-

ence and skill through directed scoring assign-

ments. Prerequisite: COM 340 or TH 245.

COM 580, 581 Independent Study in Compo-

sition [1–3] An independent study project con-

ducted under the direction of an assigned

faculty member. Credit determined by scope

and nature of project.

COM 590, 591 Special Topics in Composition

[1–3] Selected topics in composition, varying


of particular faculty. Credit determined by


Conducting


CON 314 Conducting Fundamentals [2] Gen-

eral introduction to the history and art of con-

ducting. Consideration of fundamental factors

in the reading of choral and orchestral scores.

Basic patterns for different time signatures,

problems of agogics and dynamics, changes of

rhythm and tempo. Two hours weekly. Prereq-

uisite: TH 111.

CON 315 Choral Conducting [2] Choral

conducting techniques, score analysis and

interpretation, aural listening skills, rehearsal

techniques, and choral literature and materials.

Prerequisites: CON 314, TH 111-112, and

TH 210-211; or equivalent. Offered in spring

semester.

CON 316 Instrumental Conducting [2] In-

strumental conducting techniques, instrumenta-

tion, score analysis and interpretation, rehearsal

techniques, and instrumental literature and

materials. Prerequisites: CON 314, TH 111-112,

and TH 210-211; or equivalent. Offered in

spring semester.

CON 390, 391 Special Topics in Conducting

[1–3] Selected topics in conducting, varying


of particular faculty. Credit determined by


CON 480, 481 Independent Study in Con-

ducting [1–3] Special projects assigned on an

individual basis. Credit determined by the scope

of the project. Prerequisites: CON 314, 315, and

316; or equivalent.


CON 512, 513 Special Studies in Conducting

[1–3] Special projects assigned on an individual

basis. Credit determined by scope and nature of

work required. May be repeated for additional

credit. Prerequisites: CON 314, 315, and 316; or

equivalent.


Dance

For Music Theatre Majors

HTD 110-111 Ballet I [1-1] Basic ballet

movement, technique, vocabulary, musicality,

and style are developed through this course.

Class includes movement work at the barre,

center floor, traveling, and traveling combina-

tions, in adagio and allegro tempi. This course

also includes body conditioning with an empha-

sis on placement and posture. A studio format is

used. Prerequisites: Acceptance to the Hartt

School Theatre Division, Music Theatre pro-

gram.

HTD 112-113 Tap I [.5-.5] This course ex-

plores basic tap dance movement and vocabu-

lary with emphasis on technique, rhythm, style,

and musicality. Class consists of a warm-up,

center work, traveling movement, and move-

ment combinations. A studio format is used.

Prerequisites: Music theatre major and HTD

110-111, or permission of instructor.

HTD 114-115 Jazz I [.5-.5] This course

explores the fundamentals of jazz dance

movement on the beginning level, while incor-

porating ballet and contemporary dance tech-

niques. Various styles of character, social, and

ethnic dance are explored. Class consists of a

standing warm-up, floor warm-up, stretching,

center work, traveling, and traveling combina-

tions. Emphasis is on full-body conditioning.

A studio format is used. Prerequisites: Music

theatre major and HTD 110-111, or permission

of instructor.

HTD 210-211 Ballet II [1-1] Intermediate

ballet movement, technique, vocabulary, and

musicality are developed through this course.

Class includes movement work at the barre,

stretching, center floor, traveling, and traveling

combinations. Work is explored in different

tempos and styles. This course includes body

conditioning with an emphasis on placement

and the basic fundamentals of ballet technique.

A studio format is used. Prerequisites: Music

theatre major and HTD 110-111, or permission

of instructor.

HTD 212-213 Tap II [.5-.5] This course ex-

plores movement, style, and vocabulary of tap

dance on the intermediate level. Technique is

studied, emphasizing rhythm, style, and musi-

cality. Class consists of a warm-up, center

work, traveling movement, and movement

combinations. A studio format is used. Prereq-

uisites: Music theatre major and HTD 112-113,

or permission of instructor.

HTD 214-215 Jazz II [.5-.5] This course ex-

plores contemporary dance styles with an em-

phasis on musical-theatre, social, and ethnic

dance forms on the intermediate level, using

ballet and other movement techniques. Class

consists of a standing warm-up, floor warm-up,

stretching, center work, traveling, and traveling

combinations. There is also an emphasis on full-

body conditioning. A studio format is used. Pre-

requisites: Music theatre major and HTD 114-

115, or permission of instructor.

HTD 310-311 Ballet III [1-1] The study of

classical ballet taught at the high-intermediate

level. Movement vocabulary includes complete

barre and center exercises with emphasis on re-

fining coordination, building technical strength,

and improving artistic presentation. Prerequi-

sites: HTD 210-211 and audition, or permission

of instructor.

HTD 312-313 Tap III [.5-.5] This course

explores movement, style, and vocabulary of

tap dance on the advanced level. Technique is

studied, emphasizing rhythm, musicality, style,

and performance quality. Class consists of a

warm-up, center work, traveling, and traveling

combination. A studio format is used. Prerequi-

sites: Music theatre major and HTD 212-213, or


HTD 314-315 Jazz III [.5-.5] This course

explores musical-theatre jazz on the advanced

level, with an emphasis on musical-theatre, so-

cial, and ethnic dance forms, using contempo-

rary dance techniques. Class consists of a

standing warm-up, floor warm-up, stretching,

center work, traveling, and traveling combina-

tions. There is also emphasis on full-body con-

ditioning and advanced coordination skills. A

studio format is used. Prerequisites: Music thea-

tre major and HTD 214-215, or permission of

instructor.

Diction


DIC 110 IPA/English Diction [.5] An intro-

duction to the International Phonetic Alphabet

(IPA) and its application in pronunciation, as

well as conversion of the letters of a word into

the proper vocal sounds, with emphasis on sing-

ing in English. Two hours weekly.

DIC 111 Italian Diction [.5] Application of the

International Phonetic Alphabet in pronuncia-

tion, as well as conversion of the letters of a

word into proper vocal sounds, with emphasis

on singing in Italian. Prerequisite: DIC 110 or

permission of instructor. Two hours weekly.

Dance / Diction / 435

DIC 210 German Diction I [.5] Application of

the International Phonetic Alphabet in pronun-

ciation, as well as conversion of the letters of a

word into the proper vocal sounds, with empha-

sis on singing in German. Two hours weekly.

DIC 310 French Diction I [.5] Application of

the International Phonetic Alphabet in pronun-

ciation, as well as conversion of the letters of a

word into proper vocal sounds, with emphasis

on singing in French. Two hours weekly.

DIC 410 Comparative Diction for Singers [1]

Through the use of the International Phonetic

Alphabet, students will compare and contrast

the phonetic systems of the most frequently

sung languages, including, but not limited to,

English, Italian, German, and French. Two

hours weekly. Prerequisite: DIC 310.

Fine Arts in Dance

DFA 120-121 Classical Ballet I [2-2] The first

and second semester, at the beginning level, of

an eight-semester sequence of graded training in

classical ballet technique. Prerequisite for DFA

120: Audition or permission of instructor. Pre-

requisite for DFA 121: DFA 120 or permission

of instructor.

DFA 124-125 Martha Graham Technique I

[1-1] The first and second semester, at the

fundamental level, of an eight-semester se-

quence of graded training in the Martha Graham

technique. Prerequisite for DFA 124: Audition

or permission of instructor. Prerequisite for

DFA 125: DFA 124 or permission of instructor.

DFA 126-127 Contemporary Dance Forms I

[1-1] Introductory-level training in modern

dance forms in varying techniques (Cunning-

ham, jazz, limon, tap, and world dance forms).

Prerequisite for DFA 126: Audition or permis-

sion of instructor. Prerequisite for DFA 127:

DFA 126 or permission of instructor.

DFA 130 Ballet Pedagogy I [2] The study of

a syllabus for dance teaching. Structuring the

ballet lesson. Study of correct technical execu-

tion of classical ballet vocabulary. Study of

Labanotation and ballet vocabulary in a connec-

tive manner. Covers materials in preparation for

preprofessional study.

DFA 131 Ballet Pedagogy II [2] The study of a

syllabus for dance teaching. Structuring the bal-

let lesson. Study of correct technical execution

of classical ballet vocabulary. Study of

Labanotation and ballet vocabulary in a connec-

tive manner. Continued development of exercis-

es and topics begun in Level I. Introduction of

more of the ballet vocabulary and its progres-

sion from previous material. Beginning of sepa-

rate work for male dancers and pointe work for

females. Prerequisite: DFA 130 or permission

of instructor.

DFA 132-133 Pointe I [1-1] The first and se-

cond semester, at the beginning level, of an

eight-semester sequence of graded training in

classical ballet pointe technique. Prerequisite for

DFA 132: Audition or permission of instructor.

Prerequisite for DFA 133: DFA 132 or permis-

sion of instructor.

DFA 134 Pilates I [1] This non-apparatus mat

course is an introduction to the Pilates method

of body conditioning utilizing the six principles

formulated by Polestar® Pilates Education.

These principles consist of breathing, core con-

trol, efficiency of movement, spine articulation,

alignment of the extremities, and movement in-

tegration techniques.

DFA 140 Movement Fundamentals I [3]

Introductory and continued movement obser-

vation and analysis as applied to dance teaching

and performing. Based on the work of Rudolph

Laban, course work includes relaxation skills,

warm-up techniques, body mechanics, introduc-

tion to and additional study of effort/ shape.

DFA 150 Improvisation I [1] Exploration of

the basic elements of dance to develop the stu-

dents’ awareness of their own creative potential

and their ability to relate to others through

movement. Problem solving through movement.

Introduction to contact improvisation. Prerequi-

site: Audition or permission of instructor.

DFA 160-161 Repertory/Performance I [1-1]

Learning and performing contemporary and

classical dance works; and classical, romantic,

and neoclassical ballet literature. Study and de-

velopment of rehearsal skills and techniques,

including the roles of choreographer, ballet

master, and others involved in the process of

preparing concert dance for the stage. Assess-

ment of student performance in the following

areas: technical merit, conduct and deportment

in theatre, growth in performance qualities, and

effort and improvement in all of these areas.

Prerequisite for DFA 160: Audition or permis-



DFA 162-163 Variations/Pas de Deux I [.5-.5]

Learning and performing solo works and pas de

deux from the classical, romantic, and neoclas-

sical ballet literature as well as from varying

modern forms. Study of style, content, and for-

mat of modern and classical roles and ballets,

Fine Arts in Dance / 437

and the historical context of their development.

Study and development of rehearsal skills and

techniques, including the roles of the ballet

master and others involved in the process of

preparing concert dance for the stage. The ex-

ploration and execution of partnering tech-

niques. Prerequisite for DFA 162: Audition or

permission of instructor. Prerequisite for DFA

163: DFA 162 or permission of instructor. DFA

166-167 Production Practicum I [.5-.5] DFA

266-267 Production Practicum II [.5-.5]

Practical experience in major areas of dance

production: administration, marketing and

publicity, costume and/or lighting design and

execution, stage management/crew, audition/

rehearsal assistant. Students select areas of con-

centration in support of department or profes-

sional productions. Four semesters are required

of dance majors.

DFA 168, 169 Dance Ensemble I [1, 1]

DFA 268, 269 Dance Ensemble II [1, 1]

DFA 368, 369 Dance Ensemble III [1, 1]

DFA 468, 469 Dance Ensemble IV [1, 1]

The concert dance company of the Dance de-

partment, open to all dance majors by audition

only. Prepares new and reconstructed ballet and

modern dance works for performance; tours en-

tertainment and educational programs to schools

and community organizations. Prerequisite for

all: Audition.

DFA 170 Dance History I [3] The study of

the development of dance from its earliest times

to the 19th century. Prerequisite: DFA 131 or

DFA 010, or permission of instructor.

DFA 171 Dance History II [3] The study of the

development of dance in the 20th century. Pre-

requisite: DFA 170 or DFA 010, or permission

of instructor.

DFA 220-221 Classic Ballet II [2-2] The third

and fourth semesters of an eight-semester se-

quence of graded training in classical ballet

technique. Syllabus is taught at the low-inter-

mediate level. Prerequisite for DFA 220:

DFA 121 or permission of instructor. Prerequi-

site for DFA 221: DFA 220 or permission of

instructor.

DFA 224-225 Martha Graham Technique II

[1-1] The third and fourth semesters of an eight-

semester sequence of graded training in the

Martha Graham technique. Students work at

the elementary level of proficiency. Prerequisite

for DFA 224: DFA 125 or permission of

instructor. Prerequisite for DFA 225: DFA 224


DFA 226-227 Contemporary Dance Forms II

[1-1] Intermediate-level training in modern

dance forms in varying techniques (Cunning-

ham, jazz, limon, tap, and world dance forms).




DFA 230 Ballet Pedagogy III [2] The study of

a syllabus for dance teaching and structuring the


tion of classical ballet vocabulary. Continued

development of exercises and topics presented

in Level II. Completion of the introduction of

the ballet vocabulary and its progression from

previous material through the low-intermediate

level. Expansion of men’s work and pointe

work. Prerequisite: DFA 131 or permission of

instructor.

DFA 231 Ballet Pedagogy IV [2] The study of

a syllabus for dance teaching and structuring the


tion of classical ballet vocabulary. Continued

development of exercises and topics presented

in Level III. Completion of the ballet vocabu-

lary through the intermediate level. Emphasis is

on development of large or multiple movements

in leaps, jumps, and turns. Further development

of men’s work and pointe work. Prerequisite:


DFA 232-233 Pointe II [1-1] The third and

fourth semesters of an eight-semester sequence

of graded training in classical ballet pointe

technique. Syllabus is taught at the low-

intermediate level. Prerequisite for DFA 232:



instructor.

DFA 240 Dance Pedagogy I [2] A study of the

teaching/learning process as it applies to dance.

This is where students begin to develop funda-

mental teaching skills. Prerequisite: DFA 130 or


DFA 250 Elements of Composition [2] A

study of the basic elements of composition and

choreographic process. Problem solving to gain

skill with creating movement phrases and stud-

ies. Development of a working vocabulary with

which to create and analyze dance. Prerequisite:



DFA 260-261 Repertory/Performance II [1-1]

Learning and performing contemporary and














DFA 262-263 Variations/Pas de Deux II [.5-

.5] Learning and performing solo works and pas

de deux from the classical, romantic, and neo-

classical ballet literature as well as from varying

modern forms. Study of style, content, and for-

mat of modern and classical roles and ballets,

and the historical context of their development.

Study and development of rehearsal skills and

techniques, including the roles of the ballet

master and others involved in the process

of preparing concert dance for the stage. The

exploration and execution of partnering tech-

niques. Prerequisite for DFA 262: DFA 163



DFA 270-271 Dance Kinesiology I-II [3-3]

The study of the dancer’s instrument—

the human body. Structural, biomechanical,

and neuromuscular analysis of body systems.

Understanding the physical variables involved

in dance in order to allow more efficient and

effective training, performance, and injury

prevention. Prerequisite for DFA 271: DFA 270


DFA 272 Musicianship for Dancers [2] Ex-

ploration of the relationship of music and dance.

The elements of music reinforced from a dance

perspective. The elements of dance examined in

the context of music theory. Communication

and collaboration of musicians and dancers. Ex-

panded consideration of musicality in the work

of the dancer and dance teacher. Prerequisite:


DFA 320-321 Classical Ballet III [2-2] The

fifth and sixth semesters of an eight-semester

sequence of graded training in classical ballet

technique. Syllabus is taught at the high-




instructor.

DFA 322-323 Intermediate Ballet [2-2] The

study of classical ballet technique at the inter-

mediate level for majors in children’s dance.




DFA 324-325 Martha Graham Technique III

[1-1] The fifth and sixth semesters of an eight-

semester sequence of graded training in the

Martha Graham technique. Students will work

at the intermediate level of proficiency. Prereq-

uisite for DFA 324: DFA 225 or permission of



DFA 326-327 Contemporary Dance Forms II

[1-1] Advanced-level training in modern dance

forms in varying techniques (Cunningham,

jazz, limon, tap, and world dance forms).




DFA 331 Methods for Pre-ballet [2] Methods

and materials for teaching dance to the pre-

ballet student, ages 3 to 7. Creative approaches,

incorporating Labanotation motif writing, to in-

troduce appropriate movement activities. Pre-

requisite: DFA 231 or permission of instructor.

DFA 332-333 Pointe III [1-1] The fifth and

sixth semesters of an eight-semester sequence


technique. Syllabus is taught at the high-




instructor.

DFA 340 Dance Pedagogy II [2] A laboratory

course providing practical experience working

with students of various ages. Material present-

ed in DFA 240 and EDP 132 is integrated into

the dance classroom. Prerequisites: DFA 240

and EDP 132, or permission of instructor.

DFA 350 Process of Composition [2] The ex-

ploration of a variety of processes and further

development of the basic tools of composition

with the goal of completing finished, rehearsed

products. A study of the spatial and dynamic

characteristics of solos and ensemble pieces.

Development of personal style. Prerequisite:


Fine Arts in Dance / 439

DFA 360-361 Repertory/Performance III [1-

1] Learning and performing contemporary and














DFA 362-363 Variations in Pas de Deux III

[.5-.5] Learning and performing solo works and

pas de deux from the classical, romantic, and

neoclassical ballet literature as well as from

varying modern forms. Study of style, content,

and format of modern and classical roles

and ballets, and the historical context of their

development. Study and development of re-

hearsal skills and techniques, including the roles

of the ballet master and others involved

in the process of preparing concert dance for

the stage. The exploration and execution

of partnering techniques. Prerequisite for



sion of instructor.

DFA 371 Technology in Dance [3] A laborato-

ry course providing practical experience for stu-

dents to gain an understanding of technological

applications for dance, through acquired com-

puter skills designed to enhance their education-

al experience, video-audio recording and

editing, graphics, and Web design. Students use

the same skills to enhance their knowledge of

dance, dance education, and technologies in the

dance profession. Laboratory fee.

DFA 372 Music in the Ballet Studio [1]

Course instruction includes exploration of the

relationship between movement and music in

the ballet class. Musicians and dance teaching

students have opportunities to improve their

ability to communicate and work together

through a series of practical exercises. Prerequi-

sites: TH 130 and HLM 100, or permission of

instructor.

DFA 384, 385 Student Internship [1, 1] Prac-

tice teaching in various community programs.

Prerequisites for DFA 384: DFA 340 and DFA

231, or permission of internship supervisor. Pre-


of internship supervisor.

DFA 420-421 Classical Ballet IV [2-2] The

seventh and eighth semester of an eight-

semester sequence of graded training in classi-

cal ballet technique. Syllabus is taught at the

high-intermediate level. Prerequisite for DFA

420: DFA 321 or permission of instructor. Pre-


of instructor.

DFA 424-425 Martha Graham Technique III

[1-1] The seventh and eighth semesters of an

eight-semester sequence of graded training in

the Martha Graham technique. Students work at

the advanced level of proficiency. Prerequisite

for DFA 424: DFA 325 or permission of



DFA 426-427 Contemporary Dance Forms

IV [1-1] Continued study of various modern

dance forms at the advanced and preprofession-

al levels. Prerequisite for DFA 426: DFA 327 or

permission of instructor. Prerequisite for DFA

427: DFA 426 or permission of instructor.

DFA 432-433 Pointe IV [1-1] The seventh and

eighth semesters of an eight-semester sequence


technique. Syllabus is taught at the advanced

level. Prerequisite for DFA 432: DFA 333 or

permission of instructor. Prerequisite for


DFA 440 Issues in Pedagogy [1] Dance teach-

ing majors learn skills and strategies for

improving students’ abilities to learn, watch,

and perform dance. Techniques such as mental

imagery and coaching are used to address emo-

tional issues, performance issues, and learning

styles. Prerequisites: DFA 240, DFA 340, and

EDP 132; or permission of instructor.

DFA 450 Problems in Composition [2] An in-

dependent choreography project supervised by

faculty and culminating in a finished perfor-

mance piece. Emphasis on the orchestration of

all elements of a concert dance, including mu-

sic, costumes, and lighting. Strategies for doc-

umenting movement and organizing performers

and rehearsals. Prerequisite: DFA 350 or per-

mission of instructor.

DFA 460-461 Repertory/Performance IV [1-

1] Learning and performing contemporary and















DFA 462-463 Variations/Pas de Deux IV [.5-

.5] Learning and performing solo works and pas

de deux from the classical, romantic, and neo-

classical ballet literature as well as from varying

modern forms. Study of style, content, and

format of modern and classical roles and

ballets, and the historical context of their devel-

opment. Study and development of rehearsal

skills and techniques, including the roles of the

ballet master and others involved in the process

of preparing concert dance for the stage. The

exploration and execution of partnering tech-

niques. Prerequisite for DFA 462: DFA 363



DFA 470 Dance Administration [1] Overview

of the non-dance aspects of management of

the private dance studio or school. Seminar

topics include financial planning, marketing,

public relations, community involvement,

recruitment, and admissions. Prerequisite: Per-


DFA 474 Dance Production [2] An introduc-

tion to the major areas of technical production

for dance: costume and set construction, materi-

als, lighting, and stage design. Basic technical

literacy and communication skills to enable

effective production communication. Prerequi-

site: Permission of instructor.

DFA 480, 481 Independent Study in Dance

[1–3, 1–3] An independent study project con-

ducted under the direction of an assigned facul-

ty member. Credit determined by scope and

nature of project. Prerequisite: Permission of

chair and faculty.

DFA 484, 485 Student Internship [2, 2] Prac-

tice teaching in various community programs.

Student intern is assigned his/her own class

for the semester to plan, develop, and teach un-

der the supervision of the intern’s assigned

mentor/teacher. Additional responsibility is

assumed for determining the direction of the

development of class material. Prerequisite for



sion of instructor.

DFA 190, 191, 290, 291, 390, 391, 490, 491

[1–3] Selected topics in dance, varying yearly

with the needs of the curriculum and availability

of particular faculty. Credit is determined by the

scope and nature of the topic. Prerequisite:


Vocal Performance


DRM 120-121 Acting for Singers I [1-1] This

is a yearlong course that examines beginning

acting techniques through the exploration of

Meisner- and Stanislavski-based exercises and

readings. There is an emphasis on movement

training, which encompasses some techniques

of Balinese dance, and an introduction to Anne

Bogart’s Viewpoints. The lessons are then ap-

plied to contemporary American scene work.

Two hours weekly.

DRM 220-221 Acting for Singers II-III [1-1]

This is a yearlong course that builds on and con-

tinues to examine the acting techniques of

Meisner and Stanislavsky. Exercises move to

encompass formal, nonrealistic approaches to

performance. There is a strong emphasis on

Anne Bogart’s Viewpoints and the theatre of

Robert Wilson. Lessons in text analysis begin

and are applied to contemporary scene work.

Two hours weekly. Voice majors only. Prereq-

uisites: DRM 120-121.

DRM 320-321 Acting for Singers IV-V [1-1]

This is a yearlong course that builds on the

work of DRM 220-221, with an emphasis on

period movement and proper text analysis. The

lessons are applied to classical scene work and

monologues (e.g., restoration comedies, Shake-

speare, Molière, Ibsen, Chekov, Strindberg).

Two hours weekly. Voice majors only. Prereq-

uisites: DRM 120-121 and 220-221.

OPR 160 Opera Stagecraft I [1] In this begin-

ning course, students develop a basic under-

standing of stagecraft, theatrical makeup,

costume application, and stage terminology.

Students function as crew and other support

staff for both the junior/senior and graduate

blackbox performances. Various skills that are

taught in successive semesters, such as theatre

games, body movement, character research, and

audition techniques, are introduced at this time.

Laboratory format.

OPR 161 Opera Stagecraft II [1] This course

expands upon the content of APR 160. Students

function as crew for the mainstage production.

The practical application of skills such as thea-

ter games, body movement, character research,


and audition techniques is continued. Laborato-

ry format. Prerequisite: OPR 160 or permission

of instructor.

OPR 260 Acting/Movement for Singers I [1]

This course expands upon the objectives of

OPR 160 and OPR 161 with the addition of

body movement and specific dance forms used

in opera. Monologue and scene work are intro-

duced in preparation for work in subsequent

semesters. Two and one-half hours weekly. Pre-

requisites: OPR 160 and OPR 161, or permis-

sion of the instructor.

OPR 261 Acting/Movement for Singers II [1]

This course expands upon the objectives of the

previous semester of OPR 260 with the addition

of singing while dancing, monologue, and scene

work, coupled with musical scene and aria per-

formances. Two and one-half hours weekly.

Prerequisites: OPR 160, OPR 161, and OPR

260.

OPR 360 Opera Blackbox I [1] In this inter-

mediate-level course, students use skills learned

in the OPR sequence to rehearse and present a

blackbox performance consisting of scenes cho-

sen from vocally appropriate repertoire. The

class is conducted in a laboratory format, and

the scenes are performed for students and facul-

ty of The Hartt School. Prerequisites: OPR 260-

261, or permission of the instructor.

OPR 420-421 Opera Scenes [2-2] The culimi-

nation of three years of acting, the Opera Scenes

class provides students with additional skills to

prepare a role for performance and to take stage

direction in performing scenes with others. Two

hours per week in class; individual and group

coachings as required. Prerequisites: DRM 120-

121, DRM 220-221, and DRM 320-321.

OPR 460 Opera Blackbox II [1] Students use

the skills learned in the OPR sequence to re-

hearse and present a blackbox performance

consisting of scenes chosen from vocally ap-

propriate repertoire. The class is conducted in a

laboratory format, and the final performance is

open to the public. Prerequisite: OPR 360 or


OPR 461 Opera Mainstage Performance [1]

Students use stagecraft, voca, and musical skills

to rehearse in laboratory format and present a

mainstage production with orchestra, costumes,

makeup, sets, and lighting. The piece to be per-

formed is chosen from vocally appropriate rep-

ertoire. Performances are open to the public.

The class is open to sophomores, juniors, and

seniors by audition and voice teacher approval.

This class may be repeated for credit. Prerequi-

sites: OPR 160 and OPR 161, or permission of

audition committee.

OPR 480, 481 Special Studies in Opera* [1–3,

1–3] Special projects assigned on an individual

basis. May be repeated for additional credit.

Credits determined by department chair based

on scope and depth of project.


OPR 580, 581 Special Studies in Opera* [1–2,

1–2] Special projects assigned on an individual


Chamber Ensembles and

Performing Organizations

All ENS, CPO, and IPO courses may be repeat-

ed for additional credit. For more complete de-

scriptions, see the section on Student

Performing Organizations.


ENS 400, 401 Mixed Ensemble [0–1]

ENS 402, 403 Jazz Combo Ensemble [0–1]

ENS 404, 405 Concert Jazz Ensemble [0–1]

This organization prepares music in the jazz

style, with both functional and artistic objec-

tives. Three hours weekly.

ENS 408, 409 String Ensemble [0–1]

ENS 410, 411 Woodwind Ensemble [0–1]

ENS 412, 413 Brass Ensemble [0–1]

ENS 414, 415 Percussion Ensemble [0–1]

ENS 420, 421 Collegium Musicum [0–1]

Three hours weekly.

ENS 422, 423 Guitar Ensemble [0–1]

ENS 426, 427 Contemporary Players [0–1]

Four hours weekly.


ENS 518, 519 Baroque Ensemble [0–1]

ENS 530, 531 Special Studies in Ensemble [1,

3] Special ensembles assigned on an individual

basis. Credits determined by department chair

based on number of hours of ensemble playing

assigned.

ENS 540 Contemporary Music Performance

Practices [2] Study and performance of music

composed since circa 1950. Repertory, forms,

styles, notation; new instrumental techniques,

including multiphonics, range extension, new

timbral effects; improvisation.

*Students electing OPR 480-481 or 580-581 for credit in productions must be available for all rehearsals and performances.

Vocal Performance / Chamber Ensembles and Performing Organizations / 441

historical approach to the understanding of listservs, current search engines, library cata-

CPO 404, 405 Music Theatre Chorus Lab

[1, 1] Training in choral ensemble for music

theatre. Over a four-year period, choral music

from a variety of theatre composers, periods,

and styles will be covered. Principles learned in

Ear Training I and II will be developed into

practical techniques. Prerequisite: Open only to

music theatre and actor training majors.

CPO 420, 421 Choral Ensembles [0–1] Audi-

tions for placement in choral ensembles take

place during the first week of classes in the fall.

The audition consists of singing a prepared

piece, sight reading, and some musicianship

testing. Based on the audition, the educational

needs of the students, and the artistic needs of

the department, students are assigned to four

hours per week in appropriate choral ensembles.

Choral ensembles are open to all University of

Hartford students as well. The two main choral

ensembles are the Hartt Chorale and the Hartt

Choir.

IPO 400, 401 Orchestra [0–1.5] Six hours

weekly.

IPO 404, 405 Symphony Band [0–1] Three

hours weekly.

IPO 406, 407 Flute Choir [0–1] Three hours

weekly.

IPO 410, 411 Capitol Winds [0–1] Capitol

Winds is a symphonic band comprising students

from the University of Hartford as well as

members of the Greater Hartford community.

The group plays standard band literature written

by such composers as Holst, Grainger, Shosta-

kovich, and Milhaud and has premiered works

by Hartt composers. The band presents on-

campus concerts as well as special concerts in

the Hartford area. Two hours weekly.

IPO 412-413 Trombone Ensemble [0–1] An

ensemble of homogeneous instruments that

performs music composed for trombones as

well as appropriate transcriptions. Repertoire

from different periods and styles for four to

12 trombones is investigated. Students have the

opportunity to play lead, bottom, and inner

parts as well as alto and bass trombone. By

permission of instructor only.

History and Literature of Music

HLM 020 Information Literacy in the

Performing Arts [0] Introduction to searching

and evaluative techniques necessary for infor-

mation literacy. Knowledge of general reference

materials; subject-specific and primary sources;

Internet resources, including FirstSearch,

logs, and data bases. Successful completion of

course required for all undergraduate students.

HLM 100 Introduction to Music [3] Designed

primarily for students with no previous formal

training in music, to provide a foundation for in-

telligent and appreciative listening. Elements of

musical form and style, with relevant historical

background, are presented.

HLM 110/MUB 110 Music Perspectives [3]

This course provides an approach to perceptive

listening and an introduction to musical ele-

ments, form, style periods, composers’ styles,

and representative works drawn from the whole

world of music making. The goal is to stimulate

curiosity in and enrich the appreciation of what

we call a ―musical experience.‖ Laboratory fee.

HLM 111 History of Music Theatre [3]

This course is an in-depth study of the evolution

of the American musical from the late 19th

century to the present. With special focus on the

contributions of major theatre composers, lyri-

cists, and librettists, topics include European

operetta, revue, musical comedy, musical dra-

ma, political satire, the director-choreographer

―progressive‖ musical theatre, and the ―theatri-

cal pop event.‖ Prerequisite: Open to music the-

atre majors or by permission of instructor.

HLM 200/MUB 200 World Music Survey [3]

This is an introductory course to world musics

and some of the basic issues important for an

understanding of music in culture and music as

culture, including discussion of major musical

cultures throughout the world, with various lis-

tening, reading, and writing assignments. Three

hours weekly.

HLM 212 Perspectives on Music History [3]

An introductory course designed to help stu-

dents develop the skills necessary for studying

music in a variety of historical and cultural con-

texts. The course begins with the study of films

in which music figures prominently, followed

by a general overview of music of the Medieval,

Renaissance, and Baroque periods. Prerequisite:

TH 111.

HLM 213 Classicism to the Present [3] A

historical survey of Western music from the

Classical period to the present. Prerequisites:

TH 112 and HLM 212.

HLM 216 History of Popular Music in the

United States [3] This course examines the

sociological, technological, business, and musi-

cal trends of the growth and development of

popular music in the United States. It takes a


the composers, performers, technological inno-

vations, and sociological changes that have

affected popular music in the United States.

HLM 312 Guitar Literature I [1] Introduction

to the guitar, lute, and vihuela music of the Re-

naissance and Baroque periods. This course also

explores the stylistic problems inherent in per-

forming music from these periods. One hour

weekly.

HLM 313 Guitar Literature II [1] Overview

of the guitar literature written during the Classi-

cal, Romantic, and 20th-century periods; stylis-

tic problems inherent in performing music from

these periods. One hour weekly.

HLM 315 Guitar Tablature [1] This is an

introductory course designed to acquaint the

student with the performance, history, and nota-

tional aspects of Baroque guitar music. This is

accomplished through the transcription and

arranging of Baroque guitar music for the clas-

sical guitar. One hour weekly.

HLM 316 Medieval through Baroque [3] A

historical survey of Western music from the

Middle Ages through the 17th century. Prereq-

uisite: HLM 213 or permission of instructor.

HLM 322 Vocal Literature I [2] This course

involves a careful examination of German Lied-

er in the 19th and early 20th centuries. In sur-

veying representative works of the major Lied

composers, emphases are on the styles, forms,

and poetry that characterize this body of music.

Prerequisite: HLM 213.

HLM 323 Vocal Literature II [2] This course

involves a careful examination of French Art

Song in the 19th and early 20th centuries. In

surveying representative works of the major

French Art Song composers, emphases are on

the styles, forms, and poetry that characterize

this body of music. Prerequisite: HLM 213.

HLM 324 The Symphony [3] Historical and

analytical study of selected symphonies from

the 18th, 19th, and 20th centuries. Prerequisites:

HLM 212 and HLM 213, or equivalent.

HLM 325 Chamber Music Literature [3]

A survey of the chamber music literature in

its social context from the 18th through the

20th century. Three hours weekly. Prerequisite:

HLM 213.

HLM 430-431 Keyboard Literature [3-3] A

survey of keyboard music from the 14th century

to the present, tracing forms and styles as well

as the development of principal keyboard in-

struments and performance techniques. Some

attention is given to less common literature,

such as one- and two-piano duets. Prerequisites:

HLM 212 and HLM 213.

HLM 445/545 Tone Poem and Concert Over-

ture [3] An in-depth study of programmatic or-

chestral music of the 19th and 20th centuries.

Emphasis is placed on the genres of tone poem

and concert overture, with additional repertory

taken from related genres. Prerequisites: HLM

212 and 213, or permission of instructor.

HLM 460-461 History of Opera [3-3] A study

of the form from its forerunners to the 20th cen-

tury. Representative works are studied for musi-

cal style in the context of sociological

influences. Three hours weekly. Offered alter-

nate years.

HLM 462 History of Music in America [3]

The sacred and secular music activity in the

United States from the early colonists to 1920.

Both the cultivated and vernacular traditions.

Three hours weekly.

HLM 463 Music Literature of the 20th

Century [3] An in-depth study of 20th-century

music literature and its connection with socio-

logical and political events, aesthetic and

philosophical movements, and key works of

the related arts. Analysis of key works of music.

Three hours weekly.

HLM 466, 467 Advanced Music Literature

[1.5–3, 1.5–3] An in-depth study of the opus

and bio-bibliographic materials of a selected

major composer, such as Josquin, Bach, Mozart,

Beethoven, Wagner, or Stravinsky. May be

repeated.

HLM 468, 469 Advanced Music Literature

[3, 3] An extension of HLM 466, 467. May be

repeated. Offered alternate years.

HLM 470, 471 Seminar in Music History [3,

3] Undergraduate seminars in selected phases of

music history. Normally assigned in the third

and fourth years of the music history curricu-

lum. Maximum credits: 9.

HLM 473 Seminar in Performance Practices

[3] The investigation of unwritten performance

traditions from the Renaissance to the 20th

century. Areas of study include ornamentation,

improvisation, tempo, pitch, Besetzung, and

tone production. Grade is determined by two

research papers and class participation. Students

are encouraged to choose topics related to their

fields of specialization. Prerequisites: HLM 212

and HLM 213, or equivalent.

HLM 474 String Quartet Literature [3] This

course helps string players to develop and syn-

thesize their historical, analytical, and rehearsal


aural sensitivity and an appreciation of the

skills through guided sight reading of the quar-

tet literature. Stylistic problems encountered

while reading the course repertory initiate class

discussion of topics such as historical context,

notational practice, phrase structure, and articu-

lation. Individual practicing of repertoire is not

required. Open to undergraduates majoring in

violin, viola, or violoncello.

HLM 480, 481 Independent Study in Music

History [1–3] An independent study project

conducted under the direction of an assigned

faculty member. Credit determined by scope

and nature of project.

HLM 490, 491 Special Topics in Music

History [2–3, 2–3] Selected topics in music his-

tory, varying yearly with needs of curriculum

and availability of particular faculty.


Theatre

HTA 110 Voice I [3] The beginning-level voice

class establishes a technique and vocabulary for

breathing, vocal placement, and the articulation

of sounds in standard American speech. Stu-

dents learn using a studio format with individual

tutorials as needed. Prerequisite: Acceptance to

Hartt School Theatre Division.

HTA 111 Voice II [3] This course is a continu-

ation of HTA 110, focusing on the expressive

use of the vocal instrument. Prerequisites: Act-

ing training major: HTA 110, 120, and 130;

music theatre major: HTA 110 and 130.

HTA 120 Movement I [3] Beginning stage

movement for the actor, including physical

awareness, flexibility, spatial awareness, body

composition, and physical characterization.

Study of the Alexander technique is introduced.

Prerequisite: Acceptance to the B.F.A. Actor

Training program.

HTA 121 Movement II [3] This course is a

continuation of the objectives of HTA 120. Pre-

requisites: HTA 110, 120, and 130.

HTA 130 Acting I [3] This beginning acting

class establishes a basic approach toward under-

standing and creating human behavior. Students

learn how to motivate action, pursue objectives,

confront obstacles, and create subtext. Through

exercises and play readings, students study

dramatic form and learn the basics of script

analysis. A studio format is used. Prerequisite:

Acceptance to Hartt School Theatre Division.

HTA 131 Acting II [3] This class continues the

objectives of HTA 130, with a shift of emphasis

placed on application of principles and tech-

niques acquired in the first semester. Particular

attention is focused on techniques of partnering

and scene study. Students are expected to

present scenes from contemporary material. A

studio format is used. Prerequisites: Actor train-

ing major: HTA 110, 120, and 130; music thea-

tre major: HTA 110 and 130.

HTA 140 Rehearsal and Performance I [1] In

this beginning course, students develop a basic

appreciation of the technical aspects surround-

ing a performance. Students in the first year of

training function as crew and other support staff

for the productions of the fourth-year students.

This includes the building of sets, locating

properties, and other duties related to the front

of the house and promotion of the productions.

Students learn to use tools and equipment as re-

quired. Students hold technical responsibilities

for at least one Hartt School presentation or

production during the semester. A laboratory

format is used.

HTA 141 Rehearsal and Performance II [1]

This course expands on the objectives of

HTA 140, with an emphasis on developing

skills in a different area of technical theatre

from HTA 140. Such areas include lighting de-

sign, property management, set design, set

building, etc. A laboratory format is used. Pre-

requisite: HTA 140.

HTA 200-201/ENG 201-202 Text Analysis I

and II [2-2] This yearlong class explores in

depth the key playwrights and plays that have

shaped the theatrical genre today. Prerequisite

for music theatre majors: Permission of

instructor.

HTA 210 Voice III [3] The goal of the course

is a free voice in a free body. The voice and

speech training begun in the first year is rein-

forced, extended, and deepened, with continued

attention to the free release of sound and the de-

velopment of power, stamina, accuracy of artic-

ulation, and sensitivity to impulse. The course

seeks to integrate the elements of vocal tech-

nique for the actor with an exploration of lan-

guage. A studio format is used. Prerequisites:

Actor training major: HTA 111, 121, and 131;

music theatre major: HTA 111 and 131.

HTA 211 Voice IV [3] This course is a contin-

uation of the objectives of HTA 210. A concen-

trated review of the essential techniques of

voice production and the International Phonetic

Alphabet (IPA) serves as a ridge to the student

into exercises that develop a deeply visceral ap-

proach to the speaking of text while expanding

Theatre / 445

structure of language. Prerequisites: Actor train-

ing major: HTA 210, 220, and 230; music thea-

tre major: HTA 210 and 230.

HTA 220 Movement III [3] Specialized activi-

ties in character types and T’ai Chi, exposure

to major trends in movement as diagnostic and

performance material, additional study of the

Alexander technique. Prerequisites: HTA 111,

121, and 131.

HTA 221 Movement IV [3] This class is a con-

tinuation of the objectives of HTA 220, with

advanced study of character types and T’ai Chi,

further exposure to major trends in movement

as diagnostic and performance material, and ad-

ditional study of the Alexander technique. Pre-

requisites: HTA 210, 220, and 230.

HTA 230 Acting III [3] Students work on

truthful moment-to-moment work, playing ob-

jectives, listening and responding, and working

from impulse. Students develop skills for text

analysis. A studio format is used. Prerequisites:

Actor training major: HTA 111, 121, and 131;

Music theatre major: HTA 111 and 131.

HTA 231 Acting IV [3] This class continues

the objectives of HTA 230 while applying the

work to character development and scenes from

contemporary material. A studio format is used.

Prerequisites: Actor training major: HTA 210,

220, and 230; music theatre major: HTA 210

and 230.

HTA 240 Rehearsal and Performance III [1]

Students use the skills learned during the first

year to rehearse and present at least two plays

chosen from the repertoire of 20th-century

American realism. The class is conducted in a

studio format, and plays are performed for

students and faculty of The Hartt School. Open

only to second-year B.F.A. in Theatre students.

Prerequisites: HTA 140 and 141.

HTA 241 Rehearsal and Performance IV [1]

Students use the skills learned during the first

year to rehearse and present a play chosen from

the repertoire of early modern drama. The class

is conducted in a studio format, and plays are

performed for students and faculty of The Hartt

School. Prerequisite: HTA 240.

HTA 300/ENG 301 The Shakespearean Con-

text [3] The course provides an overview of the

language, poetics, and cultural context of 16th-

and 17th-century English literature, with special

emphasis on theatre, particularly Shakespeare.

Prerequisite: Actor training major.

HTA 305 Study in England [6] Prerequisites:

HTA 310, 320, and 330.

HTA 310 Voice V [3] Concentration is on the

delivery of classical material, with a focus on

heightened language. The works of William

Shakespeare are included. The course includes

the study of American Southern, Brooklynese

and various European accents. A studio format

is used. Prerequisites: HTA 211, 221, and 231.

HTA 320 Movement V [3] Training in period

movement styles: manners, mores, dance forms

in movement; training in stage violence/combat.

Prerequisites: HTA 211, 221, and 231.

HTA 321 Movement VI [3] This class is a con-

tinuation of the objectives of HTA 320, with

more advanced training in period movement

styles: manners, mores, dance forms in move-

ment; and stage violence/combat. Prerequisites:

HTA 310, 320, and 330.

HTA 325 Movement for the Music Theatre

Actor [3] This course focuses on the study of

period styles, stage combat, and Alexander

technique; and the development of personal

physical awareness. Prerequisite: Successful

completion of the second year in music theatre

program.

HTA 330 Acting V [3] This advanced acting

class introduces the student to an exploration of

the works of Shakespeare and his contemporar-

ies. The course uses the methods explored in the

preceding four acting courses as a springboard

to acting in verse and period language. A studio

format is used. Prerequisites: Actor training

major: HTA 211, 221, and 231; music theatre

major: HTA 211 and 231.

HTA 331 Acting VI [3] Students concentrate

on acting problems presented by the genre of

comedy of manners. The material covers both

high and low comedy and spans various centu-

ries in theatre history. Students work on scene

study and presentation of material from the

leading playwrights in this style, typically Mo-

lière, Sheridan, Wilde, and Shaw. A studio for-

mat is used. Prerequisites: Actor training major:

HTA 305, 310, 320, and 330; music theatre ma-

jor: HTA 330.

HTA 360 Projects I [3] This class teaches stu-

dents how to coordinate a presentation showing

work done in all major acting areas: voice,

movement, and acting. Instruction includes the

selection of scenes, the selection and consisten-

cy of a theme, and a determination of the best

scenes, given each student’s strengths and

weaknesses as an actor. Students are required to

present their work in class. Open only to third-

year B.F.A. in theatre students.


HTA 361 Projects II [3] This course helps stu-

dents develop a sensitivity to a playwright’s in-

tentions through interaction with playwrights.

This interaction helps students become aware of

the creative process of writing a play. Students

perform a new play under the guidance of the

author and a director of the author’s choice.

Open only to third-year B.F.A. in theatre stu-

dents. Prerequisite: HTA 360.

HTA 400/ENG 401 Shakespeare in Text and

Performance [3] The course focuses on a de-

tailed reading of one or two of Shakespeare’s

plays, normally those to be presented by the

senior actor training students during the spring

semester. Additional readings in Shakespeare

and in the work of other writers of the age

will set these plays in context. Emphasis falls

on moving Shakespeare’s text from writing to

speaking and on exploring how the written text

relates to dramatic performance. Prerequisite

for actor training major: HTA 300. Prerequisite

for music theatre major: Permission of instruc-

tor.

HTA 410-411 Voice VII-VIII [2-2] These

courses take the student into an extensive study

of the accents and dialects most often used on

the English-speaking stage. The course begins

with a review of the International Phonetic

Alphabet (IPA), introduces different options for

achieving accents, introduces accent analysis

systems, and culminates with a comprehensive

study of the accents of the British Isles (typical-

ly, Standard British, Irish, Cockney, and West

Country). During the spring semester students

continue the work of Voice VII. In addition, the

course explores Scottish and Welsh and intro-

duces a variety of international accents (typical-

ly, Italian, French, German, and Russian).

Prerequisites: HTA 305, 310, and 321.

HTA 412 Acting for the Camera [4] Instruc-

tion and practical experience in performing for

the camera. Class stresses process and terms

used in television and film production from the

standpoint of the performer. Regular on-camera

experience enables students to study themselves

and others on the monitor in order to observe

their progress. Differences between film and

stage work are emphasized, giving the acting

student an overview of the two forms from a

production standpoint. Prerequisite: HTA 331.

HTA 430 Acting VII [3] Students work on

scenes leading into song from four or five dif-

ferent periods in musical theatre history, typi-

cally operetta, early musicals (pre-Oklahoma!),

mid-century musicals, Bernstein and Sondheim,

and currently playing musicals. A studio format

is used. Prerequisites: Music theatre major, sen-

ior standing, and HTA 331.

HTA 440 Rehearsal and Performance V [6]

The advanced class in rehearsal and perfor-

mance provides students with the opportunity to

rehearse and perform under professional cir-

cumstances following union guidelines. Teach-

ing occurs within the rehearsal context, and

special skills and problems are dealt with in

one-on-one situations with faculty coaches.

Fourth-year students have a variety of experi-

ences in blackbox and main-stage settings. A

studio format is used, and students present a

repertoire of four fully mounted plays through-

out the fall and spring semesters. These plays

are presented to the public. Open only to fourth-

year B.F.A. in theatre students.

HTA 441 Rehearsal and Performance VI [3]

The advanced class in rehearsal and perfor-

mance provides students with the opportunity to

rehearse and perform under professional cir-

cumstances following union guidelines. Teach-

ing occurs within the rehearsal context, and

special skills and problems are dealt with in

one-on-one situations with faculty coaches.

Fourth-year students have a variety of experi-

ences in blackbox and main-stage settings. A

studio format is used, and students present a

repertoire of four fully mounted plays through-

out the fall and spring semesters. These

plays are presented to the public. Prerequisite:

HTA 440.

HTA 451 Career Preparation I [3] This

course provides students with the tools needed

to market themselves as actors and manage their

careers. Specific instruction is provided in such

areas as the preparation of a résumé, the im-

portance of photographs, and audition tech-

niques, as well as the functions of managers,

agents, and casting directors. Prerequisites: Ac-

tor training major: HTA 331 and 410; music

theatre major: HTA 430.

HTA 461 Projects IV [1] The advanced Pro-

jects course focuses on the development of the

student’s ―showcase‖ for presentation during

the senior year in New York City. The show-

case is presented to an invited audience of

agents, managers, casting directors, and artistic

directors, and is developed to demonstrate the

student’s versatility of acting in a wide range of

dramatic literature. Prerequisites: Actor training

major and senior standing.


Music Theatre


HTA 490, 491 Independent Study in Theatre

[.5–3, .5–3] Advanced independent research

and/or learning in areas not covered by con-

ventional HTA, DAN, or DRM offerings. May

not be used in lieu of a conventional course.

Usually taken after having successfully com-

pleted a substantial number of courses in the

department. Requires submission of a proposal

and prior arrangement with the prospective

instructor. Prerequisite: Permission of division

director.

HTC 104-105 Music Theatre Chorus [1-1] In

this course first-year music theatre majors put

ear-training skills into practical use in the exe-

cution of musical theatre literature. Emphasis is

placed on the development of a strong work eth-

ic and of proper deportment in a professional

rehearsal environment. Repertoire is introduced

chronologically to help promote an understand-

ing and appreciation of the development of

American musical theatre. Composers and lyri-

cists whose works are studied may include John

Gay, Gilbert and Sullivan, Cohan, Herbert,

Kern, Gershwin, Porter, Rodgers and Hart,

Rodgers and Hammerstein, and Bernstein. Pre-

requisite: Acceptance to Theatre Division.

HTC 204-205 Music Theatre Chorus [1-1]

This course for second-year music theatre ma-

jors is a continuation of HTC 104-105, with

more challenging repertoire introduced and a

focus on developing skills that make for strong

ensemble singing in the musical theatre genre,

including vocal blend, balance, intonation, and

diction. Repertoire is introduced chronological-

ly to help promote an understanding and appre-

ciation for the development of American

musical theatre. Composers and lyricists whose

works are studied may include Loesser, Weill,

Adler and Ross, Willson, Lerner and Leowe,

Bernstein, Bock and Harnick, Herman, Kander

and Ebb, and Coleman. Prerequisite: Successful

completion of HTC 104-105.

HTC 304-305 Music Theatre Chorus [1-1]

This course for third-year music theatre majors

is a continuation of HTC 204-205, with the in-

troduction of increasingly challenging literature

from the musical theatre genre and a focus on

the development of character while singing by

incorporating principles covered in Acting I and

II (motivating action, creating subtext, etc.).

Repertoire is introduced chronologically to help

promote an understanding of and appreciation

for the development of American musical thea-

tre. Composers and lyricists whose works are

studied may include MacDermot/Rado/Ragni,

Sondheim, Schwartz, Hamlisch, Kander and

Ebb, Lloyd Webber, Menken and Ashman,

Boublil and Schonberg, Ahrens and Flaherty,

and Finn. Prerequisite: Successful completion

of HTC 204-205.

HTC 404-405 Music Theatre Chorus [1- 1]

This course for fourth-year music theatre majors

is a continuation of HTC 304-05, with emphasis

on readying repertoire for public performance

situations, including participation in staged

readings as part of the Goodspeed New Artists

Festival and at the spring showcase for theatre

industry professionals in New York and Los

Angeles. Performances may include guest ap-

pearances in concert with the Hartford Sympho-

ny Orchestra and the annual Hartt School

Collage Concert, among others. Prerequisite:

Successful completion of HTC 304-305.

HTS 140-141 Stagecraft [1-1] One semester

each: stage makeup techniques. Overview of

technical aspects of stagecraft, including sets,

lights, and costumes for stage productions.

Practical application of techniques. Laboratory

fee.

Music Education


MEA 100 Classroom Instruments [1] Instruc-

tion in guitar and recorder. Teaching principles,

class procedures, repertoire. Two hours weekly.

Fall semester only.

MEA 101 Voice Class [1] Instruction in vocal

technique. Teaching principles, repertory, and

class procedures. One hour weekly. Fall semes-

ter only.

MEA 102 Woodwinds I: Clarinet and Saxo-

phone [2] Instruction in playing the clarinet and

saxophone. Teaching principles, class proce-

dures, and repertoire. Three hours weekly. Fall

semester only.

MEA 103 Wind Instrument Class [1] For

music education vocal emphasis majors. Theo-

retical in all wind orchestra instruments. Prac-

tice experience on the instrument of their

choice. Pedagogical procedure, performance, ar-

ranging, and observation. One hour weekly.

Spring semester only.


MEA 104 Technology for Music Education

[1] Participants develop an understanding of

technology (e.g., computers, keyboards, hard-

ware, software, and MIDI (Musical Instrument

Digital Interface) and its practical application.

Topics include computer hardware, software

(notating, sequencing, digital audio, recording,

educational), keyboard controller modules,

samplers, CD-ROM, Internet, Web, multitrack

recording, mixing, CAI, and other applications.

Laboratory fee.

MEA 200 Percussion Class [2] Instruction in

percussion instruments. Teaching principles,

repertory, and class procedures. Two hours

weekly. Laboratory fee.

MEA 201 Brass Class [2] Instruction in brass

instruments. Teaching principles, repertory, and

class procedures. Three hours weekly. Labora-

tory fee. Spring semester only.

MEA 204 Percussion Class/Vocal [1] Instruc-

tion in percussion instruments as it pertains to

vocal majors. Teaching principles, repertory,

and class procedures. One hour weekly.

MEA 300 Woodwinds II: Flute, Oboe, and

Bassoon [2] Instruction in playing the flute,

oboe, and bassoon. Teaching principles, class

procedures, and repertoire. Two hours weekly.

Spring semester only.

MEA 303 High-Strings Techniques [1] This

course is designed for instrumental music edu-

cation majors preparing to enter the music edu-

cation profession in K–12 schools. Students

develop basic performances and teaching skills

on both higher orchestral string instruments (vi-

olin and viola). Additional topics include teach-

ing principles, repertory, and teaching

procedures. Laboratory fee.

MEA 304 Low-Strings Techniques [1] This

course is designed for instrumental music edu-

cation majors preparing to enter the music edu-

cation profession in K–12 schools. Students

develop basic performances skills on both lower

orchestral string instruments (cello and bass).

Additional topics include teaching principles,

repertory, and teaching procedures. Laboratory

fee.

MEA 307 Vocal Development K–12 [2] A

course in pedagogy and rehearsal techniques

applying the student’s knowledge of vocal tech-

nique to K–12 vocal development. For vocal

emphasis students only. Fall semester only.

MEA 308 String Class/Vocal [1] Instruction in

string instruments as it pertains to vocalists.

Teaching principles, repertory, and class proce-

dures. Three hours weekly. Laboratory fee.

MED 110 Foundations of Music Education

[2] This course introduces students to terms and

concepts used in an analytical examination of

public school education in the United States.

Students examine the practical and philosophi-

cal issues that characterize the discipline of

music education. Laboratory fee.

MED 150 Freshman School Partnership [0]

Students spend two weeks during Winterterm

(January break) in an elementary school assist-

ing a music teacher. This experience enables

students, early in their four-year program, to

develop an understanding of what is involved

in the many aspects of a career in elementary

music teaching. Prerequisite: MED 110. Labor-

atory fee.

MED 250 Sophomore School Partnership [0]

Students spend two weeks during Winterterm

(January break) in a high school assisting a mu-

sic teacher. This experience enables students,

early in their four-year program, to develop an

understanding of what is involved in the many

aspects of a career in middle school or high

school music teaching. Prerequisite: MED 150.

Laboratory fee.

MED 303 Elementary Instrumental Methods

[3] This course provides music education

majors with pedagogical skills necessary to

teach beginning band and strings. Topics in-

clude philosophy, objectives, recruiting, instru-

ment selection, communication with parents,

evaluation, motivation, administration, schedul-

ing, acoustics, sequential instruction, teaching

with modeling/singing and rehearsing. In addi-

tion to regular, on-campus sessions, the class

participates in the Hartt Band and String Pro-

jects at the University of Hartford Magnet

School on Mondays and Wednesdays from

3:45 p.m. to 5:45 p.m. Students are required

to demonstrate proficiency on secondary in-

struments appropriate for teaching band and

strings in an elementary school. Prerequisites:

MEA 102, MEA 200, MEA 201, MEA 300,

MEA 303, MEA 304, and CON 316. Corequi-

site: MED 303 Lab. Laboratory fee.


MED 304 Secondary Instrumental Methods

[3] This course provides music education ma-

jors with pedagogical skills necessary to teach

band and strings in secondary schools. Topics

include philosophy, objectives, evaluation, mo-

tivation, administration, lesson plans, sequential

instruction, marching band, professional devel-

opment, jazz band, alternative string ensembles,

score study, teaching with modeling/singing,

hiring staff, traveling, and rehearsing. In addi-

tion to regular, on-campus sessions, the class

spends time observing and teaching instrumen-

tal classes at public schools. Instructors arrange

these off-campus session, but students are re-

sponsible for their own transportation. The class

also participates in the Hartt Band and String

Projects at the University of Hartford Magnet

School. Prerequisite: MED 303. Corequisite:

MED 304 Lab. Laboratory fee.

MED 310 School Choral Program [3] A

course in the musical skills and methods needed

to develop a sequential elective choral program

from the middle school through the high school.

Rehearsal techniques, laboratory experience in

choral conducting, repertoire, piano accompa-

niment skills, school observations, leadership,

planning, and administrative needs are among

the topics covered. Four hours weekly. Prereq-

uisite: Successful completion of sophomore

evaluation. Spring semester only.

MED 340 Elementary Vocal Methods N–2 [3]

Presents psychological principles, techniques,

and materials designed to develop teaching

skills appropriate to the developmental musical

abilities of children in grades N–2. Three hours

weekly. Prerequisites: MED 110 and successful

completion of sophomore evaluation. Labora-

tory fee. Spring semester.

MED 341 Elementary Vocal Method 3–6 [3]

The investigation of methods, techniques, and

materials appropriate for the teaching of general

music in grades 3–6. Three hours weekly.

Prerequisite: MED 340. Laboratory fee. Fall

semester.

MED 350 Jazz Ensemble for Music

Educators [1] Introduction to jazz ensemble

literature and performance. Emphasis on learn-

ing jazz performance style and jazz ensemble

repertoire. Additional topics include rehearsal

methods and teaching the fundamentals of jazz

improvisation.

MED 410 Student Internship [9] Student

teaching of music in the elementary and sec-

ondary schools of Greater Hartford and other

communities. Weekly conferences and seminars

with cooperating teachers and University super-

visors. Minimum 180 hours. Prerequisites:

MED 310, MED 311, and cumulative grade

point average of 2.67. No more than one C in a

music education or education course. Fall and

spring semesters.


[2] This class teaches future music educators

improvisatory skills and techniques and the

pedagogy of improvisation. Course format in-

cludes lecture, live performance, hands-on prac-

tical application, and analysis. Students gain

skill and confidence in improvisation as well as

develop strategies for future use in their school

music programs. Prerequisite: Successful com-

pletion of the Music Education sophomore

evaluation.

MED 490, 491 Topics in Music Education [1–

3] Special projects assigned on an individual


Credit determined by department chair based on

the scope and breadth of the project.


MED 501 Teaching Music in Early Child-

hood [3] To introduce teaching principles, tech-

niques, and materials suitable for teaching

children from birth to age 7. To develop teach-

ing skills and musical skills suitable for present-

ing musical activities. Three hours weekly. (For

non–music education majors)

MED 502 Teaching Music in the Elementary

Grades [3] To introduce teaching principles,

techniques, and materials suitable for children

in the elementary grades. To develop teaching

skills and musical skills suitable for presenting

musical activities. Three hours weekly. (For non–

music education majors)

MED 510 Measurement and Evaluation [3]

The study of ideas and strategies to achieve ac-

curacy and consistency in the measurement of

music creating, performing, and responding to

music. Students examine the development and

use of assessments of music performances,

types of knowledge, attitudes, and test devel-

opment. The creation of appropriate criterion

measures, empirical methods for demonstrating

test reliability and validity, descriptive statistics,

and test item analysis are also considered Pre-

requisite: Graduate standing.

MED 511 Psychology of Music [3] A survey

of various psychological theories with support-

ive research pertaining to perception, learning,

aptitude, achievement, and affective responses

to music. Two and one-half hours weekly.

Offered in alternate years.



[2] This class teaches future music educators

improvisatory skills and techniques and the

pedagogy of improvisation. Course format

includes lecture, live performance, hands-on

practical application, and analysis. Students

gain skill and confidence in improvisation as

well as develop strategies for future use in their

school music programs. Prerequisite: Successful

completion of the Music Education sophomore

evaluation.

MED 550, 551 Independent Study in Music

Education [1–3] Independent study project un-

der the direction of an assigned faculty member.

Credit determined by the scope and breadth of

the project.

MED 590, 591 Special Topics in Music Edu-

cation [1–3] Selected topics in music education,

varying with needs of curriculum and availabil-

ity of particular faculty. Credit determined by

the scope and nature of the work required.


MPT 110 Fundamentals of Music Production

[2] This is an introductory course in the basics

of producing and engineering music for music

production and technology majors. Beginning

with an exploration of basic tools and techniques

used in the recording studio and standard proce-

dures common to professional facilities, the

course connects students’ musicianship with

making technical decisions for the use of tech-

nology in capturing a musical performance.

This course is available to MPT majors only.

MPT 210 Practicum in Music Production [2]

The MPT practicum is a requirement for all stu-

dents pursuing the music production and tech-

nology degree. Students assist more advanced

students, Hartt recording studio staff, and music

production and technology faculty with record-

ing sessions, concert/recital recordings, studio

maintenance and repair, and general studio op-

erations. Students who show exceptional ability

may be given chief recording engineer status

and responsibility on particular projects at the

discretion of the instructor and/or studio man-

ager. Prerequisite: MPT 110. This course is

available to MPT majors only.

MPT 300 Music Production Technology I [4]

In this course, students begin to learn the lan-

guage and the tools of the production studio.

Topics include the physical aspects of sound,

psychoacoustics, stereophonic and surround

sound, microphone theory and application,

loudspeaker/amplifier theory and application,

basic audio control systems, analog and digital

recording systems, basic studio and control-

room architecture and acoustical considerations,

and appropriate use of signal processing. Criti-

cal listening is explored through the analysis of

recordings listened to and critiqued in class. In

the lab, students work in small teams and indi-

vidually to execute exercises and solve prob-

lems facing the beginning engineer/producer.

Prerequisite: MPT 210. This course is available

to MPT majors only. Laboratory fee.

MPT 305 Electronics for Music Systems I [3]

This course is an introduction to audio electron-

ics common to music systems. The course re-

views the basics of sound and its properties and

the fundamentals of electricity. It requires stu-

dents to build simple audio circuits on bread-

boards. Students learn the basic underlying

design principles of equipment in the music

production studio necessary for everyday

troubleshooting and communicating effectively

with manufacturers and service technicians.

Corequisite: ECT 121. This course is available

to MPT majors only.

MPT 310 Music Production Technology II

[4] Students expand their knowledge of the pro-

duction studio. Topics include advanced audio

control systems, analog and digital signal pro-

cessing, timecode, automation, multitrack theo-

ry and practice, mixing, MIDI, synthesis, and

sampling. In the lab, students work individually

and in small teams executing specific assigned

projects and gaining practical experience in the

studio environment. Prerequisite: MPT 300.

Laboratory fee.

MPT 315 Electronics for Music Systems II

[3] This is a continuation of Electronics for Mu-

sic Systems I. Topics include power supplies,

operational amplifiers, analog signal transmis-

sion, balancing, how to perform audio meas-

urements, and the design of many pieces of

studio gear. Labs continue the use of bread-

boards to build circuits, oscilloscopes for ob-

serving electronic signals, and multimeters to

perform measurements. Prerequisite: MPT 305.

MPT 400 Music Production Techniques I [4]

Training with a focus on production values and

techniques. Topics include music production

styles related to recording techniques, critical

listening and analysis of production values, au-

ral perception of performance environments, the

use of multiple (artificial) performing environ-

ments, applications in effects processing ad-

vanced stereophonic techniques, surround-

sound theory and practice, location-recording

theory and techniques, professional organiza-


tion techniques. The lab is designed to develop

further the student’s ear and sense of production

values. Individual (small-scale) projects are

assigned and executed as full productions. Stu-

dents are able to sharpen their skills in their mu-

sical area of choice but are also encouraged to

explore music beyond their normal area of in-

terest. Prerequisite: MPT 310. Laboratory fee.

MPT 410 Music Production Techniques II

[4] The integration of all the student’s prior

knowledge into the development of the ―music

producer.‖ Students are responsible for all crea-

tive and technical aspects of the production, in-

cluding choice of composer, musicians,

performance context, and identifying the target

market. Selected student producers may also

function as composers, arrangers, or orchestra-

tors. Students are expected to refine their skills

in their area of musical interest. The lab focuses

on solving specific problems that arise out of

the production assignments in class. Production

situations and problems are discussed, and po-

tential solutions are presented. Students present

rough drafts of work as available. Prerequisite:

MPT 400. Laboratory fee.

MPT 420 Music Production Special Project

or Internship [3] This project represents

the culmination of all the theory and practical

course work. Students are asked to complete a

CD-quality project in their specific area of in-

terest. Students may also choose an internship

in the Department of Performing Arts Technol-

ogy or at an approved professional audio pro-

duction facility. Prerequisite: MPT 310. Labora-

tory fee.

MPT 450 Sound Technology I [3] This course,

intended primarily for students pursuing degrees

in music management or jazz studies, is an in-

troduction to the professional recording industry

and the basics of the recording process. Topics

include acoustics, psychoacoustics, microphone

theory and techniques, analog and digital theory

and equipment, recording studio procedures,

critical listening in a recording session; produc-

tion chain from recording, mixing, and editing

to premastering, mastering, and replication. The

course concludes with a recording project en-

compassing recording, mixing, editing, and

mastering. Three hours weekly. Laboratory fee.

MPT 451 Sound Technology II [3] This

course is an extension of the introductory sound

technology class (MPT 450 Sound Technology

I). The objective is to develop skills necessary

to work in the recording studio. Topics include

multitrack recording, microphone application,

recording session organization, and ear training

for sound mixing. Students have the opportunity

to experiment in the recording studio, applying

the concepts and techniques in practical record-

ing situations. Projects and/or written papers are

assigned. Three hours weekly. Prerequisite:

MPT 450 or AUD 161. Laboratory fee.

MPT 190, 290, 390, 490 Special Topics in

Music Production and Technology [1–3] Spe-

cial topics courses in music production and

technology (MPT) give students enrolled as

MPT majors the opportunity to explore a topic

that may be covered already in an MPT core

course but in great detail. It also opens up ex-

ploration of music production and technology

for students of other majors who have the inter-

est and necessary qualifications. Prerequisite:

Dependent on content of the course.

Music Management


MUM 120 Introduction to Arts Management

[3] An introductory survey of the music man-

agement/ entertainment industry. Introduction to

the general principles of for-profit (recording,

retail, artist management) and not-for-profit

(symphony orchestra, dance, theatre, etc.) sec-

tors. Investigation of career opportunities in arts

management. Three hours weekly.

MUM 220 Arts Management: Not for Profit

[3] This intermediate course focuses on the

application of business skills to the fields of

music and the performing arts in areas such

as arts administration, fundraising, concert

production, media relations, and not-for-profit

governance. Three hours weekly. Prerequisite:

MUM 120.

MUM 221 Music Management: For Profit [3]

This intermediate course focuses on the applica-

tion of business skills to the fields of music and

the performing arts in areas such as the produc-

tion and distribution of recordings, concert pro-

duction, tour management, music publishing,

copyright law, royalties distribution, and artist

management. Three hours weekly. Prerequisite:

MUM 120.

MUM 321 Arts Management Practicum [3]

This course gives students hands-on experience

in arts-related work. Students use their skills

and abilities in marketing, programming, budg-

eting, media relations, and planning, while

working on projects in a variety of settings. The

class also focuses on workplace issues, net-

working, and the development of leadership

skills. Prerequisite: Junior standing or permis-

sion of the instructor.


MUM 330 Entertainment Law [3] An over-

view of the legal issues facing arts managers.

Topics include copyright, contracts, First

Amendment issues, intellectual property, and

ethics. Prerequisites: MUM 220-221.

MUM 340 Survey of Record Industry [3] An

advanced study of the recorded music industry.

Topics include copyright, performance rights/

mechanicals, record company administration,

record production, and new technology. Three

hours weekly. Prerequisites: MUM 220-221.

MUM 350 Computers and the Arts [3] A

study of the various hardware and software

applications used by arts organizations. Topics

include computerized ticketing, fundraising,

mailing lists, market research, and Web-page

development. Prerequisite: CS 110 or MIS 110.

MUM 410 Case Studies in Music/Arts Man-

agement [3] An advanced study of music and

arts management, this course is designed to ap-

ply the skills and knowledge students have ac-

quired in previous courses to make decisions

when confronted by actual management situa-

tions in both the for-profit and not-for-profit

sectors of the industry. A variety of cases are

analyzed and related to current events and

trends in the field. Prerequisites: MUM 220 and

221, or permission of the instuctor.

MUM 420 Internship [3] Supervised field

work in a business or arts organization in

the private or public sector. Prerequisites:

MUM 220-221 or permission of instructor.

MUM 421 Internship Seminar [3] Following

the completion of the Internship (MUM 420),

students produce a capstone internship study

that analyzes components of the arts organiza-

tion in which the student interned. This study

is presented in written form and may be fol-

lowed by a formal oral presentation. Prerequi-

site: MUM 420 or permission of instructor.

MUM 440 Fundraising [3] A study of the var-

ious skills and techniques necessary for success-

ful fundraising. Topics include research, making

the approach, grant writing, evaluation. Prereq-

uisite: MUM 220.

MUM 480, 481 Independent Study in Music

Management [1–3, 1–3] An independent study

project conducted under the direction of an as-

signed faculty member. Credit determined by

scope and nature of project. Prerequisite: Per-


Musicianship

MUS 110, 111 Paranov Performance Hour

[.5, .5] Performance observation and general

musicianship. One hour weekly.

MUS 490, 491 Special Topics in Music [1–3,

1–3] Selected topics in music, varying yearly

with needs of curriculum and availability of par-

ticular faculty. Credit determined by scope and

nature of work required.

For Undergraduate and Graduate students.

MUS 590, 591 Special Topics in Music [1–3,

1–3] Selected topics in music, varying yearly

with needs of curriculum and availability of

particular faculty. Credit determined by scope

and nature of work required.

Recitals and Committee Programs


REC 440 Recital [0–2]

REC 441 Committee Program [2]

Thesis, Essay Dissertation


TE 410 Senior Project/Essay [1–3]

Music Theory


TH 110 Music Theory Fundamentals [2] The

first course in music theory for music and non-

music students. Topics include scales, intervals,

keys, triads, and seventh chords. Study of

examples from the classic and popular music

literatures. Three hours weekly. Prerequisite:

Placement exam. Laboratory fee.

TH 111 Diatonic Harmony [2] The first course

in tonal harmony, covering the principles of dia-

tonic harmony. Topics include diatonic voice

leading, chord progression, melody harmoniza-

tion, and figured bass. Study of examples from

the classic and popular music literatures. Three

hours weekly. Prerequisite: TH 110 or place-

ment exam. Laboratory fee.

TH 112 Chromatic Harmony [2] The second

course in tonal harmony, covering the principles

of chromatic harmony. Topics include chro-

matic voice leading, chord progression, melody

harmonization, and figured bass. Study of ex-

amples from the classic and popular music

literatures. Three hours weekly. Prerequisite:

TH 111 or placement exam. Laboratory fee.

TH 120 Elementary Ear Training I [2] The

first course in musicianship skills using Kodály

materials. Presentation and practice of tonal and

rhythmic elements for sight singing, aural

recognition, and dictation skills based on rela-


tive solmization. Pentatonic and diatonic mate-

rials from folk melodies and Kodály’s two-part

singing exercises. Three hours weekly.

TH 121 Elementary Ear Training II [2] The

second course in musicianship skills using Ko-

dály materials. Practice in pentatonic and dia-

tonic systems, introduction of triadic practice in

singing and recognition of harmonic functions.

Further emphasis on vocal intonation and part

singing including chromaticism. Melodic and

harmonic dictation using all of the foregoing el-

ements. Three hours weekly. Prerequisite: TH

120 or placement exam.

TH 130 Music Theory and Ear Training for

Dancers I [2] The first course in music theory

and ear training for students in B.F.A. in dance.

Instruction in the fundamentals of music theory

and sight singing. Notation of rhythm and pitch.

Construction and identification of intervals,

scales, and triads. Emphasis on rhythmic-metric

patterns used in dance. Three hours weekly.

TH 131 Music Theory and Ear Training for

Dancers II [2] The second course in music

theory and ear training for students in B.F.A.

in dance. Continuation of instruction in the fun-

damentals of music theory and sight singing.

Notation of rhythm and pitch. Construction

and identification of intervals, scales, and

triads. Emphasis on rhythmic-metric patterns

used in dance. Three hours weekly. Prerequisite:

TH 130 or equivalent.

TH 210 Tonal Form and Analysis [2] The first

course in form and analysis, covering the forms

of tonal music. Topics include phrase, binary,

ternary, sonata, rondo forms, variation, and

fugue. Study of examples from the classic and

popular music literatures. Three hours weekly.

Prerequisite: TH 112 or placement exam. Labo-

ratory fee.

TH 211 Post-Tonal Form and Analysis [2]

The second course in form and analysis, cover-

ing the materials and procedures of 20th-century

music. Topics include tonal, modal, and 12-tone

procedures; rhythmic, metric, textural, timbral,

and formal innovations. Analysis of music from

the classic and popular music literatures. Three


ment exam. Laboratory fee.

TH 220 Intermediate Ear Training I [2] The

third course in musicianship skills using Kodály

materials. Practice in singing three and four

parts and dictation of four-voice chorales. Intro-

duction of C clefs, transposition, and aural iden-

tification of diatonic harmonic functions. Three


ment exam.

TH 221 Intermediate Ear Training II [2] The

fourth course in musicianship skills using Kodá-

ly materials. Sight singing and dictation in

modal and classical styles using four parts,

changing meters, and modulations. Harmonic

identification and dictation using secondary

dominants. Open-score chorales in original

notation. Three hours weekly. Prerequisite:

TH 220 or placement exam.

TH 320 Advanced Ear Training I [2] The

fifth course in musicianship skills using Kodály

materials. Advanced work in sight singing, dic-

tation, and harmonic identification using both

relative solmization and traditional solfège.

Emphasis on 16th-century polyphony and 20th-

century compositions. Open-score reading in all

clefs of Bach chorales. Chromatic vocal canons

of Haydn and Mozart. Further use of two- and

three-part vocal works of Kodály. Three hours

weekly. Prerequisite: TH 221 or placement

exam.

TH 321 Advanced Ear Training II [2] The

sixth course in musicianship skills using Kodály

materials. Harmonic and structural analysis of

modal and functional harmonies using both tra-

ditional solfège and relative solmization. Vocal

works of Palestrina, Bach, Bartók, Stravinsky,

and representative pieces of Haydn, Mozart, and

Brahms. Melodic, harmonic, and polyphonic

dictation in all styles. Three hours weekly. Pre-

requisite: TH 320 or placement exam.

TH 330 Keyboard Harmony [2] Applied

harmony at the keyboard, specializing in the

traditional techniques of figured bass realiza-

tion, melody harmonization, diatonic and chro-

matic modulation in four-part playing. Two

hours weekly. Prerequisites: TH 211 and suffi-

cient piano skills.

TH 331 Keyboard Improvisation [1.5] Basic

improvisation skills are developed, beginning

with the elaboration of simple harmonic pro-

gressions and incorporating melodic and rhyth-

mic conventions. Emphasis is to prepare the

student for more specialized stylistic improvisa-

tion. One and one-half hours weekly. Prerequi-

site: TH 330.

TH 332 Continuo Realization [1.5] The study

of figured bass realization. Emphasis is placed

on working from scores and the development of

stylistic realizations suitable for performance.

One and one-half hours weekly. Prerequisite:

TH 112.


TH 333 Score Reading [2] Intended to prepare

students to read and play choral and instrumen-

tal scores at the piano. Two hours weekly. Pre-

requisite: Two years of piano or equivalent.

TH 400 Music Theory Pedagogy [3] Princi-

ples of teaching theoretical subjects. Study of

text materials and instructional methods, obser-

vation of classroom teaching, preparation of les-

son plans, and practice teaching. Three hours

weekly. Usually offered alternate years. Prereq-

uisite: TH 211 or permission of instructor.

TH 405 Ear Training Pedagogy [3] Principles

and skills of teaching ear-training subjects.

Study of instructional methods and materials,

observation of classroom teaching, preparation

of lesson plans, and practice teaching. Three

hours weekly. Usually offered in alternate years.

Prerequisite: TH 221 or equivalent.

TH 410 Advanced Form and Analysis [3] An

advanced course in the analysis of music from

the Baroque, Classical, Romantic, and 20th-

century literatures. In contrast to TH 210 and

TH 211, diverse works of greater scope and

musical complexity are studied, concentrating

on the structural and stylistic features of each

composition. Works include examples from the

chamber, orchestral, choral, and operatic genres.

Three hours weekly. Usually offered in alter-

nate years. Prerequisite: TH 211 or permission

of instructor.

TH 415 Analysis of Popular Music [3] A

course in the analysis of popular music. Empha-

sis is placed on standard American songs from

the early to mid-20th century. Examples from

other styles, including music theatre, rock, jazz,

and ragtime. Examination of the art and struc-

ture of individual songs, including harmony,

voice leading, melody, text, and form. Other

topics include the analysis of particular

performances and analysis without a score.

Three hours weekly. Usually offered in alternate

years. Prerequisite: TH 112 or permission of in-

structor.

TH 420 Modal Counterpoint [3] An introduc-

tory course in modal counterpoint. Writing and

analysis of music in two, three, and

four voices using the techniques of melodic de-

velopment, imitation, and invertible counter-

point. Emphasis on the mass and motet of the

16th century. Three hours weekly. Usually of-

fered in alternate years. Prerequisite: TH 211 or

equivalent.

TH 421 Tonal Counterpoint [3] An introduc-

tory course in tonal counterpoint. Writing and

analysis of music in two, three, and four voices

using the techniques of melodic development,

imitation, and invertible counterpoint. Emphasis

on the invention and fugue of the 18th century.

Three hours weekly. Usually offered in alternate

years. Prerequisite: TH 211 or equivalent.

TH 422 Advanced Counterpoint [3] An ad-

vanced course in the writing and analysis pri-

marily of tonal counterpoint. Topics include

techniques of canon (diminution, augmentation,

retrograde, inversion, three voices, double can-

on), invertible counterpoint (two voices, three

voices), and the multiple fugue (double fugue,

triple fugue). Three hours weekly. Usually of-

fered in alternate years. Prerequisite: TH 421.

TH 435 Film Music [3] A survey of music in

the American narrative film from the silent pe-

riod to the present. Films representing examples

from various genres (drama, comedy, musical,

science fiction, etc.) are shown. Each film is

studied with regard to how music is integrated

into the narrative structure along with other cin-

ematic elements (camera technique, editing,

sound, etc.). Consideration is given to technical

and stylistic developments in film music and

procedures used in assembling a music score

with a motion picture. Three hours weekly.

Usually offered in alternate years. Film fee.

TH 440 Music 1900 to 1950 [3] Analysis of

music of the first half of the 20th century using

contextual, modal, and 12-tone techniques.

Music includes works by Debussy, Bartók,

Stravinsky, and Schoenberg. Three hours week-

ly. Prerequisite: TH 211 or permission of in-

structor. Laboratory fee.

TH 441 Music since 1950 [3] The new musical

thought dating from 1950 to the present. Post-

serialism, the extension of instrumental re-

sources, evolution of notation, multimedia,

improvisation, and indeterminacy. The views of

selected contemporary thinkers and their recip-

rocal relation to the arts of this period. Three

hours weekly. Prerequisite: TH 211 or permis-

sion of instructor.

TH 452 Schenkerian Analysis [3] Study of

selected writings and analyses by Heinrich

Schenker. Preparation of graphic analyses of

selected compositions using Schenkerian har-

monic voice-leading techniques. Three hours

weekly. Usually offered in alternate years. Pre-

requisite: TH 211 or equivalent. Laboratory fee.


TH 453 Analysis for Performance [3] Analyt-

ical examination of works from all periods to

show the relevance of analysis in interpretive

decisions in performance. Performance, discus-

sion by class members, guest perform-

ers/lecturers and study of multiple recordings.

Works to be analyzed in part determined by

class. Three hours weekly. Usually offered in

alternate years. Prerequisite: TH 211 or permis-

sion of instructor.

TH 455 Advanced Analysis of Tonal Music

[3] In-depth examination (using advanced ana-

lytic techniques to study pitch relations, rhythm,

texture, and form) of selected compositions

(complete works, extended excerpts) from the

18th- and 19th-century instrumental and vocal

literatures. Three hours weekly. Usually offered

in alternate years. Prerequisite: TH 211 or

equivalent. Laboratory fee.

TH 460 Advanced Analysis of Contemporary

Music [3] In-depth analysis of contemporary

music from the standpoint of musical trends,

notation, performance strategies, and media/

technology. Consideration of the musical ele-

ments of a work as well as its social/aesthetic

contexts. Three hours weekly. Usually offered

in alternate years. Prerequisite: TH 440 or

TH 441, or equivalent.

TH 470 Music Theory Seminar [3] A detailed

approach to the theoretical study and analysis of

music. The seminar concentrates on works of a

particular repertoire or a specific analytic ap-

proach. The topic of the seminar will be an-

nounced when the seminar is offered. May be

repeated for credit. Three hours weekly. Usually

offered in alternate years. Prerequisite: TH 211

or equivalent.

TH 475, 476 Music Theory Colloquium [0, 0]

A colloquium for undergraduate music theory

majors to discuss issues related to their analyti-

cal activities. Topics include new analytical

techniques and procedures, the role of music

theory within the musical community, issues of

aesthetics and style, and the importance of pro-

fessional organizations that influence and sup-

port music theorists. Students have the

opportunity not only to present and discuss their

analytical projects but also to hear, meet, and

speak with guest musicians. Undergraduate mu-

sic theory majors are required to enroll every

semester. Three meetings per semester.

TH 480, 481 Independent Study in Music

Theory [1–3, 1–3] An individual study on a

special topic supervised by a music theory fac-

ulty member. The study should not be a class-

room course in the music theory curriculum.

Independent studies are dependent on faculty

availability. Credit is determined by the content

of the study. All independent studies must be

approved by the music theory department chair.

TH 485 Senior Essay [2] Formulating and writ-

ing of a theory project. Students have the oppor-

tunity to work with a faculty member of the

Theory department as well as interacting with

other theory majors in a classroom setting. Two

hours weekly. Prerequisite: TH 211.

TH 490, 491, 492, 493 Special Topics in Mu-

sic Theory [all 1–3] Selected topics in music

theory, varying yearly with needs of curriculum

and availability of particular faculty. Credit

determined by scope and nature of topic.

For undergraduate and graduate students.

Teaching Principles


Principles and problems of teaching applied and

theoretical subjects. Teaching materials. As-

signed observation and teaching required to the

extent indicated by individual instructors.

TPR 310-311 Piano Teaching Principles [1–1]

This course presents techniques for teaching be-

ginning piano students through the study of

available teaching materials. Emphasis is placed

on teaching first-year students in various age

groups, from preschool to adult.

TPR 312-313 Voice Teaching [1–1]

TPR 320 Teaching Principles [2] An introduc-

tory course designed to explore the problems

found and solutions used in teaching the begin-

ning, intermediate, and advanced classic guitar

student of all ages. Particular emphasis is placed

on a thorough understanding of the principles of

guitar technique, methodology, and materials.

TPR 321 Studio Teaching Principles [2] This

is a combination laboratory and practice teach-

ing course that develops the necessary skills to

teach college-level music students. Prerequisite:

TPR 320.

TPR 410-411 Student Private Teaching [1–1]

Student practice teaching of individual lessons.

Assigned observation and teaching.


TPR 420-421 Advanced Major Instrument

Teaching [1-1] Principles and problems of

teaching studio and theoretical subjects.

Teaching materials. Assigned observation and

teaching required to the extent indicated by

individual instructors.

TPR 422-423 Advanced Voice Teaching [1–1]

For undergraduate and graduate students.

TPR 510-511 Studio Teaching Principles [1–

1] Pedagogic and psychological factors related

to studio (private) music teaching. Practical

problems and procedures, both general and spe-

cific. Teacher, pupil, and parent relationship.

One hour weekly.

TPR 520, 521 Student Private Teaching [1–4,

1–4] Selected topics in teaching principles vary-

ing yearly with needs of curriculum and availa-

bility of particular faculty. Credit determined by


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