U-P. 371-452 The Hartt School - University of Hartford · 2017-04-24 · The Hartt School / 371 The Hartt School ... well as solo opportunities help to create well- ... a 22-line-set

The Hartt School / 371

The Hartt School

he Hartt School is an internationally ac-claimed 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, such as Sherrill Mil-nes, Vieri Bottazzini, Eugene Levinson, Pamela Frank, Angel Romero, Elly Ameling, John Musto, Daniel Pinkham, Midori, Bright Sheng, Joseph Schwantner, John Corigliano, and the Miami, Emerson, Colorado, 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 exten-sively. Vocal performance opportunities include a variety of choral performing organizations as well as black-box and fully staged operas. Voice students also have the opportunity to audition

for and perform in productions by Connecticut Concert Opera, and to hold section-leader posi-tions in many fine area choirs. Future music educators have years of hands-on practical train-ing with children from The Hartt School Com-munity Division, the Hartt String Project, the Hartt Band Project, and area schools. Manage-ment majors have special opportunities to par-ticipate in a comprehensive internship program. Interns have worked at the Bushnell Center for the Performing Arts, with the Hartford Sym-phony 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, including the American Ballet Studio Company, Full Force Dance Theatre (Hartt’s resident professional dance company), 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 Works. Actor training students have the opportunity to par-ticipate 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 en-abled 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 generosity demonstrated by her husband, Mary

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372 / The Hartt School

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 Statement As a vibrant community of performers, com-posers, managers, teachers, and scholars, The Hartt School seeks to enhance the practice and appreciation of all aspects of the performing arts through • Professional training in a conservatory

environment • Avocational programs • Service and advocacy in its immediate

and extended community

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 Hartford campus. An intimate, 428-seat house, Millard 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 Auditorium (a newly renovated 80-seat recital hall), practice rooms, teaching stu-dios, and offices for the Hartt Community Divi-sion.

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 on the upper level of the Harry Jack Gray Center’s east wing. The Allen Library houses reference and circulating materials for students, faculty, and staff of the University in the fields of music, dance, and theatre. Its hold-ings include approximately 22,000 books and bound journals, 40,000 scores, more than 22,000 sound recordings (including recordings of Hartt operas, concerts, and recitals), and more than 900 videocassettes and DVDs. In ad-dition to the sound recordings, thousands of tracks are available online through subscription

The Hartt School / 373 streaming audio databases. 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 provides online access to all the scholarly resources managed by Univer-sity Libraries. Members of the University com-munity with University of Hartford e-mail accounts (available from Information Technol-ogy Services) may access subscription data-bases and electronic journals from locations on and off campus, as well as resources in libraries throughout the world.

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 avail-able, 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, Suzuki pedagogy (viola) Teri Einfeldt, Suzuki pedagogy (violin) Elizabeth Faidley, violin Rebecca Flannery, harp Terry King, violoncello Christopher Ladd, guitar Katie Lansdale, violin Steven Larson, viola, Chair for Chamber Music David Madsen, Suzuki pedagogy

Anton Miller, violin Emlyn Ngai, violin Rita Porfiris, viola Richard Provost, guitar, 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 Watson Morrison, piano, emeritus Paul Rutman, piano Robert Edward Smith, harpsichord Patricia Snyder, organ David Westfall, piano, Co-chair

for Keyboard and Accompanying Oxana Yablonskaya, piano

Woodwinds, Brass, Percussion, and Ensemble Janet Arms, flute Curt Blood, clarinet Ronald Borror, trombone Kevin Cobb, trumpet Marc Goldberg, bassoon Daniel Grabois, French horn James Jackson III, euphonium Carrie Koffman, saxophone Alexander Lepak, percussion, emeritus Jay Lichtmann, trumpet Humbert Lucarelli, oboe Scott Mendoker, tuba Roger Murtha, trumpet emeritus Ayako Oshima, clarinet Peter Reit, French horn Greig Shearer, flute Benjamin Toth, percussion, Chair for

Woodwinds, Brass, and Percussion Conductors Matthew Aubin, Symphony Band Glen Adsit, Wind Ensemble, Associate Director

of Instrumental Studies Gary Partridge, Capitol Winds

Vocal Studies Division Voice and Vocal Coaching Edward Bolkovac, Director of Vocal Studies,

Chair of Choral Department Nancy Andersen, voice 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 Ann Quinn, body movement Barbara Robbins, accompanist Galen Tate, accompanist Joanna Levy, voice, Chair

of Voice Department Michele McBride, voice Wayne Rivera, voice Kenneth Shelley, voice Kyle Swann, coach Natalia Ulyanovsky, 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 Caroline Flores 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, Director

of Academic Studies, Chair for Music History Michael Schiano, music theory 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

African American Music/Jazz Studies Kristopher Allen Chris Casey Steve Davis Richard Goldstein Randolf B. Johnston Jr. Andrew Laverne René McLean 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 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 Amy Lesko, dance pedagogy Denise Leetch-Moore, ballet, pointe Hilda Morales, ballet, pointe, pedagogy Alla Nikitina, ballet, character dance Ralph Perkins, 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

The Hartt School / 375 Debra Ryder, ballet, pointe, music

in the ballet studio Katie Stevinson-Nollet, modern,

composition, repertory Rae Tattenbaum, issues in pedagogy Bonita Weisman, improvisation

Theatre Division Annmarie Davis, movement Robert Davis, acting, voice and speech Robert Felstein, vocal coach Paul Feyer, vocal coach Henry Fonte, acting Kristin Huffman, voice Debbie Markowitz, production stage manager Krystin McClure, dance Diana Moller-Marino, movement, acting Michael Morris, Director of Music Johanna Morrison, voice and speech Malcolm Morrison, phonetics and language Ralph Perkins, dance Mark Planner, voice Larry Raiken, voice Alan Rust, acting, Director

of Theatre Division John Tedeschi, voice Humphrey Tonkin, Shakespeare David Watson, voice and speech, acting Marishka Wierzbicki, voice

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 ($70) • 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 Vocal Performance—Pre-Cantorial Emphasis • Performance résumé/repertoire list • Recent full-length photograph • Audition • Musicianship interview • Interview with director of the

Greenberg Center for Judaic Studies Music Education—Vocal Emphasis Music Education—Instrumental Emphasis Music History—Performance Practices Music History—Scholarship and Research Music Management Music Production and Technology 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) • Interview with department • Audition B.A. Music and B.A. Performing Arts

Management • Interview with department • B.A. Music with lessons only: audition 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 later than January 12. Students seeking entrance in January should apply by November 1. Late applications 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]

www.hartford.edu/hartt

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 also required to submit official high school tran-scripts and ACT or SAT scores, unless 15 ap-propriate nondegree credits have been successfully completed at the University of Hartford 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 Admis-sion and Student Financial Assistance.

Transfer credit is limited to work completed at regionally accredited colleges and universi-ties in the United States. Course work com-pleted abroad will be evaluated case by case, based on submission by the student of relevant course materials and grading information. Pre-vious studies should have been completed within a 10-year period immediately preceding application 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. Previous courses of study must be similar in scope and content to those offered for credit at the University of Hartford. Credits granted by previous colleges for CLEP, nontra-ditional learning experiences, and other exami-nations will be evaluated on a separate basis. Credit may be granted for service-connected learning as recommended by the A.C.E. Guide for Evaluation of Educational Experiences in the Armed Forces; form DD214 or 295, or Course Completion Certificates, should be for-warded 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 most recent standing at another institution (i.e., if a student is currently a sophomore, the stu-dent 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 ex-amination, an audition, or a jury with Hartt faculty, before transfer credit is granted for previous 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

The Hartt School / 377 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.

Bachelor of Fine Arts in Theatre Applicants (Music Theatre and Actor Training) Transfer students seeking admission to the Theatre Division should understand that all stu-dents enter the music theatre and actor training programs as first-year students, regardless of previous 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 (www.hartford .edu/hartt) 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 Company and Tony Award–winning (for re-gional theatre) Goodspeed Musicals.

Instrumental Hartt Symphony Orchestra Hartt’s principal instrumental performing orga-nization, 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, and a number of reading sessions are scheduled. The concert repertory is drawn from the standard symphonic literature, with attention also given to the performance of new music.

Hartt Contemporary Players Hartt Contemporary Players is a mixed ensem-ble of advanced players whose repertoire in-cludes music of established as well as emerging


20th-century composers. The ensemble has ap-peared 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 City). In ad-dition to works by the students, faculty, and alumni, the past several seasons have featured music by Berio, Birtwistle, Cage, Diemente, Druckman, Feldman, Reich, Schoenberg, Strav-insky, Takemitsu, Varese, Volpe, Webern, and Xenakis.

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 Trinidad.

Hartt Baroque Collegium The Hartt Baroque Collegium performs instru-mental and vocal music of the Baroque and early Classic periods. The Collegium performs regularly at Hartt and in concert series through-out the Hartford area. Past concerts have in-cluded 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. The two main choral ensembles are the Hartt Cho-rale and the Hartt Choir.

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.

Performing Organizations / 379 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 scenes from Don Giovanni, Die Zauberflote, L’Enfant et les Sortileges, A Hand of Bridge, Die Fledermaus, A Midsummer Night’s Dream, The Old Maid and the Thief, Giulio Cesare, and Trouble in Tahiti. Recent mainstage opera per-formances include The Rape of Lucretia.

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. The program offers students the opportunity to be part of an advanced chamber music program that supple-ments the traditional performance major. Ac-cepted students participate in 20/20 in lieu of the curricular chamber music requirement. The

tuition-free program allows students to work in a professional atmosphere where they can learn and study chamber music in addition to their other courses.

Admission to Performance 20/20 is by spe-cial audition. An entering undergraduate or graduate performance major who performs ex-ceptionally well at the initial Hartt audition will be nominated by that committee for inclusion in the live 20/20 audition. A continuing Hartt stu-dent who is not a member of 20/20 is consid-ered for inclusion upon the recommendation of his/her teacher and after passing an intraschool preliminary audition. The performance and pro-gress 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 musically may continue in 20/20 for the length of time normally associated with comple-tion 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 fac-ulty who are experienced chamber music per-formers. Workshops, retreats, and special mas-ter classes by visiting international artists are an integral part of the 20/20 experience. Friend-ships and artistic alliances formed with 20/20 colleagues help develop important professional 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 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 Burk-hart, Scott Burnham, Mark DeVoto, Allen Forte, Joel Lester, Robert Morgan, Dorothy Payne, Lee Rothfarb, Carl Schachter, Janet Schmalfeldt, and Robert Wason.

Hartt Workshop for String Teachers The Music Education department of The Hartt School offers a workshop each October. Na-tionally recognized authorities on string teach-ing and playing present ideas on pedagogy and performance for string teachers of all grade levels. The workshop takes place the last Friday in October and is free to Hartt students. Contact the music education department of The Hartt School for details.

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 perform-ances 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 orga-nizations.

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 management 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.

Student Organizations / Summerterm / 381 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 lower than the highest 20 percent of the graduating 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/hartt/summerterm. For undergraduate Core Summerterm Registra-tion 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.


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 knowl-edge. Study is offered in 28- and 34-week in-crements plus a summer session. More than 2,500 students, including many enrolled at the University of Hartford, participate in Commu-nity 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 Bachelor 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) courses

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

A minor in music is also available. See page 387 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

Degree Programs / 383 coursework, 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 392–400.

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 instrumental music education with the instru-mental performance major; or as a double major combining vocal music education with the vocal performance major. During the audition process, all students interested in music education 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 designed to develop musician-teachers.

Students in music education programs are required to master the ability to observe and as-sess music and movement behaviors in both large- and small-group settings in preschool 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, Gordon’s Music Learning Theory, Orff, Dal-croze, 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 250 for waiver information). The Praxis II exam, taken in the junior year, covers music education, music history, and music the-ory. 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 388 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.

This program involves instruction in both traditional techniques and hands-on experience with new and emerging musical technologies. Studio D, the teaching studio/lab of the De-partment of Music Production and Technology, is equipped with multiple Macintosh G5 digital audio and MIDI workstations with a wide vari-ety of software applications. Sequencing/digital audio, notation, digital audio editing and sound design, synthesis, sampling, CD mastering and burning, algorithmic composition, and digital signal processor creation are taught through the realization of compositional concepts and use of the following: Logic, Finale, MetaSynth, ProTools, Abysynth, MAX/MSP, and other applications.

Please refer to curriculum on page 401.

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 counterpoint, 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.


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 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 / 385 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 photogra-phy industry—from expensive, highly technical 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 common to both in-dustries is the sensibility and technique of the operator: a photographer must understand image composition and lighting, while the music pro-ducer must be a knowledgeable and practiced musician. It is the goal of the Music Production and Technology (MPT) department to train mu-sicians to be producers of quality music prod-ucts (thus the audition requirement 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 valu-able part of the student’s portfolio.

Please refer to curriculum on pages 411–12.

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 perform-ance career. Performance opportunities abound with the Hartt Dance Ensemble, mainstage per-formances, black-box performances, studio workshops, and apprentice positions in profes-sional 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 389 for more information. Please refer to curricula on pages 415–420.

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 techni-cal aspects of voice and speech, movement, and text analysis. Each semester offers the student a different focus on the literature available to the actor. Students then must apply this knowledge and experience in rehearsals. In addition, there are workshops and seminars dealing 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 / Acoustical Engineering and Music / 387 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 re-lations.


Music The Bachelor of Arts in Music is a rigorous academic 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 audition) 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 audition. See page 319 of the College of Engi-neering, 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.

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 informa-tion 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 or

HLM 112 Introduction to Music History and one music history elective (with approval of instructor)

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.

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.

Courses (18 credits minimum) Credits 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 / 389 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. Hartt will notify the college 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. Courses (19 credits minimum) Credits 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 stud-ies).

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.

Courses (18 credits minimum) Credits 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

Choose one of the following: HLM 100 Intro to Music 3 HLM 200 World Music 3

Choose one of the following: 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

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.

International students must have a minimum TOEFL score of 525 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 di-ploma students.


Requirements for Graduation

Requirements in addition to those on page 69 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 Hartt Undergraduate 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 Hartt Undergraduate 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 graduation date.

Music Education Majors Review Process The Music Education Division conducts re-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 chairperson by December 1 of their first year. In addition, all first-semester sophomores are required to pass a Sophomore Skills Evaluation Exam, which assesses piano and solfège skill development. The content of the exam may

Nondegree Programs / 391 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, Capitol Winds

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 or symphony band. Orchestral experience is provided for as many wind instrumentalists as possible.

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 Heri-

tage (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 required for all Hartt first-year and transfer students. HLM 020 is an intro-duction to searching and evaluative techniques necessary for information literacy. Successful completion of HLM 020 is required for gradua-tion 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; printed copies are available in the Office of the Director of Undergraduate Studies.

392 / The Hartt School DEGREE PROGRAM CURRICULA

Bachelor of Music

Major in Guitar (125 credits) Credits Credits First Year Sem. 1 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 Instrumental study 4 4 APC 222-223 Piano Keyboard Class1 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.

Orchestral Instrument / 393 Major in Orchestral Instrument (127 credits) Credits Credits First Year Sem. 1 Sem. 2 Instrumental study 4 4 TH 111-112 Diatonic1–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 IPO Instrumental performing organization 1 1 15.5 15.5 Second Year Instrumental study 4 4 APC 122-123 Piano Keyboard Class2 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 15.5 15.5 Third Year Instrumental study 4 4 APC 222-223 Piano Keyboard Class2 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.


394 / The Hartt School Major in Organ (135.5 credits) Credits Credits First Year Sem. 1 Sem. 2 AOR 499 Instrumental Study 4 4 Piano1 2 2 CHU 112, 113 Organ Performance Class .5 .5 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 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-II3 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.


Piano / 395 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 Diatonic1–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 organization2 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 organization2 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.


396 / The Hartt School Major in Voice (139 credits) Credits Credits First Year Sem. 1 Sem. 2 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 Diatonic2–Chromatic Harmony 2 2 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 Language3 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 Language3 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 elective4 – 3

APC 314-315 Vocal Performance Seminar .5 .5 18.5 17.5

Voice / 397 Credits Credits Fourth Year Sem. 1 Sem. 2 AVO 499 Vocal Study1 4 4 ACO 488 Vocal Coaching .5 .5 Language3 3 3 HLM 322-323 Vocal Literature I-II6 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 Recital5 – 0 17.5 15.5 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.

398 / The Hartt School 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 Class1 2 2 DIC 110 English Diction .5 – DRM 120-121 Acting for Singers I-II 1 1 TH 111-112 Diatonic2–Chromatic Harmony 2 2 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 Class1 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-II2 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 Class1 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

Pre-Cantorial Studies / 399 Credits Credits Fourth Year Sem. 1 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.

400 / The Hartt School 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 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 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 18.5 18.5 Second Year Instrumental study 4 4 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 17.5 17.5 Third Year 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 562 Acoustics for Musicians3 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.

2Enrollment dependent on placement exam. 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.

Composition / 401 Major in Composition (137–141 credits) Credits Credits First Year Sem. 1 Sem. 2 APC 122-123 Piano Keyboard Class1 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 Diatonic2–Chromatic Harmony 2 2 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 Class1 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 Performing organization3 – – 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

402 / The Hartt School 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 562 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. 2Enrollment dependent on placement exam. 3Major choral or instrumental performing organization, four semesters. Composers’ ensemble, four semesters. Other approved per-forming 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.

Music Education / 403 Major in Music Education (four-year)—Vocal Emphasis (139 credits) Credits Credits Fourth Year Sem. 1 Sem. 2 AVO 488 Vocal Study 2 2 APC 122-123 Piano Keyboard Class 2 2 TH 111-112 Harmony I1-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 Arts2 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


Credits Credits Sem. 1 Sem. 2 Fourth Year (Semesters may be reversed.) AVO 488 Vocal Study – 2 MED 410 Student Internship (Practice Teaching)3 9 –

General academic* 3 3 General academic – 3

General academic – 3 General academic – 3 General academic – 4

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. Credits Credits

Music Education / 405 Major in Music Education (four-year)—Instrumental Emphasis (140 credits) Credits Credits First Year Sem. 1 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 I1-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 Arts2 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

406 / The Hartt School Credits Credits

Sem. 1 Sem. 2 Fourth Year (Semesters may be reversed.) Instrumental Study – 2 MED 410 Student Internship (Apprentice Teaching)3 9 – General academic* 3 – General academic 3 3 General academic – 3 General academic – 3 General academic – 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. 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. 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 Theory / 407 Major in Music Theory (137.5 credits) Credits Credits First Year Sem. 1 Sem. 2 TH 111-112 Diatonic1–Chromatic Harmony 2 2 TH 120-121 Elementary Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 122-123 Piano Keyboard Class2 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 organization3 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 Class2 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 organization3 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 organization3 1 1 Instrumental/vocal study 2 2 Music theory/comp./history elective – 2 Music elective – 3 Mathematics elective 3 – 17 18.5

408 / The Hartt School Credits Credits

Sem. 1 Sem. 2 Fourth Year 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 Performing organization3 1 1 ES 562 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.

Music History / 409 Major in Music History—Performance Practices Emphasis (137.5 credits) Credits Credits First Year Sem. 1 Sem. 2 Instrumental/vocal 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 Foreign language3 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 17.5 17.5 Second Year Instrumental/vocal study 4 4 APC 222-223 Piano Keyboard Class1 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 17.5 17.5 Third Year 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 Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 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 Recital4 – 0 16 17

1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits with equivalent credits approved by assigned advisor.

2Enrollment dependent on placement exam. 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.

410 / The Hartt School Major in Music History—Scholarship and Research Emphasis (129.5 credits) Credits Credits First Year Sem. 1 Sem. 2 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 Foreign language3 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 16.5 16.5 Second Year APC 222-223 Piano Keyboard Class1 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 Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 16.5 16.5 Third Year 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 – Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 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 Collegium Musicum, Early Music Ensemble, or other performing organization 1 1 15 17

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

Music Production and Technology / 411 Major in Music Production and Technology (135 credits) Credits Credits First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2 TH 111-112 Diatonic1–Chromatic Harmony 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 Class2 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 562 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


Credits Credits Sem. 1 Sem. 2

Fourth Year 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 1Enrollment dependent on placement exam. 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 require-ments for this major.

Music Management / 413 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 APC 122-123 Piano Keyboard Class1 2 2 M 110 or M 116 Precalculus or Contemporary Math 3 – TH 111-112 Diatonic2–Chromatic Harmony 2 2 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 Performing organization3 1 1 18.5 18.5 Second Year Instrumental/vocal study 2 2 APC 222-223 Piano Keyboard Class1 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 Performing organization3 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 electives4 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 Performing organization3 1 1 18 18

414 / The Hartt School 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 elective4 – 3 CMM Communication elective – 3 AUC All-University Curriculum – 3 Performing organization3 1 – 15 15 1 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.

2Enrollment dependent on placement exam. 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.

Ballet Pedagogy / 415 Bachelor of Fine Arts

Major in Dance—Ballet Pedagogy Emphasis (132 credits) Credits Credits First Year Sem. 1 Sem. 2 DFA 120-121 Classical Ballet I1 2 2 DFA 124-125 Martha Graham Technique I1 1 1 DFA 126-127 Contemporary Dance Forms I1 1 1 DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I1 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 II1 2 2 DFA 224-225 Martha Graham Technique II1 1 1 DFA 226 Contemporary Dance Forms II1 1 – DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II1 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 III1 – 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 III1 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

416 / The Hartt School 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 IV1 2 2 DFA 432-433 Pointe IV1 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.

Children’s Dance / 417 Major in Dance—Children’s Dance Emphasis (137 credits) Credits Credits First Year Sem. 1 Sem. 2 DFA 120-121 Classical Ballet I1 2 2 DFA 124-125 Martha Graham Technique I1 1 1 DFA 126-127 Contemporary Dance Forms I1 1 1 DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I1 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 II1 2 2 DFA 224-225 Martha Graham Technique II1 1 1 DFA 226 Contemporary Dance Forms II1 1 – DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II1 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 III1 – 1 DFA 261 Repertory/Performance II – 1 DFA 266 Production Practicum II – .5 DFA 322-323 Intermediate Ballet1 2 2 DFA 324-325 Martha Graham Technique III1 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

418 / The Hartt School Credits Credits Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 326-327 Contemporary Dance Forms IV1 1 1 DFA 360 Repertory/Performance III 1 – DFA 422-423 Advanced Ballet1 2 2 DFA 424-425 Martha Graham Technique IV1 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 1Class-level placement based on audition or juries. Entrance by audition only.


Dance Performance / 419 Major in Dance—Performance Emphasis (130 credits) Credits Credits First Year Sem. 1 Sem. 2 DFA 134 Pilates – 1 DFA 120-121 Classical Ballet I1 2 2 DFA 124-125 Martha Graham Technique I1 1 1 DFA 126-127 Contemporary Dance Forms I1 1 1 DFA 130 Ballet Pedagogy I 2 – DFA 132-133 Pointe I1 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 II1 2 2 DFA 224-225 Martha Graham Technique II1 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 DFA 324-325 Martha Graham Technique III1 1 1 DFA 326-327 Contemporary Dance Forms III1 1 1 DFA 332-333 Pointe III1 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

420 / The Hartt School Credits Credits Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 420-421 Classical Ballet IV1 2 2 DFA 424-425 Martha Graham Technique IV1 1 1 DFA 426-427 Contemporary Dance Forms IV1 1 1 DFA 432-433 Pointe IV1 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 1Class-level placement based on audition or juries. Entrance by audition only.


Music Theatre / 421 Major in Music Theatre (137 credits) Credits Credits First Year Sem. 1 Sem. 2 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 Class1 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 elective2 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 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.

422 / The Hartt School 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 116 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 elective1 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-VI2 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.

Performing Arts Management / 423 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

424 / The Hartt School 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 electives1 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.

Music / 425 Major in Music (120 credits) Credits Credits First Year Sem. 1 Sem. 2 TH 111-112 Diatonic-Chromatic Harmony1 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 Class2 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 electives5 6 6 16 16 Fourth Year HLM Music history elective 3 – TE 410/REC 440 Senior Project (Essay3 or Recital4) – 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.

426 / The Hartt School Undergraduate Diploma Program (68 credits; 65–68 credits for composition majors) Credits Credits First Year Sem. 1 Sem. 2 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 Class3 2 2 ENS/CPO Instrumental or Choral Ensemble 1 1 11.5 11.5 Second Year Instrumental/vocal/composition study1 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 Class3 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 1 Total 24 credits; 18 credits for composition majors. 2 Enrollment dependent on placement examination. 3 Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits with music electives approved by assigned advisor.

4 Total of 6 credits; 9–12 credits for composition majors.

Acoustical Engineering and Music / Accompanying / Jazz Studies / 427 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 319–20 in the Engineering section.

Private Lessons

Following are the course codes for private lessons. Music entrance requirements may be found on page 375; performance requirements for graduation are specified on page 390.

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.

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-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) For Undergraduate Students AFR 110-111 Jazz Improvisational Devices [1-1] A course in improvisational devices and the application of these techniques in perform-ance 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

428 / The Hartt School 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 various 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, me-lodic 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 na-ture 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 For Undergraduate Students

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

Music Performance / Liturgical Music / 429 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 Per-formance 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 For Undergraduate Students

CHU 112-113 Organ Performance Class [.5-.5] Performance observation, critical analy-sis, registration problems, performance prac-tices, 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

430 / The Hartt School 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 Perform-ance [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 For Undergraduate Students 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 audio 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 technol-ogy. 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.

Composition / Conducting / 431 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 process-ing, various kinds of synthesis, and interactive 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 orga-nizations, 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 sym-phonic bands. Essential to the course is inten-sive 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 yearly with needs of curriculum and availability of particular faculty. Credit determined by scope and nature of work required.

Conducting For Undergraduate Students 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 yearly with needs of curriculum and availability of particular faculty. Credit determined by scope and nature of work required.

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.

432 / The Hartt School 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 permission of instructor.

HTD 314-315 Jazz III [.5-.5] This course ex-plores 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 For Undergraduate Students

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.

Diction / Fine Arts in Dance / 433 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 exer-cises 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 sec-ond 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-sion of instructor. Prerequisite for DFA 161: DFA 160 or permission of instructor.

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,

434 / The Hartt School 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 or permission of instructor.

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). Prerequisite for DFA 226: DFA 127 or permis-sion of instructor. Prerequisite for DFA 227: DFA 226 or permission of instructor.

DFA 230 Ballet Pedagogy III [2] The study of a syllabus for dance teaching and structuring the ballet lesson. Study of correct technical execu-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 ballet lesson. Study of correct technical execu-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 230 or permission of instructor.

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: DFA 133 or permission of instructor. Prerequi-site for DFA 233: DFA 232 or permission of 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 permission of instructor.

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 150 or permission of instructor.

Fine Arts in Dance / 435 DFA 260-261 Repertory/Performance II [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 260: DFA 161 or permis-sion of instructor. Prerequisite for DFA 261: DFA 260 or permission of instructor.

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 or permission of instructor. Prerequisite for DFA 263: DFA 262 or permission of instructor.

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 or permission of instructor.

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: Permission of instructor.

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-intermediate level. Prerequisite for DFA 320:

DFA 221 or permission of instructor. Prerequi-site for DFA 321: DFA 320 or permission of 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. Prerequisite for DFA 322: DFA 223 or permis-sion of instructor. Prerequisite for DFA 323: DFA 322 or permission of instructor.

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 instructor. Prerequisite for DFA 325: DFA 324 or permission of instructor.

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). Prerequisite for DFA 326: DFA 227 or permis-sion of instructor. Prerequisite for DFA 327: DFA 326 or permission of instructor.

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 of graded training in classical ballet pointe technique. Syllabus is taught at the high-intermediate level. Prerequisite for DFA 332: DFA 233 or permission of instructor. Prerequi-site for DFA 333: DFA 332 or permission of instructor.

DFA 340 Dance Pedagogy II [2] A laboratory course providing practical experience working with students of various ages. Material pre-sented 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: DFA 250 or permission of instructor.

436 / The Hartt School DFA 360-361 Repertory/Performance III [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 360: DFA 261 or permis-sion of instructor. Prerequisite for DFA 361: DFA 360 or permission of instructor.

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 DFA 362: DFA 263 or permission of instructor. Prerequisite for DFA 363: DFA 362 or permis-sion of instructor.

DFA 371 Technology in Dance [3] A labora-tory course providing practical experience for students to gain an understanding of technologi-cal applications for dance, through acquired computer skills designed to enhance their edu-cational 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-

requisite for DFA 385: DFA 384 or permission 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-requisite for DFA 421: DFA 420 or permission 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 instructor. Prerequisite for DFA 425: DFA 424 or permission of instructor.

DFA 426-427 Contemporary Dance Forms IV [1-1] Continued study of various modern dance forms at the advanced and preprofes-sional 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 of graded training in classical ballet pointe technique. Syllabus is taught at the advanced level. Prerequisite for DFA 432: DFA 333 or permission of instructor. Prerequisite for DFA 433: DFA 432 or permission of instructor.

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 perform-ance piece. Emphasis on the orchestration of all elements of a concert dance, including music, costumes, and lighting. Strategies for document-ing movement and organizing performers and rehearsals. Prerequisite: DFA 350 or permission of instructor.

DFA 460-461 Repertory/Performance IV [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

Fine Arts in Dance / Vocal Performance / 437 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 460: DFA 361 or permis-sion of instructor. Prerequisite for DFA 461: DFA 460 or permission of instructor.

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 or permission of instructor. Prerequisite for DFA 463: DFA 462 or permission of instructor.

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-mission of instructor.

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 fac-ulty 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 DFA 484: DFA 385 or permission of instructor. Prerequisite for DFA 485: DFA 484 or permis-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: Permission of instructor.

Vocal Performance For Undergraduate Students

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,

438 / The Hartt School and audition techniques is continued. Labora-tory format. Prerequisite: OPR 160 or permis-sion 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 fac-ulty 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 permission of instructor.

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 basis. May be repeated for additional credit.

Chamber Ensembles and Performing Organizations All ENS, CPO, and IPO courses may be re-peated for additional credit. For more complete descriptions, see the section on Student Per-forming Organizations.

For Undergraduate Students

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.

Member Ensembles / History and Literature of Music / 439 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, Shostak-ovich, 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, list-servs, current search engines, library catalogs,

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 drama, political satire, the director-choreogra-pher “progressive” musical theatre, and the “theatrical pop event.” Prerequisite: Open to music theatre majors or by permission of in-structor. 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 historical approach to the understanding of

440 / The Hartt School 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 Renaissance and Baroque periods. This course also explores the stylistic problems inherent in performing 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 Lieder in the 19th and early 20th centuries. In surveying 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

History and Literature of Music / Theatre / 441 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 con-tinuation of HTA 110, focusing on the expres-sive use of the vocal instrument. Prerequisites: Acting 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 ar-ticulation, and sensitivity to impulse. The course seeks to integrate the elements of vocal technique for the actor with an exploration of language. 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 con-tinuation of the objectives of HTA 210. A con-centrated 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 aural sensitivity and an appreciation of the

442 / The Hartt School 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 Molière, Sheridan, Wilde, and Shaw. A studio format is used. Prerequisites: Actor training ma-jor: HTA 305, 310, 320, and 330; music theatre major: 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 consis-tency 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.

Theatre / 443 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 (typi-cally, Standard British, Irish, Cockney, and West Country). During the spring semester stu-dents continue the work of Voice VII. In addi-tion, the course explores Scottish and Welsh and introduces a variety of international accents (typically, Italian, French, German, and Rus-sian). 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 perform-ance 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 perform-ance 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 impor-tance of photographs, and audition techniques, as well as the functions of managers, agents, and casting directors. Prerequisites: Actor train-ing 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.

444 / The Hartt School Music Theatre For Undergraduate Students

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. 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 For Undergraduate Students

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 instruction in all wind orchestra instru-ments. Practice experience on the instrument of their choice. Pedagogical procedure, perform-ance, arranging, 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 (violin and viola). Additional topics include teaching principles, repertory, and teaching pro-cedures. 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.

Music Education / 445 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. Labo-ratory 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 dem-onstrate proficiency on secondary instruments 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. Corequisite: 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 secon-dary 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. MED 413 Improvisation for Music Education [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.

446 / The Hartt School MED 490, 491 Topics in Music Education [1–3] Special projects assigned on an individual basis. May be repeated for additional credit. 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 suppor-tive research pertaining to perception, learning, aptitude, achievement, and affective responses to music. Two and one-half hours weekly. Offered in alternate years.

MED 513 Improvisation for Music Education [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.

Music Production and Technology 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

Music Production and Technology / 447 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. Co-requisite: 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 proc-essing, timecode, automation, multitrack theory 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, aural perception of performance environments, the use of multiple (artificial) performing envi-ronments, applications in effects processing ad-vanced stereophonic techniques, surround-sound theory and practice, location-recording theory and techniques, professional organiza-tions 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 interest. Students may also choose an intern-ship in the Department of Performing Arts Technology or at an approved professional audio production facility. Prerequisite: MPT 310. Laboratory 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-

448 / The Hartt School est and necessary qualifications. Prerequisite: Dependent on content of the course.

Music Management For Undergraduate Students

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 various skills and techniques necessary for suc-cessful fundraising. Topics include research, making the approach, grant writing, evaluation. Prerequisite: 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-mission of instructor.

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 / Music Theory / 449 Recitals and Committee Programs For Undergraduate Students

REC 440 Recital [0–2]

REC 441 Committee Program [2]

Thesis, Essay Dissertation For Undergraduate Students

TE 410 Senior Project/Essay [1–3]

Music Theory For Undergraduate Students

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.

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.

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.

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 rec-ognition, and dictation skills based on relative solmization. Pentatonic and diatonic materials from folk melodies and Kodály’s two-part sing-ing exercises. Three hours weekly.

TH 121 Elementary Ear Training II [2] The second course in musicianship skills using Kodály materials. Practice in pentatonic and diatonic systems, introduction of triadic practice in singing and recognition of harmonic func-tions. Further emphasis on vocal intonation and part singing including chromaticism. Melodic and harmonic dictation using all of the forego-ing elements. 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. TH 211 Post-tonal Form and Analysis [2] The second course in form and analysis, covering 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 hours weekly. Prerequisite: TH 210 or place-ment exam. 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 hours weekly. Prerequisite: TH 121 or place-ment exam. TH 221 Intermediate Ear Training II [2] The fourth course in musicianship skills using Kodály 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.

450 / The Hartt School 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 traditional solfège and relative solmization. Vocal works of Palestrina, Bach, Bartók, Stra-vinsky, and representative pieces of Haydn, Mozart, and Brahms. Melodic, harmonic, and polyphonic dictation in all styles. Three hours weekly. Prerequisite: 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 primarily of tonal counterpoint. Topics include techniques of canon (diminution, augmentation, retrograde, inversion, three voices, double canon), invertible counterpoint (two voices,

Music Theory / / 451 three voices), and the multiple fugue (double fugue, triple fugue). Three hours weekly. Usually offered 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 cinematic 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 weekly. Prerequisite: TH 211 or permission of instructor.

TH 441 Music since 1950 [3] The new musical thought dating from 1950 to the present. Postse-rialism, the extension of instrumental resources, evolution of notation, multimedia, improvisa-tion, and indeterminacy. The views of selected contemporary thinkers and their reciprocal rela-tion to the arts of this period. Three hours weekly. Prerequisite: TH 211 or permission of instructor.

TH 452 Schenkerian Analysis [3] Study of se-lected writings and analyses by Heinrich Schenker. Preparation of graphic analyses of se-lected compositions using Schenkerian har-monic voice-leading techniques. Three hours weekly. Usually offered in alternate years. Pre-requisite: TH 211 or equivalent.

TH 453 Analysis for Performance [3] Ana-lytical 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.

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.

452 / The Hartt School 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 For Undergraduate Students

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 avail-ability of particular faculty. Credit determined by scope and nature of work required.

Documents

U-P. 371-452 The Hartt School - University of Hartford · 2017-04-24 · The Hartt School / 371 The Hartt School ... well as solo opportunities help to create well- ... a 22-line-set