THE PEABODY CONS E RVATORY

OF THE JOHNS HOPKINS UNIVERSITY

Academic Year 2008–2009

Conservatory Admissions Office

Phone: 410-659-8110 or 800-368-2521 (outside Maryland)
www.peabody.jhu.edu
Academic Calendar

First Semester 2008–2009

Fall semester payment postmark date; August 13
late payment fee applied after this date
Orientation begins
Residence Hall opens August 24
Residence Hall move-in day August 26
Registration
All students: 8:30 a.m.–noon September 2
All students: 1:30–5:00 p.m.
Late fee applied for late confirmation and registration September 3
Classes and lessons begin September 4
Convocation, noon September 4
Degree recital lottery—Concert Office September 10
Last day for course drop/add without fee September 12
Degree recital registration for fall semester September 16 &
September 22
Last day for late registration, course add September 19
Last day for course drop with record deletion September 26
All work for spring, summer Incompletes due to faculty September 26
Mid-term holiday begins October 12–14
Classes, lessons and ensembles resume October 15
Grades to remove spring and summer Incompletes October 15
due to Registrar
Last day to drop course with automatic W October 17
Last day to change course to Audit October 17
Application deadline for spring semester diploma program November 1
Last day to withdraw from any first semester course November 14
Deadline for leave-of-absence return notification November 15
to Office of Academic Affairs
Undergraduate course selection for spring 2009 semester November 17–28
Graduate course selection for spring 2009 semester November 18–28
Thanksgiving Vacation November 26–30
Classes, lessons and ensembles resume December 1
Last day of classes, lessons, ensembles December 12
Examination period December 15–17
First semester ends December 18
MM portfolio deadline—Office of Academic Affairs December 18
Residence Hall move-out deadline for non- December 23
continuing students, noon
Grades due to Registrar at noon December 23
Second Semester 2008–2009
Registration
Spring semester payment postmark date; December 10
late payment fee applied after this date
Residence Hall opens January 9
Registration for new students January 9
Classes, lessons and ensembles begin January 12
Degree recital lottery—Concert Office January 15
Martin Luther King Jr. Holiday January 19
Degree recital registration for graduating students only January 22 &
January 26
Last day for course drop/add or to reconfirm January 23
registration without fee
Degree recital registration for students with degrees January 29
in progress
Petition to graduate in May 2009 due to Registrar January 29
Last day for late registration, course add January 30
Last day to register for spring semester degree recital January 30
without a fee
Last day for course drop with record deletion; February 6
all work for fall semester Incompletes due to faculty
Dissertation submission deadline for May graduation February 6
Deadline for submitting MM program notes and GPD resume/ February 15
biography to the Office of Academic Affairs
Audition/Ensemble/Masterclass Week February 16–20
(no classes or regular lessons)
Grades to remove fall semester Incompletes due to Registrar February 23
Last day to drop course with automatic W February 27
Last day to change course to Audit February 27
Spring Vacation begins March 15
Classes, lessons and ensembles resume March 23
MM/DMA document submission deadline for May graduation March 30
Last day to drop any spring semester course April 3
Application deadline for May auditions April 15
Deadline for leave-of-absence return April 15
notification to Office of Academic Affairs
Course selection for fall semester 2009
All returning graduate students; juniors and seniors April 20–30
All returning students April 21–30
Last day of classes and lessons May 4
Reading/examination preparation day May 5
Spring semester course examinations May 6–8
Juries and final auditions for May 11–14
next academic year
Second semester ends May 14
All grades due to Registrar, noon May 14
Commencement May 21
Residence Hall closes at noon May 22
Graduate Summer Session 2009
Classes begin June 29
Classes end July 31

Audition Calendar
Application deadline December 1
Auditions for admission February 16–20
Application deadline for late auditions April 15
Final auditions for fall semester admission May 11–14

Cover photo: Tasha Thomas GPD Voice ’08, Ji Eun Park MM Voice ’08, and
Madelyn Wanner BM Voice (senior) appear as the three ladies in Peabody Opera
Theatre’s March 2008 production of Die Zauberflöte, with stage design by students
from the Maryland Institute College of Art.
Photo: Cory Weaver
Table of Contents
9 General Information
9 The Preparatory
10 The Campus
11 Facilities
14 The Internet and Technology at Peabody
15 Baltimore Area Cultural Activity
15 Peabody Concerts, Lectures, and Master Classes
15 Distinguished Visiting Faculty
15 Trio in Residence
16 Competitions
17 Honorary and Professional Organizations
17 Career Counseling and Placement
17 Partnership between the Yong Siew Toh Conservatory and the
Peabody Institute
18 Study Abroad Program
18 Conducting Fellows Program
19 Student Data 2007–2008
20 Procedural Information
20 Studio Assignments
20 Recitals
21 Official Dress and Equipment
21 Outside Instruction and Public Performance
21 Inter-Institutional Academic Arrangements
22 Peabody/Homewood Double Degree Program
22 Transcripts
23 Administrative Regulations
23 Academic and Personal Codes of Conduct
23 Grading System and Regulations
23 Academic Standing and Satisfactory Progress
25 Graduation Eligibility
25 Outside Sources of Financial Aid
25 Attendance and Absences
25 Auditing
26 Course Changes and Withdrawals
26 Change of Major
26 Change of Studio Teacher
26 Definition of Full-Time Status and Credit Limits
26 Interruption of Degree Work
28 Student Rights and Responsibilities
28 Graduation Rates
28 University Policies
33 Degrees and Programs
33 Bachelor of Music Degree
33 Admission Requirements
34 Degree Requirements
34 Common Curriculum Components—Regulations and Examinations
39 Curricula
 39 Performance Majors
47 Jazz Majors
48 Composition Majors
50 Computer Music Majors
52 Music Education Majors
58 Music Education Certification Program
59 Performance/Recording Arts and Sciences Majors
69 Bachelor of Music with JHU Concentration
70 Five-Year B.M./M.M. Program
71 Master of Music Degree
71 Admission Requirements
73 Degree Requirements
76 Curricula
76 Performance Majors
81 Early Music Performance
88 Performance/Pedagogy Majors
89 Composition Majors
90 Computer Music Majors
92 Music Education Majors
92 Musicology Majors
94 Music Theory Pedagogy
95 Master of Arts in Audio Sciences Degree
97 Doctor of Musical Arts Degree
97 Admission Requirements
98 Degree Requirements
99 Curriculum Components—Requirements and Examinations
103 Curricula
103 Composition Majors
103 Conducting Majors
105 Performance Majors
113 Performer’s Certificate
113 Admission Requirements
113 Certificate Requirements
113 Curricula
118 Graduate Performance Diploma
118 Admission Requirements
118 Diploma Requirements
119 Curricula
121 Artist Diploma Program
121 Admission Requirements
121 Diploma Requirements
122 Curriculum
123 Extension Study
124 Conservatory Faculty
126 Course Listings
126 Brass
126 Chamber Music
127 Composition
128 Computer Music
129 Conducting
130 Early Music
1 33 Ensemble Arts
134 General Studies
134 Guitar
135 Harp
136 Humanities­—Liberal Arts
138 Humanities—Languages
139 Jazz
140 Large Ensembles
142 Music Education
145 Music Theory
149 Music Theory—Ear-Training/Sight-Singing
149 Music Theory—Keyboard Studies
150 Musicology
154 Opera
155 Organ
155 Pedagogy
155 Percussion
156 Piano
157 Recording Arts
160 Small Ensembles
160 Strings
161 Voice
163 Woodwinds
164 Recitals
1 65 Student Life
165 Residence Hall
165 Dining Hall
165 Athletic Facilities
165 Student Activities
166 Religious Activity
166 Health Services
166 Counseling Center Services
166 Health Insurance
166 Shuttle Bus
166 Peabody Escort Van
1 67 Financial Information
167 Tuition and Fees
168 Schedule of Payments
169 Federal Aid Programs
170 Loan Programs and Grants
171 Institutional Aid Programs
171 Scholarships, Awards, Prizes
175 Peabody Career Development Fund
175 Assistantships
175 Employment
1 76 Administration
176 Peabody Institute
177 The Johns Hopkins University
179 Index
General Information
George Peabody believed in the power
of the artist to open the minds and enrich
the lives of others. The Peabody Institute,
which he founded in 1857, is the practical
embodiment of this belief. From its begin-
nings, it has brought together a commu-
nity of artists, teachers, and scholars to
train other artists and to spread, by their
precept and example, an understanding of
what the arts can do to uplift the quality
of human life.
Today, the Peabody Institute concen-
trates primarily upon music. Through
its constituent divisions, the Preparatory
and the Conservatory, it trains musi-
cians of every age and at every level, from
small children to seasoned professionals,
from dedicated amateurs to winners of
international competitions. It challenges
all its students to aspire to their highest
potential as artists and human beings. It
seeks to promote a respect for music as a
discipline of the mind and spirit, a joyful
affirmation of life, and a passionate com-
mitment to an ideal. By connecting its
students with the great traditions of the
past, Peabody gives them the key with
which to unlock the future.
The Peabody Conservatory strives to
provide aspiring artists with the skills to
pursue professional careers in music as well
as with the education to become leaders in
the cultural life of their communities.
Peabody Conservatory has become an
acknowledged leader in the cultural life of
Maryland and has built a reputation that
is truly international. As a division of The
Johns Hopkins University, Peabody takes
its place beside the university’s other world-
famous centers of research and learning in
the sciences, humanities, and medicine,
poised to define the con­tribution of music
in our lives in the 21st century.
Among the leading musicians who have
served on the Peabody faculty are compos-
ers Henry Cowell, Elliott Carter, Peter
Mennin, Ernst Krenek, Benjamin Lees,
Earle Brown, and Hugo Weisgall; violin-
9
ists William Kroll, Louis Persinger, Oscar
Shumsky, and Roman Totenberg; cellists
Aldo Parisot and Zara Nelsova; pianists
Harold Bauer, Ernest Hutcheson, Mieczy-
slaw Munz, Reginald Stewart, and Erno
Balogh; scholars Nadia Boulanger, Otto
Ortmann, and Nicolas Slonimsky.
The Conservatory’s present faculty is
in the same distinguished tradition, and
includes prizewinners in the Moscow
Tchaikovsky Competition, Queen Elisa-
beth of Belgium Competition, the ASCAP
Deems Taylor Awards, as well as Guggen-
heim fellows and Fulbright grantees.
Peabody’s teachers and alumni appear as
soloists and recitalists across the country
and around the world, conduct workshops,
lecture in colleges and universities, make
recordings, and serve as jurists for interna-
tional competitions from Texas to Tokyo,
from Brussels to Moscow. Near and far,
its graduates are active in orchestras, in
arts organizations, and as teachers at all
levels from precollege through postgradu-
ate education. Among its most illustrious
alumni are pianist Andre Watts, vocal-
ists James Morris and Richard Cassilly of
the Metropolitan Opera, and the Pulit-
zer Prize–winning composer Dominick
Argento. The Peabody Conservatory of
Music is accredited by the National Asso-
ciation of Schools of Music and, as a divi-
sion of The Johns Hopkins University, by
the Middle States Commission on Higher
Education, 3624 Market St., Philadelphia,
PA 19104-2680; 267-284-5000.
The Preparatory
Founded in 1894, the Peabody Prepara-
tory is the pre-college complement to the
Peabody Conservatory. Like the Conserva-
tory, the Preparatory also has a dual mis-
sion: to provide a broad-based performing
arts education to all who are desirous of
high quality performing arts study and
to provide an accelerated curriculum for
talented pre-professional musicians and
dancers.
 With a student body of approximately
2,000, ranging in age from 2 months
to 83 years, the Preparatory also spans a
wide geographical area including a main
campus downtown and several satellite
branches throughout the Greater Balti-
more region. The curriculum in Early
Childhood, Music, Dance, and Adult
Education has been developed to provide
a solid instructional base while allowing
for each student to develop his or her full
potential. In addition to a wide range of
courses, the school offers a rigorous pre-
conservatory program and graduated levels
of performance opportunities. The student
body of the Preparatory is as diverse as its
curriculum, ranging from pre-school chil-
dren and their families to high school and
adult students. The Preparatory provides
a special environment for learning about
the arts, supporting students with special
talents and fostering a love of music and
dance.
The Campus
As the first music conservatory estab-
lished in America, the Peabody Institute
occupies a cherished historic structure on
Mt. Vernon Place, the cultural heart of
Baltimore. More than a hundred years of
sustained growth has resulted in expansion
throughout the entire city block with two
delightful garden courtyards in its center.
Peabody’s architecture is a fascinating mix
from Renaissance Revival to contemporary
style.
The original Conservatory and Peabody
Library buildings face Mt. Vernon Place
and are two of the city’s foremost architec-
tural landmarks. The Conservatory build-
ing was completed in 1866. The library
building, completed in 1878, is famed for
its tiered cast-iron balconies and spectacu-
lar open space. It is acknowledged to be
the masterpiece of the American architect
Edmund G. Lind, and served as a model
for the domed main reading room of the
Library of Congress in Washington.
Adjoining the library building is Leakin
Hall, built in 1927, which serves as the
10
headquarters of the Institute’s Preparatory
department and contains studios for the
use of both Conservatory and Preparatory
faculty.
The Arthur Friedheim Library and aca-
demic facility opened during the 1989–90
academic year. This handsome structure is
fully integrated physically and architectur-
ally within the Peabody block and is inter-
connected on each floor with Leakin Hall.
The facility houses acoustically pleasing
practice rooms, a two-floor media center
with greatly expanded space for the music
and audio-visual library, a bright student
lounge for quiet study and relaxation, and
three large fully equipped dance studios.
The Offices of the Institute’s Director,
Conservatory Dean, Associate Dean for
Academic Affairs, and Registrar are also
located in this building or in Leakin Hall.
The campus is bounded on the south
by the residence hall-cafeteria-garage
complex, a modern structure designed by
Edward Durrell Stone, architect of the
Kennedy Center for the Performing Arts
in Washington. There is direct access from
the complex to the Conservatory building
and to Leakin Hall. Some of Peabody’s
administrative offices are located in Scha­
piro House, a mid-19th-century town-
house facing North Charles Street.
The Peabody Inn is the restored Mt.
Vernon Place townhouse complex that
has become the home for the Peabody
Elderhostel program. Peabody’s program,
which is among the most popular in the
country’s extensive Elderhostel network
of lifelong learning vacations for senior
citizens, features music classes and the rich
performance offerings given daily by Pea-
body students and faculty.
In spring 2004, the Peabody Institute
completed a $26.8 million major con-
struction project that has fundamentally
restored and enhanced its campus, inte-
grating the historic 19th-century build-
ings into a harmonious whole.
A Grand Arcade cascades down from
the main entrance at 17 East Mt. Vernon
Place to the Peabody Plaza. Its graceful
staircase provides an elegant counterpoint
to the original famed circular stairway.
Often called Peabody’s new “Main Street,”
the Grand Arcade wraps round the Mir-
iam A. Friedberg Concert Hall to create
an extended lobby and gathering place.
A sky-lighted roof fills the space with
natural light during the day and creates a
dramatic backdrop during the evening.
The Bank of America Mews Gallery to
one side of the Grand Arcade is a venue
for exhibitions drawn from Peabody’s own
rich Archives and other sources. Adjacent
to the Grand Arcade is East Hall, recon-
structed to supply a dedicated rehearsal
and recording space for large ensembles. It
is used for cabaret-style jazz performances
as well.
The construction project created the
Cohen-Davison Family Theatre, a new
95-seat lecture/recital hall, a percussion
studio, improved box office, concert and
ensemble offices, and 12 new practice
rooms. Two new elevators provide access
to all levels of the main Conservatory
building from either end of the Grand
Arcade.
Security
The Peabody campus is protected by
the Peabody Campus Police Department
24 hours a day. Guided by its community-
based philosophy, the department is
headed by a director and staffed by 12
uniformed officers, commissioned by the
state of Maryland with full arrest powers.
The department also provides a van escort
service which operates in the evenings to
transport members of the community to
and from campus within approximately a
12-block area.
The entrances to campus are secured at
all times, and community members may
enter at any time by use of their indi-
vidual “card-key access” identification and
sign-in at the main entrance. Most campus
buildings are open seven days a week from
6 a.m. to 2 a.m. The practice rooms in
the library building and the basement are
available 24 hours a day.
11
Facilities
Performance. The Miriam A. Friedberg
Concert Hall, with seating for 695, com-
bines modern technical facilities with
its resplendent historic architecture. The
Conservatory’s other performance halls
are Leith Symington Griswold Hall, a
renovated concert and rehearsal space with
a seating capacity of 150 and a three-
manual tracker-action Holtkamp concert
organ; the 95-seat Cohen-Davison Family
Theatre; and Hilda and Douglas Goodwin
Hall, the primary facility for Preparatory
recitals and for many Conservatory reper-
tory classes and recitals.
The Conservatory maintains a collection
of string, woodwind, brass, and percussion
instruments available for use in instru-
mental classes. Its collection of baroque
instruments includes two French double
harpsichords by William Dowd, a Flem-
ish single harpsichord by Rodney Regier,
a virginal, fortepiano, clavichord, several
baroque flutes, oboes, bassoon, viols, vio-
lins, viola, cello, and bows. In 2007 the
Conservatory acquired a matched baroque
string quartet by Juraj Vancik, a cornetto
by Christopher Monk, and a theorbo by
Ed Greenhood.
The collection of Renaissance instru-
ments includes full consorts of recorders,
gems­horns, krummhorns, five lutes, two
flutes, sackbuts, viols, and percussion.
Acquisitions during 2007 included a
Renaissance long drum by Ben Harms,
tenor and bass sackbuts by Von der Heide,
an Italian harpsichord by Robert Duffy, and
an 11-course baroque lute by Martin Shep-
herd. Students also have access to Renais-
sance and baroque guitars, a vihuela, and a
cittern as well as a full consort of recorders
by Adriana Breukink.
Libraries. One of the oldest music col-
lections in the United States, the Arthur
Friedheim Library traces its history from
the establishment of an orchestral library
when Peabody first opened its doors in
1868. Since then it has grown from a
library of a dozen or so sets of orchestral
parts to a major regional collection of over
100,000 volumes. Among the strengths
of the collection are performance materials
for solo players and chamber ensembles,
orchestral scores, music reference books,
scholarly editions, books of musical biog-
raphy, music history and music theory,
recordings, and music periodicals.
The Arthur Friedheim Library opened in
February, 1990 and in May of the same year
was dedicated to the memory of the great
pianist and student of Liszt, Arthur Fried-
heim, by his son Eric Friedheim, whose
generous gift made possible the attractive
new facility. Modern and well-equipped, the
Arthur Friedheim Library is accessible to
all students with abundant and comfortable
study space. The open stack library collec-
tion includes over 90,000 scores and books.
An audio-visual center on the plaza level
incorporates a collection of over 25,000
sound recordings, a videotape library, 25
study carrels variously equipped for audio,
video and computer use, and a microfilm
reader-printer.
Located on the first floor of the Arthur
Friedheim Library, the Archives of the
Peabody Institute serves as the official
repository for the historical records of
the Institute and also collects the papers
and records of musicians and musical
organizations of the greater Baltimore
metropolitan area. The early years of the
Baltimore Symphony Orchestra, the Bal-
timore Opera, and a host of other musical
organizations are documented in Peabody’s
Archives. A computerized finding guide is
available in the Archives’ reading area to
assist students and accredited scholars.
The generous gift of P. William and
Vera Ruth Filby established the Rare Book
Room in the Music Library of the Peabody
Conservatory in 1990. This room, located
on the second level of one of the distinctive
townhouses on Mt. Vernon Place, houses
over 1,000 volumes including music scores,
individual manuscripts, personal papers and
artifacts, and books on music dating from
the 16th century to the present.
12
The main library building houses the
George Peabody Collection of The Johns
Hopkins University. Formerly the Pea-
body Research and Reference Library,
which was part of the Enoch Pratt Free
Library system of Baltimore, this library’s
collections are internationally renowned
and still accessible to the general public as
well as to Peabody students.
The Johns Hopkins University’s pri-
mary library collection is housed in the
Milton S. Eisenhower Library on the
Homewood campus. Not only is it the
primary research, teaching, and cultural
resource of the university, but the quality
and quantity of its collections and services
rank it as one of the major research librar-
ies in the country. The Albert B. Hutzler
Undergraduate Reading Room in Gil-
man Hall supplements this collection on
the Homewood campus. Within walking
distance of the Conservatory is the central
building of the Enoch Pratt Free Library.
Also nearby is the Maryland Historical
Society, which contains a large collec-
tion of 18th- and 19th-century American
music imprints. The proximity of these
institutions and of the Library of Congress
in Washington, D.C., with its extensive
and internationally recognized musical
resources, permits wide latitude in the
choice of research projects undertaken
towards the fulfillment of degree require-
ments.
Recording Studios. The Peabody Recording
Studios record all concerts, degree recitals,
and special events at Peabody, utilizing
advanced techniques and state-of-the-art
equipment. Studio 220, the main Con-
servatory studio facility, is directly linked
to the Miriam A. Friedberg Concert Hall.
Studio 203, also located in the Conserva-
tory building, is the primary studio for
events in Griswold Hall. Both studios
are fully digital and surround capable, as
well as being interconnected, permitting
data transfer between the facilities. Two
other recording control rooms, Studio
3036 and Studio 2002, are located in the
Leakin Hall building and provide services
to Goodwin Hall and East Hall. Studio
2002 features digital recording from
two to 24 tracks and has comprehensive
digital editing facilities. Studio 3036 is
a fully equipped 24-track analog record
and mix room. Studio 220 is also adjacent
to an acoustically balanced performance
area with a nine-foot Steinway piano. All
studios are constantly updated to reflect
the current state of modern recording. In
addition, there is a sound booth in the
balcony area of the Friedberg Concert
Hall, used primarily for sound reinforce-
ment work but also capable of recording
digitally from Friedberg Hall. Recording
sessions and the recording of non-degree
recitals can be arranged through the
Recording Studio Office located on the
second floor of the Conservatory building
or by going to the Recording Arts
web page at www.peabody.jhu.edu/
recording-arts. Copies of concerts can be
ordered at those locations also.
The Recording Studios record most
events direct to CD with hard disc backup.
Master recordings for all events are per-
manently stored in the Peabody Archives.
Each student is entitled to one free CD of
his/her degree recital, with additional cop-
ies available on a fee basis. Students, faculty,
and staff may also use the Recording Stu-
dios for special projects and audition tapes
on an hourly fee basis. A price schedule is
available on request and is published on the
Peabody Recording Studio web page. As a
special service to students, and on request,
CDs of all major events are placed in the
Peabody Listening Library for 30 days after
each concert.
In addition to producing recordings for
archival use and broadcast, the Studios are
the working laboratories for the students
in the Recording Arts and Sciences degree
programs. Additionally, there are classes
in recording technology and production
available for non-recording majors on the
undergraduate and graduate levels. More
information can be found at www.peabody
.jhu.edu/recordingarts. Any student inter-
13
ested in the recording arts degree program
or classes should call the Recording Office.
Computer Music Studios. The Computer
Music Studios serve as a working labora-
tory for music composition and research,
as well as a center for courses, demonstra-
tions, and public programs. Many projects
use both analog and digital facilities.
Peabody’s activity in electronic (analog)
music began with summer workshops
for teachers first held in 1967. When the
Peabody Electronic Music Studio opened
officially in 1969, it was the first such
studio in Maryland, and one of the first in
the country to be located in a conservatory.
Over the years, its facilities have been sys-
tematically updated and expanded.
The affiliation of Peabody with The
Johns Hopkins University has made pos-
sible expansion into the field of computer
music, utilizing the computers, advanced
technology, and computer expertise
available at Johns Hopkins. In addition
to Peabody courses in computer music,
Conservatory students have access to uni-
versity courses in computer science, elec-
tronics, and related fields.
Computer Music Consort. The Computer
Music Consort is a professional ensemble in
residence at the Computer Music Depart-
ment dedicated to the performance of the
digital arts. The Consort aims to bring the
best current computer music and multi-
media performance to the public in unique
and original ways. Activity includes perfor-
mances (many of which involve “live” per-
formers plus tape, real-time electronics, and
mixed media presentations), lectures, and
commissions for new works in the medium.
The Consort frequently invites guest com-
posers and performers to participate in its
events.
Facilities. The Computer Music Depart-
ment is located on the third floor of the
historic Conservatory building. There are
two fully equipped studios, one devoted
to teaching and the other to production
work. There is a digital performance stu-
dio optimized for solo or chamber music
plus electronics rehearsals, and a digital
arts studio of workstations for use by com-
puter music and composition students.
The departmental studios feature a wide
variety of music technologies, including
MIDI, Direct Digital Synthesis, Digital
Audio Workstations, SMPTE synchroniza-
tion and digital multi-track recording.
1. The Teaching Studio is intended primar-
ily for introductory-level and non-major
students but is also used as an additional
production facility by departmental grad-
uate students and faculty.
The room doubles as the department’s
primary classroom, and for this reason
features a high-quality data projection
system for computer and video demonstra-
tions. This studio also houses the depart-
ment’s vintage Moog synthesizers, which
are carefully maintained for historical and
pedagogical purposes. Multichannel A/D
and D/A conversion systems along with
a 24x8 console are available, as well as
a quadraphonic sound system featuring
Meyer 833 studio monitors.
2. The Production Studio is intended for use
by computer music graduate students and
faculty. It is a fully professional production
facility designed for high-end composition
and research. A state-of-the-art all-digital
console is at the heart of this studio. The
digital board is interfaced with a 24-chan-
nel A/D and D/A conversion system to the
Macintosh-based digital audio worksta-
tion. Monitoring is through a Dynaudio
5.1 studio monitor system.
3. The Digital Arts Studio is a multiuser
facility supporting a variety of digital arts
applications. A number of workstations
for MIDI, digital audio, video, and multi-
media are available, as well as general pur-
pose computers for programming, Internet
access, and general use.
4. The Digital Performance Studio is an
experimental rehearsal space/practice
room. The MIDI system here includes a
Yamaha Disklavier grand piano as well as
14
other performance-oriented synthesizers.
This space is easily reconfigured and may
be used for rehearsal as well as research
and com­position.
5. Workstations. The department supports
a network of computers optimized for
music-making and research. A wide vari-
ety of platforms are supported, including
Windows, Macintosh, Unix, and Linux. A
wireless network allows the easy integra-
tion of student laptops. A wide variety of
commercial and noncommercial software
applications for music are available for
MIDI, audio, and video recording, editing
and playback as well as tools for program-
ming and software for music notation.
The Internet and Technology at Peabody
Peabody students, faculty, and staff have
full access to the Internet. Buildings on
the Peabody campus are interconnected
via a fiber-based backbone, and links to
other divisions of The Johns Hopkins
University are provided through a high-
speed network. Most rooms on campus are
wired for Internet access.
With an account on JHMI, students, fac-
ulty, and staff have access to electronic mail.
Computers for student use are available in
the Friedheim Library, a computer resource
room in 205 Leakin Hall, and in the Unger
Lounge Computer Center. All rooms in the
Residence Hall are wired for student Inter-
net access.
Information about Peabody can be
found on the Internet in the appropri-
ate directories of The Johns Hopkins
University web site (www.jhu.edu) or at
Peabody’s own site on the World Wide
Web (www.peabody.jhu.edu).
The Steering Committee for Informa-
tion Services (SCIS) coordinates efforts to
employ advanced technologies in support
of the goals of the Peabody Institute and
the technological initiatives of The Johns
Hopkins University. Campus networking,
telecommunications, and computing func-
tions are supported by the Network and
Telecommunication Services Office and its
Help Desk.
Information Systems Usage Policy: Use of
the Peabody Information Systems is gov-
erned by the “Guidelines for the Use of
Computing and Networked Information
Resources” and the “Policies for Student
Use of Shared Information Technology
Resources” of the Johns Hopkins schools
of Arts and Sciences, Business, Education,
and Engineering. The guidelines are avail-
able for review on the Peabody web site.
Baltimore Area Cultural Activity
Baltimore’s arts organizations include
the Walters Art Museum (directly across
the street from Peabody’s Schapiro House
on North Charles Street), the Baltimore
Museum of Art (adjacent to the Home-
wood campus of The Johns Hopkins Uni-
versity), Center Stage, the Hippodrome
Theatre, the Maryland Institute College of
Art, the Maryland Historical Society, the
National Aquarium, the Science Center
and Planetarium, and many smaller gal-
leries and theaters—all within minutes of
the Conservatory.
The Baltimore Symphony Orchestra
presents a full season of concerts in Joseph
Meyerhoff Symphony Hall, while the Bal-
timore Opera Company performs in the
historic Lyric Opera House. The two halls
are adjacent to one another and within
easy walking distance of the Peabody.
Numerous professional chamber music
and choral groups present concert series at
the Hopkins Homewood campus, Goucher
College, the Walters Art Museum, the
Baltimore Museum of Art, and other
Baltimore locations. Peabody students
may attend most concerts and recitals at
reduced rates. In addition, further cultural
opportunities are available in Washington,
D.C., which is less than an hour away
from Baltimore by train or automobile.
Peabody Concerts, Lectures, and Master Classes
The extent of Peabody’s concert year
is seen in its Concert Calendar, which
includes performances by the Peabody
Symphony Orchestra and Concert Orches-
tra; the Wind Ensemble; Chamber Winds;
15
Camerata contemporary music ensemble;
Renaissance Ensemble; Chorus and Con-
cert Singers; Opera Theatre and Chamber
Opera; the Sylvia Adalman Artist Recital
Series; organ, jazz, and computer music
concerts; and special events. These events
feature student ensembles and soloists,
Peabody’s internationally acclaimed fac-
ulty, and guest artists. Peabody also pres-
ents a Thursday Noon Recital Series while
school is in session with student soloists
and chamber ensembles. Individual stu-
dents and ensembles present over 600 con-
certs yearly at Peabody, and make frequent
appearances throughout Maryland and
adjoining areas.
Each season the musical and intellectual
environment at Peabody is enriched by
master classes, lecture recitals, and semi-
nars given by many of the world’s out-
standing artists and teachers.
Distinguished Visiting Faculty
Distinguished visiting faculty come to
Peabody several times during the school
year to interact with students on a master
class and private lesson basis as mutually
determined by departmental faculty in
consultation with the dean.
Visiting Composers. A grant from Randolph
S. Rothschild underwrites the cost of visit-
ing composers each academic year.
Trio in Residence
The Peabody Trio serves as the resident
faculty ensemble of the Peabody Conserva-
tory, a position they have held since 1989.
Since winning the prestigious Naumburg
Chamber Music Award that same year, the
Trio has performed throughout the U.S.,
Canada, Europe, Japan, and Israel to criti-
cal acclaim. Summer festival appearances
have included Tanglewood Music Center,
the Ravinia Festival, Skaneateles Festival,
and the “Music in the Vineyards” Festival
in Napa, California. The Peabody Trio
has been ensemble-in-residence at Yellow
Barn music school and festival since 1998.
The Trio has also been heard in numerous
radio broadcasts, including St. Paul Sunday
Morning, Morning Pro Musica, NPR’s Per-
formance Today, CBC, Radio Canada, and
the WQXR Listening Room in New York.
Equally committed to the performance
of new music and the classics of the rep-
ertoire, the Peabody Trio has been praised
for its interpretations of music ranging
from the works of Haydn to Charles
Wuorinen. They have worked with such
composers as Shulamit Ran, Zhou Long,
Bright Sheng, Charles Wuorinen, and
Leon Kirchner.
As faculty, members of the Peabody
Trio teach majors, coach Conservatory
ensembles, and hold a weekly seminar in
the performance of chamber music.
Competitions
Yale Gordon Concerto Competition. Endowed
by the Peggy and Yale Gordon Trust, this
competition was established by the late
Yale Gordon, who wished to encourage
the development of talented young musi-
cians. A cash prize, a performance with
orchestra, and solo appearances at Shriver
Hall and other venues are awarded to the
winner of this competition, which rotates
annually in the areas of strings, piano, and
orchestral instruments.
Virginia Carty deLillo Composition Competi-
tion. A contest for composition majors
who may submit works in any medium,
this biennial competition, offered in
odd-numbered years, was made possible
through a bequest of former dean Virginia
Carty deLillo. Awards include cash prizes
to first- and second-place winners and a
public performance, where practical, of the
winning composition.
Sylvia L. Green Voice Competition. Founded
in 1986 by Beth Green Pierce, this bien-
nial competition was established in
memory of Mrs. Pierce’s mother, Sylvia L.
Green. Its first and second prizes include
a cash award and a performance for the
first-prize winner with one of the Peabody
symphony orchestras.
16
Macht Orchestral Composition Competition.
Endowed in 2000 by the Macht Philan-
thropic Fund, this annual competition
for composition majors was established
to provide a premiere public performance
for new works for orchestra. Entries must
have been written during a student’s
period of enrollment at Peabody and
received an orchestral reading session. A
cash prize and a performance of the win-
ning work at a Peabody public concert are
awarded to the winner.
William L. Marbury Prize, awarded each
year to an outstanding undergraduate
violin student in a juried competition,
includes a major public performance at
Peabody, as well as a cash prize. This
competition was endowed by the law firm
of Piper and Marbury (now DLA Piper)
in memory of Mr. William L. Marbury,
former chairman of the Peabody Board of
Trustees.
Prix d’Eté Competition. Endowed by Walter
Summer in 1994, this annual competition
encourages Peabody student composers
to create chamber music that explores
new instrumental, vocal, dance, com-
puter, and multimedia horizons. The Prix
d’Eté is open to undergraduate, gradu-
ate, and recently graduated (within two
years) composition students of Peabody
Conservatory. Significant involvement
of electronic and computer technologies
is required in odd years; technology is
optional in even years. The first-prize win-
ner receives a cash prize and gives a perfor-
mance of the work.
Harrison L. Winter Piano Competition was
established in 1990 to encourage the devel-
opment of young pianists. It was endowed
by gifts in memory of Judge Winter from
his family, friends, and former law clerks.
The first-prize winner receives a cash prize
and a performance with the orchestra. The
second-prize winner receives a cash prize.
This major competition, which is a tribute
to a former chairman of Peabody’s Board
of Trustees, is held on a two-years-on, one-
year-off basis.
Honorary and Professional Organizations
Pi Kappa Lambda. National honorary
society for outstanding juniors, seniors,
and graduate students, elected annually
by the faculty according to the by-laws of
Pi Kappa Lambda, the music profession’s
equivalent of Phi Beta Kappa.
Mu Phi Epsilon. National professional coed
fraternity whose activities include spon-
sorship of the prestigious Sterling Staff
Competition and of many scholarships for
summer music camps and festivals such as
Tanglewood, Aspen, and Music Academy
of the West. The fraternity’s goal of service
has been promoted by the Peabody Phi
Gamma Chapter through activities in the
Baltimore area.
MENC (Music Educators National Confer-
ence). National professional organization
of music teachers whose membership
includes elementary and secondary school
music teachers as well as those involved in
teacher education at colleges and universi-
ties throughout the country. Its official
publication, the Music Educators Journal,
features excellent articles and is considered
a major source of information about issues
and developments in the field of music
education. Membership is open to all
music education majors.
CLEA (Consortium for the Liberal Educa-
tion of Artists). A representative national
association whose mission is to strengthen
the liberal education of college students
enrolled in institutions dedicated to the
training of performing artists. Through
the cross-disciplinary collaboration of
administrators, faculty, and students,
CLEA supports projects providing student
artists with opportunities to bridge art
and its broader communities.
Golden Key Society. Juniors and seniors who
have achieved at least a 3.65 grade point
average are eligible to be inducted into the
Golden Key Society, a national honorary
17
organization that stresses academic excel-
lence, leadership, and community service.
Induction occurs annually in the spring
on the Homewood campus of The Johns
Hopkins University.
Career Counseling and Placement
Peabody’s Career Counseling and Place-
ment service aids students and alumni
as they plan their careers and search for
professional employment. To this end, the
office maintains personal files of confiden-
tial references for students and alumni,
copies of which are sent on request to
prospective employers or graduate schools
for a nominal charge. The office offers con-
sultation and information on career path,
the job search, cover letters, resumes, and
other career-related topics.
The Career Counseling Office is a
repository of information on jobs in music
across the U.S., musical and non-musical
work in the Baltimore area, competitions
in the U.S. and abroad, grants and awards,
summer festivals, and events of interest.
All announcements received are noted in
the semimonthly Job Vacancy Bulletin
published by the office for the benefit of
Peabody students and alumni. The com-
plete newsletter is available on campus,
and the text portion can be found at
www.peabody.jhu.edu/jvb.
The Office of Career Counseling and
Placement publishes lists of places to teach
and informal and formal recital venues in
the Baltimore/Washington, D.C. area. The
office operates a Musician Referral Service
which refers qualified students and alumni
to callers from outside Peabody seeking
music for concerts, weddings, parties, or
other events.
Partnership between the Yong Siew Toh
Conservatory of the National University of
Singapore and the Peabody Institute of
The Johns Hopkins University
The signing of an agreement between
the National University of Singapore and
The Johns Hopkins University on Novem-
ber 26, 2001, created the first collabora-
tion of its kind between a top American
conservatory of music and a leading
university in the Asia Pacific region. The
Peabody Institute embraced the opportu-
nity to provide artistic advice and conser-
vatory expertise in the development of a
new conservatory in Singapore—the Yong
Siew Toh Conservatory of Music, National
University of Singapore. This partnership
brings a fresh infusion of international
dialog and opportunities to Peabody’s Bal-
timore campus as its musicians, scholars,
and administrators lend the wisdom of the
Institute’s accumulated knowledge to the
development and growing reputation of
Yong Siew Toh Conservatory. Combining
Singapore’s vision with Peabody’s know-
how, Yong Siew Toh has already gradu-
ated its first class of musicians and is an
international benchmark for excellence for
Southeast Asia and the world. The collab-
oration continues to provide unparalleled
opportunities to Peabody and Yong Siew
Toh students. There is a vibrant exchange
program between the schools, and faculty
from each institution give master classes
and lessons every year.
Study Abroad Program
Peabody currently facilitates three
international exchanges with the Yong
Siew Toh Conservatory of the National
University of Singapore, Paris Conserva-
tory, and Royal Academy in London.
Interested students should approach the
international student coordinator and fill
18
out an application, and then proactively
work through application details with the
offices of Financial Aid, International Stu-
dents, Ensembles, and Academic Affairs.
Conducting Fellows Program
In 2007–2008, the Baltimore Sym-
phony Orchestra with Music Director
Marin Alsop and the Peabody Conserva-
tory launched a Conducting Fellows Pro-
gram, a collaborative project that supports
the musical and leadership development
of young conductors. An outgrowth of the
American Symphony Orchestra League’s
American Conducting Fellows Program
launched in 2002, the Baltimore project
offers conductors in the early stages of
their careers an opportunity to hone their
skills before assuming a role with a profes-
sional orchestra.
The BSO and Peabody together have
designed a program that takes advantage
of the two institutions’ vast resources—
training not only in theory, music history,
and baton technique, but also a broad
curriculum in subjects such as psychology,
public speaking, foreign language, and
political science, plus practical on-the-
job training and real-time feedback from
Marin Alsop, professional orchestra musi-
cians, and administrators.
Conducting fellows will be chosen every
two years through a competitive audition
process created by Peabody and the BSO.
Student Data 2007–2008

Geographical Distribution
United States
Alabama . . . . . . . . . 2 Kentucky . . . . . . . . . 2 Ohio . . . . . . . . . . . . 7
Alaska . . . . . . . . . . . 1 Maine . . . . . . . . . . . 1 Oklahoma . . . . . . . . 3
Arizona . . . . . . . . . . 1 Maryland . . . . . . . . 91 Oregon . . . . . . . . . . 1
Arkansas . . . . . . . . . 1 Massachusetts . . . . . 14 Pennsylvania . . . . . 34
California . . . . . . . 24 Michigan . . . . . . . . . 2 South Carolina . . . . . 6
Colorado . . . . . . . . . 2 Minnesota . . . . . . . . 3 South Dakota . . . . . . 1
Connecticut . . . . . . . 8 Missouri . . . . . . . . . 3 Texas . . . . . . . . . . . 18
D.C. . . . . . . . . . . . 13 Nevada . . . . . . . . . . 1 Vermont . . . . . . . . . 2
Delaware . . . . . . . . . 3 New Hampshire . . . . 3 Virginia . . . . . . . . . 23
Florida . . . . . . . . . . 4 New Jersey . . . . . . . 16 Washington . . . . . . . 2
Georgia . . . . . . . . . . 9 New Mexico . . . . . . . 1 West Virginia . . . . . . 1
Illinois . . . . . . . . . . 6 New York . . . . . . . 28 Wisconsin . . . . . . . . 3
Indiana . . . . . . . . . . 2 North Carolina . . . . . 5 Puerto Rico . . . . . . . . . . 1
Kansas . . . . . . . . . . . 1 North Dakota . . . . . . 1

Foreign Countries
Australia . . . . . . . . . . . . . 1
Brazil . . . . . . . . . . . . . . . 1
Canada . . . . . . . . . . . . . 12
Costa Rica . . . . . . . . . . . 1
China (P.R.C.) . . . . . . . . 8
Croatia . . . . . . . . . . . . . . 1
Cyprus . . . . . . . . . . . . . . 1
Finland . . . . . . . . . . . . . . 1
Germany . . . . . . . . . . . . 1
Hong Kong . . . . . . . . . . 3
Indonesia . . . . . . . . . . . . 1
Israel . . . . . . . . . . . . . . . 2
Italy . . . . . . . . . . . . . . . 1
Japan . . . . . . . . . . . . . . . 2
Korea . . . . . . . . . . . . . 72
New Zealand . . . . . . . . . 1
Poland . . . . . . . . . . . . . . 3
Russia . . . . . . . . . . . . . . . 3
Singapore . . . . . . . . . . . . 2
Spain . . . . . . . . . . . . . . . 6
Taiwan/ROC . . . . . . . . 33
Turkey . . . . . . . . . . . . . . 3
United Kingdom . . . . . . 2
Vietnam . . . . . . . . . . . . . 2

Classification of Students by Program

Candidates for the B.M. degree . . . . . . . . . . . . . . . . . 328
Candidates for the M.M. degree . . . . . . . . . . . . . . . . . 218
Candidates for the M.A. degree . . . . . . . . . . . . . . . . . . . 19
Candidates for the D.M.A. degree . . . . . . . . . . . . . . . . 44
Candidates for the Performer’s Certificate . . . . . . . . . . . 1
Candidates for the Graduate Performance Diploma . . . 68
Candidates for the Artist Diploma . . . . . . . . . . . . . . . . . 9
Graduate Extension Students . . . . . . . . . . . . . . . . . . . . 15
Non-Resident Graduate Students . . . . . . . . . . . . . . . . . 36
Cooperative and Visiting Students* . . . . . . . . . . . . . . . 87
Undergraduate Extension Students . . . . . . . . . . . . .      3
828

* Not included in the 2007–2008 Geographical Distribution Chart

19
Procedural Information
Studio Assignments
Studio assignments are made by the
dean on the basis of student request and
availability of the preferred teacher. A
student wishing to study with a particular
teacher may contact the teacher personally
to discuss the teacher’s availability.

Recitals
Public recitals are required for completion of all undergraduate and graduate perfor-
mance degrees. Recital length requirements by program and instrument category are
listed below. No degree recital, with the exception of Artist Diploma piano recitals,
may contain more than 60 minutes of music. All degree recitals, including lecture-recit-
als, will be limited to a total of 70 minutes of stage time (with the exception of Artist
Diploma piano). This limit includes all stage and personnel changes from the beginning
to end of the recital.
Minutes of Music Minutes of Music Minutes of Music
Instrument Junior Recital Senior Recital Graduate Recital
Brass — 50-60 50-60
Guitar 25-30 50-60 50-60
Early Music — 50-60 60
Harpsichord — 50 60
Harp — 50-60 50-60
Jazz 30 50-55 55-60 for GPD
Piano — 50-55 50-55 for MM, DMA
55-60 for GPD
70 for AD*
Organ — 50-60 50-60
Percussion — 50-60 50-60
Violin 45-60 50-60 50-60
Viola 45-60 50-60 50-60
Cello — 50-60 50-60
Double Bass — 50-60 50-60
Voice — 45 50-55 for MM, DMA,
GPD
55-60 for AD
Woodwinds — 50-60 50-60
*May include an intermission if requested

Scheduling of recitals is done through the Concert Office. The program for each recital
to be presented must be printed on the form provided by the Concert Office and signed
by the major teacher, observing all deadline dates and procedures as established by the
Concert Office and published in the Student Handbook. All degree recitals are recorded,
with tapes kept in the Peabody Archives. Each student is entitled to one free CD of his/
her degree recital, with additional copies available on a fee basis.

20
Official Dress and Equipment
The official dress for Peabody public
ensemble performance is:
Men:
• Black tuxedo, black dress shoes and socks
• Pressed white dress shirt, black bow tie
• Black cummerbund or black tuxedo vest
• Suspenders are permitted, but they
must be either black or white
Women:
• Plain black floor to mid-calf length
gown with long or ¾-length sleeves, or
• Long or mid-calf black skirt (or black
dress slacks) with a black top with long
or ¾-length sleeves. Slacks must be
wide, loose, and flowing.
• Black or neutral hose and black dress
shoes. No open-toed shoes or sandals.
• No excessive jewelry, sequins or spar-
kles. Hair accessories must be black,
silver or gold.
For some opera performances, orchestra
members (both men and women) may be
asked to wear “dressy black,” i.e., nice
black shoes and socks, black pants (or
skirts) and black shirt or top. Black jeans
and tee shirts are not acceptable.
All Peabody students should own
proper concert attire by the beginning
of the school year. They also should be
equipped with their own music stands
for small ensemble rehearsals and practice
room purposes.
Outside Instruction and Public Performance
Peabody facilities may not be used for
private teaching of lessons except as con-
nected in some way with Conservatory or
Preparatory programs. A student must
secure the approval of his or her teacher to
appear as soloist or ensemble member on
programs presented under auspices other
than the Conservatory’s. Peabody reserves
the right to prohibit such participation
if it is considered detrimental to either
the student or the school. Students in the
harpsichord program are permitted to use
the school’s instruments for public perfor-
21
mance outside the Conservatory, with the
permission of the teacher.
Inter-Institutional Academic Arrangements
Within the university system, cross-
registration without extra cost extends for
Peabody students to courses offered by the
School of Arts and Sciences, the Whiting
School of Engineering, the Carey Busi-
ness School, and the School of Education.
Students enrolled in the schools of Arts
and Sciences or Engineering may, simi-
larly, register for an un­limited number
of classes, on a space-available basis, at
the Peabody Conservatory. The granting
of credit for Conservatory study must be
approved by the deans of the appropriate
Johns Hopkins University divisions.
Reciprocal arrangements also have been
made with several Baltimore colleges
whereby full-time sophomores, juniors,
and seniors may take one course per
semester for credit in academic classroom
courses, subject to course availability and
observance of all regulations of the host
institution.
Students requesting cross-registration
must complete appropriate forms which
are available in the Office of the Conserva-
tory Registrar. Credit sought for any other
courses taken outside the Conservatory
during the period of a student’s enroll-
ment must be approved in writing by the
associate dean for academic affairs.
Music and dance instruction is also
available through the Peabody Preparatory
for non-credit. Students wishing to take
private music lessons through the Prepara-
tory must go through placement inter-
views/auditions. Lessons are scheduled on
a space-available basis. Students in Arts
and Sciences or Engineering desiring to
take individual instruction pay 75 percent
of the Preparatory individual tuition as
listed in the current Preparatory catalog.
Students in all other JHU divisions desir-
ing to take individual instruction pay
100 percent of the Preparatory individual
instruction tuition as listed in the current
Preparatory catalog. Non-Peabody stu-
dents desiring to take any music or dance
class in the Preparatory are subject to full
tuition as listed in the current Preparatory
catalog.
Peabody/Homewood Double Degree Program
Peabody and the Homewood schools of
The Johns Hopkins University offer the
opportunity for a limited number of stu-
dents to pursue simultaneously a Bachelor
of Music degree and either a Bachelor of
Arts degree from the School of Arts and
Sciences or a Bachelor of Science degree
from the Whiting School of Engineering.
Students must be admitted independently
to Peabody and one of the Homewood
schools and be invited to participate in the
Double Degree Program. Students who
have begun their junior year of study are
not eligible to enter the Double Degree
Program nor may students transfer into
the program midyear. Typically, the Dou-
ble Degree Program takes a minimum of
five years to complete.
Administrative services such as registra-
tion, financial aid, and health care are pro-
vided to Double Degree students by the
Homewood schools. Consequently, stu-
dents in the Double Degree Program do
not receive Peabody merit scholarships or
22
any other form of financial aid from Pea-
body. Double Degree students must enroll
at a minimum in private lessons and, for
instrumental majors, large ensembles to
maintain their status as Peabody degree
candidates in the Double Degree Program.
Additional information regarding the
Double Degree Program is available from
the Office of Admissions and in the Office
of Academic Affairs.
Transcripts
Requests for transcripts involve two
offices of the Conservatory: the Business
Office and the Registrar’s Office. A fee is
charged for each official or unofficial copy
of any academic transcript. Transcripts
may not be released prior to payment
of the transcript fee and all outstanding
monies owed the Conservatory. After pay-
ment of the fee at the Business Office,
written requests may be submitted to the
Registrar’s Office. Unofficial transcripts
are sent to students. Official transcripts,
carrying the school seal and the signature
of the Registrar, are sent to institutions
and agencies.
Official financial aid transcripts should
be requested directly from the Financial
Aid Office.
Administrative Regulations

Academic and Personal Codes of Conduct Credit/no credit Artist Diploma recitals,
The Peabody Conservatory of The Johns portfolios, dissertations,
Hopkins University, its faculty, staff, and graduate review courses,
students are committed to encouraging remedial undergraduate
academic honesty and ethical conduct. courses, English as a Second
Membership in the Peabody community is Language courses
contingent upon adherence to high stan-
dards of personal and professional ethics. Credit grade points
The effective practice of an ethical code A 4.00
of conduct requires the support of each A– 3.67
member of the Peabody community. Each B+ 3.33
person is entrusted with two essential B 3.00
responsibilities: to live honorably within B– 2.67
the established codes of conduct, and to C+ 2.33
hold other members of the community to C 2.00
the same high standard of conduct. C– 1.67
Students enrolled in the Peabody Con- D 1.00
servatory assume an obligation to conduct F 0.00
themselves in a manner appropriate to an Non-credit designations
institution of higher education. A student AU Audit
is obliged to refrain from acts which he I Incomplete
or she knows, or under the circumstances IP In progress
has reason to know, threaten the academic NCR No credit
integrity of the Conservatory. Viola- P Passing
tions of academic integrity include, but W Withdrawn
are not limited to cheating, plagiarism, WF Withdrawn failing
misrepresentation of work, multiple WP Withdrawn passing
submissions of the same work, falsifica-
tion of an approval signature, knowingly Grade point averages are computed each
furnishing false information to any agent semester. The cumulative average is used
of the Conservatory for inclusion in the in determining status prior to graduation.
academic records, and falsification, forgery, Details on grading procedures are con-
alteration, destruction, or misuse of official tained in the Student Handbook.
Conservatory documents or shared infor- Academic Standing and Satisfactory Progress
mation technology resources. Procedures Undergraduate. Undergraduate students
for alleged violations of the academic and who maintain a cumulative and current
personal codes of conduct may be found in grade point average of at least 2.50, a
the Student Handbook. grade of at least B- in their major area
(lessons, juries, recitals, hearings), and
Grading System and Regulations are making appropriate progress through
The grading system at Peabody falls the core curriculum are considered to be
into two categories: in acceptable academic standing. The
Letter grades private lessons, class associate dean for academic affairs reviews
work, ensembles, juries, all transcripts and identifies all students
recitals who are not meeting the stated minimum

23
GPA and or major area grade benchmarks.
Students who fall below one or more of
the stated benchmarks will be brought to
the attention of the Undergraduate Com-
mittee at its meeting in January (for fall
semester grades) or May (for spring semes-
ter grades).
The Undergraduate Committee may
dismiss any student who does not meet
the minimum benchmarks. The Under-
graduate Committee also has the right to
put any student who does not meet the
minimum benchmarks on warning for
dismissal.
Undergraduate students are normally
classified as follows:
1st year 0-30 hours of passing work
completed
2nd year 31-60 hours of passing work
completed
3rd year 61-90 hours of passing work academic committee judges as having
completed
4th year over 90 hours of passing work
completed
Classification may be modified in accor-
dance with appropriate performance level
as determined by departmental examina-
tions.
The following grading standards are used
at the undergraduate level:
Outstanding performance for undergraduate
students
A genuinely outstanding
A- a very high standard in which
strengths far exceed weaknesses
High quality for undergraduate students
B+ high quality
B high quality with some
weaknesses
B- high quality with some serious
weaknesses
Average for undergraduate students
C+ barely above average
C average
C- marginally acceptable
24
Below average for undergraduate students
D need for marked improvement
to remain in the program
Not acceptable at the undergraduate level
F
Dean’s List Criteria. The criteria for inclu-
sion on the Dean’s List are:
1. Full-time status in an undergraduate
degree program
2. A semester grade point average of 3.67
or higher
3. No Incompletes for the semester
Dean’s List students with a semester grade
point average of 3.90 or higher will be
designated “High Honors.”
Dismissal. Students who fail to attain the
minimum acceptable grade point average
or the minimum acceptable grade(s) in
their major area, or whom the applicable
failed to make progress toward completion
of their degree program, may be dismissed
immediately at the end of any semester,
without prior warning. A student who is
dismissed on academic grounds may apply
for readmission after one full semester, but
Peabody is under no obligation to grant
readmission. A dismissed student may not
enroll at Peabody in any capacity until
such time as he or she is readmitted. The
Conservatory reserves the right to exclude
at any time a student whose academic
standing or general conduct is considered
unsatisfactory.
Graduate. Graduate students must main-
tain a cumulative and current grade point
average of at least 3.00 and a grade of at
least B- in the major area (lessons, recitals,
graded hearings) in order to be consid-
ered in acceptable academic standing and
eligible for graduation. Master of Music
and Doctor of Musical Arts students must
satisfactorily complete 18 credit hours per
academic year. Students enrolled in the
Graduate Performance Diploma and Artist
Diploma programs must satisfactorily com-
plete 8 credits per academic year.
 The associate dean for academic affairs
will review all transcripts and identify all
graduate students who are not meeting
the stated minimum grade point aver-
age and/or major area grade benchmarks.
Students who fall below one or more of
the stated benchmarks will be brought to
the attention of the Graduate Committee
at its meeting in January (for fall semes-
ter grades) or May (for spring semester
grades). The Graduate Committee may
dismiss any student who does not meet
the minimum benchmarks. The Graduate
Committee also has the right to put any
student who does not meet the minimum
benchmarks on warning for dismissal.
The following grading standards are used
at the graduate level:
Performance markedly above average
A genuinely outstanding
A- a very high standard in which
strengths far exceed weaknesses
The standard normally expected of graduate
students
B+ above average
B average
B- revealing certain weaknesses
Below average for graduate students
C+ lacking essential qualities
C marginally acceptable
C- need for marked improvement
to remain in the program
Not acceptable at the graduate level
D their teachers be notified. These notifica-
F tions do not signify approval but are sent
Dismissal. Students who fail to attain the
minimum acceptable grade point average
or the minimum acceptable grade(s) in
their major area, or whom the applicable
academic committee judges as having
failed to make progress toward comple-
tion of their program, may be dismissed
immediately at the end of any semester,
without prior warning. A student who is
dismissed on academic grounds may apply
for readmission after one full semester, but
Peabody is under no obligation to grant
25
readmission. A dismissed student may not
enroll at Peabody in any capacity until
such time as he or she is readmitted. The
Conservatory reserves the right to exclude
at any time a student whose academic
standing or general conduct is considered
unsatisfactory.
Graduation Eligibility
To be approved for graduation, students
must have resolved any and all outstand-
ing charges of misconduct and violations
of academic ethics, in addition to satisfy-
ing all degree requirements.
Outside Sources of Financial Aid
Maintenance of good academic stand-
ing and satisfactory academic progress are
requirements for continued eligibility for
financial assistance from federal and state
sources.
Attendance and Absences
Classes and Lessons. Regular and prompt
attendance in classes and lessons is
expected of all students. A statement
of individual class attendance policy is
provided in each class at the beginning
of each semester. It is expected that ill-
ness claimed as reasons for absence will be
appropriately documented.
All students who are absent from class
for an extended period of time, or for a
personal or medical emergency, should
contact the Office of Academic Affairs,
provide documentation, and ask that
to instructors as a courtesy. The student
remains responsible for making up all
missed work and for securing the permis-
sion of the instructors for absences.
Performance groups. Regulatory guidelines
for ensemble attendance are published in
the Student Handbook.
Auditing
Full-time students may audit any Con-
servatory class, upon permission of the
instructor. Part-time students must pay
the regular cost for each course of study,
unless otherwise specified.
Course Changes and Withdrawals
The Registrar’s Office must approve all
course additions, withdrawals, or changes.
Courses or lessons dropped within the first
four weeks of a semester will be deleted
from the student’s registration. With-
drawals do not become effective until
the properly signed forms are received
in the Registrar’s Office. For courses
dropped within the fifth or sixth week
of the semester an automatic grade of W
will be recorded. After the sixth week, the
grade being earned will be recorded with
a WP or WF (Pass or Fail), which will
not affect the GPA. All requests for a WP
or WF must be approved by the associate
dean for academic affairs.
The deadline for changing sections or
withdrawing from classes is the end of the
10th week of the semester. Exact deadline
dates are listed in the Academic Calendar.
Courses may not be changed from
Credit to Audit after the sixth week of the
semester.
Change of Major
Students requesting a change of major
must qualify through auditions and inter-
views with appropriate faculty. To initiate
a change of major, a student must com-
plete a change of major form available in
the Admissions Office.
Change of Studio Teacher
In general, a student is expected to
remain with the same studio teacher for
the duration of a program. In instances
where there are compelling reasons for
requesting a change, a student may do so
by contacting the associate dean for aca-
demic affairs. All studio changes require
the signature of both the current and new
major teacher, followed by the signature of
the associate dean for academic affairs.
If no studio teacher at Peabody Conser-
vatory is willing to accept a student, the
student may be required to withdraw.
26
Definition of Full-Time Status and Credit Limits
Students at the Conservatory are consid-
ered full time if they carry the following
number of credit hours per semester:
1. Undergraduate Programs
Bachelor of Music 13
Performer’s Certificate 13
Students enrolled in degree programs may
register for as many credits as is appropri-
ate for their plan of study.
2. Graduate Diploma Programs
Graduate Performance Diploma 4
Artist Diploma 4
GPD and AD programs are for full-time
students only. Students in these programs
are allowed to register for lessons, recitals,
unlimited ensembles, and between one
and three credits of academic coursework
each semester. Academic credits in excess
of three will entail additional per credit
hour fees. The credit limits for graduate
degrees reflect Peabody’s educational
philosophy that graduate students should
focus on the intense challenges specific
to their major area and related academic
studies.
3. Graduate Degree Programs
Master of Music 9
Doctor of Musical Arts 9
In addition to lessons, ensembles, recit-
als, and audited courses, students enrolled
in graduate degree programs (M.M. and
D.M.A.) may enroll for a maximum of
nine credit hours of academic coursework
each semester. Undergraduate language
classes, pedagogy classes and depart-
mentally recommended classes may be
excluded from the credit limit. Academic
credits in excess of nine hours will entail
additional per credit hour fees.
Interruption of Degree Work
Leaves of absence. A leave of absence is an
approved interruption of the degree pro-
gram. Any student in good standing (see
pp. 23–24) may be placed on leave of
absence for personal or professional reasons.
A student on a leave of absence may not be
enrolled as a full-time student at another
institution.
Voluntary. A student may request a leave
of absence by writing to the associate dean
for academic affairs. A leave of absence
is granted for the period of one semester
or one academic year. A leave of absence
is not granted routinely, however, and a
student should have compelling reasons
for requesting an interruption of his/her
regular progress toward the degree.
If a leave of absence has been granted,
the student must notify the Office of Aca-
demic Affairs in writing of the intent to
return by November 15 for re-enrollment
the following spring semester, or by April
15 for fall re-enrollment. A tuition deposit
of $50 will be required at that time to
reserve space on the major teacher’s ros-
ter; however, a student requesting a leave
of absence is not guaranteed a space in a
teacher’s studio upon return to school.
Involuntary. In situations where a leave
of absence is indicated due to circum-
stances as described below, the associate
dean for student affairs will encourage the
student to initiate a voluntary leave of
absence. If the student declines to do so,
the associate dean may require an invol-
untary leave of absence. This step will be
taken when necessary to protect the safety
of the student or other individuals or to
preserve the integrity of the university’s
learning environment. Such a decision
may be based on behavior and/or commu-
nication that:
•  Harms or threatens harm to the health
or safety of the student or others;
•  Causes or threatens to cause significant
damage to the property or resources of the
university;
•  Evidences chronic and/or serious drug
or alcohol abuse;
•  Significantly disrupts the functioning of
the university community; and/or
•  Reflects disorganized or altered think-
ing incompatible with successful partici-
pation in the academic program.
27
A fitness for return assessment will be
required as a condition of returning from
an involuntary leave of absence arising
from any of these circumstances.
Undergraduate: Undergraduate students
on leave of absence for more than the
allowed year must petition the Under-
graduate Committee for readmission and
certification of previously earned credits
toward the degree program. This process
includes reauditioning and may include
placement tests in specific areas.
Graduate (other than D.M.A.): Graduate
students on leave of absence for more than
the allowed year must petition the Gradu-
ate Committee for readmission and certifi-
cation of previously earned credits toward
the degree program. This process includes
reauditioning and may include placement
tests in specific areas.
D.M.A.: Once a D.M.A. candidate has
completed the required coursework, he
or she may no longer exercise the leave-
of-absence option, but must continue to
enroll for Degree-in-Progress through the
semester of completion of degree require-
ments in order to maintain standing in
the program. If a student interrupts his or
her program by failing to pay the DIP fee
for more than one year, the student must
petition the D.M.A. Committee for read-
mission. Upon approval of the petition, all
retroactive fees must be paid in order for
reinstatement of status to become effec-
tive. Any D.M.A. candidate who fails to
register for Degree-in-Progress will be
dropped from the program.
International Students: International
students who request a leave of absence
should be aware that U.S. law governing
the visa status of F-1 students requires
them to leave the United States for the
duration of their leave of absence, unless
the leave is granted for reasons of illness or
other medical conditions. Students wish-
ing to remain in the United States during
their leaves of absence must provide medi-
cal documentation to the school to support
such a request. Medical leave of absence
cannot exceed an aggregate of one year.
Withdrawals. Requests for total with-
drawal from degree programs must be ini-
tiated in the Office of Academic Affairs.
Readmission. Former degree candidates who
have withdrawn from the Conservatory must
submit a written request for readmission to
the associate dean for academic affairs. Final
decisions on readmission will be made by
the associate dean in consultation with the
appropriate academic committee.
Student Rights and Responsibilities
Students are responsible for understand-
ing all academic regulations and require-
ments for graduation, as set forth in this
catalog and the Student Handbook, and
are responsible for completing the appli-
cable requirements for graduation. The
Peabody Institute of necessity reserves the
right to change any provision, require-
ment, policy, or regulation published in
the catalog within a student’s term of resi-
dence. However, it may be assumed that,
except under the most unusual circum-
stances, the regulations in force during a
student’s term of residence are those stated
in the catalog of the year in which that
student’s matriculation was begun.
Graduation Rates
In compliance with the federal Student
Right-to-Know Act of 1990 (Public Law
101-542, Sec. 668.46), Peabody Conser-
vatory of The Johns Hopkins University
provides the following information to
prospective and currently enrolled under-
graduates:
Entering Freshman Class,
September 2002: 77
returning as sophomores 60 78%
graduating within 4 years 41 53%
graduating within 5 years 47 61%
Questions about graduation data should
be addressed to the Conservatory Regis-
trar, 410-659-8100, ext. 4410.
28
University Policies
Completion of Program
The award of degrees and certificates
of satisfactory completion is dependent
upon satisfaction of all current degree and
instructional requirements at the time of
such award, compliance with university
and divisional regulations, as well as per-
formance meeting bona fide expectations
of faculty. No member of the faculty is
obliged to provide students or graduates
with an evaluation or letter of recommen-
dation which does not accurately reflect
that faculty member’s true opinion and
evaluation of academic performance and
conduct.
The Johns Hopkins University does
not guarantee the award of a degree or a
certificate of satisfactory completion of
any course of study or training program to
students enrolled in any instructional or
training program.
Notice of Nondiscriminatory Policy as to
Students
The Johns Hopkins University admits
students of any race, color, gender, religion,
age, national or ethnic origin, disability,
marital status or veteran status to all of
the rights, privileges, programs, benefits,
and activities generally accorded or made
available to students at the university. It
does not discriminate on the basis of race,
color, gender, marital status, pregnancy,
ethnicity, national origin, age, disability,
religion, sexual orientation, gender iden-
tity or expression, veteran status, or other
legally protected characteristic in any stu-
dent program or activity administered by
the university, including the administration
of its educational policies, admission poli-
cies, scholarship and loan programs, and
athletic and other university-administered
programs or in employment.
Questions regarding Title VI, Title
IX, and Section 504 should be referred
to the Office of Institutional Equity, 130
Garland Hall, Telephone: 410-516-8075,
(TTY): 410-516-6225.
Policy on the Reserve Officer Training Corps
Defense Department policies regard-
ing sexual orientation in ROTC programs
conflict with this university policy.
Because ROTC is a valuable component of
the university that provides an opportu-
nity for many students to afford a Hopkins
education, to train for a career, and to
become positive forces in the military, the
university, after careful study, has contin-
ued its ROTC program, but encourages a
change in federal policy that brings it into
conformity with the university’s policy.
Anti-Harassment Policy
Preamble
The Johns Hopkins University is com-
mitted to providing its staff, faculty and
students the opportunity to pursue excel-
lence in their academic and professional
endeavors. This can only exist when each
member of our community is assured an
atmosphere of mutual respect. The free
and open exchange of ideas is fundamental
to the university’s purpose. It is not the
university’s intent in promulgating this
policy to inhibit free speech or the free
communication of ideas by members of
the academic community.
Policy Against Discriminatory Harassment
1. The university is committed to
maintaining learning and working
environments that are free from all
forms of harassment and discrimina-
tion. Accordingly, harassment based
on an individual’s gender, marital
status, pregnancy, race, color, ethnic-
ity, national origin, age, disability,
religion, sexual orientation, gender
identity or expression, veteran status,
or other legally protected characteristic
is prohibited. The university will not
tolerate harassment, sexual harassment
or retaliation in the workplace or edu-
cational environment whether commit-
ted by faculty, staff, or students, or by
visitors to Hopkins while they are on
campus. Each member of the commu-
nity is responsible for fostering civility,
for being familiar with this policy, and
29
for refraining from conduct that vio-
lates this policy.
2. For purposes of this policy, harassment
is defined as:
a) any type of behavior which is based
on gender, marital status, preg-
nancy, race, color, ethnicity, national
origin, age, disability, religion,
sexual orientation, gender identity
or expression, veteran status, that
b) is so severe or pervasive that it
interferes with an individual’s work
or academic performance or creates
an intimidating, hostile or offensive
working or academic environment.
3. Harassment when directed at an
individual because of his/her gender,
marital status, pregnancy, race, color,
ethnicity, national origin, age, dis-
ability, religion, sexual orientation,
gender identity or expression, personal
appearance, veteran status, or any
other legally protected characteristic
may include, but is not limited to:
unwanted physical contact; use of epi-
thets, inappropriate jokes, comments
or innuendos; obscene or harassing
telephone calls, e-mails, letters, notes
or other forms of communication; and,
any conduct that may create a hostile
working or academic environment.
4. Sexual harassment, whether between
people of different sexes or the same
sex, is defined to include, but is not
limited to, unwelcome sexual advances,
requests for sexual favors, and other
behavior of a sexual nature when:
a) submission to such conduct is made
implicitly or explicitly a term or
condition of an individual’s employ-
ment or participation in an educa-
tion program;
b) submission to or rejection of such
conduct by an individual is used as
the basis for personnel decisions or
for academic evaluation or advance-
ment; or
c) such conduct has the purpose or effect
of unreasonably interfering with an
 individual’s work or academic per-
formance or creates an intimidating,
hostile or offensive working or educa-
tional environment.
Sexual harassment may include, but
is not limited to, unwelcome sexual
advances; demands/threats for sexual
favors or actions; posting, distributing,
or displaying sexual pictures or objects;
suggestive gestures, sounds or stares;
unwelcome physical contact; sending/
forwarding inappropriate e-mails of a
sexual or offensive nature; inappropri-
ate jokes, comments or innuendos of
a sexual natures; obscene or harassing
telephone calls, e-mails, letters, notes
or other forms of communication; and
any conduct of a sexual nature that
may create a hostile working or educa-
tional environment.
5. Retaliation against an individual who
complains of discriminatory harass-
ment under this policy is strictly
prohibited. Intentionally making a
false accusation of harassment is also
prohibited.
Responsibilities Under This Policy
The university is committed to enforce-
ment of this policy. Individuals who are
found to have violated this policy will be
subject to the full range of sanctions, up to
and including termination of his/her uni-
versity affiliation.
1. All individuals are expected to conduct
themselves in a manner consistent with
this policy.
2. Staff, faculty and/or students who
believe that they have been subject to
discriminatory harassment are encour-
aged to report, as soon as possible, their
concerns to the Office of Institutional
Equity, their supervisors, divisional
human resources or the Office of the
Dean of their school. The university
provides a network of confidential
consultants by which individuals can
discuss concerns related to discrimina-
tory harassment.
30
3. Individuals who witness what they
believe may be discriminatory harass-
ment of another are encouraged to
report their concerns as soon as possible
to the Office of Institutional Equity,
their supervisors, divisional human
resources, or the Office of the Dean of
their school.
4. Complainants are assured that reports
of harassment will be treated in a con-
fidential manner, within the bounds
of the university’s legal obligation to
respond appropriately to any and all
allegations of harassment.
5. Managers, including faculty manag-
ers, who receive reports of harassment
should contact human resources or the
Office of Institutional Equity for assis-
tance in investigating and resolving
the issue.
6. Managers, including faculty managers,
are required to implement corrective
action where, after completing the
investigation, it is determined correc-
tive action is indicated.
7. The university administration is
responsible for ensuring the consistent
application of this policy.
Procedures for Discrimination Complaints
Brought Within Hopkins
Inquiries regarding procedures on dis-
crimination complaints may be directed to
the Vice Provost for Institutional Equity,
or the Director for Equity Compliance &
Education, 130 Garland Hall, Homewood
Campus, 410-516-8075, 410-516-6225
(TTY).
Nonimmigrant Alien Students
The Peabody Institute enrolls nonim-
migrant alien students and encourages
applications from qualified foreign
students.
University Policy on Alcohol and Drug Abuse
The Johns Hopkins University rec-
ognizes that alcoholism and other drug
addiction are illnesses that are not eas-
ily resolved by personal effort and may
require professional assistance and treat-
ment. Faculty, staff and students with
alcohol or other drug problems are
encouraged to take advantage of the diag-
nostic, referral, counseling and preventive
services available through the university.
Procedures have been developed to assure
confidentiality of participation, program
files and medical records generated in the
course of these services.
Substance or alcohol abuse does not
excuse faculty, staff or students from
neglect of their employment or academic
responsibilities. Individuals whose work
or academic performance is impaired as
the result of the use or abuse of alcohol or
other drugs may be required to participate
in an appropriate diagnostic evaluation
and treatment plan. Further, use of alcohol
or other drugs in situations off campus or
removed from university activities that
in any way impairs work performance is
treated as misconduct on campus. Stu-
dents are prohibited from engaging in the
unlawful possession, use or distribution of
alcohol or other drugs on university prop-
erty or as a part of university activities.
It is the policy of The Johns Hopkins
University that the unlawful manufacture,
distribution, dispensation, possession or
use of controlled substances is prohibited
on the university’s property or as a part
of university activities. Individuals who
possess, use, manufacture or illegally
distribute drugs or controlled dangerous
substances are subject to university disci-
plinary action, as well as possible referral
for criminal prosecution. Such disciplinary
action of faculty and staff may, in accor-
dance with this policy, range from a mini-
mum of a three day suspension without
pay to termination of university employ-
ment. Disciplinary action against students
may include expulsion from school.
As a condition of employment, each
faculty and staff member and student
employee must agree to abide by this
policy, and to notify the divisional human
resources director of any criminal convic-
tion related to drug activity in the work-
31
place (which includes any location where
one is in the performance of duties) within
five (5) days after such conviction. If the
individual is supported by a federal grant
or contract, the university will notify the
supporting government agency within ten
(10) days after receiving notice
Smoke-free Environment
The Johns Hopkins University is a
smoke-free environment, and, as such,
prohibits smoking in all its facilities.
Campus Violence
The Johns Hopkins University is
committed to providing a learning and
working environment that is safe to all
members of the university community.
The university will not tolerate violent
acts on its campuses, at off-campus loca-
tions administered by the university, or
in its programs. The policy of “zero toler-
ance” extends not only to actual violent
conduct but also to verbal threats and
intimidation, whether by students, faculty,
staff, or visitors to the university.
The university urges individuals who
have experienced or witnessed incidents
of violence to report them to Campus
Security. Alternatively, students are urged
to report concerns about violence to the
divisional office responsible for student
matters, faculty to the divisional office
responsible for faculty matters, and staff to
the applicable human resources offices.
The university will not permit retali-
ation against anyone who, in good faith,
brings a complaint of campus violence or
serves as a witness in the investigation of a
complaint of campus violence.
Firearms
The possession, wearing, carrying,
transporting, or use of a firearm or pellet
weapon is strictly forbidden on university
premises. This prohibition also extends
to any person who may have acquired
a government-issued permit or license.
Violation of this regulation will result in
disciplinary action and sanctions up to and
including expulsion, in the case of stu-
dents, or termination of employment, in
the case of employees. Disciplinary action
for violations of this regulation will be
the responsibility of the divisional student
affairs officer, dean or director, or the vice
president for human resources, as may be
appropriate, in accordance with applicable
procedures. Any questions regarding this
policy, including the granting of excep-
tions for law enforcement officers and for
persons acting under the supervision of
authorized university personnel, should be
addressed to the appropriate chief campus
security officer.
Availability of Annual Security Report
In accordance with the Crime Aware-
ness and Campus Security Act of 1990,
(Pub.L. 102-26), as amended, and the
regulations promulgated thereunder,
the university issues its Annual Security
Report which describes the security ser-
vices at each of the university’s divisions
and reports crime statistics for each of
the campuses. The report is published on
the university’s web page (www.jhu.edu).
Students, faculty, and staff may obtain a
copy from the web page or the university’s
Security Department, 14 Shriver Hall,
3400 North Charles Street, Baltimore,
Maryland 21218-2689. Telephone: 410-
516-4600.
Photography and Film Rights
Peabody Institute reserves the right
from time to time to take photographs
of and film faculty, staff, and students
32
engaged in teaching, rehearsals, and per-
formances and other activities at Peabody
for use in Peabody publications such as
catalogs, concert calendars, posters, fliers,
media advertising, admissions recruitment
and development brochures, as well as on
the Peabody web site or for distribution
to state or national media for promotional
purposes.
Classes and private lessons will only
be photographed with the permission of
the faculty member; performances and
rehearsals will only be photographed with
the permission of the conductor or director
in charge of the event. Such photographs
will be retained in the Peabody files and
archives and may be used by Peabody
without time limitations or restrictions.
Faculty, students, and staff are made aware
by virtue of this policy that the university
reserves the right to alter photography and
film for creative purposes.
Faculty, students and staff who do not
wish their photographs used in the man-
ner described in this policy statement
should contact the Peabody Communica-
tions Office at 410-659-8100, ext. 3045.
Faculty and students are advised that
persons in public places are deemed by law
to have no expectation of privacy and are
subject to being photographed by third
parties. Johns Hopkins University has no
control over the use of photographs or film
taken by third parties, including, without
limitation, the news media covering uni-
versity activities.
Degrees and Programs
Application deadlines for all classifications are:
December 1 Admission/Scholarship
April 15 Admission, except for D.M.A.
and Artist Diploma, for which
auditions and interviews are
held only during February
Audition Week.
In general, there is no midyear admis-
sion to a degree program except for cur-
rent Peabody students beginning a higher
degree. Students may seek midyear admis-
sion to Extension study subject to course
and teacher availability.
An audition in the student’s major
field and other required admissions exami-
The Bachelor of Music Degree
The Bachelor of Music program at
Peabody Conservatory is designed to offer
gifted students the training to prepare
themselves for careers in performance,
composition, computer music, music edu-
cation, recording arts, and related areas of
professional activity.
Admission Requirements
Prior study. An applicant for admission to
the Bachelor of Music degree program must
be a graduate of an accredited high school
or present evidence of equivalent study.
SAT Testing. Each applicant from the
United States must present SAT scores.
TOEFL Testing. Each applicant whose
native language is not English must pres-
ent a score from the Test of English as a
Foreign Language (TOEFL). Scores of at
least 550 from the basic paper test, at least
213 from the computer-based version,
or 79 from the Internet-based test are
expected of undergraduate applicants.
International students. International stu-
dents admitted to Peabody must take
responsibility to improve their English in
33
nations must be taken within a one-year
period prior to the time of entrance. Gen-
eral admission requirements as listed for
specific degrees and programs are identical
for all applicants. However, immigra-
tion regulations, varying educational
backgrounds, and financial considerations
make special procedures necessary in
order to help meet the needs of individual
students. The detailed instructions sent
to each applicant should be studied with
utmost care.
Reapplication. An individual may not apply
for admission to a particular degree or
diploma program more than twice.
preparation for their Peabody coursework.
Non-native speakers of English are urged
to take a summer language course at one
of the many U.S. institutions that offer
ESL, including Johns Hopkins University,
prior to their first semester at Peabody.
Audition requirements. Undergraduate
applicants are urged to perform their audi-
tions during a personal visit to Peabody,
ideally during the February audition week
reserved by the school exclusively for that
purpose. With the exception of piano,
those undergraduate applicants living
over 300 miles to the west of Baltimore or
over 150 miles to the north or south may
audition by submitting a CD recording.
The CD must be a high quality recording
containing only audition material. Full
information about the time, place, and
circumstances of the recording must be
included. It is also possible to play for a
traveling admissions representative who
will record the audition and present it to
the appropriate faculty during the Febru-
ary audition period. Refer to the Academic
Calendar for dates.
 Applicants for the B.M. in jazz perfor-
mance, organ, percussion, and piano can-
not audition at off-campus audition sites.
Audition guides (not requirements) in
each major field are listed on the Peabody
website at www.peabody.jhu.edu
/admissions and are also available from
the Admissions Office. Pre-screening
recordings are required in certain majors
and programs. Please refer to the Peabody
web site and admissions materials for
details.
Applicants at live auditions may be
asked to perform at sight a composition
selected by the examination committee.
The audition requirements for Music
Education applicants are the same as
those for performance majors, with the
addition of an interview with the Music
Education faculty. Composition majors, in
addition to submitting written materials,
are expected to have a reasonable level of
proficiency in a performance area and in
music theory.
Degree Requirements (B.M.)
Hours and residence. A minimum of 122
semester hours, excluding ensemble, is
required for the attainment of the Bache-
lor of Music degree. Residence is normally
four years, during which time a student
must maintain full-time status for at least
four semesters, accumulating no fewer
than 60 credit hours during those four
semesters.
In all departments, the major teacher
advises students in the selection of appro-
priate courses.
Transfer students. Transfer students must
fulfill a two-year full-time requirement
and obtain a minimum of 60 hours at
Peabody in order to receive the Bachelor
of Music degree.
Major area placement. The applied level
of transfer students is determined by the
department at the time of the audition
and validated by the year-end departmen-
tal jury.
34
Required music course credits may be estab-
lished through verifying examinations
taken at Peabody.
Elective music course credits with a grade
of C or better may be transferred pending
approval of the associate dean for academic
affairs and the registrar.
Ensemble credits do not transfer. There is a
two-year minimum requirement. See the
Student Handbook for details.
Liberal arts credits with a grade of C
or better may be transferred from an
accredited college or university without
examination, pending approval by the
registrar in consultation with the chair of
the Humanities Department.
Common Curriculum Components—
Regulations and Examinations
Applied Study
Each student taking applied music
must demonstrate satisfactory progress,
as determined by the faculty in the major
and minor applied areas.
Major field: Study in the major field
must continue through the last semester
of enrollment. Advancement is accom-
plished by departmental examination, and
the progress of each student is monitored
by the department at intervals not greater
than two semesters. Each student must
play a performance jury in his or her major
applied area at the end of each school
year. A graduation recital is required of
all degree candidates. Some departments
require a half-recital in the junior year.
109—The freshman jury is considered an
advising aid to the student and his
or her teacher in planning the fol-
lowing year’s study.
209—The purpose of the 209 jury
taken at the end of the sophomore
year (4th semester or credit hour
equivalent) is to assess the student’s
overall progress and to determine
whether or not he or she should be
advised to continue in the chosen
curriculum.
     On the basis of this jury and
the student’s overall record, the jury
committee makes recommendations
for the student’s remaining years
of undergraduate study. It is in the
student’s best interests that a careful
professional assessment and subse-
quent recommendation be made.
309—The 309 jury is taken at the end of
the junior year. A half or full recital
may be accepted in fulfillment of
the 309 requirement, if juried by
the majority of the department.
Where the 309 also includes techni-
cal examination and/or orchestral
excerpts, students shall present those
during the regular jury period.
395—The 395 is the recital for the Per-
former’s Certificate. Candidates
for the Bachelor of Music degree
with a music education major also
perform this recital in their junior
year and qualify for the Performer’s
Certificate.
495—The 495 is the senior recital. Jury
content requirements specific to
each department are published in
the Student Handbook.
Composition majors. Students majoring in
composition receive private lessons with a
member of the Composition Department.
Weekly seminars are scheduled with the
entire Composition Department in atten-
dance, providing ongoing departmental
evaluation for each student.
Musicology
The academic discipline of musicol-
ogy investigates the varied relationships
between musical traditions and the
cultures that create and sustain them. The
discipline necessarily combines histori-
cal and cultural research with analysis of
music.
All undergraduate degree programs
at Peabody, with the exception of jazz,
require a four-semester sequence of courses
(History of Music I, II, III, IV) covering
35
all periods of Western art music from
classical antiquity to the present. The
courses may be taken in any order and at
any time, though students are encouraged
to enroll in their third and fourth years of
study. One semester of Music and Culture
may be substituted for one music history
course. Jazz majors are required to take
two of the five available offerings.
Transfer credits will be considered for
approval by the chair of the Musicol-
ogy department on a case-by-case basis.
Undergraduates may in no circumstances
apply more than two courses from other
institutions towards their Peabody under-
graduate degrees, and they must receive
at least a “B” in any courses transferred.
Advanced Placement courses in musicol-
ogy or music history cannot be applied for
credit to Peabody undergraduate degrees.
Pedagogy
In addition to pedagogy courses offered
in specific majors, studio repertoire and
master classes provide for regular discus-
sions on principles of pedagogy, enabling
all performance majors to achieve compe-
tency in this area.
Thursday Noon Recital Series
Thursday Noon Recital Series provides
a weekly program throughout the aca-
demic year. Students have the opportunity
to hear a variety of solo and chamber
works, as well as occasional guest per-
formances of music outside the classical
tradition. No classes or lessons that enroll
first-year undergraduates are scheduled
during the Thursday Noon hour, and all
members of the campus community are
encouraged to attend. All first-year stu-
dents (freshmen and transfer students) will
be required to attend 10 Thursday Noon
recitals in their first and second semesters
of residency at Peabody. All second-year
students (sophomores and second-year
transfer students) will be required to com-
plete a concert attendance project during
their third and fourth semesters.
Music Theory/Ear-training/Keyboard
Studies
The music theory program is a three-
year requirement for all students. Entrance
into Music Theory I presumes a firm
knowledge of the fundamentals of music,
i.e., rhythm, meter, scales, intervals, keys,
triads, and inversions. Entering students
who are not strong in this area are encour-
aged to review their preparatory work
during the months prior to the beginning
of the freshman year. Those who are not
able to show proficiency in these areas will
be placed in a special fundamentals review
section for which no credit is given, in
addition to Music Theory I. Ear-training
and sight-singing classes are closely coor-
dinated with the music theory sections
during the first two years of study. Stu-
dents who are not able to show proficiency
in ear-training will be placed into a special
ear-training review section for which no
credit is given, in addition to Ear-training/
Sight-singing I.
Advanced placement in music theory is
possible; students with strong music the-
ory backgrounds may take the Advanced
Placement Undergraduate Exam in
Music Theory during Orientation, which
includes part-writing, analysis, and coun-
terpoint. Samples of this examination are
available from the Admissions Office or at
www.peabody.jhu.edu/theory.
Keyboard Studies classes are coordi-
nated with the first two years of music
theory and ear-training classes. Auditions
held during fall Orientation determine
placement in sections which are grouped
according to piano and music theory back-
ground. Advanced placement is possible,
based on the audition.
English as a Second Language (ESL)
Peabody offers intensive English as a
Second Language (ESL) courses for students
whose English language skills are not at
college level. All incoming international
students will be tested and interviewed to
determine their level of English proficiency
during fall semester Orientation Week at
Peabody. This testing must be completed
36
before the start of classes. Students placed
in ESL courses must successfully complete
these courses in order to fulfill the require-
ments for the Bachelor of Music degree
program. Some Peabody courses require
ESL courses as a prerequisite.
The ESL requirement may extend the
length of a student’s program. Intensive
English study over the summer months is
strongly recommended for ESL students.
Humanities
Peabody’s humanities courses serve a
vital role in the undergraduate curricu-
lum. Studies in liberal arts and language
complement the structured musical train-
ing of the Conservatory, bridging the
focused life of musical endeavor and the
broader, ever-changing world from which
that life draws shape and meaning. The
humanities curriculum contributes richly
to the undergraduate experience at Pea-
body. It is essential to Peabody’s highest
educational goals, uniquely challenging
Peabody students to aspire to their full
potential as responsible and productive
artists and members of the human com-
munity.
A flexible humanities curriculum
accommodates the individual needs of
undergraduates with varied backgrounds,
skills, interests, and goals. The program
also recognizes the unique situations of
transfers and international students.
Each fall the Humanities Seminar helps
new undergraduates transition into aca-
demic study at Peabody; in subsequent
semesters students complete their humani-
ties distribution requirements by selecting
courses from three different study areas:
Global Perspectives, Language and Litera-
ture, and Historical/Philosophical Studies.
All Peabody undergraduates are encour-
aged to fulfill humanities requirements
with courses offered on the Homewood
campus (the School of Arts and Sciences at
Johns Hopkins University).
Liberal Arts
Students in Peabody’s liberal arts
courses confront issues of relevance to
their lives as artists, teachers, and citizens
in the 21st century. Most of the liberal arts
courses are interdisciplinary, encouraging
students to formulate, explore, and express
their ideas. These classes rely heavily on
student input and class participation;
they demand creative thought within the
context of disciplined study. Writing is
emphasized in liberal arts courses.
Foreign Languages
Knowledge of foreign languages opens
personal and professional opportunities for
our students. Our program requires one
year of foreign language study for most
majors; some majors require more. Inter-
ested students can enroll in advanced lan-
guage courses for ongoing, intensive study.
The foreign languages offered on
campus are French, German, and Ital-
ian; Spanish is offered on the Homewood
campus. Students whose linguistic back-
ground and/or professional interests show
sufficient grounds for study of other lan-
guages may petition the foreign language
coordinator for permission. Petitions will
be reviewed by the Humanities Depart-
ment as a whole and judged according to
their merits.
The JHU Digital Portfolio
A portfolio requirement leads students
to reflect critically on their work in the
humanities and to make deliberate links
between musical and academic study.
Through the years of their undergraduate
study, students assemble work that best
represents the effort and achievement of
their humanities coursework for inclusion
in their personal digital portfolio. The
portfolio project puts broad perspective on
undergraduate studies in humanities; as a
marketing tool, it helps students as they
enter competitive fields of professional
endeavor and as they seek further opportu-
nities for study. The Humanities Depart-
ment works in partnership with the Johns
Hopkins University School of Education
on this initiative.
37
AP and Transfer Credits for Humanities
Classes
Advanced Placement and transfer deter-
minations are made by the Humanities
Department chair in consultation with the
associate dean for academic affairs. Superior
scores of either a 4 or a 5 on the Advanced
Placement Examinations administered by
the College Board or a 6 or 7 on the Inter-
national Baccalau­reate Exam are accepted
for credit in most required study areas.
Transfer credits that fulfill humanities dis-
tribution requirements are also accepted.
Relevant documentation must be for-
warded to the Peabody Registrar’s Office;
students should then confer with the
Humanities Department chair to review
their situation.
Placement Examinations in Foreign Language
Examinations for advanced placement
in French, German, and Italian are given
during Orientation Week. Placement
exams in Spanish must be taken on the
Homewood campus.
Electives. Unless otherwise specified, the
term elective means class elective. Ques-
tions about the appropriateness of courses
for elective credit can be directed to the
Registrar’s Office.
Repeated courses. Undergraduate students
who fail any single course more than once
will be required to petition the appropri-
ate department and the Undergraduate
Committee before enrolling for a third
time. The appropriate department may
require additional prerequisites to the
course failed.
Ensemble requirement. All undergradu-
ates participate in performing ensembles,
for which specified blocks of time are set
aside each day.
Large ensembles. Bachelor of Music candi-
dates majoring in orchestral instruments
must participate in at least one of the
following large ensembles during each
semester of enrollment for major study:
the Peabody Symphony Orchestra,
Peabody Concert Orchestra, or Peabody
Wind Ensemble. Audition excerpts for the
fall hearings are available by late spring or
early summer of each year, and students
are urged to prepare themselves thor-
oughly during the intervening summer
months. Large ensemble auditions are held
during Orientation Week, and they are
heard by the conductors and departmental
coordinators. Other faculty members are
invited to attend. Composition majors
have a four-semester requirement in one
of the above-mentioned ensembles or the
Peabody/Hopkins Chorus or Peabody Con-
cert Singers, depending on the student’s
primary applied performance area. All
voice and organ B.M. candidates have a
six-semester choral requirement. For voice
majors, performance of a major opera role
may qualify for large ensemble credit. All
other nonorchestral B.M. candidates have
a four-semester choral requirement.
Small ensembles. String and percussion
majors are required to enroll for four
semesters of chamber music. Woodwind
and brass majors have a one-semester small
ensemble requirement, which may be sat-
isfied over a period of time. To earn credit,
a minimum of 10 certified coaching hours
and a performance must be completed.
After completing the Sight-reading course
in their freshman year, piano majors ful-
fill accompanying and chamber music
requirements specified in the curriculum.
There is no limit to the number of
credits that can be earned for ensemble
participation. However, ensemble credits
38
beyond those required cannot be counted
as elective credits. Detailed guidelines for
large and small ensemble participation are
found in the Student Handbook.
Advanced Standing
Advanced credit is granted to stu-
dents who demonstrate accomplishment
of college-level work in certain areas.
The amount of credit granted for such
advanced standing will be that listed in
the catalog of entry, and appropriate nota-
tion will be made in the student’s perma-
nent record.
Major applied study. It is not expected
that entering freshmen will be granted
advanced placement in applied study.
Freshmen exhibiting extraordinary prog-
ress and extensive repertoire may, however,
complete their four performance examina-
tions in three years upon recommendation
of the major teacher and approval by the
associate dean for academic affairs.
Academic music study. Placement is estab-
lished by examination.
Music theory: All undergraduate appli-
cants will be tested in music theory. The
examination will include rhythm, meter,
scales, intervals, keys, and triads. Place-
ment into Music Theory I presumes a
solid grasp of the basic rudiments of music
theory. This skill level is tested during
the audition period, and students who
show deficiencies are sent study recom-
mendations. They should then retake
the rudiments examination (Speed and
Comprehension Rudiments Examination
—SACRE) during Orientation Week.
B.M. Curricula
B.M. Curriculum-Performance Majors
Guitar

Credits
Performance 64
Guitar: 8 semesters, 4 credits per semester 32
Departmental Seminar: 8 semesters, 1 credit per semester 8
Department Examination: 2 spring semesters, 2 credits each 4
Half Recital (in junior year): 2 credits 2
Senior Recital (in senior year): 2 credits 2
Guitar Ensemble: 6 semesters, 1 credit per semester 6
Chorus (Large Ensemble): required sophomore and 8
junior years, 2 credits per semester
Chamber Music: 1 credit per semester 2

Music academics 55
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Guitar Music Skills I (530.585-586), Guitar Music Skills II 4
(530.587-588); 1 credit per semester (required in freshman
and sophomore years)
Keyboard Studies (710.155-156), 2 credits per semester; 4
placement by examination
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture), 2 credits per semester
Guitar Literature (530.431-432, recommended junior year), 4
2 credits per semester
Lute Tablature and Notation (530.433-434, recommended 4
senior year), 2 credits per semester
Guitar Pedagogy (530.637-638, recommended senior year), 4
2 credits per semester
Basic Conducting, 1 credit 1

Academics 32
Humanities Seminar (260.115, required first-semester freshman year) 5
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 6
Thursday Noon Recital Series (530.501-502, required freshman year), 1
½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year) ½ credit per semester
General Electives 4
Total 157

39
Early Music Instruments: Harpsichord

Credits
Performance 61-65
Major Lesson: 8 semesters, 4 credits per semester 32
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
Voice Minor: 2 semesters, 1 credit per semester 2
Organ Minor: 2 semesters, 1 credit per semester 2
Minor Instrument: 2 semesters, 1 credit per semester 2
Baroque Ensemble, 7 semesters, 1 credit per semester 7
Baltimore Baroque Band (2 credits per semester) 8-12

Music academics 51
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.157-158), 2 credits per semester; 4
placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Continuo I and II: Figured Bass, 2 credits per semester 4
Harpsichord Tuning (370.492) 2
Harpsichord Literature (530.421,422) 1 credit per semester 2
Baroque Ornamentation, (530.441-442), 2 semesters, 2 credits per semester 4
Basic Conducting, 1 credit 1

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 6
Thursday Noon Recital Series (530.501-502, required 1
freshman year) ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year) ½ credit per semester
General Electives 4
Total 150–154

40
Early Music Instruments: Viola da Gamba, Baroque Flute, Recorder, Baroque Oboe,
Baroque Violin/Viola, Baroque Cello, Renaissance Lute, Baroque Lute, Theorbo

Credits
Performance 63
Major Lesson: 8 semesters, 4 credits per semester 32
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
Minor Instrument: 4 semesters, 1 credit per semester 4
*Baroque Ensemble, 7 semesters, 1 credit per semester 7
Choice of Renaissance Ensemble or Baltimore Baroque 12
Band, 2 credits per semester for 6 semesters

Music academics 47–55

Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.157-158), 2 credits per semester; 4
placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
**Lute Literature and Notation (530.433-434), 2 credits per semester 4
***Continuo I and II (530.315, 445), 2 credits per semester 4
Major instrument literature 4
Baroque Ornamentation (530.441-442), 2 credits per semester 4
Basic Conducting, 1 credit 1

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 6
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
General Electives 4
Total 148–156

   *Four credits of Viola da Gamba consort are required for viola da gamba majors
  **Required for lute majors
***Required for Renaissance lute, Baroque lute, theorbo, Baroque cello, and viola da
gamba majors

41
Strings, Brass, Woodwinds, Harp, Percussion

Credits
Performance 58–60
Major Instrument: 8 semesters, 4 credits per semester 32
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
*Large Ensemble: required each semester of enrollment for major 16
lessons, 2 credits per semester
Chamber Music: 4 semesters, 1 credit per semester, except for 2-4
woodwind and brass majors, who have a 2-semester requirement

Music academics 43–45

Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156 and 710.255-256), 2 credits 8
per semester; placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Basic Conducting (330.311), 1 credit 1
**Piccolo Class (530.463-464) 1 credit per semester 2

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 12
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Music Electives 6
General Electives 4
Total 145-147

  *Additional ensemble credit may not be used to fulfill elective requirements

**Required for flute majors and to be taken in two consecutive semesters;
recommended for the junior year.

42
Organ

Credits
Performance 64
Major Instrument: 8 semesters, 4 credits per semester 32
Departmental Seminar: 8 semesters, 1 credit per semester 8
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
Piano Minor: 1 credit per semester for 2 semesters 2
Voice Minor: 1 credit per semester for 2 semesters 2
Chorus (Large Ensemble): required freshman through junior years, 12
2 credits per semester

Music academics 57
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III, (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies, 2 credits per semester 4
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture) 2 credits per semester
Sight-reading (530.111-112), 2 credits per semester 4
Organ Literature (530.423-424), 3 credits per semester 6
Resources for the Contemporary Church Organist (530.425-426), 6
3 credits per semester
Continuo I: Figured Bass (530.315) 2
Basic Conducting (330.311) 1

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 6
Thursday Noon Recital Series (530.501-502, required freshman 1
year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
General Electives 4
Total 159

43
Piano

Credits
Performance 52
Major Instrument: 8 semesters, 4 credits per semester 32
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
Chorus (Large Ensemble): required sophomore and junior years, 8
2 credits per semester
Chamber Music:1 credit per semester for 4 semesters 4

Music academics 61
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Skills for Piano Majors (530.211-212 and 530.213-214), 8
2 credits per semester
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture), 2 credits per semester
Sight-reading (530.111-112), recommended in the freshman year, 4
2 credits per semester
Accompanying (530.213-214), recommended in the sophomore year, 2
1 credit per semester
Keyboard Literature I, II, III, IV (530.411, 412, 413,414), 8
2 credits per semester
Piano Pedagogy (530.667-668), recommended in the senior year, 4
2 credits per semester
Basic Conducting (330.311) 1

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 10
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Music Electives 4
General Electives 4
Total 155

44
Voice

Credits
Performance 60
Major Instrument: 8 semesters, 4 credits per semester 32
Departmental Seminar: recommended for senior year 1
Vocal Coaching: junior and senior years, 1 credit per semester 4
Department Examination: 3 spring semesters, 2 credits each 6
Recital (in senior year): 2 credits 2
Chorus (Large Ensemble): required freshman through junior years, 12
2 credits per semester
*Opera performance electives, junior and senior year, 3
1 credit per semester

Music academics 67
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312),
3 credits per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156, 710.255-256), 2 credits per 8
semester; placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture) 2 credits per semester
Singing in English (530.475), English and American Song (530.476), 4
recommended in freshman year, 2 credits per semester
Singing in Italian (530.469), Italian Song (530.470), 4
recommended in sophomore year, 2 credits per semester
Singing in German (530.477), 3 credits; German Lieder (530.481), 5
recommended in junior year, 2 credits
French Mélodie (530.480), recommended in junior year 2
Singing in French (530.483), recommended in senior year 3
Opera Literature (560.473, 474), 2 credits per semester 4
Stage Movement (530.391) 1
Acting for Opera (530.491) 1
Basic Conducting (330.311) 1

Academics 32
Humanities Seminar (260.115), required first-semester 5
freshman year
Italian I (250.111-112), recommended in freshman year, 6
3 credits per semester
German I (240.111-112), recommended in sophomore year, 6
3 credits per semester
French I (230.111-112), recommended in junior year, 6
3 credits per semester
Liberal Arts: Language and Literature (3 credits); Global Perspectives 9
(3 credits); Historical/Philosophical Studies (3 credits)

45
 Voice (continued)

Credits
Other 14
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
General Electives 6
Second year German or Italian or Vocal Lit elective 6
Total 173

*The three credits of opera performance electives must be fulfilled by participation in

two separate productions of Opera Workshop, Opera Etudes, Chamber Opera, or Opera
Theatre, as assigned by the Opera Department. One of the three may also be fulfilled
by participation in any performance class offered by the Opera Department, such as the
second semester of Acting for Opera or Opera Styles and Traditions.

Early Music Concentration for B.M. Voice

An early music concentration is offered in the voice curriculum. Application for
admission is made to the Department of Early Music in the sophomore year. Those
admitted have the following modified curriculum.
Removed from the curriculum:
German Lieder (530.481), 1 semester, 2 credits
French Mélodie (530.480), 1 semester, 2 credits
Added to the curriculum:
Early Vocal Literature (530.543,544), 2 semesters, 2 credits each
Baroque Ornamentation (530.441-442), 2 semesters, 2 credits each
Historical Diction for Singers (530.559), 1 semester, 1 credit
Other modifications to the curriculum:
• Renaissance Ensemble (950.529-530) and Baroque Ensemble (950.527-528) are the
required ensembles instead of Chorus in the junior year. A total of six semesters of
Renaissance Ensemble and Baroque Ensemble are required.
• Vocal coaching is given by early music faculty.
• The number of opera performance electives is reduced from three to two. One of the
electives may be fulfilled by participation in any performance class offered by the
Opera Department, such as Acting for Opera or Opera Styles and Traditions.
• The requirements for the senior recital shall remain the same as for the B.M. in voice,
but the repertoire must be predominantly pre-19th-century, subject to approval by
the Early Music Department chair and the major teacher.

46
B.M. Curriculum—Jazz Performance
The Bachelor of Music program in jazz performance is designed to provide students
with the necessary performance skills to pursue a career in jazz. This goal will be pur-
sued through private study, improvisation workshops, ensemble rehearsals and per-
formances, master classes with prominent guest artists, plus class work in jazz theory,
arranging and composition. Virtually all classes in the program include performance
activity, generally in small combos. Jazz Orchestra, required each semester of enrollment
in the program, will provide performance experience with literature encompassing all of
the jazz idioms.
Students applying for admission into the jazz performance program must pass
entrance auditions on their major instrument of study (trumpet, percussion, double bass,
sax, flute, piano, guitar, voice). A certain number of scholarships are available on a com-
petitive basis.
A general placement test in music theory, dictation, and ear-training will be admin-
istered in accordance with standard Peabody practice. Auditions are held on campus in
Baltimore in February and May according to the Conservatory audition schedule. Due
to the interactive nature of these auditions, it is not possible to audition at off-campus
audition sites.

Jazz Performance

Credits
Performance 60
Major Lesson: 8 semesters, 4 credits per semester 32
Department Examination: 3 spring semesters, 2 credits per semester 6
Recital (in senior year): 2 credits 2
*Jazz Orchestra (Large Ensemble): 2 credits per semester 16
Small Ensemble: 1 credit per semester for 4 semesters 4

Music academics 51
Jazz Fundamentals (710.127-128), 2 credits per semester 4
Music Theory I (710.111-112), 3 credits per semester; placement 6
by examination
Ear-training I (710.123-124), 2 credits per semester; 4
placement by examination
Jazz Ear-training (710.263-264), 2 credits per semester 4
Jazz Theory/Keyboard Lab I and II (710.259-260, 710.359-360); 8
2 credits per semester
Jazz Arranging and Composition (710.361-362), 2 credits per semester 4
Jazz Improvisation I and II (530.561-562, 530.563-564), 8
2 credits per semester
History of Music (2 of the following 5 courses: Music History 4
I, II, III, IV, Music and Culture), 2 credits per semester
Constructive Listening and Analysis/Jazz History (530.569-570), 4
2 credits per semester
Orchestration (710.413-414), 2 credits per semester 4
Basic Conducting (330.311) 1

47
 Jazz Performance (continued)
Credits

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies (6 credits);
Electives (6 credits)
Other 6
Thursday Noon Recital Series (530.501-502, required freshman 1
year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
Sophomore year), ½ credit per semester
General Electives* 4
Total 149

* Recommended electives include Basic Recording Techniques for Musicians (2-2),

Introduction to Computer Music (3-3), and The Music Business: Cash, Contracts, and
Copyrights (2,0).
Ensemble Requirements: Jazz majors are required to participate in the Jazz Orchestra each
semester of enrollment. Students are also encouraged to perform in the department’s
small ensembles.
Additional Requirements
Woodwinds: Jazz woodwind majors have an additional applied study requirement
as follows:
Saxophone—one semester each of applied study on flute and clarinet.
Flute—one semester each of applied study on saxophone and clarinet.
Clarinet—one semester each of applied study on flute and saxophone.
Percussionists: Jazz percussionists must acquire adequate skills on mallet instruments and/
or piano in order to demonstrate knowledge of melodic and harmonic materials in jury
performance. Recitals must include improvisation on vibes.
Bassists: Bassists must complete one year of minor studies on electric bass.
Time permitting, all jazz majors are urged to complete at least one semester of minor-
level improvisational studies with a teacher of an instrument other than the student’s
principal instrument.
All jazz majors must submit one large ensemble (17 pieces minimum) composition to be
played in rehearsal or performance before graduation.

B.M. Curriculum—Composition Majors

The undergraduate composition program stresses musical, technical, and conceptual
development as fundamental to the creative process. Diversity of compositional styles
and aesthetic viewpoints is welcomed and encouraged. During the first two years compo-
sitions for solo instruments, voice, and smaller chamber groups are emphasized. Works
of greater scope, including chorus, large chamber ensembles, and small orchestra, are
suggested for the remaining study period.
Composition students have numerous opportunities to hear their works performed in
recitals scheduled by the Composition Department or by individual teachers and stu-

48
dents in readings by the Peabody Orchestra, the Opera Workshop, and other Peabody
ensembles, by paid performers during Composition Seminar, and informally through
personal contact with the many excellent performers at Peabody. Many of these perfor-
mances are recorded for later listening and study. In the senior year, every composition
major is required to present a complete recital of compositions he or she has composed at
Peabody.
Composition majors are required to take four semesters of minor study of voice or an
instrument, which may include performance in computer music, with at least two con-
secutive semesters on the same instrument.

Composition

Credits
Performance 54
Major Lesson: 8 semesters, 4 credits per semester 32
Departmental Seminar: 8 semesters, 1 credit per semester 8
Recital (in senior year): 2 credits 2
Applied Minor: 1 credit per semester for 4 semesters 4
*Chorus (Large Ensemble): required sophomore and junior years, 8
2 credits per semester

Music academics 61
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits per semester;
placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156, 710.255-256), 2 credits per semester; 8
placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Introduction to Computer Music (350.463-464), 3 credits 6
per semester
Orchestration (710.413-414), 3 credits per semester 6
Basic Conducting (330.311) 1
Theory electives 6

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 2
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Total 149

*Qualified instrumentalists may audition for placement in other large ensembles.

49
B.M. Curriculum—Computer Music
The undergraduate computer music program offers majors in either composition or
performance. The program is designed for students wishing to combine music and tech-
nology to enhance their career opportunities both within the music profession and in
related fields outside the profession.

Computer Music – Composition

Credits
Performance 54
Major Lesson: 8 semesters, 4 credits per semester 32
Composition Seminar: 8 semesters, 1 credit per semester 8
Computer Music Seminar: 8 semesters, 1 credit per semester 8
Recital: (in senior year) 2
Large Ensemble: (2 credits per semester) 4

Music academics 67
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits per semester;
placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156, 710.255-256), placement by 8
examination; 2 credits per semester
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Introduction to Computer Music (350.463-464), 3 credits 6
per semester
Studio Techniques (350.835) 3
Introduction to Programming (350.466) 3
Orchestration (710.413-414), 3 credits per semester 6
Basic Conducting (330.311) 1
Theory Electives 6

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies
(6 credits); Electives (6 credits)

Other 10
Thursday Noon Recital Series (530.501-502, required freshman 1
year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Music Electives 8
Total 163

50
Computer Music – Performance

Credits
Performance 76
Major Lesson: 8 semesters, 4 credits per semester 32
Departmental Examination: 3 spring semesters, 2 credits each 6
Computer Music Seminar: 8 semesters, 1 credit per semester 8
Computer Music Minor: 4 semesters, 2 credits per semester 8
(junior and senior years)
Recital (in senior year): 2 credits 2
Large Ensemble: 8 semesters, 2 credits per semester 16
Small Ensemble: 4 semesters, 1 credit per semester 4

Music academics 55
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits per semester;
placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156, 710.255-256), 2 credits per semester; 8
placement by examination
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Introduction to Computer Music (350.463-464), 3 credits 6
per semester
Studio Techniques (350.835) 3
Introduction to Programming (350.836) 3
Basic Conducting (330.311) 1

Academics 32
Humanities Seminar (260.115, required first-semester 5
freshman year)
Liberal Arts: Language and Literature (9 credits); Global 27
Perspectives (6 credits); Historical/Philosophical Studies (6 credits);
Electives (6 credits)

Other 10
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Music Electives 8
Total 173

51
B.M. Curriculum—Music Education Majors
The Peabody music education major is designed for the gifted performer who also
has a special interest in sharing his or her musical expertise through teaching music in
elementary or secondary schools. The aim of the professional preparation program is to
impart to prospective teachers the knowledge, skills, and attitudes that are necessary to
the effective teaching of music.
Graduates of the program will be certified to teach music K-12 in Maryland and in all
other states with which Maryland shares reciprocity.
All students accepted into the music education program must fulfill specific liberal
arts requirements (32 credits) as mandated by state and national accrediting agencies. To
the extent these requirements are not satisfied within the liberal arts core course of study
required for all Peabody undergraduates, students elect courses in communications,
sociology, history, literature, American history, cultural anthropology, math, and science.
Students who enroll in liberal arts courses at institutions other than Peabody should
receive prior approval from the coordinator of music education. All Advanced Place-
ment credits to be used toward fulfilling the liberal arts requirement for music education
students must have a score of 4 or 5. The Music Education Department will determine
which credits may be accepted.
Orchestral instrument music education students qualify for the Performer’s Certifi-
cate in their performance major area. Coursework for the Performer’s Certificate requires
additional study beyond the four-year degree for voice majors.
Music Education: Guitar

Semester
First Year Hours
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
171.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.585-586 Guitar Music Skills I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
530.501-502 Thursday Noon Recital Series . . . . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
260.115 Humanities Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-0
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
290.111 Introductory Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510.    .112 Introduction to Music Education . . . . . . . . . . . . . . . . . . . . . . . 0,1
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
43
Second Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
171.    .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Voice Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
610.312,313 History of Music II, III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.587-588 Guitar Skills II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
530.503-504 Thursday Noon Alternate Project . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
510.213 Basic Instrumental Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.237-238 Conducting the Secondary Choral/
Instrumental Ensemble I . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
46
52
 Music Education: Guitar (continued)

Third Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,314 History of Music I, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.431,432 Guitar Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.337 Conducting the Secondary Choral Ensemble II . . . . . . . . . . . . . 2-0
510.311 Techniques for Teaching Elementary General Music . . . . . . . . . 3-0
510.    .314 Techniques for Teaching Secondary Vocal /
General Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0-3
47

Fourth Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
190.    .395 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.637-638 Guitar Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,9
950.531-532 Guitar Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
510.411 Intern Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,0
510.441 Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510.    .414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . .   0,3
37

Music Education: Orchestral Instruments

Woodwinds, Brass, Percussion, Strings, Harp

Semester
First Year Hours
Major Applied Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.501-502 Thursday Noon Recital Series . . . . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
260.115 Humanities Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-0
Liberal Arts Elective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
290.111 Introductory Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510.    .112 Introduction to Music Education . . . . . . . . . . . . . . . . . . . . . . . 0,1
*Large Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
41
* Required each semester of enrollment for major study. Additional ensemble credits may not
be used to fulfill elective requirements.

53
 Music Education: Orchestral Instruments (continued)

Second Year
Major Applied Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Applied Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,1
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.255-256 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
610.312,313 History of Music II, III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.503-504 Thursday Noon Alternate Project . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
510.211-212 Class Woodwinds/Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-2
510.223 Class Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,1
510.237-238 Conducting the Secondary Choral/
Instrumental Ensemble I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
50

Third Year
Major Applied Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.395 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,314 History of Music I, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,6
510.324 Class Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.311 Techniques for Teaching Elementary General Music . . . . . . . . . 3-0
510.    .312 Techniques for Teaching Instrumental Music . . . . . . . . . . . . . . 0,3
510.337-338 Conducting the Secondary Choral/
Instrumental Ensemble II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.463-464 **Piccolo Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
49-51
Fourth Year
Major Applied Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . 0,3
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,9
510.411 Intern Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,0
510.441 Intern Teaching Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510.    .414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
32
  * Required each semester of enrollment for major study. Additional ensemble credits may
not be used to fulfill elective requirements.
** Required for flute majors and to be taken in two consecutive semesters.

54
Music Education: Piano

Semester
First Year Hours
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165     .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.501-502 Thursday Noon Recital Series . . . . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
260.115 Humanities Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-0
Liberal Arts Elective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
530.111-112 Sight-reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
290.111 Introductory Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510    .112 Introduction to Music Education . . . . . . . . . . . . . . . . . . . . . . . . 0,1
37

Second Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165     .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.211-212 Keyboard Skills for Piano Majors I-II . . . . . . . . . . . . . . . . . . . . . 2-2
610.312,313 History of Music II, III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.503-504 Thursday Noon Alternate Project . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
530.411 Keyboard Literature I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.213-214 Accompanying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
510.213 Basic Instrumental Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.237-238 Conducting the Secondary Choral/
Instrumental Ensemble I . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
50
Third Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165     .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,314 History of Music I, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.311-312 Keyboard Skills for Piano Majors III-IV . . . . . . . . . . . . . . . . . . . 2-2
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
530.412 Keyboard Literature II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
950.531-532 Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
510.222 Class Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510.337 Conducting the Secondary Choral Ensemble II . . . . . . . . . . . . . . 2,0
510.311 Techniques for Teaching Elementary General Music . . . . . . . . . . 3,0
510.314 Techniques for Teaching Secondary Vocal/General Music . . . . . 0,3
50

55
 Music Education: Piano (continued)

Fourth Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.395 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710     .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
530.413,414 Keyboard Literature III, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.667-668 Piano Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,9
510.411 Intern Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,0
510.441 Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510     .414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . . .   0,3
40

Music Education: Voice

Semester
First Year Hours
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
185.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.501-502 Thursday Noon Recital Series . . . . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
260.115 Humanities Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5,0
250.111-112 Italian I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.475 Singing in English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
530.    .476 English and American Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
530.391 Stage Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
290.111 Introductory Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510     .112 Introduction to Music Education . . . . . . . . . . . . . . . . . . . . . . .   0,1
49

Second Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
185     .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
610.312,313 History of Music II, III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
710.255-256 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.503-504 Thursday Noon Alternate Project . . . . . . . . . . . . . . . . . . . . . . 1/2 - 1/2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
240.111-112 German . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.469 Singing in Italian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
530.    .470 Italian Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
510.237-238 Conducting the Secondary Choral/
   Instrumental Ensemble I . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
50

56
 Music Education: Voice (continued)

Third Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
185     .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,314 History of Music I, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
530.483 Singing in French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-0
530.480 French Melodiè . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
530.477 Singing in German . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.491 Acting for Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
Opera Performance Elective* . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,1
510.222 Class Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.311 Techniques for Teaching Elementary General Music . . . . . . . . . . 3,0
510.314 Techniques for Teaching Secondary Vocal/General Music . . . . . 0,3
510.337 Conducting the Secondary Choral Ensemble II . . . . . . . . . . . . . . 2,0
510.213 Basic Instrumental Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . .   3,0
52

Fourth Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.395 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
186.411-412 Vocal Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
Opera Performance Electives* . . . . . . . . . . . . . . . . . . . . . . . . . . 1,1
Liberal Arts Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
510.411 Intern Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6,0
510.441 Intern Teaching Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
510     .414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . . .   0,3
27
* The three credits of opera performance electives listed in the junior and senior years must
be fulfilled by participation in two separate productions of Opera Workshop, Opera Etudes,
Chamber Opera, or Opera Theatre, as assigned by the Opera Department. One of the three
may also be fulfilled by participation in any performance class offered by the Opera Depart-
ment, such as the second semester of Acting for Opera or Opera Styles and Traditions.

57
Music Education: Certification Program
The certification program is designed for individuals who hold a Bachelor of Music
degree from an accredited institution and who wish to become certified by the state of
Maryland to teach in the public schools.
An interview with the Music Education faculty should be arranged to gain admission.
Individuals will be asked to supply an official transcript from their undergraduate degree
and may be asked to complete a basic musicianship skills test. Prior to entering the pro-
gram, accepted candidates must complete either Praxis I exams, SAT, or GRE and submit
passing scores to the Music Education division of the Professional Studies Department.
Special tuition rates apply. For more information, consult the Tuition and Fees sched-
ule in this catalog.
Enrollment for 9 credits is considered full time for this program.

Instrumental Music

Semester
First Year Hours
882.411* Human Growth and Development Seminar . . . . . . . . . . . . . . . . . 0
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510.211,212 Class Woodwinds/Brass . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,2
510.223 Class Percussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,1
510.324 Class Strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.312 Techniques for Teaching Elementary Instrumental Music . . . . . . 0,3
510.313 Techniques for Teaching Secondary Instrumental Music . . . . . . . 0,3
510.452 Music in the Secondary Curriculum . . . . . . . . . . . . . . . . . . . . .   0,3
24

Second Year
510.411 Intern Teaching, Elementary/Secondary . . . . . . . . . . . . . . . . . . . 6,0

* Competency in the fall semester

Vocal/General Music

Semester
First Year Hours
510.413 Music and Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.414 Music and the Special Student . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510.213 Basic Instrumental Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
510.311 Techniques for Teaching Elementary General Music . . . . . . . . . . 3,0
510.314 Techniques for Teaching Secondary Vocal/
General Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
510.337 Conducting the Secondary Choral Ensemble . . . . . . . . . . . . . . . 2,0
510.452 Music in the Secondary Curriculum . . . . . . . . . . . . . . . . . . . . .   0,3
20

Second Year
510.411 Intern Teaching, Elementary/Secondary . . . . . . . . . . . . . . . . . . . 6,0

58
B.M. Curriculum—Performance/Recording Arts and Sciences Majors
The Bachelor of Music in recording arts and sciences program is designed to meet the
expanding need for skilled audio technicians, producers, and engineers who possess both
technical expertise and a sophisticated knowledge of music. A five-year double-degree
program, Recording Arts combines an applied performance major with a technical
education in recording technology. Relevant studies in electrical engineering, math, sci-
ence, and computer science are taken at the Whiting School of Engineering of The Johns
Hopkins University on the Homewood campus.
The Recording Arts curriculum includes extensive practical experience, ranging from
jazz, rock, and pop music to grand opera and major choral and orchestral works. In
addition to regular laboratory sessions with live musical groups of all styles, students
participate in recording a wide variety of Peabody events, many of which are open to the
public. All recording majors, with the exception of first-semester freshmen, are expected
to work in the Recording Studios throughout the course of their enrollment as part of
the College Work Study program. In the fifth year, students complete an internship with
local radio, television, and recording companies. The place of internship requires prior
approval from the Recording Arts coordinator, with a minimum of 320 hours required.
Fourteen semester hours of credit in liberal arts are required for the bachelor’s degree
in recording arts and sciences. It is recommended that the requirement be met during
the first six semesters of the program through cross-registration for courses offered in the
School of Arts and Sciences at The Johns Hopkins University Homewood campus. At
least four courses are required: two non-math/science courses approved by the Humani-
ties chair, and two math/science courses approved by the Recording Arts coordinator.
Students who have not been awarded Advanced Placement standing in English must also
take at least four hours of intensive writing courses. Students with Advanced Placement
standing in English need complete only the four required courses in liberal arts.
The degree recital should be performed in the fourth year of the program. If all
requirements have been met, students may then receive the performance diploma in May
of the fourth year prior to completion of the recording internship. Students who also
wish to obtain a Bachelor of Science degree in electrical engineering from the Whiting
School of Engineering may apply to the Peabody/JHU Double Degree program in their
fourth year. Students must fulfill requirements for the performance degree at Peabody
before entering the Double Degree program. Simultaneous enrollment in three majors is
not permitted.
Due to credit and scheduling conflicts, it is not possible to combine the recording arts
major with the music education major or the computer music major at Peabody, or any
Double Degree program in electrical engineering or arts and sciences at the Homewood
campus of Johns Hopkins University.
Recording Arts: Composition

Semester
First Year Hours
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
310.545-546 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   4-4
42

59
 Recording Arts: Composition (continued)
Second Year
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
310.545-546 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.255-256 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 *Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
46

Third Year
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
310.545-546 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
Applied Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 *Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
41
Fourth Year
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
310.545-546 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
Applied Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.413-414 Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.    .519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . . . . 3
42
Fifth Year
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.618 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550     .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
28
*  Qualified instrumentalists may audition for placement in other large ensembles.

60
Recording Arts: Guitar

Semester
First Year Hours
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
171.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.585-586 Guitar Music Skills I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   4-4
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
48

Second Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
171    .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.587-588 Guitar Music Skills II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1-1
48

Third Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
171.    .309 Half Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.431,432 Guitar Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.541-542 Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1-1
47

61
 Recording Arts: Guitar (continued)

Fourth Year
Guitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
470.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
190.495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.433-434 Lute Tablature and Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
950.531-532 Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . .   0,3
43
Fifth Year
530.637-638 Guitar Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3-0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.    .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
32

Recording Arts: Jazz Performance

Semester
First Year Hours
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.127-128 Jazz Fundamentals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.569-570 Constructive Listening/Jazz History . . . . . . . . . . . . . . . . . . . . . . 2-2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,1
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
910.537-538 Jazz Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
45
Second Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.561-562 Jazz Improvisation I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.259-260 Jazz Theory I/Keyboard Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.263-264 Jazz Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.525-526 Small Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
910.537-538 Jazz Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
46

62
 Recording Arts: Jazz Performance (continued)
Third Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
710.359-360 Jazz Theory II/Keyboard Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.361-362 Jazz Arranging and Composition I . . . . . . . . . . . . . . . . . . . . . . . 2-2
610.311,312 History of Music I, II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
360.311 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.537-538 Jazz Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
41

Fourth Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . . 3
530.563-564 Jazz Improvisation II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.519 Acoustical Measurement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
950.525-526 Small Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
910.537-538 Jazz Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
41

Fifth Year
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.618 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,4
34

Recording Arts: Orchestral Instruments

Woodwinds, Brass, Percussion, Strings, Harp

Semester
First Year Hours
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
46

63
 Recording Arts: Orchestral Instruments (continued)
Second Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.255-256 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
46
Third Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
        .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.531-532 **Small Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1-1
530.463-464 ***Piccolo Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
40-42
Fourth Year
Major Instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190     .495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
*Large Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.531-532 **Small Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1

550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   3,0

550     .519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . . . 0,3
41

Fifth Year
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.    .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
28
   * Required each semester of enrollment for major study. Additional ensemble requirements
may not be used to fulfill elective requirements.
  ** For woodwind and brass majors the small ensemble requirement is one semester.
*** Required for flute majors and to be taken in two consecutive semesters.

64
Recording Arts: Organ

Semester
First Year Hours
Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
460.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
163.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.157-158 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
48
Second Year
Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
460.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
163.    .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.111-112 Sight-reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Voice Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1-1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
50
Third Year
Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
460.545-546 Departmental Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
163.    .309 Departmental Exam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.423-424 Organ Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.315 Continuo I: Figured Bass . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2,0
43

Fourth Year
Organ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.    .495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.425-426 Resources for Contemporary Church Musicians . . . . . . . . . . . . . 3-3
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,3
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . . . 0,3
40

65
 Recording Arts: Organ (continued)

Fifth Year
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.    .516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.    .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
35
Recording Arts: Piano

Semester
First Year Hours
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
530.111 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1
530.111-112 Sight-reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
43
Second Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165.    .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
520.211-212 Keyboard Skills for Piano Majors I-II . . . . . . . . . . . . . . . . . . . . . 2-2
530.411 Keyboard Literature I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.213-214 Accompanying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
50
Third Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
165.    .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.311-312 Keyboard Skills for Piano Majors III-IV . . . . . . . . . . . . . . . . . . . 2-2
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.    .412 Keyboard Literature II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
950.531-532 Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   1-1
46

66
 Recording Arts: Piano (continued)

Fourth Year
Piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
190.    .495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.413,414 Keyboard Literature III, IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . .   0,3
39
Fifth Year
Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.    .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
28
Recording Arts: Voice

Semester
First Year Hours
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
185.    .109 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.111-112 Theoretical Studies I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.123-124 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.155-156 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Liberal Arts at JHU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.111-112 Basic Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
Calculus I, II (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
250.111-112 Italian I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.475 Singing in English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-0
530.    .476 English and American Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0-2
530.391 Stage Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
57
Second Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
185.    .209 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.211-212 Theoretical Studies II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.223-224 Ear-training . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
710.255-256 Keyboard Studies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
240.111-112 German . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.469 Singing in Italian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
530.    .470 Italian Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
330.311 Basic Conducting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Liberal Arts (Math/Science) at JHU . . . . . . . . . . . . . . . . . . . . . . 3-3
Physics/Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
550.211-212 Basic Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
57
67
 Recording Arts: Voice (continued)

Third Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
186.311-312 Vocal Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
185.    .309 Departmental Examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.311-312 Theoretical Studies III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
530.473-474 Opera Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
530.477 Singing in German . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
230.111-112 French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
525.101-102 Electrical Engineering Circuits and Signals (JHU) . . . . . . . . . . . 4-4
550.311-312 Basic Recording III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2-2
910.511-512 Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   2-2
47
Fourth Year
Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-4
186.411-412 Vocal Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1-1
480.545 Vocal Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,0
190.495 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.311,312 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
530.480 French Mélodie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
530.481 German Lieder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,2
530.483 Singing in French . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
525.139-140 Integrated Electronics (JHU) . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
550.411-412 Advanced Recording I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,3
360.411 Copyrights and Contracts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,0
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . . .   3
44

Fifth Year
610.313,314 History of Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2,2
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3,0
550.    .516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
520.345 Electrical and Computer Engineering Lab (JHU) . . . . . . . . . . . . 3,0
520.448 Advanced Electronics Lab (JHU) . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3-3
710.    .412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . 0,3
550.    .419 Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .   0,4
29
Note: A
 n opera performance course will be selected in conjunction with the opera faculty to
fulfill requirements for the B.M. in voice. A sixth year of enrollment may be required
to complete requirements for the B.M. in recording arts and voice due to scheduling
conflicts.

68
Bachelor of Music with JHU Liberal Arts
Concentration
Peabody students wishing to earn a
Bachelor of Music with a liberal arts con-
centration must complete six courses at
the Krieger School of Arts and Sciences on
the Homewood campus with at least three
at the 200 level or higher. At least one of
the courses must be an expository writing
course or a writing-intensive course.
Language courses at the 100 level in
the Krieger School of Arts and Sciences
cannot be used to fulfill the requirements
for the liberal arts concentration. Music
courses offered at the Krieger School of
Arts and Sciences cannot be used to fulfill
the requirements for the liberal arts con-
centration.
All students planning a B.M. with a
liberal arts concentration must have their
proposed program of study approved by
the chair of the Humanities Department
of the Peabody Conservatory of Music.
The following statement will appear
on the transcript of any Peabody student
who successfully completes a liberal arts
concentration: Liberal Arts concentration
completed on the Homewood campus of
The Johns Hopkins University.
69
Bachelor of Music with JHU Engineering
Concentration
Peabody students wishing to earn a
Bachelor of Music with an engineering
concentration must complete six courses
in the Whiting School of Engineering on
the Homewood campus with at least three
at the 200 level or higher.
All students planning a B.M. with an
engineering concentration must have their
proposed program of study approved by
the chair of the Humanities Department
of the Peabody Conservatory of Music.
Courses taken in the Whiting School
of Engineering to satisfy a major require-
ment in a Peabody program of study may
not be used toward an engineering con-
centration.
The following statement will appear
on the transcript of any Peabody student
who successfully completes an engineering
concentration: Engineering concentration
completed on the Homewood campus of
The Johns Hopkins University.
Five-Year B.M./M.M. Program
Qualified Peabody undergraduates have
the option of applying to complete a mas-
ter’s degree in one additional year of study
after they complete their bachelor’s degree.
The selection process takes place in the
junior year and includes academic and per-
formance elements. Students selected for
the program maintain their initial finan-
cial assistance levels throughout the five
years of study.
Admittance to the B.M./M.M. program
is limited to outstanding performers with
excellent academic records. Minimum
standards for applying are an average of A-
and above in all major lessons and juries,
and grades of B+ or higher in each of the
following areas: two or more semesters
of the core music history courses; four or
more semesters of the core music theory
courses; two or more semesters of ear­
training/sight-singing courses; and two or
more semesters of keyboard skills courses.
In addition, successful applicants will
have a minimum cumulative grade point
average of 3.50 and will have attained the
Dean’s List (a cumulative GPA of 3.67 or
higher) for a minimum of four semesters.
70
Undergraduate students may apply for
admittance to the B.M./M.M. program in
the academic year in which they are sched-
uled to perform their 309 jury or junior
recital (or, for composition majors, in their
junior year) by submitting an application
by April 1 of that year.
Admittance into the B.M./M.M. pro-
gram guarantees the extension of the stu-
dent’s initial merit scholarship award for a
fifth year of study.
Admittance into the B.M./M.M. pro-
gram includes the proviso that a student’s
fourth and fifth years of performance or
composition study be with a single studio
teacher unless there are circumstances that
require special arrangements to be made
by the associate dean for academic affairs.
Students who wish to complete a B.M.
in performance or composition and then
earn an M.M. in musicology, music theory
pedagogy, or performance/pedagogy are
also eligible to apply for this program.
The Master of Music Degree
The program leading to the degree of
Master of Music provides for intensive
development of performance skills, exten-
sive knowledge of the literature in the
major field of study, and achievement of a
broadened knowledge of the art.
Admission Requirements
Prior study. A Bachelor of Music degree
or the equivalent from an accredited insti-
tution is a prerequisite for consideration
for admission to the Master of Music
degree program. Evidence of a degree
recital in the senior year must be submit-
ted in the form of a degree recital program
or credit listed on the student’s transcript.
Students holding a Bachelor of Arts degree
must satisfy the requirements of the Pea-
body Bachelor of Music degree, demon-
strated by examination or by completion
of additional undergraduate courses. As a
rule, an applicant must have achieved an
undergraduate GPA of at least 3.0, exclu-
sive of performance credits. Applicants
must demonstrate good musicianship,
solid academic skills, and substantive
musical knowledge through performance
and written examinations.
TOEFL testing. Each applicant whose
native language is not English must pres-
ent a score from the Test of English as a
Foreign Language (TOEFL). TOEFL scores
of at least 550 from the basic paper test,
at least 213 from the computer-based ver-
sion, or 79 from the Internet-based test
are expected of applicants.
International students. International
students admitted to Peabody must take
responsibility to improve their English in
preparation for their Peabody coursework.
Non-native speakers of English are urged
to take a summer language course at one
of the many U.S. institutions that offer
ESL, including Johns Hopkins University,
prior to their first semester at Peabody.
71
Entrance/placement examinations. All
entering students take placement examina-
tions at the time of their auditions:
a. written music theory, including
part-writing from figured bass and
harmonic analysis (Roman numerals
and figured bass). Candidates for the
music theory pedagogy degree and
for graduate assistantships in music
theory take an advanced examination
which includes the above and work
in written counterpoint and 20th-
century techniques.
b. ear-training, including melodic and
harmonic dictation.
The following examinations are taken
during the Orientation period at the
beginning of the fall semester:
1. Sight-singing: a test in various clefs
will be required only of those students
who passed all written requirements at
the time of their audition. Clefs tested
may include treble, alto, tenor, and
bass.
2. Music theory (late exams and retests for
improved placement)
3. Music history placement exam (classi-
cal antiquity to the present)
4. French, German, and Italian for voice
performance majors: a written first-
year-level comprehension test in each
language. Dictionaries are permitted.
5. Keyboard skills for piano majors (sight-
reading, keyboard harmony, and score-
reading)
6. All incoming international students will
be tested and interviewed to determine
their level of English proficiency. This
testing must be completed before the
start of classes. Peabody offers intensive
English as a Second Language (ESL)
courses for students whose English lan-
guage skills are not at graduate level.
Students placed in ESL courses must
successfully complete these courses in
order to fulfill the requirements for the
 M.M. degree program. Some Peabody
courses require ESL courses as a prereq-
uisite. The ESL requirement may extend
the length of a student’s program.
Intensive English study over the sum-
mer months is strongly recommended
for ESL students.
All students entering the M.M. program
must take the complete music theory and
ear-training placement examinations prior
to enrollment in theory courses.
Major field requirements. All entering
students must pass a personal audition,
interview, or examination in the major
field. CDs are acceptable only for inter-
national applicants who cannot audition
in person at Peabody. Acceptance into
a graduate program is conditional until
the satisfactory performance of a personal
audition and successful completion of the
written entrance examinations to be taken
in September. The September validating
auditions have the same criteria as the Feb-
ruary auditions.
Performance. Applicants should prepare
sufficient material to perform a full solo
recital containing works that show a
diversity of periods and styles. All major
works must be complete (to include all
movements). Detailed audition reper-
toire requirements are available from the
Admissions office and the Peabody web
site at www.peabody.jhu.edu/admissions.
Pre-screening recordings are required for
some majors.
Performance/Pedagogy. In addition to the
normal audition material for the perfor-
mance major, the applicant for the peda-
gogy emphasis will be scheduled for an
interview with the pedagogy faculty.
Pedagogy emphasis is currently avail-
able in the areas of harp, guitar, piano,
violin, viola, double bass, and voice. The
interview will include a review of the
applicant’s demonstrated interest and
experience in teaching, and a discussion of
professional and program goals.
72
Composition. The graduate program
assumes reasonable compositional attain-
ment and experience as a prerequisite
for admission. Applicants are expected to
have the bachelor’s degree in composition,
or the equivalent. A portfolio of mature
works for various media for pre-screen-
ing by the composition faculty should be
submitted to the Admissions Office by the
application deadline.
Conducting. The audition process con-
sists of two rounds. Conducting applica-
tions and materials, including an audition
DVD, are due in the Admissions Office by
December 1. VHS cassettes in NTSC for-
mat can be accepted. The recording should
consist of three to four excerpts, each two
to three minutes in length, of contrasting
standard repertoire demonstrating a vari-
ety of styles and tempi. The camera should
be placed at the back of the orchestra with
the focus on the front of the conductor. A
full-size orchestra is not required; a quin-
tet with piano would suffice, for example.
The applicant’s name and a written log
of the excerpts with timings should be
included. The log should not be video-
taped. Appropriate dress is expected.
Round two will take place during the
February audition week and will consist of
a live audition with orchestra. Candidates
who have been selected for the live audi-
tion will be notified in January and receive
a repertoire list. Students will be expected
to have all materials fully prepared. Inter-
views and testing in addition to the live
auditions may be required for acceptance.
Computer music. Applicants should ordi-
narily have completed two semesters of an
undergraduate course in computer music
or the equivalent, and demonstrate com-
petency in a high-level programming
language (C, Java, Pascal, or comparable).
Deficiencies may be corrected by reme-
dial study at the Conservatory. Specific
entrance requirements for each of the three
tracks follow:
1.  Composition. The program assumes rea-
sonable compositional attainment and
 experience as a prerequisite for admis-
sion. Applicants are expected to have
the bachelor’s degree in composition or
the equivalent, and to submit a portfo-
lio of mature works for various media.
The portfolio should include some
works involving computer music.
2.  Performance/Concert Production. Appli-
cants should demonstrate the equiva-
lent of a personal audition and prepare
sufficient material to perform a full
solo recital. The audition should
include some works involving com-
puter music.
3. Research/Technology. Applicants are
expected to have the bachelor’s degree
in music or the equivalent, and to
demonstrate knowledge and experience
in the area of music-related research
or technology they intend to pursue.
Although applicants without a music
degree will be considered, additional
study may be required to meet the
Conservatory’s stringent music exit
requirements. This submission may
take the form of a project report or
research paper.
Music education. An applicant must have
completed a bachelor’s degree in music
education and be qualified for initial
certification as an elementary or second-
ary school teacher. An interview with the
Music Education department will include
a review of the applicant’s musical and
educational background and discussion of
professional goals, and may include a brief
audition in the applicant’s major area of
performance.
Musicology. During the admissions
process applicants must demonstrate an
aptitude for scholarly research, and it is
recommended that they have a reading
knowledge of German, French, or Italian.
Four copies of a writing sample, such as a
term paper or article on a musical subject,
must be submitted to the Admissions
Office by the application deadline. The
entrance procedure also includes a personal
73
interview with members of the musicol-
ogy faculty.
Music theory pedagogy. Applicants should
possess a bachelor’s degree in music and
a minimum of 18 credit hours in under­
graduate music theory, preferably includ-
ing at least one semester each of form and
analysis and tonal counterpoint, and a
demonstrable level of keyboard and aural
proficiency. An interview will be scheduled
during Audition Week at which applicants
will be asked to speak about their interest
in music theory pedagogy, analyze music,
and demonstrate keyboard skills.
Degree Requirements (M.M.)
Residence. For all majors except music
education, completion of a Master of
Music degree program will require full-
time attendance for a minimum of one
year beyond receipt of the Bachelor of
Music degree. Exceptions to this residency
requirement may be made upon approval
of the Graduate Committee, with consid-
eration given to previous experience, pro-
fessional record, and demonstrated ability.
The application of previously earned
coursework credits does not remove the
full-time residency requirement for the
graduate degree. Students who have com-
pleted all program requirements except
the master’s essay (required of musicology
majors), the music theory pedagogy proj-
ect (required of music theory pedagogy
majors), or portfolio/thesis (computer
music majors), must register for Degree-
in-Progress.
Transfer credits. A maximum of six
semester hours of graduate study (course-
work) completed at other accredited insti-
tutions may be applied to the Master of
Music degree at Peabody, with the review
and approval of the Musicology and Music
Theory department chairs. Credit must
have been earned within five years prior
to first graduate degree registration at
Peabody.
Previously earned Peabody credits. Stu-
dents may petition the associate dean for
academic affairs to have credits for upper
division or graduate courses which were
over and above the minimum requirements
for a previous Peabody degree applied to
the M.M. degree program. No coursework
that was required or used to fulfill mini-
mum credit requirements for an undergrad-
uate degree may be applied to a subsequent
graduate degree. Work completed in the
Graduate Extension program may transfer
to the M.M. program upon satisfaction
of all other admission requirements. This
includes credit for properly juried recitals.
All previously earned credits applied to the
M.M. degree must carry grades of B or bet-
ter, and must have been earned not more
than five years prior to initial registration
in this degree program.
Advanced placement. Advanced place-
ment may be awarded in areas of required
coursework, where warranted by place-
ment examination results.
Review courses. Deficiencies in the areas
of music theory, ear-training, music his-
tory, keyboard skills, or English must be
corrected by remedial study at the Con-
servatory. Please note: Students placed in
ESL courses cannot complete their history
requirement in their first year of study.
Review courses do not count toward
fulfillment of degree requirements, and
the grades earned are not calculated in
the student’s GPA; however, the hours
are counted as part of the course load for
tuition determination. Students must
satisfy any review requirements in music
theory, music history, or keyboard skills
before enrolling in other graduate-level
courses in these fields.
Program completion. All requirements
for the Master of Music degree must be
completed within five years of the date of
initial registration.
74
Program components
Music coursework. The core curricu-
lum consists of Music Bibliography and
courses in music theory and musicology.
All full-time Master of Music students are
required to take Music Bibliography in
their first year of study, with the exception
of students placed into English as a Second
Language Level I, who may defer Bibliog-
raphy to their second year of study. Most
Master of Music students are also required
to take two Graduate Seminars in musi-
cology; see individual program descrip-
tions for details. Before students can enroll
in Graduate Seminars, they must pass a
music history placement test offered about
one week before the fall semester begins.
The test requires students to write short
essays without reference to books or notes
about various topics in music history from
medieval times to the present. Grading
is on the basis of demonstrated writing
ability and knowledge of music history.
Students who fail this examination are
required to enroll in Music History Inten-
sive Review. Only after passing Music
History Intensive Review are they permit-
ted to enroll in Graduate Seminars. The
only musicology graduate course which
can be taken concurrently with Music
History Intensive Review is Music Bibli-
ography. Students enrolled in English as
a Second Language (ESL) courses require
consent of the instructor to enroll in
Graduate Seminars in musicology, even if
they have passed Music History Intensive
Review.
Other coursework requirements for the
M.M. degree include repertoire studies
and such electives as are considered appro-
priate by the department in which the
student is majoring. These courses shall
not be the same ones taken as part of the
undergraduate curriculum.
Foreign languages. Foreign language
proficiency is required for the Master of
Music degrees in musicology and voice
performance (see individual curriculum
descriptions). Coursework undertaken to
remove deficiencies in foreign language is
governed by the same regulations as are
other review courses.
Electives. Unless otherwise specified,
the term elective means class elective.
Ensemble credits cannot be counted as
elective credits. Only courses designated
as “G” (Graduate Elective) in the Master
Schedule of Classes may be used to fulfill
graduate elective requirements. Questions
about the appropriateness of courses for
elective credit can be directed to the regis-
trar and associate dean for academic affairs.
All M.M. students are encouraged to
seek employment relevant to their field of
study while enrolled in a degree program.
The employment must be designated and
structured to enhance the student’s educa-
tional program. The employment must be
approved by the student’s studio teacher
who must ensure its academic relevance.
The employment can be established as
an elective course taken for ½ credit each
semester or for one credit in the sum-
mer. Employment can fulfill a maximum
of three elective credits and may not be
applied to fulfill major or core require-
ments.
Please note: International students can-
not begin off-campus employment until
they receive written approval from the
international student advisor for Curricu-
lar Practical Training (CPT) or Optional
Practical Training. Students in F-1 sta-
tus must have been lawfully enrolled in
school on a full-time basis for at least one
academic year before they are eligible for
practical training. CPT must be under-
taken prior to the completion of a course
of study.
Ensembles. Master of Music candidates
majoring in orchestral instruments must
participate in the Peabody Symphony
Orchestra, Peabody Concert Orchestra,
or Peabody Wind Ensemble during each
semester of enrollment for major study.
Master of Music candidates in organ are
required to take two semesters of a choral
ensemble in the first year of residence.
Composition majors have a two-semester
large ensemble requirement which may be
75
satisfied by participation in either a choral
or instrumental large ensemble during
the first year of residence. All graduate
instrumental majors in the M.M. program
participate in one or two semesters of
chamber music as required by the individ-
ual program (this may be studio accompa-
nying for pianists). Detailed guidelines for
ensemble participation are published in
the Student Handbook.
Recitals and compositions. A full recital is
required of all performance and conduct-
ing majors. In individual instances, a
teacher or department may recommend a
chamber music recital, second solo recital,
or combination thereof. Any performance
major not presenting a degree recital in a
given year will be scheduled for a graded
hearing before the departmental faculty
at the end of the spring semester. In lieu
of a recital, candidates for the degree in
composition must submit a portfolio of
works, including an orchestral work of
approximately 10 minutes’ duration, to
the composition faculty by April 1 of the
year in which they intend to graduate.
The portfolio must contain compositions
written during the student’s time of study
at Peabody. Registration for major study
is required in the semester in which the
recital or portfolio is presented.
Program notes. All candidates for the
Master of Music in performance must
write original program notes with a
bibliography for their degree recital. Pro-
gram notes must be at least 750 words
in length, not including translations or
the bibliography. The student must sub-
mit written program notes initialed by
the studio teacher to the Office of Aca-
demic Affairs no later than February 15
of the year in which he or she expects to
graduate. All program notes must also be
submitted electronically to the Office of
Academic Affairs. Program notes must
be approved by a faculty member of the
Graduate Committee or the associate dean
for academic affairs. The approved pro-
gram notes for the Master of Music recital
are a graduation requirement.
M.M. Curricula
M.M. Curriculum—Performance Majors
Conducting
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
330.845-846* Conducting Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Music Theory analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
710.413-414 Orchestration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Early Music performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
40
   * Required every semester of enrollment
  ** Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
***Curricular Practical Training may be used to fulfill up to 3 elective credits.

76
Wind Conducting
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
330.845-846* Conducting Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Music Theory analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major
710.412 Instrumentation and Arranging . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
35
   * Required every semester of enrollment
  ** Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
*** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Guitar
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital (ensemble or solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
470.845-846 Guitar Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.631-632 Guitar Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.433-434 Lute Literature and Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.637-638****Guitar Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.831-832 Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
950.841-842****Guitar Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
40
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  ***Curricular Practical Training may be used to fulfill up to 3 elective credits.
**** Required only if not already taken to complete the B.M. in guitar at Peabody

77
Orchestral Instruments
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital (ensemble or second solo) . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
530.463-464 Piccolo Class**** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5-6
Large Ensemble***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Chamber Ensemble (unconducted groups of 3 to 8 members)
String instruments (except double bass) two semesters . . . . . . . . 2
Percussion, woodwinds, brass, and double bass, one semester . . . . 1
35-36
     * If recommended by the department
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** Curricular Practical Training may be used to fulfill up to 3 elective credits.
  **** Required for flute majors if not already taken to complete the B.M. in flute at Peabody
***** Required each semester of enrollment for major study. Additional ensemble credit
may not be used to fulfill elective requirements.
Organ
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
At discretion of the department, may include any upper division undergraduate level
or above courses specific to the major but not already taken during completion of
an undergraduate organ major program.
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .    6
910.811-812*** Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Small Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
36
   * Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
  ** Curricular Practical Training may be used to fulfill up to 3 elective credits.
*** Required in the first year of residence

78
Piano
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Courses Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Analysis of 18th- or 19th-Century Piano Music . . . . . . . . . . . . . . 3
Analysis of 20th-Century Piano Music or a 20th-Century
  analysis course . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .    2
34
  * Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
**Curricular Practical Training may be used to fulfill up to 3 elective credits

Piano: Ensemble Arts

Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695,696 Recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Courses Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
530.621,622 Instrumental Chamber Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.619,620 Accompanying and Coaching Skills for Pianists . . . . . . . . . . . . . . 4
530.813-814 Advanced Accompanying . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.817-818 Advanced Accompanying II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
38
* Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.

79
Piano: Ensemble Arts With a Concentration in Vocal Accompanying
The Master of Music degree program in Ensemble Arts: Vocal Accompanying is
designed for pianists wishing to expand their musical experience to include collaborative
playing in the study of art song, vocal chamber music, opera, and oratorio. The curricu-
lum provides advanced technical study while emphasizing the linguistic skills necessary
for comprehensively coaching opera and song literature. Versatility is stressed, with a
practical eye toward employment opportunities for skilled keyboard players in a variety
of areas including the professional recital accompanist, opera coach, church musician,
choral/symphonic pianist, and musical theater keyboardist.
The degree program normally requires a minimum of two years to complete. In
addition to two degree recitals, the curriculum requires the development of repertoire,
attained through the performance of non-degree collaborative vocal recitals and partici-
pation as an opera, studio, and/or classroom pianist.
All candidates must meet language and diction standards in English and two of the
following three languages: Italian, German, and French. These requirements may be
satisfied by successful completion of a departmental exam in translation and pronuncia-
tion, or by completing the appropriate diction course and the equivalent of one year of
college-level study in each language. Diction courses include Singing in Italian, Singing
in German, and Singing in French.

Piano: Ensemble Arts with a Concentration in Vocal Accompanying

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695,696* Recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Courses Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
530.813-814 Advanced Accompanying (Graduate) . . . . . . . . . . . . . . . . . . . . . . 4
530.619-620 Accompanying and Coaching Skills for Pianists . . . . . . . . . . . . . . 4
530.625-626 Accompanying and Coaching Skills II . . . . . . . . . . . . . . . . . . . . . 4
530.639*** Student Coach, Opera Workshop . . . . . . . . . . . . . . . . . . . . . . . . . 1
530.640*** Student Coach, Opera Theatre production . . . . . . . . . . . . . . . . . . 2
41
   *Two full recitals of vocal repertoire are required.
  ** Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
***Permission of the instructor is required to register for this course.

80
Voice
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
186.611-612 Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Vocal Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
480.845** Vocal Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
37
   * Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their sec-
ond year in the program.
  ** Required only if not already taken to complete the undergraduate voice major program
at Peabody
*** All candidates for the M.M. in voice must meet language and diction standards in
French, German, Italian, and English. Electives may be chosen which help the student
meet these standards. Curricular Practical Training may be used to fulfill up to
3 electives.

Early Music Performance: Baroque Oboe

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
610.433-434 Early Wind Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615*** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Electives**** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (8)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recorder minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.355-356 Recorder Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

81
 Early Music Performance: Baroque Oboe (continued)

Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
36
(w/out electives)
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  *** Counts as one of the two Musicology seminars
**** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Early Music Performance: Recorder

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
530.577, 578***Early Wind Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.355-356 Recorder Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Electives***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.443-444 Baroque Flute Class . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
42
(w/out electives)
     * If recommended by the department
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** Required only if not already taken to complete the B.M. in recorder at Peabody
  **** Counts as one of the two Musicology seminars
***** Curricular Practical Training may be used to fulfill up to 3 elective credits.

82
Early Music Performance: Traverso (Baroque Flute)
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
530.577,578*** Early Wind Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Electives***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (12)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
125.111-112 Recorder Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.355-356 Recorder Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
36
(w/out electives)
     * If recommended by the department
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** Required only if not already taken to complete the B.M. in baroque flute at Peabody
  **** Counts as one of the required Musicology seminars
***** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Early Music Performance: Renaissance Lute

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
530.433-434*** Lute Literature and Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)

83
 Early Music Performance: Renaissance Lute (continued)
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
950.853,854 Renaissance Chamber Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Required Elective
Theorbo minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
46
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  ***Required only if not already taken to complete the B.M. in lute at Peabody
**** Counts as one of the two required Musicology seminars

Early Music Performance: Baroque Lute, Theorbo

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
530.433-434*** Lute Literature and Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Required Elective
Renaissance Lute minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
44
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  *** Required only if not already taken to complete the B.M. in lute at Peabody
**** Counts as one of the two required Musicology seminars

84
Early Music Performance: Baroque Violin
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
*** Literature Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Electives***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (12)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Viola da gamba minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.353, 354 Viola da Gamba Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
36
(w/out electives)
     * If recommended by the department
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** To be selected from Viola da Gamba Literature, Early Cello Literature, and Early
Violin Literature classes. Could be reduced to 1 credit if a minimum of 2 credits in
these areas has already been earned to complete the B.M. at Peabody
  **** Counts as one of the required Musicology seminars
***** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Early Music Performance: Baroque Violoncello

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
*** Literature Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

85
 Early Music Performance: Baroque Violoncello (continued)
Recommended Electives***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (8)
Viola da gamba minor lessons . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.353, 354 Viola da Gamba Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
950.831-832 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
40
(w/out electives)
     * If recommended by the department
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** To be selected from Viola da Gamba Literature, Early Cello Literature, and Early Vio-
lin Literature classes. Could be reduced to 1 credit if a minimum of 2 credits in these
areas has already been earned to complete the B.M. at Peabody
  **** Counts as one of the two required Musicology seminars
***** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Early Music Performance: Harpsichord

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
530.421-422*** Harpsichord Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530,441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
370.492 Harpsichord Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
42
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  *** Required only if not already taken to complete the B.M. in harpsichord at Peabody
**** Counts as one of the two required Musicology seminars

86
Early Music Performance: Viola da Gamba
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
*** Literature Classes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.353,354 Viol Consort . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.615**** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Elective***** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (4)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
910.827-828 Baltimore Baroque Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
40
(w/out electives)
     * If recommended by the department.
    ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
   *** To be selected from Viola da Gamba Literature, Early Cello Literature, and Early
Violin Literature classes. Could be reduced to 1 credit if a minimum of 2 credits in
these areas has already been earned to complete the B.M. at Peabody
  **** Counts as one of the two required Musicology seminars
***** Curricular Practical Training may be used to fulfill up to 3 elective credits.

Early Music Performance: Voice

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
186.611-612 Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
480.845 Vocal Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696* Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (2)
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0

87
 Early Music Performance: Voice (continued)
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
530.543,544 Early Vocal Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.615*** Performance Practice Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . (3)
530.441-442 Baroque Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Recommended Electives**** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . (6)
530.315,445 Continuo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Harpsichord (or another early instrument) minor lessons . . . . . . . 2
Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
950.829-830 Renaissance Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
950.827-828 Baroque Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
41
(w/out electives)
    * If recommended by the department
   ** Bibliography must be completed in the first year of study, with the exception of stu-
dents placed in English as a Second Language Level I, who may defer Bibliography to
their second year in the program.
  *** Counts as one of the two Musicology seminars
**** Curricular Practical Training may be used to fulfill up to 3 elective credits.
All candidates for the M.M. in voice must meet language and diction standards in
French, German, Italian, and English. Electives may be chosen which help the student
meet these standards.
M.M. Curriculum—Performance/Pedagogy
This area of graduate focus is designed for students accepted to a performance major
who wish to broaden their study to include particular attention to the concurrent devel-
opment of pedagogical skills. Performance/Pedagogy is not a separate degree program,
but a pedagogy emphasis within the student’s M.M. performance program. Courses
specific to the area of pedagogical concentration fulfill the elective requirements in the
M.M. degree program. Pedagogy emphasis is currently available in the areas of harp,
guitar, piano, violin, viola, double bass, and voice. In addition to the usual perfor-
mance major requirements (see M.M. curricula on previous pages), the curriculum is
designed to provide maximum opportunity for the student to develop his/her teaching
skills—through classwork, observation, and practice—using the combined resources
of the Institute’s Conservatory and Preparatory faculties and programs. The admission
process includes an audition before the major performance faculty plus an interview with
members of the pedagogy faculty. Individuals approved to embark upon this study are
assigned a three-person advisory group. The required two-credit elective is waived for
guitar majors who are instead required to enroll in Guitar Seminar and Guitar Literature
and for voice majors due to language requirements. Performance/Pedagogy candidates
majoring in orchestral instruments must participate in the Peabody Symphony Orches-
tra or Peabody Concert Orchestra during each semester of residency.

Courses Specific to Area of Pedagogical Concentration

(fulfills electives in performance curriculum)
*Pedagogy/Practicum (one of the following) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.637-638 Guitar Pedagogy
530.629-630 Harp Pedagogy
530.667-668 Piano Pedagogy
530.651-652 Violin/Viola Pedagogy
530.683-684 Vocal Pedagogy and Lab

88
520.615 Pedagogy Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
520.617 Internship Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
520.618 Portfolio Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
**Electives (choose one)
510.611 Psychology of Music Teaching . . . . . . . . . . . . . . . . . . . . . . . . . . 2
710.649 Music Theory Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Homewood Human Growth and Development . . . . . . . . . . . . . . . . . . . . . . . 3
Homewood Child Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Homewood Adolescent Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
OR Independent Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
10-11
  * If courses specific to pedagogy were completed for the B.M. program at Peabody, four
credits of electives must be taken instead. Not required of voice or guitar majors.
** Courses listed are suggested electives. Other courses may be taken which satisfy
a student’s personal goals.

M.M. Curriculum—Composition Majors

The Master of Music degree program in Composition normally requires a minimum
of two years to complete. Coursework in the master’s program will be chosen with the
advice and approval of the Composition Department, in keeping with the candidate’s
background and special interests, to ensure solid and comprehensive training. Skill in
the utilization of various chamber and choral resources is emphasized, as is composition
for orchestra in larger forms. The study of computer music and orchestration must be
included in the curriculum, unless previous experience in these areas has been
documented.
Composition students have numerous opportunities to hear their works performed, in
recitals scheduled by the Composition Department or by individual teachers or students;
in readings by the Peabody Orchestra, the Opera Workshop, and other Peabody ensem-
bles; and through personal contact with the many excellent performers at Peabody. Many
of these are recorded for later listening and study.
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
310.845-846 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
310.691 Composition Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Ensemble
910.811-812** Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Electives*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
36
   * Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
  ** Qualified instrumentalists may audition for placement in another large ensemble.
Required in the first year of residency.
*** Curricular Practical Training may be used to fulfill up to 3 elective credits.

89
M.M. Curriculum—Computer Music Majors
The Master of Music degree program in this field prepares students for advanced work
in areas of music where technology occupies an essential role. It normally requires a min-
imum of two years to complete. Students specialize in one of three tracks: Composition,
Performance/Concert Production, and Research/Music Technology.
The Composition track allows special concentration in composing music utilizing com-
puter music systems. Students will work with the latest digital synthesis hardware and
software and learn to develop idiomatic composing techniques which take advantage
of the unique capabilities of digital music technology. Students in this track will take
instruction in composition. They must submit, by April 1 of the year they intend to
graduate, a portfolio of compositions created during the time of study. This should
include a variety of works in the computer music medium, with a substantive work of
at least 10 minutes’ duration, and at least one work that uses acoustic instrument(s)
and/or voice(s). Please refer to departmental guidelines for exact composition port­folio
requirements.
The Performance/Concert Production track allows students to gain the skills and sensibili-
ties necessary to become expert performers with the new technology. The term “perfor-
mance” may include real-time control of musical parameters using existing technology
in an expressive way, performance on electronic instruments such as synthesizers,
performance on conventional instruments combined with electronics, and concert pro-
duction techniques, depending on the student’s background and needs.
Students in this track will take instruction in performance. In the year they intend to
graduate, they will present a full program, which may be entirely computer music, or
combined with acoustic instrument(s) and voice(s). Please refer to departmental guide-
lines for exact performance concert requirements.
The Research/Music Technology track is designed for students pursuing musically related
research or developing new music technology. Students in this track may work with
practicing composers and performers in developing technology, such as real-time per-
formance systems in which computers are able to follow a conductor’s expressive tempo
variations during a concert. Research topics in psychoacoustics and perception and in
music-related computer science may also be pursued. Students in this track will have a
document advisor analogous to the instructor in composition or performance mentioned
above, and will submit by April 1 of the year they intend to graduate a thesis document-
ing their research or new technology. Please refer to departmental guidelines for exact
research portfolio requirements.
Cooperative Interaction Among Tracks. Students in the three areas of concentration are
expected to work together closely. Specifically, students in the Composition area are
expected to create at least one composition that requires the assistance of students in the
performance and research/technology areas. Students in the Performance/Concert Produc-
tion area are similarly required to perform or produce at least one piece by a student in the
composition area that requires assistance from a student in the research/technology area.
Students in the Research/Technology area are expected to create at least one technological
advance that is applied by a student in the performance or composition area.

90
Computer Music: Composition
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
350.693 Portfolio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.840 History of Electroacoustic Music . . . . . . . . . . . . . . . . . . . . . . . . . 3
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
350.837-838 Digital Music Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
350.845-846 Computer Music Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
350.835 Studio Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.867-868 Synthesis Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
42
* Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
Computer Music: Performance/Concert Production
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.840 History of Electroacoustic Music . . . . . . . . . . . . . . . . . . . . . . . . . 3
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Program Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
350.837-838 Digital Music Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
350.845-846 Computer Music Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
350.835 Studio Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.867-868 Synthesis Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
42
* Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.
Computer Music: Research/Technology
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
350.841-842 Research Practicum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
350.691 Thesis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.840 History of Electroacoustic Music . . . . . . . . . . . . . . . . . . . . . . . . . 3
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

91
 Computer Music: Research/Technology (continued)
Coursework Specific to the Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
350.837-838 Digital Music Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
350.845-846 Computer Music Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
350.835 Studio Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
350.867-868 Synthesis Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
42
* Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.

M.M. Curriculum—Music Education Majors

The Master of Music degree program in music education is designed for students
already possessing initial certification to teach music in the public schools. Coursework
in this program will be determined according to the background and professional goals
of the candidate.
Peabody offers a partial tuition grant for degree-seeking graduate music education
majors. Students must be a teacher in the State of Maryland and enrolled for a maximum
of 6 credits per semester. Funds are limited, and there is an application process. For more
information, contact the Music Education Department at 410-659-8100, ext 4430, or
http://www.peabody.jhu.edu/musiceducation.
Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
510.611* Psychology of Music Teaching and Learning . . . . . . . . . . . . . . . . 2
510.612* Research in Music Education . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
510.613* History and Philosophy of Music Education . . . . . . . . . . . . . . . . 2
510.614 Supervision and Curriculum Development . . . . . . . . . . . . . . . . . . 2
510.615-617 Music Education Electives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
510.621 Graduate Practicum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
510.624 Conducting Wind Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
510.626 Music Education and Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
510.691* Independent Field Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
32
  *Required courses
** Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their sec-
ond year in the program.

M.M. Curriculum—Musicology Majors

The academic discipline of Musicology investigates the varied relationships between
musical traditions and the cultures that create and sustain them. The discipline necessar-
ily combines historical and cultural research with analysis of music.
The Master of Music degree program in Musicology offers the student an introduction
to the academic study of music at the graduate level. Coursework exposes the student
to a broad range of approaches to contemporary musical scholarship and emphasizes
the development of critical, analytical, and practical skills germane to the profession.
All students are assigned an advisor who will monitor the student’s progress during the
first year of the program. In the second year of study, the advisor will supervise an inde-
92
pendent project of research and writing leading to the completion of the master’s essay.
Upon completion of the program, students are well positioned for admission to Ph.D.
programs in musicology.
Students entering the program should demonstrate a strong potential for future suc-
cess in the field. Successful applicants normally possess (1) a solid undergraduate founda-
tion in music history, theory, and musicianship, (2) relevant experience as a performing
musician, or (3) a distinguished academic background in a related field of study. All
students are required to meet the proficiency standards in music history, theory, and ear
training required of master’s students in all disciplines.
All students must pass a reading exam in French, German, or Italian and should plan
to fulfill this requirement before the completion of the third semester of full-time study.
Entering students who are not prepared to meet this requirement are advised to under-
take appropriate coursework at Peabody or on the Homewood campus of The Johns
Hopkins University. In certain instances, a student may petition the department for an
examination in a language other than those listed above. In such cases, the student must
make a compelling case that knowledge of this language is of direct relevance to his/her
research interests. All such requests must be submitted in writing to the department
chair before the end of the second semester of study, and cases will be decided by a vote
of the full faculty. Any questions about the language requirement should be directed to
the graduate advisor.
As the final requirement for the Master in Musicology degree, all students complete a
master’s essay, a serious scholarly endeavor displaying excellence in research, writing, and
critical thinking. The following guidelines are provided as a general model only, and, as
such, they are intended to be descriptive rather than prescriptive. Topics and approaches
vary widely, and detailed requirements for the content of the master’s essay are deter-
mined on an individual basis in consultation with the student’s academic advisor.
1. During the second semester of full-time study, each student registers for graduate research
with a member of the faculty, to commence at the beginning of the third semester.
2. During the third semester, the student and advisor devise an independent program of
reading and research leading to the identification of a topic for the master’s essay.
3. Working closely with the advisor through the various stages of the writing process, the
student submits a draft of the completed essay to the advisor at least one month prior to
the submission deadline set by the Office of Academic Affairs. The submission deadline
for the final copy is currently March 30. As changes in the academic calendar often occur,
students should consult with the academic program coordinator to verify the date of the
submission deadline.
4. Once the advisor has approved the final version of the essay, two copies are submitted to
the Office for Academic Affairs. The final copy should include a title page that follows the
template provided in Appendix F of the D.M.A. Guidelines (available from the Office for
Academic Affairs).
5. Final copies of the essay, printed on acid-free paper, should be produced on a laser printer.
High-quality photocopies are acceptable as final copies.
6. The bibliography and footnotes should be formatted according to the methods outlined in
The Chicago Manual of Style.
7. There is no required page length for the master’s essay, but most range between 30 and
50 pages in length.

Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

610.633-692 Seminars in Musicology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
610.755-756 Graduate Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.691 Master’s Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

93
Elective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
To be selected in consultation with the Musicology chair from courses offered at
other divisions of The Johns Hopkins University or another affiliated institution.
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.651* Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Applied Lessons or Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
34
* Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.

M.M. Curriculum—Music Theory Pedagogy

The Master of Music in music theory pedagogy is intended for musicians with
strong abilities and interest in teaching music theory. The program of study encourages
students to perceive and articulate large and small musical phenomena. In addition to
courses in music theory pedagogy, students take courses in counterpoint, analysis, and
20th-century music as well as Music Bibliography and two musicology seminars.

Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

710.649 Music Theory Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
710.650 Music Theory Internship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
710.685 Music Theory Pedagogy Project . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Counterpoint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Students are required to take Baroque Counterpoint (710.634) unless
exempted by examination. Students who are exempted from Baroque
Counterpoint must take Renaissance Counterpoint (710.633)
Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Students are required to take two graduate courses in music analysis,
to be chosen in consultation with the student’s advisor.
Twentieth Century (one of the following) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
710.643,644 Music from 1900 to 1945
710.645,646 Music Since 1945
710.651 Twentieth-Century Style and Analysis
710.714 Thinking by Ear: Segue to the Twentieth Century
Electives* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives may include additional music theory, musicology, or language
electives, or graduate-level courses offered at The Johns Hopkins University.
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.651** Music Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
35
  * Curricular Practical Training may be used to fulfill up to 3 elective credits.
**Bibliography must be completed in the first year of study, with the exception of students
placed in English as a Second Language Level I, who may defer Bibliography to their
second year in the program.

94
Master of Arts in Audio Sciences Degree

The Master of Arts program in audio Program Requirements

sciences was developed in conjunction Students choose from two tracks: a con-
with members of the professional audio centration in Recording and Production or
community to provide the technical an emphasis on Acoustical Studies. Core
knowledge and musical skills necessary coursework will include Music Theory I,
to work at an advanced level in the field Musical Acoustics, Electroacoustics, Psy-
of audio and/or acoustics. The program is choacoustics, and Physical Acoustics. The
intended both for current audio profes- remaining coursework in each track will
sionals wishing to obtain a post-bacca- consist of courses specific to the concentra-
laureate credential and individuals with a tion chosen by the student in accordance
background in science, technology, and/or with his or her background and profes-
music seeking additional training in order sional goals.
to gain employment in the audio or acous-
tics industry.

Concentration in Acoustical Studies

The Acoustical Studies concentration is designed to prepare students to work as pro-
fessionals in the fields of acoustical consulting, sound systems design, acoustical product
design, and sound systems integration. The program provides a thorough grounding
in acoustical fundamentals and design practices to enable graduates to begin careers in
these specialized fields.
Admission Requirements
A bachelor’s degree in architecture, audio technology, computer sciences, electrical
engineering, mechanical engineering, physics, or recording sciences is required. Under-
graduate coursework must include one year of college physics and one year of calculus.
Additional requirements are a background in music with the ability to play an instru-
ment at high school level, courses in music history, and skills sufficient to enter Music
Theory I. International students must demonstrate competencies in English commensu-
rate with expectations for Peabody’s Master of Music Degree.
Major  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
550.624 Architectural Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.626 Noise Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
550.625 Sound System Design . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.519 Acoustical and Audio Measurements . . . . . . . . . . . . . . . . . . . . . . . 3
550.627 Computer Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
550.631 Professional Practices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
550.640 Acoustics Design Practicum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.623 Physical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
36

95
Concentration in Recording and Production
The Recording and Production concentration is designed to prepare students to work
as professionals in the audio/video production field and as recording and broadcast engi-
neers. The program draws on the student’s previous work in the pertinent undergraduate
field to build skills that are applied to the proper use of professional digital and analog
audio recording and production equipment.
Admission Requirements
A bachelor’s degree in music, physics, electrical engineering, or audio technology is
required. Undergraduate coursework must include one year of college physics, one year
of calculus, one year of audio fundamentals, basic audio engineering, and circuits and
signals or the equivalent. Additional requirements are a background in music with the
ability to play an instrument at high school level, courses in music history, and skills
sufficient to enter Music Theory I. International students must demonstrate competen-
cies in English commensurate with expectations for Peabody’s Master of Music degree.

Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
550.611 Music and Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.612 Audio Science and Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.511-512 Advanced Recording Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.513-514 Advanced Recording II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Core Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
550.515 Musical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.517 Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.516 Electroacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
550.623 Physical Acoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
36

96
The Doctor of Musical Arts Degree
The objective of the program leading to
the degree of Doctor of Musical Arts is to
provide a select number of qualified stu-
dents with the highest level of professional
development in the art of musical perfor-
mance or the craft of musical composition,
within a context of comprehensive under-
standing of the common body of theoreti-
cal and historical knowledge and of the
literature specific to the applied major.
The Doctor of Musical Arts degree
certifies that its holder is a sophisticated
professional performer or composer who
is able to exercise professional leadership,
using his or her skills and understanding
to expand existing horizons of knowledge
and perception.
Admission Requirements
Prior study. A Master of Music degree or
its demonstrated equivalent is a prerequi-
site for admission to the Doctor of Musical
Arts degree program. Equivalency may be
validated by examination or by comple-
tion of additional prerequisite courses.
Evidence of a graduate-level degree recital
must be submitted in the form of a recital
program or credit listed on the applicant’s
transcript. Professional experience is
highly recommended as a desirable qualifi-
cation for study at the doctoral level. Pos-
session of an M.M. degree from Peabody
does not necessarily grant admission to the
D.M.A. program.
Major field requirements. All entering
students must pass a personal audition
and interview at the regularly scheduled
audition period in February. D.M.A. audi-
tions are not held in May. It is not possible
to audition for the D.M.A. program by
recording.
Performance. Applicants should prepare
sufficient material to perform a full solo
recital containing works which show a
diversity of periods and styles. All major
works must be complete (to include all
movements).
97
Audition requirements by major are
available on the Peabody web site at
www.peabody.jhu.edu/admissions or from
the Admissions Office. Pre-screening
recordings are required in certain majors.
Composition. The D.M.A. program
assumes considerable compositional
attainment and experience as a prerequi-
site for admission. Applicants are expected
to have the M.M. degree in composition,
or the equivalent. A portfolio of mature
works for various media for pre-screen-
ing by the composition faculty must be
submitted to the Admissions Office by the
application deadline.
Computer music. Although there is no
doctorate in computer music, it is possible
to emphasize computer music studies in
conjunction with another major, such as
composition, conducting, or performance.
In this case, approval of both departments
is required for acceptance into the D.M.A.
program. Entrance requirements, elective
studies, composition portfolio contents,
and recital contents must be approved by
both departments, and individual instruc-
tion is required in both departments on an
alternating basis.
Conducting. The audition process consists
of two rounds. Conducting applications
and materials, including an audition
DVD, are due in the Admissions Office by
December 1. VHS cassettes in NTSC for-
mat can be accepted. The recording should
consist of three to four excerpts, each two
to three minutes in length, of contrasting
standard repertoire demonstrating a vari-
ety of styles and tempi. The camera should
be placed at the back of the orchestra with
the focus on the front of the conductor. A
full-size orchestra is not required; a quin-
tet with piano would suffice, for example.
The applicant’s name and a written log
of the excerpts with timings should be
included. The log should not be video-
taped. Appropriate dress is expected.
 Round two will take place during the
February audition week and will consist of
a live audition with orchestra. Candidates
who have been selected for the live audi-
tion will be notified in January and receive
a repertoire list. Students will be expected
to have all materials fully prepared. Inter-
views and testing in addition to the live
auditions may be required for acceptance.
Entrance examinations. Applicants must
demonstrate good musicianship, solid
academic skills, and extensive musical
and professional knowledge. At the time
of auditions, all applicants take music
theory examinations, written and aural.
These examinations are used to evaluate
the applicant both for admissions and
for placement in graduate music theory
courses. They assess knowledge and skill
in the following areas: a) harmony, analy-
sis, tonal counterpoint and 20th-century
techniques; b) melodic and harmonic
dictation; c) sight-singing in four clefs:
treble, alto, tenor, bass.
During the audition period, all appli-
cants must take a music history exam in
which they write essays chosen from a list
of topics in the history of Western music.
The exams are graded for knowledge of
music history, ability to organize and
present ideas, and command of written
English. This exam is used to evaluate the
applicant for admission.
D.M.A. students who have not success-
fully completed a graduate-level course
in counterpoint (including students who
earned the undergraduate degree at Pea-
body) are strongly advised to take a gradu-
ate counterpoint course in preparation for
their D.M.A. music theory examination.
Writing sample. All applicants must sub-
mit evidence of their research and writing
skills in the form of an essay written within
the previous two years. This essay, of 1,500
or more words, should be on a musical
subject of the applicant’s choice. It must be
typed and supported by citations and refer-
ences. The essay serves as the basis of the
D.M.A. interview and should adequately
98
reflect the applicant’s academic capability. Of
particular interest to the D.M.A. interview-
ing committee is evidence of a capacity for
independent thinking, initiative, and ability
to present, develop, and support a thesis or
point of view. Four copies of the essay must
be submitted to the Admissions Office by
the application deadline. If the essay is not
submitted by the application deadline, the
application is considered incomplete, and
the applicant must wait until the next audi-
tion period for admission consideration.
Graduates of other Peabody programs are
not exempt from this requirement.
Interview. At the time of audition, the
D.M.A. applicant will be scheduled for an
interview with members of the Peabody
faculty. The purpose of this 15- to
20-minute interview is to ascertain the
applicant’s suitability for the academic
aspects of the D.M.A. program. The meet-
ing also provides an opportunity for the
faculty to assess the applicant’s verbal
skills, and to discuss the applicant’s partic-
ular interests and motivation in pursuing
the degree. A portion of the interview
will relate to the essay submitted with the
application.
Degree Requirements (D.M.A.)
Residence. The program of study for the
Doctor of Musical Arts degree will nor-
mally require an attendance of two years
beyond receipt of the master’s degree. The
doctoral candidate must attend full time
for at least one year (minimum of 18 to
maximum of 36 credits for one academic
year, including 8 credits of private study),
and may complete the remainder of the
requirements on a part-time basis. Con-
tinuous registration each year in courses,
applied studies, or degree-in-progress is
required. Regulations governing inter-
ruption of study apply uniformly to all
students (see p. 26, Interruption of
Degree Work).
Transfer credits. A maximum of 12
semester hours of graduate study (course-
work) completed at other accredited
institutions may be applied to the Doctor
of Musical Arts degree, with the approval
of the associate dean for academic affairs,
after examination of placement results and
consultation with the entrance interview
committee. Credit must have been earned
within five years of the student’s first
graduate degree registration at Peabody
and must carry grades of B or better.
Previously earned Peabody credits. Stu-
dents may petition the associate dean for
academic affairs to have credits for courses
and/or ensembles that were over and above
the minimum requirements for a previous
Peabody degree applied to the D.M.A.
degree program. No coursework that was
required or used to fulfill minimum credit
requirements for a previous degree may be
applied to a subsequent graduate degree.
Work completed in the Graduate Exten-
sion program, beyond the M.M. degree
level, may transfer to the D.M.A. pro-
gram, upon satisfaction of all other admis-
sion requirements. All previously earned
credits applied to the D.M.A. degree must
carry grades of B or better, and must have
been earned not more than five years prior
to initial registration in the program.
Review courses. Deficiencies in ear-train-
ing and music theory identified during
the entrance/placement examinations must
be corrected in the first year of enrollment
and may be corrected either by remedial
study or by re-examination. Students may
not enroll in graduate courses in these
areas until deficiencies are remedied.
Review courses carry zero credit and do
not count toward fulfillment of degree
requirements, but the grades earned are
calculated in the GPA and the hours are
counted as part of the course load which
determines full-time status.
Program completion. All requirements for
the Doctor of Musical Arts degree must
be completed within seven academic years
from the date of initial D.M.A. registra-
tion. Exceptions to this regulation may be
granted by the D.M.A. Committee only
under extraordinary circumstances.
99
Curriculum Components (D.M.A.)—
Requirements and Examinations
Advisory Committees
Academic advisory committee. By the last
day of classes of the third semester of study
the student shall submit to the associate
dean for academic affairs for approval the
names of a three-person faculty advisory
committee, in addition to the major
teacher. These faculty should represent
areas of musicology, music theory, and
an optional area of study (humanities,
computer music, etc.). The student will
have approached the potential advisors
beforehand. This committee shall be avail-
able to the student for consultation and
advice concerning curriculum and possible
dissertation or paper topics. Members of
this committee also shall submit appropri-
ate questions for the written qualifying
examinations and sit on the oral qualifying
examination committee.
Major field advisory committee. Each stu-
dent will be assigned a major field advi-
sory committee consisting of three faculty
members appointed by the associate dean
for academic affairs and including the
major teacher. This committee is respon-
sible for approving the student’s repertoire
list, approving and jurying all the stu-
dent’s recitals, and submitting questions
for the major field qualifying examination.
Major applied study. Individual studio
work includes in-depth repertoire devel-
opment, and culminates in a series of
recitals or final projects, depending on the
chosen path of study. D.M.A. candidates
may elect alternative programs of study
in some areas (see individual curriculum
descriptions).
Ensembles. D.M.A. students may per-
form in large ensembles on a space-avail-
able basis after students with an orchestral
requirement have been seated.
Repertoire requirement. Upon entry to the
program, each candidate must submit a
repertoire list to the department faculty
indicating works memorized and works
performed. At the end of each year in
the program, the candidate will submit
an updated repertoire list reflecting new
works studied and performed.
Recitals. A minimum of three recitals is
required of all performance majors. (See
pages 103-112 for individual majors.)
Any student not playing a degree recital
in a year of residency will be scheduled for
a graded hearing before the departmental
faculty at the end of the spring semester.
Program Content
1. Performance
a. One program may be specialized in
content, if the others are varied.
b. One ensemble program may be
presented.
c. One lecture-recital may be presented
subject to prior approval by the major
field advisory committee.
2. Conducting
The first two recitals must be chosen
from the following three options:
a. A full-length program given on
campus
b. A full-length program presented at
some other venue while the student
is in residence
c. A combination of performances
presented during the student’s resi-
dency that total at least 60 minutes.
This must be approved by both the
student’s advisor and the Ensemble
Office.
Each performance must be videotaped
and copies provided by the student to
each committee member who is grading.
The student’s major field committee must
approve each program prior to perfor-
mance, and all students must complete the
necessary paperwork for scheduling and
registration as required by the Concert
Office in consultation with the Ensemble
Office.
Program approval. Each program must
be approved by the candidate’s major
field advisory committee and the associate
dean for academic affairs. A copy of the
approved program must be received by the
Concert Office six weeks before the recital.
100
(Students are respons­ible for obtaining the
necessary signatures.)
Program notes. The candidate must sup-
ply program notes of publishable quality
before each program is approved. These
should be approximately one page in
length, and must be approved by a repre-
sentative of the musicology faculty. The
program submitted to the candidate’s
committee must carry the appropriate
signature indicating such approval.
Lecture-recital. The lecture-recital must
be based on an analytical or historical
document approved by the candidate’s
academic advisory committee and by the
Graduate Document Committee. The
program submitted to the Concert Office
must carry the appropriate signatures
indicating such approval. The recital is
juried by the members of the candidate’s
major field and academic advisory com-
mittee. The document may be filed with
the Academic Affairs Office at any point
prior to April 1 of the semester in which
the candidate expects to graduate and
must be completed prior to presentation
of the lecture-recital.
Registration. It is advisable for the doc-
toral student to register for recitals when
enrolled full time. The student must be
registered for private study during the
semester in which a recital is presented.
Exceptions to this include the chamber
music recital (chamber music registration)
and lecture-recital (lecture-recital registra-
tion). Any degree recital must be approved
by the associate dean for academic affairs
and Concert Office (see Program Approval
above and Student Handbook).
Portfolio of compositions (composition majors).
Content. Composition majors must sub-
mit to the composition faculty, by April
1 of the year in which they intend to
graduate, a work of major proportions as
to length and medium and a substantial
research paper on a topic approved by the
candidate’s Academic Advisory Commit-
tee. These together constitute the final
document for composition. In addition, the
portfolio must contain one or more smaller
works. The specific requirements of these
works will be determined in each case in
consultation with the composition faculty.
Registration. Candidates who are
enrolled full time may register for the
portfolio of compositions without addi-
tional fee; non-full-time candidates will
be charged fees on a credit-hour basis.
Students wishing to delay submission
of the portfolio beyond the first week of
the semester following registration must
make application through the Office of
Academic Affairs and must be registered
for private study during the semester in
which the portfolio is actually presented.
No additional fees will be charged for a
delayed submission.
Submission of portfolio. The student
should submit the completed portfolio
to the composition faculty, at the same
time advising the Office of Academic
Affairs that this is being done. Following
acceptance of the portfolio by the faculty,
the student should prepare a final version,
incorporating any modifications which
may have been requested, and deliver the
portfolio with the official acceptance sheet
signed by members of the composition
faculty to the Office of Academic Affairs
for presentation to the library.
Coursework. Each student shall take a
minimum of six hours in musicology and
six hours in music theory, plus electives in
repertoire and other studies, including a
minimum of three hours of upper division
coursework in humanities at the School of
Arts and Sciences of The Johns Hopkins
University or another accredited institu-
tion. Minimum requirements vary depend-
ing on the major. See the curriculum
listings for individual programs, pages
103-112.
Musicology Requirements. Doctor of
Musical Arts students are required to
enroll in the Musicology Colloquium
during their first year. The colloquium
provides opportunities to hear guest lec-
turers speak on musicology topics of their
expertise, and focuses on developing writ-
101
ing and critical thinking abilities. Some
majors require D.M.A. students to take
additional graduate seminars in musicol-
ogy as well; see specific program curricula
for details. After D.M.A. students pass
the preliminary oral examination (usually
at the beginning of their second year of
study), they will choose an advisor from
among the full-time members of the
Musicology faculty who will then serve as
a guide through the remaining portion of
the D.M.A. musicology curriculum. These
duties will include approving program
notes, preparing and helping to adminis-
ter the D.M.A. history examination, and
advising on preparation of the document or
dissertation, lecture-recital, and final oral
examination. For further details students
should refer to the D.M.A. guidelines,
available in the Office of Academic Affairs.
Language. Doctoral students will be
required to demonstrate proficiency in one
language besides English, the language
to be approved by the department and
competency determined by the results
of a reading examination. As a rule, the
foreign languages must be chosen from
among French, German, or Italian. With
approval of the members of the D.M.A.
Committee, other languages may fulfill
the requirement when so indicated by the
special nature of the student’s intended
research. In addition to the reading exami-
nation, voice majors must demonstrate
diction competency in all three languages
(French, German, Italian), conversational
ability in one of the three languages, and
functional knowledge of the other two.
Electives. Unless otherwise specified, the
term elective means class elective. Ensem-
ble credits cannot be counted as elective
credits. Questions about the appropriate-
ness of courses for elective credit can be
directed to the associate dean for academic
affairs.
All D.M.A. students are encouraged to
seek employment relevant to their field
of study while enrolled in this degree
program. The employment must be
designated and structured to enhance
the student’s educational program. The
employment must be approved by the
student’s studio teacher who must ensure
its academic relevance. The employment
can be established as an elective course
taken for 1/2 credit each semester or for
one credit in the summer. Employment
can fulfill a maximum of three elective
credits and may not be applied to fulfill
major or core requirements.
Please note: International students cannot
begin off-campus employment until they
receive written approval from the interna-
tional student advisor for Curricular Prac-
tical Training (CPT) or Optional Practical
Training. Students in F-1 status must have
been lawfully enrolled in school on a full-
time basis for at least one academic year
before they are eligible for practical train-
ing. CPT must be undertaken prior to the
completion of a course of study.
Preliminary oral examination. The
third-semester preliminary oral examina-
tion is intended to demonstrate a student’s
ability to speak about and respond to
questions on a single, substantial piece
of repertoire, chosen by the student and
approved by members of the D.M.A.
Committee. The 25-minute preliminary
oral examination consists of:
1. an examination on selected repertoire
2. a listening portion
The intention of the preliminary oral exam-
ination is to identify areas in which the stu-
dent may need additional guidance.
Admission to candidacy. A student is
not admitted to official candidacy for the
D.M.A. degree until he or she has satisfac-
torily passed all qualifying examinations.
In order to be eligible to take the qualify-
ing examinations the student must have
completed all coursework, at least two
recitals, and satisfied the language require-
ment. Piano majors must have completed
the literature exam.
The qualifying examinations must be
taken within one calendar year after com-
102
pletion of the required coursework and
shall consist of:
1. Written examinations in musicology,
music theory, and the literature of the
major field. Detailed information on
the music theory qualifying exami-
nation may be found in the D.M.A.
Guidelines, available in the Office of
Academic Affairs.
2. The final oral examination shall be the
last of the comprehensive exams and
will cover many facets of the student’s
major field as well as a comprehensive
professional perspective (see D.M.A.
Guidelines).
Lecture-Recital. For most D.M.A. can-
didates, the final recital will be a lecture-
recital. The lecture-recital will be based
on an analytical or historical essay written
under the guidance of a member of the
candidate’s academic advisory committee.
This essay must be completed prior to
the presentation of the lecture-recital.
Candidates will submit two clean copies of
their essay, incorporating all additions and
corrections, for placement in the Arthur
Friedheim Library. Details concerning the
scope of the project, topic approval, the
format of the lecture-recital, and the time-
table of the process may be found in the
D.M.A. Guidelines.
Dissertation. In fields where candidates
for the D.M.A. degree have a choice of
writing a dissertation, they must choose a
musical subject which has been approved
by the Graduate Document Committee.
Dissertations may deal with any aspect of
music, e.g., analysis, theory, history, criti-
cism, performance practice, development
of a critical edition, etc. For composition
majors, the dissertation will be a composi-
tion of major proportions as to length and
medium (e.g., a symphony) accompanied
by a substantial written commentary on it.
See also the statement on page 100 under
Portfolio of compositions (composition
majors).
 Oral defense of dissertation: An oral 1.  Option A—dissertation
defense of the dissertation must immedi- 2. Option B—lecture-recital and
ately follow completion of the disserta- document
tion, and must take place at least two
weeks prior to the date of submission of 3. Option C—offered in piano (Ensemble
the dissertation to the library. Detailed Arts) and voice (Performance/
procedures are available in the D.M.A. Pedagogy)
Guidelines. Options are not available in all majors.
Curriculum options. The following
cur­riculum options are available for the
D.M.A. program:

D.M.A. Curriculum—Composition Majors

Composition
Applied Major  (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
310.845-856 Composition Seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Coursework* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Musicology seminar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
310.793 Compositions/Commentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
60
   * Coursework will be chosen with the advice and approval of the Composition Depart-
ment. It must include some study in computer music, if not taken earlier.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

D.M.A. Curriculum—Conducting Majors

The D.M.A. in conducting is available to qualified students seeking additional profes-
sional experience as conductors. Students are required to present a public lecture preced-
ing the third recital and a final document equivalent to a lecture-recital paper.
Orchestral Conducting
Following completion of course requirements as listed below, but within seven years of their
matriculation, candidates must furnish a videotape of one public performance (Recital 190.797)
for which they were engaged as conductor. The acceptability of the program is determined prior
to the performance in consultation with the director of conducting programs.
Applied Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

103
 Orchestral Conducting (continued)
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital, off campus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Lecture (with recital 190.796) . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
330.847-848 Conducting Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
   * Required every year of enrollment.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

Wind Conducting: Option A

Applied Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
330.847-848 Conducting Seminar+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.791 Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
   +Required every year of enrollment (two years, two credits per year)
   *Conducting the Peabody Wind Ensemble as part of the coursework will count toward one recital
if the sum of minutes is equal or greater than the standard recital time of 60 minutes.
  **Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
***Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

104
Wind Conducting: Option B
Applied Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Lecture (with recital 190.796) . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
330.847-848 Conducting Seminar+ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
   +Required every year of enrollment (two years, two credits per year)
   *Conducting the Peabody Wind Ensemble as part of the coursework will count toward one recital
if the sum of minutes is equal or greater than the standard recital time of 60 minutes.
  **Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
***Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

D.M.A. Curriculum—Performance Majors

Guitar
Program Requirement
1. Prepared recitals
3  solo recitals
1  concerto recital including at least two works of contrasting styles for guitar and
orchestra; may be performed with piano, with ensemble considered a factor in assess-
ment. Performance with orchestra may satisfy this requirement on the condition that
the faculty jury be present at the performance.
1  chamber music recital; may include chamber music with voice.
1  lecture-recital based on a document approved by the candidate’s Academic Advisory
Committee.
2. Lecture-recital document

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . 28

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital (concerto) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital (chamber music) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

105
 Guitar (continued)
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
  * Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

D.M.A. Curriculum—Performance Majors

Orchestral Instruments: Option A
Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . 24
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Electives (must be performance activity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.755-756 Graduate Research** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.791 Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
  * Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

106
D.M.A. Curriculum—Performance Majors
Orchestral Instruments: Option B
Program Requirement
1. Prepared recitals: six major performances, of which there must be:
2 solo recitals
1 lecture-recital
3 choices from the following:
a) chamber music recital(s)
b) orchestral concerto performances (solo concerto of significant scope, i.e.,
more than a 10-minute Vivaldi concerto)
c) early music (original instruments) recital
d) jazz recital (especially application for saxophone)
e) additional solo recital
2. Lecture-recital document

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . 30

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital (concerto) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital (chamber music) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Electives (must be performance activity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
62
  * Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

107
D.M.A. Curriculum—Performance Majors
Organ and Piano: Option A
Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . 22
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
450.845 Piano Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.755-756 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.791 Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
   * Required of all piano majors. Must be taken during the first year of D.M.A. enrollment.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

Organ and Piano: Option B

Program Requirement
1.  Prepared recitals
3  solo recitals
1  concerto recital including at least two works of contrasting styles for piano or organ
and orchestra; may be performed with second piano, with ensemble considered a factor
in assessment. Performance with orchestra may satisfy this requirement on the condition
that the faculty jury be present at the performance.
1 chamber music recital; may include chamber music with voice.
1 lecture-recital based on a document approved by the candidate’s Academic Advisory
Committee.
2.  Lecture-recital document

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . 28

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital (solo) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital (concerto) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital (chamber music) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

108
 Organ and Piano: Option B (continued)
Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
450.845 Piano Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60
   * Required of all piano majors. Must be taken during the first year of D.M.A. enrollment.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
***Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

Piano: Option C (Ensemble Arts)

Program Requirement
1. Prepared recitals
5 instrumental and/or vocal chamber music or sonata recitals.
1 lecture-recital based on a document approved by the candidate’s Academic Advisory
Committee.
2. Lecture-recital document

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . 28

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital (chamber music/sonatas) . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital (chamber music/sonatas) . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital (chamber music/sonatas) . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital (chamber music/sonatas) . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital (chamber music/sonatas) . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
450.845 Piano Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
60  
   * Must be taken during the first year of D.M.A. enrollment.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

109
D.M.A. Curriculum—Performance Majors
Voice
The D.M.A. in voice provides three choices. Each program requires a two-year residency
including prescribed courses and recitals. After successfully completing the qualifying
examinations, and in consultation with his or her advisory committees, the candidate shall
declare or confirm a choice of the three options.

Voice: Option A
Performance Requirement: three major performances, of which there must be:
1 solo recital
1 chamber music recital or orchestral performance
1 more of the above or a major opera role

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . 28

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
186.711-714 Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
480.845 Vocal Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0

Electives (must be performance activity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
610.755-756 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.791 Dissertation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
64
   * Required only if not already taken to complete the B.M. or M.M. in voice at Peabody.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. 530.683-684 Vocal
Pedagogy and Lab are strongly recommended. Curricular Practical Training may be used
to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

110
Voice: Option B
Program Requirement
1. Prepared recitals: five major performances, of which there must be:
2  solo recitals
1  lecture-recital
2  choices from the following:
chamber music recital(s)
major operatic role(s)
additional solo recital
2. Lecture-recital document

Performance Component (minimum semester hours) 32

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
186.711-714 Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
480.845 Vocal Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0

Electives (must be performance activity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0
64
   * Required only if not already taken to complete the B.M. or M.M. in voice at Peabody.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. 530.683-684 Vocal
Pedagogy and Lab are strongly recommended. Curricular Practical Training may be used
to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

111
Voice: Option C (Performance/Pedagogy)
Program Requirements
1.  Performance requirement: four major performances, of which there must be:
1 solo recital
1 chamber music recital or orchestral performance
1 more of the above or a major opera role
1 lecture-recital based on a document
2.  Lecture-recital document
3. Teaching component: A designated number of hours of supervised student teaching
and teacher observation, at Peabody and elsewhere, is required. This requirement is
fulfilled by successful completion of Vocal Pedagogy Lab.

Performance Component (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . 30

Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
190.794 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.799 Recital (lecture-recital) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
186.711-714 Coaching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
480.845 Vocal Seminar* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0

Electives (must be performance activity) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
610.847-848 Musicology Colloquium . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Electives** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Research Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
610.755 Graduate Research*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
610.792 Document . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Program notes for all recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . 0

Teaching Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
530.683 Vocal Pedagogy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
530.684 Vocal Pedagogy Lab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
64
   * Required only if not already taken to complete the B.M. or M.M. in voice at Peabody.
  ** Includes a minimum of 3 credits in humanities at the School of Arts and Sciences of
The Johns Hopkins University or another accredited institution. Curricular Practical
Training may be used to fulfill up to 3 elective credits.
*** Prerequisite: 610.651 Bibliography or demonstration of basic skills in that area.

112
The Performer’s Certificate
The Performer’s Certificate is designed
primarily for those undergraduate students
with outstanding musical and performance
ability who do not choose to include the
academic component of the Bachelor of
Music curriculum. Majors are available
in guitar, orchestral instruments, organ,
piano, and voice.
A student who has matriculated into
the Performer’s Certificate program may
later change to the Bachelor of Music
degree program with the approval of the
associate dean for academic affairs and the
Undergraduate Committee.
Admission Requirements
The admission requirements for the
Performer’s Certificate are the same as
those for the Bachelor of Music degree.
Students should consult the appropriate
section of this catalog and the Peabody
web site at www.peabody.jhu.edu/
admissions for complete information.
Pre-screening recordings are required for
some majors.
Certificate Requirements
The Performer’s Certificate is normally
a three-year course of study, with a mini-
mum residency of two years. At least 80
semester hours of course credit are needed
for the completion of requirements. Can-
didates must participate in ensembles
throughout their period of study.

Guitar
Performance 52
Guitar: 6 semesters, 4 credits per semester 24
Departmental Seminar: 6 semesters, 1 credit per semester 6
Department Examination: 2 spring semesters, 2 credits each 4
Recital (in third year): 2 credits 2
Guitar Ensemble: 6 semesters, 1 credit per semester 6
Chorus (Large Ensemble): required second and 8
third years, 2 credits per semester
Chamber Music: 1 credit per semester 2

Music academics 55
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Guitar Music Skills I (530.585-586), Guitar Music Skills II 4
(530.587-588), 1 credit per semester (required in first two years)
Keyboard Studies (710.155-156), 2 credits per semester;
placement by examination 4
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Guitar Literature (530.431-432), 2 credits per semester 4
Lute Tablature and Notation (530.433-434, recommended
third year), 2 credits per semester 4
Guitar Pedagogy (530.637-638, recommended third year),
2 credits per semester 4
Basic Conducting, 1 credit 1

113
 Guitar (continued)

Other 2
Thursday Noon Recital Series (530.501-502, required freshman year),
½ credit per semester 1
Thursday Noon Alternate Project (530.503-504, recommended
sophomore year), ½ credit per semester 1
Total 109

Strings, Brass, Woodwinds, Harp, Percussion

Performance 48
Major Instrument: 6 semesters, 4 credits per semester 24
Department Examination: 2 spring semesters, 2 credits each 4
Recital (in third year): 2 credits 2
*Large Ensemble: required each semester of enrollment for major 12
lessons, 2 credits per semester
Chamber Music: 6 semesters, 1 credit per semester 6

Music academics 43–45

Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156 and 710.255-256), 2 credits 8
per semester; placement by examination
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture), 2 credits per semester
Basic Conducting (330.311), 1 credit 1
**Piccolo Class (530.463-464), 1 credit per semester, 2 semesters 2

Other 5
Thursday Noon Recital Series (530.501-502, required freshman year), 1
½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Music Electives 3
Total 96–98

*Additional ensemble credit may not be used to fulfill elective requirements

**Required for flute majors and to be taken in two consecutive semesters; recommended
for the junior year.

114
Organ
Performance 52
Major Instrument: 6 semesters, 4 credits per semester 24
Departmental Seminar: 6 semesters, 1 credit per semester 6
Department Examination: 2 spring semesters, 2 credits each 4
Recital (in third year): 2 credits 2
Piano Minor: 1 credit per semester for 2 semesters 2
Voice Minor: 1 credit per semester for 2 semesters 2
Chorus (Large Ensemble): required for 6 semesters,
2 credits per semester 12

Music academics 57
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies, 2 credits per semester 4
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture), 2 credits per semester
Sight-reading (530.111-112), 2 credits per semester 4
Organ Literature (530.423-424), 3 credits per semester 6
Resources for the Contemporary Church Organist (530.425-426), 6
3 credits per semester
Accompanying (530.213-214), 1 credit per semester 2
Basic Conducting (330.311) 1

Other 2
Thursday Noon Recital Series (530.501-502, required 1
freshman year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended
sophomore year), ½ credit per semester 1
Total 111

Piano
Performance 40
Major Instrument: 6 semesters, 4 credits per semester 24
Department Examination: 2 spring semesters, 2 credits each 4
Recital (in third year): 2 credits 2
Chorus (Large Ensemble): required second and third years, 8
2 credits per semester
Chamber Music: 1 credit per semester, 2 semesters 2

Music academics 61
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination

115
 Piano (continued)
Keyboard Skills for Piano Majors (530.211-212 and 530.213-214), 8
2 credits per semester
History of Music (4 of the following 5 courses: Music History 8
I, II, III, IV, Music and Culture), 2 credits per semester
Sight-reading (530.111-112), recommended in the freshman year, 4
2 credits per semester
Accompanying (530.213-214), recommended in the second year, 2
1 credit per semester
Keyboard Literature I, II, III, IV (530.411, 412, 413,414), 8
2 credits per semester
Piano Pedagogy (530.667-668), recommended in the third year, 4
2 credits per semester
Basic Conducting (330.311) 1

Other 4
Thursday Noon Recital Series (530.501-502, required freshman year), 1
½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
second year), ½ credit per semester
Electives 2
Total 105

Voice
Performance 44
Major Instrument: 6 semesters, 4 credits per semester 24
Departmental Seminar: recommended for third year 1
Vocal Coaching: third year, 1 credit per semester 2
Department Examination: 2 spring semesters, 2 credits each 4
Recital (in third year): 2 credits 2
Chorus (Large Ensemble): required first two years,
2 credits per semester 8
*Opera performance electives, second and third years,
1 credit per semester 3

Music academics 67
Music Theory I (710.111-112), Music Theory II (710.211- 18
710.212), Music Theory III (710.311-312), 3 credits
per semester; placement by examination
Ear-training I (710.123-124), Ear-training II (710.223-224), 8
2 credits per semester; placement by examination
Keyboard Studies (710.155-156, 710.255-256), 2 credits per semester; 8
placement by examination
History of Music (4 of the following 5 courses: Music 8
History I, II, III, IV, Music and Culture), 2 credits per semester
Singing in English (530.475), English and American Song (530.476), 4
recommended in first year, 2 credits per semester
Singing in Italian (530.469), Italian Song (530.470), recommended in 4
second year, 2 credits per semester

116
 Voice (continued)
Singing in German (530.477), 3 credits; German Lieder 5
(530.481), 2 credits
French Mélodie (530.480), recommended in second year 2
Singing in French (530.483), recommended in third year 3
Opera Literature (560.473, 474), 2 credits per semester 4
Stage Movement (530.391) 1
Acting for Opera (530.491) 1
Basic Conducting (330.311) 1

Academics 12
Italian I (250.111-112), recommended in first year, 3 credits 6
per semester
German I (240.111-112), recommended in second year, 6
3 credits per semester

Other 2
Thursday Noon Recital Series (530.501-502, required freshman 1
year), ½ credit per semester
Thursday Noon Alternate Project (530.503-504, recommended 1
sophomore year), ½ credit per semester
Total 125

  *The three credits of opera performance electives must be fulfilled by participation in

two separate productions of Opera Workshop, Opera Etudes, Chamber Opera, or Opera
Theatre, as assigned by the Opera Department. One of the three may also be fulfilled by
participation in any performance class offered by the Opera Department, such as the second
semester of Acting for Opera or Opera Styles and Traditions.

117
Graduate Performance Diploma
The Graduate Performance Diploma
program is designed to meet the needs of
highly accomplished graduate-level per-
formers who wish to pursue a more perfor-
mance-intensive goal than represented by
the M.M. or D.M.A. Majors are available
in all areas of performance, including
opera and chamber music.
Admission Requirements
Prior study. A Performer’s Certificate,
bachelor’s degree in music, or equivalent
from a recognized institution is required.
Audition requirements. Applicants must
perform selections from a full recital pro-
gram for the applied department at the
regularly scheduled audition periods in
February and May. All major works must
be complete (to include all movements).
Detailed audition repertoire requirements
are available from the Admissions office
and the Peabody web site at www.peabody
.jhu.edu/admissions. Pre-screening record-
ings are required for some majors. For the
Graduate Performance Diploma in Cham-
ber Music, all students must be accepted
into the studio of a major teacher in their
applied area. There are no additional
audition requirements for the Chamber
Music GPD. For more information, go to
www.peabody.jhu.edu/chambermusic and
click on “Program Overview.”
Diploma Requirements
Residence. One year of full-time residency
is required, with two years of study gener-
ally necessary to complete the program.
Completion in less than two years requires
the permission of the major teacher and
associate dean for academic affairs.
Part-time enrollment in the Graduate
Performance Diploma program is not
permitted. International students in this
program are considered by Immigration
and Naturalization Services to be full-time
118
students when enrolled for lessons and
recitals.
Performance requirements. In addition
to individual major lessons, chamber
music participation is an essential com-
ponent of the Graduate Performance
Diploma program, and each student
admitted to the program is expected to
participate in some phase of ensemble arts
in each semester of study. A minimum of
two recitals is required for completion of
the program. For an individual majoring
in performance, one of the recitals may be
a chamber music recital with the permis-
sion of the major applied department. For
chamber music majors, all recitals must be
chamber music recitals. For opera majors,
at least one opera performance (not neces-
sarily a complete role) during each semes-
ter of study is required. Any student not
presenting a graded recital in a given year
is required to perform at a graded hearing
before the departmental faculty at the end
of the spring semester.
Students are encouraged to pursue
development of as much public perfor-
mance experience as possible, both inside
and outside the institution.
Prior to graduation, all Graduate Per-
formance Diploma candidates are required
to submit a personal biography suitable
for a concert program and a performance
resume. The biography and performance
resume must be typed, co-signed by the
student and the major studio teacher,
and submitted to the Office of Academic
Affairs no later than February 15 of the
year in which the student expects to
receive his or her diploma. The associ-
ate dean for academic affairs or a faculty
member of the Graduate Committee will
review all submissions. The personal biog-
raphy and performance resume are gradua-
tion requirements.
Ensembles. Graduate Performance
Diploma candidates majoring in orchestral
instruments must participate in the Pea-
body Symphony Orchestra, Peabody Con-
cert Orchestra, or Peabody Wind Ensemble
during each semester of enrollment.
Organ majors have a two-semester Chorus
requirement which must be completed in
the first year of residency. There is no large
ensemble requirement for other Graduate
Performance Diploma candidates. Detailed
guidelines for ensemble participation are
published in the Student Handbook.
Related requirements. The student may
choose electives from music theory, musi-
cology, repertoire studies, Curricular Prac-
tical Training, or other music courses at
or above the 400 level. With the approval
of the associate dean for academic affairs,
undergraduate courses may be accepted
when the student demonstrates its special
career relevance. Students are limited to
three credits of coursework per semes-
ter, in addition to lessons, recitals, and
ensembles. Additional course credits or
audits carry a per-credit charge. In the
areas of music theory and musicology, the
student must take the appropriate place-
ment examinations and satisfy any review
requirements prior to enrolling in gradu-
ate-level courses.
All Graduate Performance Diploma
students are encouraged to seek employ-
ment relevant to their field of study while
enrolled in this diploma program. The
employment must be designated and
structured to enhance the student’s educa-
tional program. The employment must be
approved by the student’s studio teacher
who must ensure its academic relevance.
The employment can be established as
an elective course taken for ½ credit each
semester or for one credit in the sum-
mer. Employment can fulfill a maximum
of three elective credits and may not be
applied to fulfill major or core require-
ments.
Please note: International students cannot
begin off-campus employment until they
receive written approval from the interna-
tional student advisor for Curricular Prac-
tical Training (CPT) or Optional Practical
Training. Students in F-1 status must have
been lawfully enrolled in school on a full-
time basis for at least one academic year
before they are eligible for practical train-
ing. CPT must be undertaken prior to the
completion of a course of study.

Graduate Performance Diploma Curriculum

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
190.695 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.696 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Large Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4-8
Orchestral majors* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Organ majors** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Related Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Classroom electives (musicology/music theory/repertoire studies/
   Curricular Practical Training)*** . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Music elective (may be a minor study) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
32-36
   * Participation in a large ensemble is required for orchestral majors each semester of
residency. Additional ensemble credits may not be used to fulfill elective requirements.
  ** Chorus is required for organ majors in the first two semesters of residency.
***Curricular Practical Training may be used to fulfill up to 3 elective credits.

119
Graduate Performance Diploma Curriculum—Opera
Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Voice Instruction (3 credits per semester) . . . . . . . . . . . . . . . . . . 12
530.893-894 Opera Coaching (1 credit per semester) . . . . . . . . . . . . . . . . . . . . 4

Recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
190.695 Recital (major role in an opera performance) . . . . . . . . . . . . . . . . 2
190.696 Recital (major role in an opera performance) . . . . . . . . . . . . . . . . 2

Ensembles* . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Related Coursework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Professional or repertoire studies** . . . . . . . . . . . . . . . . . . . . . . . 6
Music elective (may be a minor study) . . . . . . . . . . . . . . . . . . . . . 2
32
  * Participation in opera performance, either Opera Theatre, Chamber Opera, or Opera
Workshop, is required each semester of residency.
**Curricular Practical Training may be used to fulfill up to 3 elective credits.

120
The Artist Diploma Program
The Artist Diploma is a non-degree
program reserved for the most exceptional
and experienced performers, with empha-
sis on repertoire designed to meet the
needs of performers who are preparing and
qualified to embark upon a professional
career.
Admission Requirements
Majors are available in all areas of per-
formance. There is no Artist Diploma in
composition. Applicants must submit the
following with the application:
1. Standard evidence of formal train-
ing, e.g., certificates and/or diplomas,
including transcripts certifying pro-
ficiency in all basic areas of musical
study.
2. Evidence of professional performing
experience, e.g., programs. Reviews are
optional.
3. Repertoire list indicating works stud-
ied and works performed.
4. A 75-minute recital program ready to
be performed in its entirety.
5. Written recommendations from three
outstanding professional musicians
familiar with the applicant’s perfor-
mance ability.
An individual may not apply for admis-
sion to the Artist Diploma program more
than twice.
Audition requirements. Entrance to the
Artist Diploma program is determined
by live audition only in February. All
applicants must perform selections from a
full recital program for the applied depart-
ment at the regularly scheduled audition
time. Upon the recommendation of the
department, the performer(s) will be
scheduled for a second audition before a
panel of invited outside judges on the final
day of February audition week.
121
Diploma Requirements
Residence. One year of full-time residency
is required, with a minimum of two years
of study at Peabody expected. The pro-
gram must be completed within five years.
Financial aid is awarded for a maximum
of two years. International students in the
Artist Diploma program are considered by
Immigration and Naturalization Services
to be full-time students when enrolled for
lessons and recitals. Students enrolled in
the program are expected to be active per-
forming members of the Peabody campus
community.
Performance requirements. The Artist
Diploma candidate must present a mini-
mum of four public recitals. For chamber
music majors, all recitals must consist of
chamber music. In voice, a major opera
role may be considered an appropriate
substitute for one or more recitals, subject
to approval of the major teacher and the
departments involved.
Related requirements. The Artist
Diploma curriculum includes pertinent
coursework as determined by the student
or as advised by the major teacher in con-
sultation with members of the department
and the dean. The program also includes
counseling, coursework, and/or indepen-
dent study projects in various aspects of
career development, as directed by the
dean, the major teacher, and/or the depart-
ment.
All Artist Diploma students are encour-
aged to seek employment relevant to
their field of study while enrolled in this
diploma program. The employment must
be designated and structured to enhance
the student’s educational program. The
employment must be approved by the
student’s studio teacher who must ensure
its academic relevance. The employment
can be established as an elective course
taken for ½ credit each semester or for one
credit in the summer. Employment can
fulfill a maximum of three elective credits
and may not be applied to fulfill major or
core requirements.
Please note: International students cannot
begin off-campus employment until they
receive written approval from the interna-
tional student advisor for Curricular Prac-
tical Training (CPT) or Optional Practical
Training. Students in F-1 status must have
been lawfully enrolled in school on a full-
time basis for at least one academic year
before they are eligible for practical train-
ing. CPT must be undertaken prior to the
completion of a course of study.
Continuation in the program. Continu-
ation in the program is contingent upon
satisfactory completion of each year’s
study, in the opinion of the major teacher,
members of the department, and the dean.
The assessment will include review of
the student’s performance portfolio. Any
student not presenting a recital in a given
year will be required to perform at a hear-
ing before the departmental faculty at the
end of the spring semester.

Artist Diploma Curriculum

Major (minimum semester hours) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Instruction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Recitals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
190.795 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.796 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.797 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
190.798 Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Related Study* (does not include large ensembles) . . . . . . . . . . . . . . . . . . . . . . . . . . 8

32
*Curricular Practical Training may be used to fulfill up to 3 elective credits.

122
Extension Study
Undergraduate
Individuals wishing to enroll in private
lessons or classwork on an undergraduate
non-degree basis, or in preparation for
application to a Conservatory degree
program, may register for such study
through the Peabody Extension Division,
pending faculty availability and demon-
stration of appropriate qualifications.
A student who has been dismissed from
a degree or certificate program at Peabody
may not enroll as an extension student
for at least one full semester following
dismissal. The student may apply for read-
mission after that semester, but Peabody
is under no obligation to grant readmis-
sion. The Conservatory reserves the right
to exclude at any time a student whose
academic standing or general conduct is
considered unsatisfactory.
Further information may be obtained
from the Registrar’s Office.
Graduate
Graduate Extension is designed for
the individual who already holds an
undergraduate or master’s degree in music,
or the equivalent of a Peabody Performer’s
Certificate, and who may fall into the
following categories:
1. has been working in the field for sev-
eral years and is seeking to refresh his/
her knowledge or improve pedagogical
or technical skills.
2. has a particular personal goal, and pre-
fers to make use of Peabody’s resources
in an unstructured way.
3. is the recipient of a special one-year
grant such as Fulbright.
4. has missed the degree or diploma
entrance deadlines and wishes to begin
work on a space-available basis.
Prior Study. A bachelor’s or master’s
degree in music from a recognized insti-
tution, or the equivalent of the Peabody
Performer’s Certificate, is required.
A student who has been dismissed from
a degree or certificate program at Peabody
123
may not enroll as an extension student
for at least one full semester following
dismissal. The student may apply for read-
mission after that semester, but Peabody
is under no obligation to grant readmis-
sion. The Conservatory reserves the right
to exclude at any time a student whose
academic standing or general conduct is
considered unsatisfactory.
Audition requirements. A Graduate
Extension student may make his/her own
arrangements with an applied teacher
before making formal application to
the Conservatory. The audition (then or
earlier) must be heard by the accepting
teacher. A tape or CD will be acceptable,
but the performing level must be vali-
dated in person upon the student’s arrival
at Peabody before Graduate Extension sta-
tus is confirmed. When at all possible, the
audition should be a part of the regular
audition schedule. A Graduate Extension
student may be accepted onto a teacher’s
schedule or into coursework on a space-
available basis if the application process is
complete before registration.
Registration. The student may register
for applied study and/or any combina-
tion of academic coursework. In the areas
of music theory and music history, the
Graduate Extension student must take the
appropriate placement examinations and
satisfy any review requirement prior to
enrolling in graduate-level courses. Lesson,
performance, and coursework credits may
count toward fulfillment of subsequent
graduate diploma or degree requirements,
if approved by the major department. For-
mal application for any change in graduate
program must be made with the Admis-
sions Office and all other requirements for
entrance must be met. Graduate Extension
registrants are eligible to participate in
ensembles by audition but generally are
not considered for institutional scholar-
ship support.
Conservatory Faculty
Chamber Music Guitar Horn
Small Ensembles Manuel Barrueco Philip Munds
Michael Kannen, Director Ray Chester Denise Tryon
Katherine Jacobson Julian Gray, Chair Trombone
Seth Knopp Randall Campora
Jazz David Fetter
Maria Lambros Nasar Abadey
Violaine Melancon James Olin*
Paul Bollenback Tuba
Jeffrey Sharkey Jay Clayton
Alison Wells David Fedderly
Michael Formanek Euphonium
Larry Williams Donvonté McCoy
Early Music Steven Kellner
Timothy Murphy
Baroque cello, viola da Gary Thomas, Chair Harp
gamba Jeanne Chalifoux
John Moran Opera Ruth Inglefield*
Baroque flute Carol Bartlett Percussion, Timpani, and
Colin St. Martin Garnett Bruce Marimba
Baroque lute, theorbo Roger Brunyate, Chair Robert Van Sice
Richard Stone Eileen Cornett Organ
Baroque oboe JoAnn Kulesza Donald Sutherland*
Stephen Bard John Walker
Orchestral Instruments
Baroque violin and Organ Piano
Risa Browder Ensemble Arts
Woodwinds
Harpsichord Eileen Cornett
Adam Pearl Flute
Marina Piccinini Ellen Mack*
Recorder Piano
Gwyn Roberts Emily Skala
Laurie Sokoloff Leon Fleisher
Renaissance lute Brian Ganz
Mark Cudek, Director Piccolo
Laurie Sokoloff Marian Hahn
Composition Clarinet Seth Knopp
Composition Steven Barta Ellen Mack, Chair
Derek Bermel Anthony McGill Yong Hi Moon
Michael Hersch Edward Palanker Benjamin Pasternack
Kevin Puts Saxophone Alexander Shtarkman
Gary Louie Boris Slutsky
Computer Music Repertoire Studies
McGregor Boyle, Chair Oboe
Jane Marvine Michael Habermann
Geoffrey Wright Sharon Levy
Katherine Needleman
Ensembles and Conducting Bassoon Strings
Ensembles Phillip Kolker, Chair Violin
Hajime Teri Murai, Chair Brass Victor Danchenko
Harlan Parker Trumpet Pamela Frank
Edward Polochick Josef Burgstaller Herbert Greenberg
Gene Young Wayne Cameron Violaine Melancon
Graduate Conducting Edward Hoffman Keng-Yuen Tseng, Chair
Gustav Meier*
Markand Thakar

124
Repertoire Studies Humanities Music Theory
Rebecca Henry Language Randall Bauer
Viola Paul Oorts Vern Falby
Victoria Chiang* Patricia Palmer Mark Janello
Richard Field Karen Pevac Ildar Khannanov
Stephen Wyrczynski Sebastian Vogt* Sharon Levy
Violoncello Liberal Arts Paul Mathews
David Hardy Ron Levy, Chair David Smooke
Amit Peled Gary Popoli Elam Ray Sprenkle
Alan Stepansky* Hollis Robbins Stephen Stone
Alison Wells Sarah Snyder Kip Wile, Chair
Double Bass
John Hood Musicology Professional Studies
Paul Johnson* Suhnne Ahn Business of Music
Jeffrey Weisner Robert Follet Linda Goodwin
Richard Giarusso Gary Louie
Voice John Gingerich Music Education
Phyllis Bryn-Julson, Chair David Hildebrand Harlan Parker, Chair
Marianna Busching John Moran Laura Parker
Stanley Cornett Elam Ray Sprenkle Cherie Stellaccio
Ah Hong Andrew Talle, Chair Recording Arts
Steven Rainbolt Elizabeth Tolbert Matthew Lyons
William Sharp Piero Weiss Michael MacDonald
John Shirley-Quirk Susan Weiss Neil Thompson Shade
Vocal Coaching and Edward Tetreault
Repertoire Studies Music Theory Pedagogy
Vera Danchenko-Stern Ear-training Laura Parker*
Wolfgang Justen Clinton Adams*
Ernest Ligon Courtney Orlando
Ernest Liotti Keyboard Studies
Stacey Mastrian Patricia Graham*
Robert Muckenfuss Ken Johansen
Lura Johnson
Shirley Yoo

Distinguished Visiting Faculty

Christopher Rouse, composition
Marin Alsop, conducting
William Nerenberg, Business of Music
Dame Gillian Weir, organ

*Coordinator

125
125
Course Listings
In most cases, there are two semester-
hour numbers in parentheses following the
course description. The first number refers
to the first semester and the second num-
ber refers to the second semester. A dash
separating the two numbers indicates that
the completion of the course in the first
semester is a prerequisite for continuing
the course in the second.
A comma separating the two numbers
indicates that the first semester is not
a prerequisite for the second. 400-level
courses may be used to fulfill graduate
requirements. Undergraduates may enroll
in 600- or 700-level courses with permis-
sion of the instructor and the registrar.
Students should check with the Reg-
istrar’s Office each semester for the latest
information on course availability.

Brass
James Olin, Coordinator
530.419,420 Trombone Repertoire Class
The development of orchestral skills through low brass sectionals; performance in trombone
choir, departmental recitals, and mock orchestral auditions. (1,1) Olin

530.453,454 Horn Repertoire Class

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

530.459 Respiratory Function

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

530.457,458 Orchestral Repertoire for Trumpet

The development of orchestral performance skills for trumpet with emphasis on repertoire.
(1,1) Hoffman

950.547,548/847,848 Brass Repertoire Class

Performance of large brass ensemble repertoire and British-style brass band repertoire;
rehearsal of important orchestral literature for brass. (1,1) Olin/Kellner

Chamber Music
Michael Kannen, Director
530.521,522 Chamber Music Seminar
Open to complete groups enrolled in the chamber music program. This class focuses on a
different area of the chamber music repertoire each semester. It is an open forum in which all
participants contribute, a goal being that active listening will lead to meaningful and help-
ful responses. Through each group’s performance, the class will explore the issues that lead to
the successful re-creation of a work, and will strive to put single works into larger contexts.
Groups must apply for admission into the seminar each semester, and will be admitted at
the discretion of the faculty. This class is offered as an elective. (2,2) Kannen, Knopp, Lambros,
Melancon

126
530.621,622 Instrumental Chamber Music Class
Designed for concentrated study of the sonata and instrumental chamber music literature.
Audition/permission of the instructor required. (2,2) Hahn, Mack

530.623 New Chamber Music

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

530.579,580 Vocal Chamber Music

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

950.531,2/831,2 Chamber Ensemble

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

950.539,540/839,840 Piano Ensemble

The study and performance of selected duo piano literature, including music written for one
piano, four hands, as well as repertoire for two pianos. (1,1) Jacobson, Faculty

950.527,8/827,8 Baroque Ensemble

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

950.553,4/853,4 Renaissance Chamber Ensemble

The study and performance of selected Renaissance literature for specific instrumental and vocal
groups such as, but not limited to, quartets of like instruments (e.g., guitars), lutesongs (for
voice and guitar), and the “English” or mixed consort of violin, flute, viol, lute, and guitar. (1,1)
Cudek

Composition
McGregor Boyle, Chair

Composition
310.515,516,517,518 Music Now I, II
This elective course will focus on music of the last 25 years by international region and will
look at the major figures and movements of those countries with a special, extended look at
music from the United States. I and II are offered in alternate years. (2,2) Faculty

127
310.545-546/845-846 Composition Seminar
Informal sessions in which works of students and faculty are discussed in depth, guest lectur-
ers appear, and important contemporary works, trends, and techniques are analyzed. Required
for composition majors all semesters of residence. Open to others with permission of the
Composition Department. (1-1) Composition Faculty

310.691 Composition Portfolio

The completion of works of major proportions, for full orchestra and chamber ensemble, as
required in the Master of Music degree program. (2) Faculty

310.793 Compositions/Commentary
The completion of works of major proportions, for full orchestra and chamber ensemble,
accompanied by a substantial written commentary, as required in the Doctor of Musical Arts
degree program. (6) Faculty

Computer Music
Geoffrey Wright, Coordinator
350.437-438/837-838 Digital Music Programming
This course will teach computer programming theory and skills pertaining to computer
music composition, performance, and research. It covers data structures, networking, real-
time computing, machine architecture, advanced C, MAX external objects, and Java. Prereq-
uisites: 350.466 and 350.835 or equivalent. (2-2) Boyle

350.463-464 Introduction to Computer Music

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

350.465 Introduction to Web Design

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

350.466 Introduction to Programming (using Java)

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

350.467-468/867-868 Synthesis Theory

A course designed to examine digital signal processing techniques as applied to computer
music applications. Topics include theoretical background of digital synthesis and processing
techniques (sampling theory, FM, linear and nonlinear synthesis systems), hybrid synthesis
systems, mixed digital synthesis systems (MIDI), direct digital synthesis (Csound), vari-
ous music synthesis and processing languages. Specifically for computer music majors and
recording arts majors, but open to others with permission of the instructor. Prerequisites:
350.463-464 and 350.835 or equivalent. (3-3) Faculty

128
350.545-546/845-846 Computer Music Seminar
The seminar focuses on the work of student and faculty composers, performers, and research-
ers, with class discussion of these and other current developments in the field of computer
music. The seminar also functions as a repertoire class, and the participation of computer
music majors is required and evaluated as part of lessons and research practicum. Open to
others with permission of the department. (1-1) Faculty

350.835 Studio Techniques

A course that covers advanced computer music studio techniques, including advanced use
of MIDI, synthesizer programming, sample editing and processing, SMPTE Time Code and
synchronization, and recording and production techniques. Prerequisite: 350.463-464 or
equivalent. (3,0) Wright

350.840 History of Electroacoustic Music

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

350.841-842 Research Practicum

An intensive course for those following the computer music research/technology track. Sub-
stantial individual projects will be pursued. Prerequisite: Permission of the instructor. (4-4)
Faculty

350.847-848 Computer Music Area Seminar—Special Topics

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

350.871 Music Notation Software

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

350.691 Computer Music Master’s Thesis

A scholarly work describing the author’s research activities as required for the Research track
of the M.M. program in Computer Music. (2) Faculty

350.693 Computer Music Composition Portfolio

The completion of works of major proportions that utilize computer technology, accompanied
by a substantial written commentary, as required by the M.M. program in Computer Music.
(2) Faculty

Conducting
330.311 Basic Conducting
A basic course in orchestral techniques. Offered fall and spring. (1) H. Parker

330.411,412 Intermediate Conducting

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

129
330.413,414 Advanced Conducting
Designed for the student who desires more intensive study in conducting. Prerequisite: Inter-
mediate Conducting or permission of the instructor. (1,1) H. Parker

330.845-846/847-848 Conducting Seminar

A seminar in all aspects of conducting as a profession, from orchestra management to program
making. Videotapes of each week’s rehearsal with the conductor’s orchestra will be discussed.
Required of all conducting majors throughout period of enrollment. (1-1) Meier/Thakar

Early Music
Mark Cudek, Director
530.315 Continuo I: Figured Bass
Designed to develop the skill of continuo playing, reading, and improvising from a figured
bass, this course will use standard repertoire as well as exercise drills. Open to all qualified
keyboard students. Offered on an as-needed basis; next in 2008–2009. (2-0) Pearl/Stone

530.337-338 Baroque Violin/Viola Repertoire

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

530.343 Violin Literature

A chronological survey of violin literature, pedagogical as well as musical, with an emphasis
on historical techniques and performance practices of the 17th, 18th, and 19th centuries.
Along with treatises (Geminiani, Leopold Mozart, and Baillot), the repertoire of correspond-
ing periods will be examined in light of the techniques and tastes of the times in which it was
written. No prior early music training is required. Prerequisite: Music History II or permis-
sion of the instructor. Offered in alternate years; not in 2008–2009. (1,0) Browder

530.351-352 Beginning Viola da Gamba

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

530.353,354 Viola da Gamba Consort

Designed for students of intermediate to advanced proficiency on viola da gamba, the consort
class provides an opportunity to read and perform music written specifically for combinations
of two to six viols (primarily from 17th-century England). Refinement of ensemble playing
is stressed. Students have the opportunity to work with other instruments of the period in
broken consort and consort songs. Prerequisite: 530.351-352 or permission of the instructor.
(1,1) Moran

530.355-356 Recorder Consort

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

530.421,422 Harpsichord Literature

A study of the literature for the harpsichord from the late 16th to the 20th century. The
course is approached from the performer’s point of view with analysis and discussion of form
and style. Offered on an as-needed basis. (1,1) Pearl

130
530.433-434 Lute Literature and Notation
Intensive study of repertoire and genres for Renaissance and baroque lute and vihuela through
listening, transcribing, and performance of selected works from French, Italian, and German
tablatures. Performance practice is also a key focus of this class and will be learned initially
through simple ensemble pieces transcribed for guitar duo, trio, and quartet. Required for
guitar majors. (2-2) Cudek

530.435 Viola da Gamba Repertoire

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

530.436 Early Cello Literature

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

530.439,440 Baroque Violoncello

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

530.441-442 Baroque Ornamentation

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

530.443,444 Baroque Flute Class

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

530.445 Advanced Continuo

A continuation of 530.315 Continuo I: Figured Bass. Specific styles of accompanying recita-
tive, chamber ensembles, orchestral, including Italian, French, German. Offered on an as-
needed basis; next in 2008–2009. (0-2) Pearl/Stone

370.492 Harpsichord Tuning

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

530.543,544 Early Vocal Literature

Fall: a study of vocal works and styles from the Middle Ages and Renaissance. From chant
and early polyphony to mass, motet, madrigal, and lute song. Spring: transition from Renais-
sance to baroque—monody, opera and oratorio, aria, and recitative. An emphasis on coached
in-class performances. (2,2) Cudek/Stone

131
530.559 Historical Diction for Singers
Coached performance class for vocalists of 17th- and 18th-century (baroque) repertoire in
French, German, Italian, and Latin. Particular emphasis on interplay between text and music.
(1,0) Stone

530.577,578 Early Wind Literature

A chronological survey of the literature for recorder, flute, and oboe from the beginnings of solo-
istic composition in the late 16th century through the end of the 18th century, with attention
to historical context and performance practice. Includes history and development of the instru-
ments themselves and consideration of how the recorder, flute, and oboe repertoires overlap, dif-
fer, and developed over time. No prior early music experience is necessary. (1,1) Roberts

610.634 Baroque Performance Practice

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

910.527-528/910.827-828 Baltimore Baroque Band (Baroque Orchestra)

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

950.527,8/827,8 Baroque Ensemble

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

950.529,30/829,30 Renaissance Ensemble

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

950.553,4/950.853,4 Renaissance Chamber Ensemble

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

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Ensemble Arts
Ellen Mack, Coordinator
350.847,848 Ensemble Arts Seminar
(1,1) Piano Faculty

530.213-214 Accompanying
Open to all qualified keyboard students at any level. Required for keyboard majors as part of
the chamber music program. (1-1) E. Cornett

530.513-514 Advanced Accompanying (Undergraduate)

(2-2) Mack

530.619,620 Accompanying and Coaching Skills for Pianists

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

530.621,622 Instrumental Chamber Music

Designed for concentrated study of the sonata and instrumental chamber music repertoire.
Audition/permission of the instructor required. (2,2) Hahn, Mack

530.625,626 Accompanying and Coaching Skills II

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

530.813-814,817-818 Advanced Accompanying (Graduate)

(2-2) Mack, Shirley-Quirk

530.639 Student Coach, Opera Workshop

Participation as student coach in the preparation and performance of scenes from the operatic
repertoire, in simple stagings with piano accompaniment. (1) Faculty

530.640 Student Coach, Opera Theatre Production

Participation as student coach in the preparation and performance of complete fully staged
operas with orchestra. (2) Faculty

530.677 Advanced Vocal Repertoire in French

Study and performance of representative songs. Singers should be comfortable singing in
French. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years; next in 2009–2010. (0,2-3) Ligon

530.678 Advanced Vocal Repertoire in German

Study and performance of representative songs. Singers should be comfortable singing in
German. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years; next in 2009–2010. (2-3,0) Ligon

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General Studies
360.411 The Music Business: Cash, Contracts, Copyrights
This course examines the business and commercial factors the musician encounters when
making a living in the United States. It considers the legal, financial, and marketing aspects
of a professional musician’s livelihood. Topics include the basics of contract and copyright
laws, key aspects of the recording industry, performing rights and venues, broadcasting, pub-
lishing, unions and other professional societies, managers, booking agents, tax planning, and
marketing. (2,0) Goodwin

360.415,416 The Arts Administrator/Orchestra Management

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

360.421 The Business of Music

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

530.501-502 Thursday Noon Recital Series

Student performances covering all historical periods and a variety of genre. Attendance
required in the first two semesters of undergraduate enrollment. (1/2-1/2) Staff

530.503-504 Thursday Noon Alternate Project

A concert attendance project required in the third and fourth semesters of undergraduate
enrollment. (1/2-1/2) Staff

Guitar
Julian Gray, Chair
530.431,432 Guitar Literature: Undergraduate
A study of the literature for the guitar from the Renaissance to the present. Offered in alter-
nate years; next in 2009–2010. (2,2) Gray

530.631,632 Guitar Literature: Graduate

A more advanced and specialized course which includes detailed study of selected works from
the guitar literature. It will include additional research and documentation beyond the under-
graduate level. Offered in alternate years; next in 2008–2009. (1,1) Gray

530.433-434 Lute Literature and Notation

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

530.585-586 Guitar Music Skills I

The application of theoretical skills to the guitar. Includes harmony, position reading,
rhythm, transposition, analysis, and more. (1-1) Chester

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530.587-588 Guitar Music Skills II
A continuation of 530.585-586 for guitar majors; emphasis on form and analysis and basic
skills such as transposition, sight-reading. (1-1) Chester

530.637-638 Guitar Pedagogy

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

470.545-6/845-6 Guitar Seminar

A seminar for performance and discussion of the guitar and related repertoire. Required of all
guitar majors in all semesters of enrollment. (1-1) Guitar Faculty

950.541,2/841,2 Guitar Ensemble

The development of guitar ensemble skills with two, three, and four guitars. (1,1) Chester

Harp
Ruth Inglefield, Coordinator
370.497-498 Harp Maintenance
Incoming students take this class for one year unless expertise can be established. Class covers
the basics of instrument care, changing felts, replacing rods, minor regulation, pedal adjust-
ment, etc.; students must demonstrate ability to perform standard maintenance on the school
instruments. (1-1) Inglefield

530.495-496 Harp Repertoire

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

420.545-546/845-6 Harp Seminar

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

530.629-630 Harp Pedagogy

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

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Humanities
Liberal Arts
Ron Levy, Chair
Listed below are courses taught at the Peabody campus. A full complement of humanities
courses is available on the Homewood campus of The Johns Hopkins University. Courses may
also be taken at the Maryland Institute College of Art and Loyola College. (See Inter-Institu-
tional Academic Arrangements, p. 21.)
260.011-012 Introduction to Liberal Arts
Designed for international students for whom English is a second language, this course nur-
tures the basic skills of critical thought and self-expression necessary for success in Peabody’s
undergraduate academic program. Students in this class will study Greek myths, selections
from the Bible, Shakespeare plays, and other works that have inspired Western composers
and artists. Course readings will form the basis of class discussion and writing exercises.
(3-3) Snyder

220.514 Writing Workshop

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

260.117 Writing Skills

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

260.115 Humanities Seminar

A team-taught course designed for new Peabody undergraduates. The course introduces stu-
dents to college-level academic studies. Designed as a text-based, interdisciplinary course,
course themes and assignments change from year to year. The course fosters critical think-
ing through discussion and a range of carefully supervised projects in a small-group setting.
Writing and collaborative work are central to the Humanities Seminar. (5,0) Faculty

260.235 Power and Racism

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

260.237 Ethnographies of the Ordinary: The Politics of Identity

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

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AS 362-200 African-American Poetry & Poetics
This course will explore the category, history, and development of African-American poetry
from Phillis Wheatley to the present. We will focus on poetry and poetics specifically but
will consider the general movement of literature produced by African-American writers over
the course of three centuries. We will read works by the key contributors to this particular
American literary tradition with the goal of understanding the aesthetic, cultural, and criti-
cal legacy of African-American poetry to the American literary and musical sensibility of
the 21st century. From 18th-century odes to the blues, hip-hop, and rap traditions, we will
examine the role that race, cultural identity, legal status, and the impersonal structures (or
shackles) of poetic forms have played in shaping and reshaping African-American verse. This
class will be taught on the Homewood campus. Students can cross-register to enroll.
(3,0) Robbins

260.216 Twentieth-Century Aesthetics and Politics

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

260.222 Introduction to Interpretation

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

260.236 Science and Religion

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

290.111 Introduction to Psychology

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

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530.539 Poetry in German
Beginning with Goethe’s work, this course focuses on German poems representative of a
poet, a period, or a genre, from the 18th century to the present. Special attention will be
paid to works set to music by various composers from Mozart to Henze. Texts will be read in
the original German (with English translations); discussion will be in English. Prerequisite:
none. (3,0) Vogt

Languages
Sebastian Vogt, Coordinator

225.001-002 English Skills for Classroom Success: Listening and Speaking

This intensive course develops the English skills of listening and speaking necessary for suc-
cess in Peabody classes. Placement is determined through an entrance exam and a personal
interview. Students in this class must concurrently enroll in 225.003-004 Reading and
Writing. Graduate students placed in this course are required to complete it with a grade of
B or better and to enroll in ESL II in their second year at Peabody. Attendance is mandatory.
(0-0) Pevac

225.003-004 English Skills for Classroom Success: Reading and Writing

This intensive course develops the English skills of reading and writing necessary for success
in Peabody classes. Placement is determined through an entrance exam and a personal inter-
view. Students in this class must concurrently enroll in 225.001-002 Listening and Speaking.
Graduate students placed in this course are required to complete it with a grade of B or better
and to enroll in ESL II in their second year at Peabody. Attendance is mandatory. (0-0) Palmer

225.007-008 ESL II – English Skills for Graduate Study

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

230.111-112 French I
A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of French. (3-3) Faculty

240.111-112 German I
A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of German. Students should plan to complete both the fall and spring
semesters of this course. (3-3) Vogt

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240.114 German for Reading Knowledge
Designed to help students prepare for translations on the level required to pass D.M.A.
exams. It concentrates on recognizing sentence structure and grammatical features encoun-
tered in musical biographies, theory analyses, and musicological essays. This course does not
stress speaking competency of the language and does not count as a Liberal Arts elective.
Prerequisite: one year of college-level German, or one semester and permission of instructor.
(0,2) Vogt

240.211-212 German II
A review and continuation of grammatical and syntactical structures, with a view to improv-
ing ability in the four language skills. Through the use of readings based on cultural and
topical material, students will enhance conversational and writing skills. Prerequisite: Ger-
man I or placement test. Students should plan to complete both the fall and spring semesters
of this course. (3-3) Vogt

250.111-112 Italian I
A thorough study of the fundamentals of the four language skills: understanding, speak-
ing, reading, and writing. Concentrating on practical everyday situations, the course aims to
provide the commonly used vocabulary, expressions, and grammatical structures needed to
achieve a functional use of Italian. (3-3) Oorts

Jazz
Gary Thomas, Director of Jazz Studies
530.547, 548 Singing/Playing Jazz Standards
A performance class which includes learning the jazz standard repertoire, establishing keys
and making jazz charts, developing a personal repertoire book, counting off tempos and
understanding form, working with instrumentalists with stock arrangements and the begin-
nings of vocal improvisation. Instrumentals will get the opportunity to play vocal standards
with instructor and other singers, working on playing intros, soloing in different keys, end-
ings, exploring different feels and the concept of instrumental accompaniment. (1,1) Clayton

530.549,550 Jazz: Free Ensemble

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

530.561-562 Jazz Improvisation I

Performance/theory course designed to help students acquire and develop basic language for
improvisation through the practical application of information learned in 710.127-128 Jazz
Fundamentals: chords, scales/modes, melody, rhythm, patterns, harmonic progression, and
song forms. Incorporates the performance and examination of several vehicle types, including
songs drawn from standard jazz repertoire. Special emphasis will be devoted to the perfor-
mance and analysis of various improvised solos by master musicians. In addition, develop-
ment of technical facility, listening/hearing skills, sound and musical awareness will also be
addressed. Prerequisites: 710.127-128 Jazz Fundamentals and 530.570 Jazz History or place-
ment by the instructor. (2,2) Thomas

530.563-564 Jazz Improvisation II

The continued development of knowledge and skills acquired in Jazz Improvisation I with
emphasis on increased fluency and mastery. Prerequisite: Jazz Improvisation I or placement
by the instructor. (2-2) Thomas

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530.569-570 Constructive Listening and Analysis/Jazz History
This course has two main areas of focus: 1) The People—a survey of the chronological his-
tory of jazz through the use of texts, recordings, videos, and when possible, guest lecturers.
The development of jazz as an art form will be traced from the acculturation of Africans in
America to the present day by learning about its major instrumentalists, ensembles, com-
posers, arrangers, innovators, revivalists, and revisionists. 2) The Methods—a survey of the
techniques and processes that have been employed by jazz musicians throughout its history
to help make it into the highly structured and evolved art form that it is today. Students will
receive limited firsthand performance, arranging, and composing experience, along with lec-
tures, demonstrations, and extensive discussion. Improvisation is an essential element of daily
life, and now more than ever it is becoming a basic requirement for any performing musician
or composer to have some understanding of jazz styles and practices. (2-2) Formanek

710.127-128 Jazz Fundamentals

Course covering the fundamental aspects of jazz theory through the study of notation,
melody, harmony, rhythm, chords, scales, modes, harmonic progressions, etc. Provides the
musician with the foundation necessary for study in 530.561-562 Jazz Improvisation I and
710.259-260 Jazz Theory/Keyboard Lab. Class includes both an ear-training and singing
component. Basic improvisation skills will be covered as well. (2-2) Thomas

710.259-260 Jazz Theory/Keyboard Lab I

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

710.263-264 Jazz Ear-training

A progressive course designed for real-world use in the music business, it will help students
understand basic hearing of jazz harmonies, melodies, and forms. (2-2) Bollenback

710.359-360 Jazz Theory/Keyboard Lab II

Continuation of the techniques and harmonic concepts studied in Jazz Theory/Keyboard Lab
I. (2-2) Murphy

710.361-362 Jazz Arranging and Composition

Beginning study of the language, techniques, and disciplines employed in arranging music
for various jazz ensembles, including orchestration, notation, rhythmic embellishment,
melodic ornamentation, chord substitution, and harmonization techniques. Prerequisite:
710.259-260 Jazz Theory/Keyboard Lab. (2-2) Murphy

910.537-538/837-838 Jazz Orchestra (Big Band)

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

Large Ensembles
Hajime Teri Murai, Chair
Orchestral instrument majors please note: The large ensemble requirement can be met with
participation in Peabody Symphony Orchestra, Peabody Concert Orchestra, and/or Peabody
Wind Ensemble. Credit is awarded for participation in the other large ensembles but is in
addition to the aforementioned organizations.

140
910.521-522/821-822 Peabody Symphony Orchestra
A full symphony orchestra which provides comprehensive orchestral training and perfor-
mance experience. Its members are primarily graduate and upper-division undergraduate stu-
dents. Each season, the Symphony Orchestra and the Concert Orchestra (see below) perform
a cross section of the standard orchestral repertoire, supplemented by new works and lesser-
known compositions. The Symphony Orchestra also performs opera with the Peabody Opera
Theatre. Seating assignments in both orchestras are rotated as much as possible. Placement is
by audition. (2-2) Murai

910.523-524/823-824 Peabody Concert Orchestra

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

910.511-512/811-812 Peabody/Hopkins Chorus

Devoted to the study and performance of major choral repertoire, sacred and secular, from
the baroque through the present day. Its repertoire will range from a cappella music to major
works with full orchestra. Placement is by audition. (2-2) Polochick

910.515-516/815-816 Peabody Concert Singers

A select group of mixed voices organized to study and perform choral masterworks from the
Renaissance through the present day. This group also joins the Peabody/Hopkins chorus for
major choral performances. Placement is by audition. (2-2) Polochick

910.527-528/910.827-828 Baltimore Baroque Band (Baroque Orchestra)

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

910.535-536/835-836 Peabody Wind Ensemble

A large wind and percussion ensemble which studies and performs well-known and unusual
symphonic wind ensemble/wind symphony literature, including world premieres and works
for larger chamber ensemble. Public performances, audition required. (2-2) H. Parker

910.537-538/837-838 Jazz Orchestra (Big Band)

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

910.539/839 Peabody Improvisation and Multimedia Ensemble

The Peabody Improvisation and Multimedia Ensemble (PIME) is a large ensemble of varied
instruments: strings, brass, woodwinds, percussion, voices. While the major focus of PIME
is to provide an ensemble setting in which the students gain valuable experience and develop
practical performance skills, an additional aim is to expand the boundaries of traditional
ensemble performance by incorporating elements of other genres of artistic expression: dance,
visual art, poetry; and various multimedia technologies: computers, midi, and video. Perfor-

141
mance pieces cover a broad scope, ranging from standard big band repertoire to audio-visual
works combining elements of music, visual art, dance, film and poetry. Students are encour-
aged to actively participate in the creation of new works. The Peabody Improvisation and
Multimedia Ensemble is open to all Hopkins students. Placement is by audition or by per-
mission of the ensemble director. (2,2) Thomas

910.541,2/841,2 Opera Theatre

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

910.545,6/845,6 Opera Workshop

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

910.547,8/847,8 Chamber Opera

Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending on the size of the role) Brunyate/Faculty

Music Education
Harlan D. Parker, Coordinator
510.112 Introduction to Music Education
An overview of music teaching as a profession. Included is an examination of contemporary
philosophical and pedagogical trends in music education as well as roles and attitudes of the
elementary and secondary school music teacher. (0,1) Stellaccio

510.211 Brass Class

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

510.212 Woodwinds Class

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

510.213 Basic Instrumental Pedagogy

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

510.222 Guitar Class

Basic guitar techniques including complete fingerboard and chords in first position for use in
accompanying basal series pieces and instruction of beginners. (1,0) Cudek

510.223 Percussion Class

Study of the percussion instruments. Emphasis is on playing techniques, percussion notation,
and diagnosis of student problems. Also included are basic maintenance and repair proce-
dures. (0,1) Locke

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510.237/337 Conducting the Secondary Choral Ensemble I/II
Development of conducting skills and rehearsal strategies appropriate to the secondary school
choir. Also includes methods of teaching singing in the large ensemble setting. (2-0) Stellaccio

510.238/338 Conducting the Secondary Instrumental Ensemble I/II

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

510.311 Techniques for Teaching Elementary General Music

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

510.312 Techniques for Teaching Elementary Instrumental Music

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

510.313 Techniques for Teaching Secondary Instrumental Music

This course includes principles of secondary education and activities of Conducting the Sec-
ondary Instrumental Ensemble (510.338), plus independent projects and workshops related
to marching band and jazz ensembles. (For certification candidates only.) (0,3) H. Parker

510.314 Techniques for Teaching Secondary Vocal/General Music

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

510.324 String Class

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

510.411 Intern Teaching

Supervised student teaching in public schools daily for one semester (8 weeks in elementary,
7 weeks in secondary). (6,0) L. Parker

510.413 Music and Language

An overview of strategies for teaching reading and other language skills, and examination of
relationships between music learning and language learning. Students who take 510.413 for
3 credits will be required to complete additional projects and/or observations. (3,0) Stellaccio

510.414 Music and the Special Student

An overview of instructional strategies and modifications for special students, including phys-
ically impaired students, talented/gifted students, abused children, and students with social/
emotional disorders. Students who take 510.414 for 3 credits will be required to complete
additional projects and/or observations. (0,3) Stellaccio

143
510.441 Intern Teaching Seminar
Concomitant with 411, the seminar is devoted to discussion of problems related to teaching
music in the schools. Special emphasis is on practices in the secondary school. (1,0) L. Parker

510.452 Secondary Curriculum in Music

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

510.611 Psychology of Music Teaching

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

510.612 Research in Music Education

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

510.613 History and Philosophy of Music Education

Seminar in the historical and philosophical perspectives of music education. Includes the
study of history of music education in the United States and various philosophies of music
education. Offered in alternate years; next in 2008–2009. (2,0) L. Parker

510.614 Supervision and Curriculum Development

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

510.615-616 Music Education Electives

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

510.621 Graduate Practicum

Observation and guided teaching in a variety of settings, designed to enhance and expand the
teaching skills of the practicing educator. Includes individualized video taping of teaching
demonstrations, and follow-up conferences. Practicum experiences are arranged according
to student interests and needs, and may include teaching and supervisory internships. (2,0)
Faculty

510.624 Conducting Wind Literature

This course is primarily designed for, but not limited to, the graduate music education major
interested in conducting wind ensemble literature. Score reading techniques, technical con-
ducting skills, interpretive concepts, and rehearsal techniques will be covered. (0,2) H. Parker

510.626 Music Education and Society

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

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510.691 Independent Field Study
An exit project which may include, but is not limited to, the following options: (1) develop-
ment of instructional/curriculum materials, (2) demographic profile of a school district and
the music education program, (3) historical or descriptive research, (4) limited experimental
research. (4) Faculty

Music Theory
Kip Wile, Chair
710.111-112 Basics of Tonal Music I
This course includes study of melody, counterpoint, figured bass, diatonic and chromatic har-
mony, and analysis and composition of short homophonic and polyphonic pieces. (3-3) Faculty

710.211 Baroque Styles

Continuing studies of counterpoint. Analysis and composition of two- and three-voice
baroque-style pieces, including fugue. (3,0) Faculty

710.212 Classical Styles

Studies in the classical style, as exemplified by the works of Haydn, Mozart, Beethoven, and
Schubert. Forms studied will include larger rounded binary and ternary structures, sonata-
allegro, sonata-rondo, rondo and variation. (0,3) Faculty

710.311 Romantic and Early 20th-Century Styles

Extension and expansion of harmonic, formal, and contrapuntal techniques into music from
the mid-19th to early 20th centuries. (3,0) Faculty

710.312 20th-Century Styles

A study of the newer formal, contrapuntal, and harmonic techniques of the 20th and 21st
centuries. A wide variety of styles and techniques will be covered, as well as new analytical
approaches. (0,3) Faculty

710.412 Instrumentation and Arranging

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

710.413-414 Orchestration
A course for composers and conductors studying instrumental technique and ensemble com-
binations as demonstrated in orchestral literature, 1750 to the present. Music theory credit
available only for graduate composers and conductors; other students are directed to take
710.412 Instrumentation and Arranging for music theory credit. Course must be taken for
the entire school year. (3-3) Faculty

710.415 Graduate Music Theory Review

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

710.617 Principles of Analysis

Basic principles of musical construction as seen through examination and analysis of represen-
tative forms and compositions from the Renaissance to the present. (3) Faculty

145
710.619 Song Analysis
An exploration of the interactions between text and music within the art-song repertoire
from various style periods, drawing on theories of drama, linguistics, cognition, and music.
(0,3) Faculty

710.620 Chamber Music Analysis

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

710.623 Schenkerian Analysis

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

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

710.633 Counterpoint of the Renaissance

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

710.634 Baroque Counterpoint

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

710.635 Styles Analysis

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

710.638 Classical Style and Practice

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

710.639 Romantic Style and Practice

An investigation of the unique and shared features of selected 19th-century composers.
Emphasis on stylistic elements and formal design. (3) Faculty

710.643,644 Music from 1900 to 1945

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

710.645,646 Music Since 1945

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

710.647 Analysis of 19th-Century Piano Literature

Detailed analysis of representative works from the piano repertoire. (3,0) Faculty

146
710.648 Analysis of 20th-Century Piano Literature
Detailed analysis of representative works from the piano repertoire. (0,3) Faculty

710.649 Music Theory Pedagogy

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

710.650 Music Theory Internship

Designed to give teaching experience to the M.M. in Theory Pedagogy student. The course
will include classroom experience. (3) Faculty

710.651 20th-Century Style and Analysis

Analysis of selected music in the 20th century to show the diversity of techniques and
approaches to pitch, rhythm, and formal structures. (3) Faculty

710.653 Bach Solo and Chamber Music

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

710.654 Debussy
Close examination of Debussy’s works, covering a variety or techniques and genres. (0,3) Faculty

710.658 18th-century Keyboard Masters

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

710.660 Contemporary Theory Literature

This course familiarizes students with several theoretical models used in current research and
with popular contemporary theory journals. Especially recommended for Theory Pedagogy
majors and D.M.A. students. (0,3) Faculty

710.661 Post-Romantic Chromaticism

Beginning with the enharmonic-chromatic technique of Wagner (Tristan and Parsifal), the
course follows the development of this language through Strauss’ extension of Wagner’s
approach, to the advanced vocabulary and bi-tonal effects in Salome and Electra, his two most
advanced operas. Other contemporaries of the day (Mahler, Schoenberg) will also be studied.
(3) Faculty

710.662 Music Theory Seminar

For D.M.A. students only, this seminar investigates various aspects of music and music
theory. (3) Faculty

710.665 Analysis and Performance

How analysis enhances performance: discussion of readings and in-class demonstrations, using
a variety of analytical techniques. (3) Faculty

710.666 18th-Century Music Theory and Practice

Examination and discussion, with musical demonstrations, of 18th-century treatises by
C.P.E. Bach, Leopold Mozart, Kirnberger, Quantz, and others. (3) Faculty

147
710.667 Beethoven’s String Quartets
An intensive analysis of selected quartets from all three style periods. (3) Faculty

710.669 The Mass as a Musical Structure

An investigation into the musical traditions, structures, and their applications to the liturgi-
cal text of the Mass. The course also includes a study of the setting of the Requiem and its
relation to the traditional liturgy. Representative composers include Bach, Beethoven, Strav-
insky, and Britten. (3) Faculty

710.670 Tonal Chromaticism

This course explores in detail the effect of chromatic inflection on line, harmony, and form
through analysis and writing. Late romantic tonality and modulation will be emphasized,
though earlier styles will be investigated as well. (3) Faculty

710.673 Bartok
A detailed study of representative works of Bela Bartok with a view to penetrating the man-
nerisms and signatures that make Bartok “Bartok.” (3) Faculty

710.676 Stravinsky
A detailed study of representative works of Igor Stravinsky with a view to penetrating the
mannerisms and signatures that make Stravinsky “Stravinsky.” (3) Faculty

710.677 Fugue: From Bach to Shostakovitch

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

710.685 Music Theory Pedagogy Project

Designed for Music Theory Pedagogy students; to be taken under the supervision of a music
theory advisor. The project will examine a specific aspect of music theory teaching. (3) Faculty

710.687-688 The Well-Tempered Clavier

A detailed analysis of the preludes and fugues in Books I and II of Bach’s Well-Tempered
Clavier. (3-3) Faculty

710.702 Analytical Techniques

An investigation of techniques currently in use, including traditional, Schenkerian, cognitive,
phenomenological, and comparative. (3) Faculty

710.713 Thinking by Ear: Strategies for Music Making

An exploration of issues concerning music of the common practice period. Examines the
practical implications for research and performance of various approaches to analytical inter-
pretation of music. The work involves listening, reading, creative thinking, and analysis. (3)
Faculty

710.714 Thinking by Ear: Segue to the 20th Century

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

148
710.843,844 Independent Study in Theory
Designed for those who wish to make a concentrated study of selected topics in music theory.
May not be used to substitute for an offered course. Open only to advanced students with
approval of the instructor and the Department of Music Theory. Hours to be determined.
Faculty

Ear-Training/Sight-Singing
Clinton Adams, Coordinator
710.023 Ear-Training Fundamentals
(0,0) Faculty

710.123-124 Ear-Training, Rhythm Studies, and Sight-Singing

A basic course in the skills of reading and hearing music, employing Dalcroze techniques
for the development of musicianship. To be taken in conjunction with Music Theory I. (2-2)
Adams, Orlando

710.125-226 Ear-Training, Rhythm Studies, and Sight-Singing

Perfect Pitch accelerated version of 710.123 and 710.223 that covers the material of the two-
year course in one year. (2-2) Adams

710.223-224 Ear-Training, Rhythm Studies, and Sight-Singing

A continuation of the first-year course, with heavy emphasis on Bach chorales and 20th-cen-
tury techniques. (2-2) Adams, Orlando

710.323-324 Ear-Training: Contemporary Music Studies

After a short review of highly chromatic late 19th- and early 20th-century music, classes will
focus on atonal music, beginning with the late works of Liszt and Wolf and continuing into
the music of today. This course is open to undergraduates who have successfully completed
both semesters of 710.223-224. (2-2) Orlando

710.425-426 Ear-Training Review

A review course in the principles of ear-training, dictation, sight-singing, and clefs. (2-2)
Adams, Orlando

710.521-522 Ear-Training Tutorial

Individual work in ear-training and sight-singing. Hours to be determined. Adams, Orlando

Keyboard Studies
Patricia Graham, Coordinator
710.155-156 Keyboard Studies: Non-piano majors
A study of basic skills involved in reading, harmonization, transposition, improvisation, and
analysis, to be taken in conjunction with Music Theory I. Assignments to sections of varying
levels will be based on the student’s piano background and determined through audition.
(2-2) Graham, Faculty

710.255-256 Keyboard Studies: Non-piano majors

A continuation of 710.155-156. Emphasis on harmonic and formal analysis as tools for sight-
reading and memorization. Repertoire includes solo and duet works, accompaniments, and
score-reading. (2-2) Graham

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Musicology
Andrew Talle, Chair

610.311 History of Music I

A study of music from classical antiquity through the Renaissance period. Fall and Spring
(2) S. Weiss

610.312 History of Music II

A study of music from the baroque period through the end of the 18th century. Fall and
Spring (2) Sprenkle and Gingerich

610.313 History of Music III

A study of music in the 19th century. Fall and Spring (2) P. Weiss and Gingerich

610.314 History of Music IV

A study of music since the beginning of the 20th century. Fall and Spring (2) Giarusso

610.555 Music and Culture

An introduction to the basic concepts of ethnomusicology through the study of selected non-
Western musical traditions. The course format features a series of live performances, partici-
patory workshops, and guest lectures. (0,2) Tolbert

AS 360.133 Great Books at Hopkins (Homewood)

Great Books explores some of the greatest works of the literary and philosophical tradition
in Europe and the Americas. In lectures and panel sessions, professors from several academic
disciplines introduce texts and lead further discussion in small group sessions. Where appro-
priate, as in the Faust legend, Peabody resources allow comparison of the literary text and its
musical counterparts. Close reading and intensive writing instruction are hallmarks of Great
Books at Hopkins, along with a reading list that varies each term based on faculty expertise:
this term’s readings include The Odyssey; The Inferno; Don Quixote; Faust (Goethe and Berlioz);
Ground work of the Metaphysics of Morals; Wuthering Heights; Narrative of the Life of Frederick
Douglass, an American Slave; and A Room of One’s Own. This course meets on the Homewood
campus and requires registration through the Krieger School of Arts and Sciences. (3,0) The
course is taught collaboratively by three professors: Giarusso (Musicology), Egginton (German
and Romance Languages), and Patton (Writing Seminars).

AS 376.231 Introduction to Western Music History (Homewood)

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

610.601 Music History Intensive Review

A review course for graduate students, covering classical antiquity to the 21st century. Fall
only. (2,0) Tremblay

150
610.651 Music Bibliography
As an introduction to the materials and techniques available to the performing musician, the
course will include fundamentals of library research, the computer as a library research tool,
acquaintance with and use of essential music reference texts, and exploration of local and
national library resources. Fall and Spring. (2) Follet and Talle

610.691 Master’s Essay

A scholarly work written under the supervision of a member of the musicology faculty.
Required for the master’s degree in Musicology. See the specific guidelines in this catalog.
Fall and Spring. (2) Giarusso, Talle, Tolbert, P. Weiss, S. Weiss

610.755-756 Graduate Research

An introduction to methods of research through independent written projects in music
history. Required of all doctoral candidates and musicology majors. Fall and Spring. (2)
Giarusso, Talle, Tolbert, P. Weiss, S. Weiss

610.791 Dissertation
A study of an original musical topic, approved by the D.M.A. Committee, culminating in
the completion and defense of a scholarly work written under supervision of the student’s aca-
demic advisor. (4) Faculty

610.792 Lecture-Recital Paper

A study of a specific musical topic, approved by the D.M.A. Committee and suitable as the
basis for a lecture-recital, culminating in a written paper and a public lecture-recital. Fall and
Spring. (2) Giarusso, Talle, Tolbert, P. Weiss, S. Weiss

610.813,814 Consultation/Degree in Progress

For graduate students working with a faculty member to complete a dissertation or a lecture-
recital essay. Registration required each semester following completion of coursework in order
to maintain active status in the program. Fall and Spring. (1) Giarusso, Talle, Tolbert, P. Weiss,
S. Weiss

610.843,4 Musicology Independent Study

Designed for those who wish to make a concentrated study of selected topics in musicology.
Open only to advanced students with approval of the instructor and the department. Fall and
Spring. (1 to 3) Giarusso, Tolbert, P. Weiss, S. Weiss

610.847-848 Musicology Colloquium

The colloquium introduces D.M.A. students to doctoral-level academic study at Peabody.
Emphasis is on critical thinking, argument from sources, written and oral presentation. Every
other week an invited speaker gives a talk in the area of his or her expertise (speakers and
topics will be announced at the beginning of each semester). In alternate weeks students give
presentations. The lectures are open to members of the Peabody community and the general
public. (3-3) Tolbert

Musicology Seminars
Musicology seminars offer in-depth study of selected topics in musicology. Each section is
limited to 15 students. The seminar format encourages individual initiative on the part of
students, who are expected to share in the discussion, prepare projects for presentation, and
write reports on work done outside of class. Prerequisite: passing mark on music history
placement exam or passing grade in Music History Intensive Review. Students required to
take English as a Second Language courses must obtain permission of the instructor to enroll
in graduate seminars, even if they have already passed Music History Intensive Review. The
following seminars will be offered in 2008–2009.

151
Fall Semester
610.634 Baroque Performance Practice
What assumptions did performers bring to interpretation in the baroque era? This class pro-
vides a detailed overview of prevalent performance conventions of the time as taught to us by
primary sources, including Quantz, CPE Bach, Leopold Mozart, Muffat, and Geminiani, as
well as some insight into why these matters are important and what drives the early music
movement. While everyone will be expected to develop a solid grasp of the most significant
issues, each student will also independently cultivate expertise in a specific area of his or her
choosing. (3,0) Moran

610.646 Schubert Song Cycles

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

610.663 Bach Passions

An overview of the work of J. S. Bach with concentration on the Passions. (3,0) Sprenkle

610.674 History and Technology of Musical Instruments

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

610.675 Mozart
An introduction to Mozart studies. Students will investigate a selection of his works in differ-
ent genres within their historical and biographical context. (3,0) P. Weiss

610.677 The Concerto in the 19th Century

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

610.684 Transnationalism and Globalism in Music

An examination of contemporary world music genres from an ethnomusicological perspec-
tive, with emphasis on transnational and global issues. (3,0) Tolbert

AS 376.407 Music and Evolution (Homewood)

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

152
Spring Semester
610.630 German Song in the 19th Century
This course considers the repertoire of 19th-century German art song through a focused study
of the works of four major figures: Schubert, Schumann, Brahms, and Wolf. We will address
theories of text in music, evolving notions of the song “cycle,” analytical approaches to the
lied, and the place of the lied within the social sphere. We will devote particular attention to
Schubert’s Die schöne Müllerin and Winterreise, Schumann’s Dichterliebe, and Brahms Vier ernste
Gesänge. (0,3) Giarusso

610.642 Music and the Enlightenment

This course will examine relationships between 18th-century musical culture and the eco-
nomic and cultural environment known as the Enlightenment. Composers studied will
include Bach and Mozart, as well as lesser known contemporaries. (0,3) Talle

610.658 Beethoven: Music and Compositional Procedure in His

Sketches and Autographs
How did Beethoven compose his works? Students will have an opportunity to investigate
Beethoven's creative process by examining primary source material such as surviving auto-
graphs and sketchbooks. Tools for navigating the vast field of Beethoven research are pre-
sented. (0,3) Ahn

610.664 Schubert
An introduction to Schubert studies. Students will investigate a selection of his works in
different genres within their historical and biographical context. (0,3) P. Weiss

610.667 Beethoven’s Symphonies

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

610.678 Two Operas, Two Historical Epochs

A detailed study of Berg’s Wozzeck and Mozart’s The Marriage of Figaro in their cultural con-
texts. (0,3) Sprenkle

610.683 Music in the United States: 1607–1950

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

AS 010.382 Games of Eres and Mars: Art and Music of Renaissance Ferrara (Homewood)
Ferrara under the patronage of the Estensi dukes and duchesses was a favorite locus amoe-
nus for Renaissance artists such as Andrea Mantegna, Lorenzo Costa, and Dosso Dossi. The
well-known composers Josquin des Prez and Heinrich Isaac vied for a coveted position in the
court of Ercole d’Este. His daughter Isabella sought out the best painters, writers, instrument
builders, and musicians, as did Alfonso, the catalyst for the well-known women’s performance
ensemble, the Concerto delle donne. Supplemented by a rich array of evidentiary materials, live
musical performances, and trips to museums in the Baltimore-Washington area, this course
will focus on the factors that contributed to making Ferrara one of the most sumptuous courts
in early Modern Europe. This course meets on the Homewood campus and requires registra-
tion through the Krieger School of Arts and Sciences. (0,3). It is taught collaboratively by
S. Weiss (Musicology) and Campbell (History of Art).

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Opera
Roger Brunyate, Chair
530.391 Stage Movement for Singers
Techniques for attaining intellectual and physical control to achieve greater security and
facility on stage in general, and to use movement as a tool in characterization. (1) Bartlett

530.491-492 Acting for Opera

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

530.497-8/697-8 Dramatic Text

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

530.535,536 Opera Styles and Traditions

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

530.561 Opera Etude Composition

The creation and performance of short original operas in which cast and composer work
together to develop a scenario through improvisation, devising a libretto, and workshopping
the musical score. Offered in alternate years; next in 2008–2009. (2,0) Brunyate

530.562 Opera Etude Performance

The creation and performance of short original operas in which cast and composer work
together to develop a scenario through improvisation, devising a libretto, and workshopping
the musical score. Offered in alternate years; next in 2008–2009. (1,0) Brunyate

530.593,4/893,4 Professional Coaching in Opera

Individual musical and dramatic coaching for advanced voice students seeking a career in
opera. In regular weekly coachings students may work on preparing audition material, role
study, or other professional needs not otherwise covered by the courses and production pro-
grams of the school. Enrollment limited, by permission of the instructor. (1,1) Kulesza, Faculty

910.541,2/841,2 Opera Theatre

Preparation and performance of complete fully staged operas with orchestra. Casting by audi-
tion. Previous or concurrent acting training required. (1,1 or 2,2 depending on size of role)
Brunyate and Faculty

910.545,6/845,6 Opera Workshop

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

154
910.547,8/847,8 Chamber Opera
Preparation and performance of complete chamber operas, with modest production values and
instrumental ensemble accompaniment. Enrollment by audition. Previous or concurrent act-
ing training required. (1,1 or 2,2 depending upon the size of the role) Brunyate/Faculty

Organ
Donald Sutherland, Coordinator

530.423-424 Organ Literature

A study of selected organ literature from all periods. Offered in alternate years; next in
2009–2010. (3-3) Sutherland

530.425-426 Resources for Contemporary Church Musicians

A survey of liturgics, choir training, choral literature for the average choir, conducting styles
and interpretation, and related subjects. Offered in alternate years; next in 2008–2009. (3-3)
Walker

460.545-6/845-6 Organ Seminar

Classes in performance covering the repertoire and stylistic concepts from all periods of organ
literature. A yearly requirement of organ majors. (1-1) Sutherland

Pedagogy
Laura Parker, Coordinator

520.615 Pedagogy Internship

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

520.617 Internship Seminar

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

520.618 Portfolio Development

Guidance in professional portfolio development. The result will be a professional portfolio
demonstrating and utilizing the student’s knowledge, materials, experience, references, audio
and video tapes of teaching and performance obtained or collected during the first three
semesters of M.M. Performance/Pedagogy. In addition, students will explore various employ-
ment opportunities and discuss how to effectively use their portfolio to gain a position as a
studio instructor. (0,1) L. Parker

Percussion
Robert Van Sice, Coordinator
530.567, 568 Contemporary Chamber Music for Percussion
(1,1) Van Sice

155
Piano
Ellen Mack, Chair
530.111-112 Sight-reading
A course to help foster fluency in the essential skill of transforming written music into
sound. Includes score scanning, pattern recognition, and analysis of harmonic, rhythmic, and
melodic structures in music from all periods. Required for undergraduate piano and organ
majors. Also offered as an elective. (2-2) Johansen

530.211-212 Keyboard Skills for Piano Majors I - II

A course applying fundamental principles of music theory to the interpretation, study, and
memorization of solo piano music. Required for undergraduate piano majors. (2-2) Johansen

530.311-312 Keyboard Skills for Piano Majors III - IV

A course designed to build score-reading skills at the keyboard. Required for undergraduate
piano majors. (2-2) Adams

530.415-416 Keyboard Skills Review

A remedial course in sight-reading and keyboard harmony for graduate piano majors. (2-2)
Johansen

530.633-634 Advanced Keyboard Skills for Pianists

A course in sight-reading, score-reading, transposition, and figured bass accompaniment.
Required for M.M. piano majors. Students who completed the undergraduate courses in
keyboard skills (530.211-212 and 530.311-312) at Peabody with a minimum grade of B or
higher are exempt from this course. (2-2) Johansen

530.636 Keyboard Skills for Non-piano Majors

Piano technique and repertoire, keyboard harmony, and sight-reading for graduate non-piano
majors. Prerequisite: at least two years of piano study. Recommended for students in the mas-
ter’s in Music Theory Pedagogy program. Also open to conducting, composition, and other
interested students. Enrollment by permission of the instructor. (0,2) Johansen

530.411,412 Keyboard Literature I, II

A study of the solo and chamber literature for keyboard instruments, from early 18th century
through the classical period. (2,2) Pearl, S. Levy

530.413,414 Keyboard Literature III, IV

A survey of piano literature from the romantic period to the present. (2,2) Habermann, S. Levy

530.613 French Piano Music

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

530.667-668 Piano Pedagogy

Exploration of principles, materials, career development in the teaching of piano. Includes
observation of Preparatory teachers and some supervised teaching of precollege students. (2-2)
Faculty

156
450.845 Graduate Piano Seminar
A seminar required of all doctoral students and open to second-year M.M. students with
departmental permission. Focus will be on preparation for entering the music profession,
which will include practice teaching, press kit and resume preparation, discussion of job
searches, and topics of special interest. (1) Piano Faculty

*Recording Arts
*See The Johns Hopkins University Arts and Sciences/Engineering catalog for
engineering and mathematics courses.

550.111-112 Basic Recording I

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

550.211-212 Basic Recording II

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

550.311-312 Basic Recording III

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

550.411-412 Advanced Recording I

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

550.419 Internship
Undergraduate students work in supervised professional positions in which they will have
the opportunity to apply the knowledge and expertise developed during their course of study.
The internship requires 320 hours of service in an approved facility. (4) Faculty

550.511-512 Advanced Recording Systems

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

157
550.513-514 Advanced Recording II
Topics and practice include digital audio consoles and workstation automation systems,
SMPTE timecode automated mixdown, and multi-channel digital multi-track recording.
Course also includes encoding systems and preparation of masters for DVD-A and SACD.
Students will record a band of their choice and, drawing upon skills learned in previous course-
work, prepare mastered media suitable for commercial replication. Prerequisites: Advanced
Recording Systems, Advanced Recording I, or the equivalent. (3-3) MacDonald

550.515 Musical Acoustics

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

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

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

550.519 Acoustical and Audio Measurements

The theory and application of objective acoustical and audio measurements are studied. Mea-
surement techniques used in the evaluation of both physical spaces and electronic equipment
are presented. Topics include measurement microphones, sound level meters, noise sources,
spectrum and FFT analysis, reverberation, speech intelligibility, transfer function, swept sine
techniques, audio power measurements, ADC and DAC linearity, harmonic distortion, and
mixed signal testing. Prerequisites: Architectural Acoustics or Audio Science and Technology.
Offered every other year; next in 2008–2009. (0,3) Shade

550.611 Music and Technology

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

550.612 Audio Science and Technology

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

550.623 Physical Acoustics

Basic fundamentals of physical acoustics involving the generation and propagation of sound.
Topics include free and forced vibrations, one-dimensional systems (strings and bars), two-
dimensional systems (membranes and plates), coupled vibrating systems, general wave
phenomena, types of sound waves (plane, spherical, and cylindrical), and types of radiating
sources (point, monopole, dipole, and line.) Prerequisites: Musical Acoustics, Psychoacoustics.
(3,0) Shade

158
550.624 Architectural Acoustics
The behavior of sound in enclosed spaces is explored. Topics include sound absorption, sound
reflection, refraction and diffusion, large and small room acoustics, room modes, reverbera-
tion, energy ratios, acoustical materials, psychoacoustic aspects, and design of rooms for
speech, music, and recording. Prerequisites: Physical Acoustics, Psychoacoustics. Not offered
in 2008–2009. (3,0) Shade

550.625 Sound System Design

Design and application of sound reinforcement systems for indoor and outdoor spaces. Topics
include design techniques, performance objectives, sound system components, loudspeaker
and sound system types, speech intelligibility, prediction of sound distribution and level,
acoustic gain equations, installation requirements, and performance measurements. Prereq-
uisites: Electroacoustics, Architectural Acoustics, Psychoacoustics. Offered every other year;
next in 2008–2009. (0,3) Shade

550.626 Noise Control

A continuation of Architectural Acoustics (550.624) with an emphasis on noise control for
buildings and equipment. Topics include noise reduction, transmission loss theory, impact
insulation, noise barriers, equipment enclosures and noise control materials, HVAC noise pre-
dictions and control. Prerequisites: Physical Acoustics, Architectural Acoustics. Not offered
in 2008–2009. (0,2) Shade

550.627 Computer Modeling

Basics of computer modeling for room acoustics and sound systems design. Topics include
general theory and assumptions underlying computer modeling, different types of acoustical
models, auralization, small room acoustic, large room acoustic, and sound system computer
models. Introduction to popular computer models including Room Sizer, Room Optimizer,
EASE, and ODEON. Prerequisites: Architectural Acoustics, Sound System Design. Offered
every other year; next in 2008–2009. (0,2) Shade

550.631 Professional Practices

This course examines professional practices common in industry. Topics include interaction
with clients, design professionals, and contractors; professional ethics and liability; insurance;
contracts; and fee setting, specifications, reports, and project documentation. Not offered in
2008–2009. (2,0) Shade

550.640 Acoustics Design Practicum

In this course taken in the final semester of study, students will act as acoustical consultants
to design or analyze an existing room or sound system using the knowledge gained through
prior classes. The students will be responsible for complete analysis, measurements, model-
ing, design documentation, and presentation of the final design in class. (0,3) Shade

550.651-652 Basic Recording Techniques for Musicians

A comprehensive course in recording and associated technologies designed for the musician
who wishes to know about the recording arts. The course is taught parallel to Basic Record-
ing I and II but without the required mathematics and physics and is open to upper-level
undergraduates and graduate students of all majors. A paper is required each semester in lieu
of an exam. Offered every other year; not in 2008–2009. (2-2) Faculty

550.699 Graduate Final Project or Internship

Culminating project or internship for students in the Master of Arts in Audio Sciences
program. Projects or internship plans are submitted to the respective faculty member for
approval. (3) Faculty/Shade

159
Small Ensembles
950.535,6/835,6 Peabody Camerata
A larger chamber ensemble devoted to study and performance of the music of the 20th cen-
tury. Works performed are typically for five winds and four or five strings. Works may call for
a single solo performer or for variations up to larger combinations of instruments. The ensem-
ble may also take part in chamber opera. Assignment is by audition to this elective designed
for advanced performers. (2,2) Young

950.545,6/845,6 Percussion Ensemble

A performance-oriented ensemble that explores a wide range of repertoire from Varese to
Zappa to traditional Javenese Gamelan. Students will learn basic technique of Asian metala-
phones and drums. Experimentation will be encouraged. Studio time is also spent on orches-
tral repertoire and sectionals for all orchestral concerts. (1,1) Faculty

Strings
Keng-Yuen Tseng, Chair
530.449,450 Orchestral Repertoire for Violin
The development of orchestral performance skills for violinists with emphasis on repertoire
and preparation for auditions. (1,1) Greenberg

530.451,452 Orchestral Repertoire for Viola

The development of orchestral performance skills for violists. Minimum of three students per
class. (1,1) Field

530.465,466 Orchestral Repertoire for Cello

(1,1) Stepansky

530.467,468 Orchestral Repertoire for Double Bass

(1,1) Faculty

530.532 Orchestral Audition Seminar for Violists

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

530.651-652 Violin/Viola Pedagogy

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

160
Voice
Phyllis Bryn-Julson, Chair
530.469 Singing in Italian
This course will prepare students to sing artistically in Italian, through a combination of dic-
tion study, text translation, and in-class singing of repertory chosen by the students and their
voice teachers. Special attention will be given to poetic word order and vocabulary and to
archaic forms common in the repertory. Prerequisite: minimum one year of college study of
Italian language or consent of instructor. (2,0) Mastrian
530.470 Italian Song
A study of the history, interpretation, and poetic content of Italian vocal music. Each student
will prepare and perform in class two pieces of different periods and styles. (0,2) Mastrian

530.471 Singing in Russian

A study of Russian vocal music, its poetry and interpretation, including analysis and perfor-
mance of selected works. Offered in alternate years; next in 2008–2009. (2,0) Danchenko-Stern

530.473,474 Opera Literature

A study of selected works in opera from the 17th century to present, with emphasis on com-
positional styles and traditions of performance. Offered in alternate years; next in 2008–2009.
(2,2) Liotti

530.475 Singing in English

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

530.476 English and American Song

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

530.477 Singing in German

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

530.480 French Mélodie

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

530.481 German Lieder

A study of the development of the Lied from its origins in the Piano Songs of the 17th
century to its first flowering in the songs of Schubert (especially those of 1828) and in Schu-
mann’s Lieder year (1840). From this point, the focus will be upon the later part of the 19th
century (Mendelssohn, Brahms, Mahler, Wagner) and the 20th century (Berg, Schönberg,
Strauss, etc.). Offered in alternate years; next in 2008–2009. (2,0) Shirley-Quirk

161
530.483 Singing in French
A study of French vocal music, its poetry and interpretation, with attention to diction (using
the International Phonetic Alphabet) and grammar, including analysis and performance of
selected works. Required for the B.M. in Voice. (3,0) Ligon

530.539 Poetry in German

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

530.571,572 History of Song Literature

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

530.579,580 Vocal Chamber Music

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

530.686 Opera: Bel Canto/Verismo

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

530.672 Verdi
A study of the operas with special attention to Verdi’s development and his influence on other
composers of the 19th and 20th centuries. Class not limited to voice majors. Offered in alter-
nate years; next in 2008–2009. (3,0) Liotti

530.677 Advanced Vocal Repertoire in French

Study and performance of representative songs. Singers should be comfortable singing in
French. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years; next in 2009–2010. (0,2-3) Ligon

530.678 Advanced Vocal Repertoire in German

Study and performance of representative songs. Singers should be comfortable singing in
German. Open to vocalists and pianists by audition/permission of the instructor. Offered in
alternate years; next in 2009–2010. (2-3,0) Ligon

530.682 Arioso and Recitative

Although this is a (vocally) practical course, instrumentalists (e.g., continuo players, whether
cellist, gambists, or keyboard players) and conductors are more than welcome. The course will
recognize the two sources of recitative [plainsong which led to the Passion tradition of Schütz
and Bach, and the “nuove musiche” of the “camerata” giving rise to the more operatic style
of, say, Handel], the subsequent amalgamation of these styles in Wagner’s operas, and the cre-
ation of the operatic style of the 20th century [Berg, Debussy, Britten]. Offered in alternate
years; next in 2009–2010. (0,2) Shirley-Quirk

162
530.683 Vocal Pedagogy
A class participation course that includes an introduction to various voice teaching methods
and their respective approaches to posture and breathing, registration, resonation, coordina-
tion, interpretation, and vocal health; an examination of the anatomy and function of the
vocal mechanism; student teaching; teacher observation; repertoire and recital planning.
Required for the M.M. in Voice with Pedagogy Emphasis and the D.M.A. in Voice, Option
C; an elective for seniors and other graduate students. (2,0) Rainbolt

530.684 Vocal Pedagogy Lab

A continuation of student teaching and teacher observation from 530.683 Vocal Pedagogy.
Required for the M.M. in Voice with Pedagogy Emphasis and the D.M.A. in Voice, Option
C. (2) Rainbolt

530.687 Oratorio
Students learn standard repertoire, with emphasis on the 18th and 19th centuries, for use in
auditions and/or performance. Offered in alternate years; next in 2008–2009. (0,2) S. Cornett

530.691,692 Music for the Voice—20th, 21st Centuries

A performance practice course including score reading, definitions of the technical language
of avant garde music, and the learning of contemporary vocal techniques. Performance is
optional. Composers to be studied will include Messiaen, Cage, Berio, Aperghis, Boulez,
Wuorinen, Carter, Rorem, and Maw. Offered in alternate years; next in 2009–2010. (2,2)
Bryn-Julson

530.695 Advanced Lieder Studies from the Poetic Perspective

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

480.545/845 Vocal Seminar

A team-taught course for voice majors, emphasizing physiology, vocal pedagogy, topics of
special interest. One year required of all voice majors who are seniors and graduate students.
(1,0) Voice Faculty

Woodwinds
Phillip Kolker, Chair
530.455,456 Orchestral Repertoire for Clarinet
The development of orchestral performance skills for clarinet with emphasis on repertoire.
(1,1) Barta/Palanker

530.459 Respiratory Function

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

163
530.463,464 Piccolo Class
Covers repertoire from both the solo and orchestral literature, increasing proficiency, famil-
iarity, and comfort with the “little flute.” Emphasis on audition preparation and experience.
Required material: Jack Wellbaum’s Orchestral Excerpts for Piccolo. (1,1) Sokoloff

530.519,520 Orchestral Repertoire for Flute

The development of orchestral performance skills for flute with emphasis on repertoire. (1,1)
Skala

530.573, 574 Orchestral Repertoire for Oboe/English Horn

The development of orchestral performance skills for oboe and English horn with emphasis
on repertoire. (1,1) Needleman/Marvine

530.591,592 Oboe Reedmaking

The construction of oboe reeds. (1,1) Needleman

530.575,576 Orchestral Repertoire for Bassoon

The development of orchestral performance skill for bassoon with emphasis on repertoire.
(1,1) Kolker

Recitals
190.395 Recital
A public performance required of all students earning the Bachelor of Music in Music
Education and/or the Performer’s Certificate. (2)

190.495 Recital
A public performance required of students earning the Bachelor of Music degree. (2)

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

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

190.794-799 Recital
Public performances required of all students in the Artist Diploma and Doctor of Musical
Arts programs, with the exception of those majoring in composition. (2 hours credit each)

164
Student Life
Residence Hall
The Peabody Residence Hall consists
of two towers connected at the Plaza
level by the Dining Hall. Constructed in
1968, the towers house fully furnished,
air-conditioned rooms for 165 persons.
The main floor of the East Tower houses
recreational space in Unger Lounge, stu-
dent mailboxes, the Student Affairs Office
Suite, and the Institute’s mailroom. The
Residence Hall complex includes a com-
mon room facility for laundry. Individual
ethernet connections to the Internet are
available within each resident’s room.
The Residence Hall is staffed by a
full-time professional coordinator and
part-time student resident assistants. The
staff is selected and trained to provide
programs, assistance, advising, and leader-
ship to each floor community within the
Residence Hall.
All freshmen, sophomores, and first-
year transfer students are required to live
in the Residence Hall unless they have
been granted an exemption by the Resi-
dence Life Office. On-campus residency
permits entering students to adjust more
easily to college life and Conservatory
studies. It also encourages students to cul-
tivate new friendships, to explore the his-
toric Mount Vernon neighborhood, and to
take advantage of the many cultural and
social resources of Baltimore.
Dining Hall
The Peabody Dining Hall is located
between the two residence towers. Resi-
dency requires participation in the board
plan. The cafeteria serves breakfast, lunch,
and dinner from Monday through Friday
and brunch and dinner on the weekend.
Weekday dinner and all weekend meals
are an “all you care to eat” buffet using
a meal swipe; breakfast and lunch meals
are provided through the dining points
associated with each of the meal plans.
Off-campus students are encouraged to
participate in a “commuter” plan, either
the five meals per week with dining points Handbook. Peabody students are eligible to
or an all-declining-balance plan. A la carte participate in a wide range of student activ-
retail service is also offered.
165
Athletic Facilities
The nonacademic Department of Athlet-
ics and Recreation of the Johns Hopkins
University is responsible for intercolle-
giate athletics and the campus recreation
program for students, staff, and faculty.
The facilities of the Newton H. White
Jr. Athletic Center at the Homewood
campus include a competition-sized swim-
ming pool, numerous basketball courts, a
wrestling room, fencing room, and varsity
weight-training room.
The Ralph S. O’Connor Recreation
Center includes a large multi-purpose court
for basketball, volleyball, and badminton,
racquetball/squash courts, a 30’ climbing
wall, a fitness center for strength and car-
diovascular conditioning, indoor jogging
track, and group fitness/martial arts rooms.
Outdoor facilities at the Homewood
campus include six tennis courts which are
also available when not in use by the varsity
tennis teams. All facilities can be reserved
by contacting Thomas Payne in the Office
of Recreation (410-516-5229) or tpayne2@
jhu.edu.
All participants are assessed a fee to
use the O’Connor Recreation Center. For
information regarding cost and hours of
operation, please contact the Office of
Recreation at 410-516-5229 or check the
JHU web site at www.jhu.edu/recreation.
The Peabody campus provides a recre-
ation room, ping-pong and pool tables in
Unger Lounge, and an exercise room.
Student Activities
Students are encouraged to become
involved in campus life through par-
ticipation in student activities and self-
governance. The Organization Advocating
Student InterestS (OASIS) is a collabora-
tive, representative organization that
welcomes any student willing to commit
to improving the quality of life at Peabody.
Students may also form special interest
groups by following guidelines published
in the Registered Students Organizations
ities, including intramural athletics, offered
on the JHU Homewood campus.
Religious Activity
Within walking distance of the Peabody
campus, one can find a synagogue and
churches of most religious denominations.
Johns Hopkins University Campus Min-
istries, located at the Bunting-Meyerhoff
Interfaith and Community Service Center
on the Homewood campus, promotes and
supports spiritual development, theo-
logical reflection, religious tolerance, and
social awareness among students, faculty,
and staff within the university commu-
nity. Through a pastoral presence and hos-
pitable environment, Campus Ministries
seeks to enhance the spiritual and ethical
educational experience of the whole per-
son, mind, body, and soul. JHU Campus
Ministries is a collaborative effort of the
university chaplain, campus ministers, and
the student-led Interfaith Council offering
prayer services, religious reflection series,
interfaith education, and dialogue oppor-
tunities, as well as special community and
fellowship events. For further information,
take the shuttle to the Interfaith Center
at the corner of North Charles and Uni-
versity Parkway, call 410-261-1880, or
contact www.jhu.edu/~chaplain.
Health Services
Full-time students receive their health
services from the Johns Hopkins Com-
munity Physicians at Wyman Park (3100
Wyman Park Drive). The health service
provides comprehensive outpatient health
care including evaluation and treatment
of minor illnesses, allergy shots, routine
gynecologic care and consultation, routine
ancillary testing, and minor surgical pro-
cedures. Visits for treatment at the health
service are covered by the mandatory stu-
dent health fee and are otherwise free to
the student. Referrals to outside providers
and some ancillary testing are charged to
the student’s health insurance.
Counseling Center Services
The Counseling Center at 358 Garland
Hall on the Homewood campus is the
primary source of psychological assistance
166
for students. Services are oriented toward
helping students resolve emotional dif-
ficulties, manage stress and interpersonal
relationships more effectively, and over-
come problematic behaviors. A variety of
services are provided, including individual
and group psychotherapy, crisis interven-
tion, support groups, workshops, and con-
sultation on student-life problems. For the
convenience of Peabody students, a coun-
selor is available at Peabody one half-day
per week. For additional information or to
make an appointment, call 410-516-8278.
You can also check the Counseling Center
web site at www.jhu.edu/counselingcenter.
To speak to an on-call counselor in case of
an emergency during non-business hours,
Homewood Security should be contacted
at 410-516-7777.
Health Insurance
All full-time students are required to
carry adequate health insurance coverage
for themselves and their dependents. The
Johns Hopkins University has developed
a comprehensive health insurance plan
that includes hospital, surgical, and major
medical benefits. Membership in this plan
is mandatory for all full-time students
unless a student provides evidence that
he or she has existing equivalent health
insurance coverage. International students
are required to purchase the school’s insur-
ance plan.
Shuttle Bus
A free university shuttle operates seven
days a week between the Homewood
campus and the Johns Hopkins Medical
Institutions with stops at the Peabody
campus and the train station. The buses
run from 6:15 a.m. to 11:30 p.m. on week-
days; 7 a.m. to 6:30 p.m. on Saturdays;
and noon to 9:30 p.m. on Sundays.
Peabody Escort Van
Peabody operates a van escort service
to transport members of its community
to and from campus within roughly a
12-block radius. When school is in session
the escort van runs every half hour from
5 p.m. to 2 a.m. and at 3, 4, and 5 a.m.
upon request, seven days per week.
Financial Information
Tuition and Fees, 2008–2009
Tuition
Full-time study (per academic year)
Degree programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $33,000
Artist Diploma and Graduate Performance Diploma programs . . . . . . . . . . 27,500
Part-time study (per academic year)
Major study (one-hour lessons + jury/recital); unlimited ensembles . . . . . . . . 14,670
Major study (half-hour lessons + jury/recital); one ensemble . . . . . . . . . . . . . 7,650
Vocal coaching or minor study: one hour lessons . . . . . . . . . . . . . . . . . . . . . 7,650
Vocal coaching or minor study: half-hour lessons . . . . . . . . . . . . . . . . . . . . . 4,670
Supplementary Study
Second major field lessons (double performance major) . . . . . . . . . . . . . . . . . 6,400
Hourly per semester credit or audit
Classroom studies, ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 940
Music Education certification courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470
Degree-in-progress, graduate consultation1 . . . . . . . . . . . . . . . . . . . . . . . . . . 940
Elective minor study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Remedial tutorial study (per clock hour) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200
   (assigned only in consultation with the Dean’s Office)
General Fees
  * Application for degree program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $100
  * Application for Extension students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
  * Tuition deposit (students returning from leave, nonrefundable)2 . . . . . . . 50
  * Tuition deposit (new students, nonrefundable)3 . . . . . . . . . . . . . . . . . . . . 600
  * Matriculation (one-time fee for new degree/diploma candidates)3 . . . . . . 700
   Health services fee (required for all full-time students) . . . . . . . . . . . . . . . 250
Information technology fee (required for all full-time students) . . . . . . . . 175
Health insurance—individual coverage . . . . . . . . . . . . . . . . . . . . . . . . . . 1,634
Special Fees
Late payment (payments postmarked after August 13 for fall semester
and December 10 for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . $   100
Late registration (late registrations/registration
confirmations after September 4 for fall semester and
January 9 for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $   100
N.B. It is required that all students pay tuition and fees in full in order to complete
registration and attend classes each semester.

* Nonrefundable
 1 Degree-in-progress fee is required of graduate students not registered for coursework and/or lessons or
granted official leave of absence.
  2 Due prior to registration for all students returning from leave of absence.
  3 One-time fee required for each degree/certificate/diploma program.

167
Change of course after first week each semester, per request . . . . . . . . . . . . . . . $    20
Special examination . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Graduate examination retake . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Recital rescheduling fee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Transcript (academic) per copy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Instrument rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95-125
Bass case rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50-200
Lost folder (ensembles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Lost instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . minimum of 500
Lost ID nonrefundable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Lost key (studio/classroom) nonrefundable . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Room and Board Fees (per academic year)
Room reservation (nonrefundable after June 30) . . . . . . . . . . . . . . . . . . . . . . . . $   150
Residence Hall security deposit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Room and Board—D ouble occupancy/Board Plan I . . . . . . . . . . . . . . . . . . . . . 10,200
for single room add . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,290
for Board Plan II add . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450
Lost key (Residence Hall and mailbox) nonrefundable . . . . . . . . . . . . . . . . . . . 25
Lock replacement (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . minimum of 50

Schedule of Payments, 2008–2009 Residence Hall

Tuition and Fees
Fall semester payment:
Postmark date August 13, 2008
Spring semester payment:
Postmark date December 10, 2008
Entering students must pay the tuition
deposit upon notification of admission.
Student account invoices for return-
ing students are available on the student
web site (https://isis.jhu.edu). Paper bills
are no longer mailed. A JHED logon is
required to access an invoice (https://
isis.jhu.edu/sswf for more information).
Students are notified via e-mail when the
invoice is posted. Students can establish
additional authorized users to allow some-
one else to view and pay on their accounts.
New students will receive a paper invoice
via mail for their first semester bill only.
Federal regulations prohibit the Peabody
Institute from releasing student informa-
tion (records, billing, etc.) without written
consent from the student, according to the
Family Educational Rights and Privacy
Act of 1974 (FERPA).
Room contracts are based on the aca-
demic year.
First semester payment:
Postmark date August 13, 2008
Second semester payment:
Postmark date December 10, 2008
The Residence Hall security deposit and
the room reservation fee must accompany
all applications for Residence Hall rooms.
The room reservation fee is applied to
the Residence Hall charges and is not
refundable after June 30.
The security deposit is not credited
to Residence Hall charges but will be
returned upon termination of residence.
Rooms will be inspected immediately
after they are vacated, and any repairs,
exclusive of normal wear and tear, needed
to restore them to their original condi-
tion will be deducted from the security
deposit. In the case of double occupancy,
when the damage or repair charges cannot
be specifically identified with an indi-
vidual person, each occupant shall share
the cost equally.

168
Tuition Refund Schedule for Withdrawals, 2008–2009
Withdrawal Date Refund
Fall Semester 2008
Before 09/04/08 100% less $100 administrative cost
09/05/08 – 09/14/08 90% less $100 administrative cost
09/15/08 – 09/29/08 50% less $100 administrative cost
09/30/08 – 10/25/08 25% less $100 administrative cost
After 10/25/08 No refund
Spring Semester 2009
Before 01/12/09 100% less $100 administrative cost
01/13/09 – 01/23/09 90% less $100 administrative cost
01/24/09 – 02/17/09 50% less $100 administrative cost
02/18/09 – 03/14/09 25% less $100 administrative cost
After 03/14/09 No refund
Students withdrawing after classes have begun are liable for that portion of their tuition
that has not been canceled. Withdrawals must be in writing and do not become effective
until received by the Office of Academic Affairs.
Residence Hall refunds for withdrawals 2008–2009
Before October 25 (Fall), March 14 (Spring) Fees prorated proportionately
After October 25 (Fall), March 14 (Spring) No refund

Tuition Payment Assistance Graduation

The Clarence Manger and Audrey Cor-
dero Plitt Loan Fund. This fund was
specifically designed to help parents of full-
time undergraduate students pay for college
in regular installments, over an extended
period of time, at a lower than usual inter-
est rate. It is intended to help meet the
needs of the middle income family.
Eligibility is established by the Pea-
body Institute after a review of the loan
application form. In general, parents are
eligible if combined annual gross income
is between $30,000 and $150,000. The
interest currently being charged is 3%.
For additional information about the
Fund, call or write:
Donna Stinnette
21 E. Mt. Vernon Place
Baltimore, MD 21202
410-659-8100 ext. 3020
Peabody also offers a 10-month pay-
ment plan through TuitionPay with Sallie
Mae. Contact the Peabody Business Office
for more information.
Students may not obtain their certificate
or diploma until all outstanding charges
have been paid.
Federal Aid Programs
General
Federal aid programs consist of financial
assistance in the form of federal grants,
federal loans and federal Work Study.
Awards are based on demonstrated financial
need and the availability of funds. To apply
for these types of aid, the Free Application
for Federal Student Aid (FAFSA) must
be completed, listing Peabody TITLE IV
CODE EOO233. The FAFSA can be filed
online at www.fafsa.ed.gov. A paper version
of the FAFSA may also be obtained from
the Peabody Financial Aid office or the
student’s high school or college counselor’s
office.
Additional information and other
required forms are available on the
Peabody financial aid office website at
www.peabody.jhu.edu/finaid.

169
 The Peabody Conservatory will not
issue transcripts or perform any other
service if a student becomes delinquent or
defaults on loan payments.
Loan Programs
(students must be enrolled at least half-time)
Federal Perkins Loans
Federal Perkins Loan is available to
students enrolled at least half-time and is
based on demonstrated financial need and
availability of funds. Perkins Loan has a
5% interest rate, and payment is deferred
while a student is enrolled at least half-
time. Awards range from $500 to $6,000.
Federal Direct Student Loans
Subsidized Federal Direct Student Loans
have replaced the Stafford Loan Program.
Students no longer need to file a separate
bank application. Federal Direct Student
Loan is available to students enrolled at
least half-time who demonstrate financial
need. The following limits are set for
loans: freshmen, $3,500; sophomores,
$4,500; juniors and seniors, $5,500;
graduate students, $8,500. Payments are
deferred while a student is enrolled at least
half-time. The interest rate is currently
fixed at 6% for undergraduate student
loans, and 6.8% for graduate student
loans.
Unsubsidized Federal Direct
Student Loans
Unsubsidized Federal Direct Student
Loan is available to graduate students,
independent undergraduate students,
and dependent undergraduate students
who are not eligible for all or part of
Subsidized Federal Direct Student Loan.
A combination of Subsidized and Unsub-
sidized Direct Student Loans cannot
exceed the amounts listed above for under-
graduate students. However, independent
undergraduate students and dependent
undergraduate students whose parents are
not eligible to borrow a PLUS Loan may
borrow as much as $5,000 in additional
unsubsidized loan. Freshmen and sopho-
mores can borrow no more than $4,000
170
per year. Graduate students may borrow
up to an additional $12,000 in unsubsi-
dized loan. Unsubsidized loan interest is
fixed at 6.8% for all students. Payment
may be deferred while the student is still
in school, but interest should be paid, as it
will accrue and be capitalized.
Federal Direct Graduate PLUS Loans
Federal Direct Graduate PLUS loans
are federally guaranteed loans available
to graduate students who have exhausted
their eligibility for subsidized and unsub-
sidized Federal Direct Student Loans.
There is no financial need requirement
to receive these loans; however, a credit
review is required.
Federal Direct Parent PLUS Loans
Federal Direct Parent PLUS loans are
federally guaranteed loans available to
parents of undergraduate students. There
is no financial need requirement to receive
these loans; however, a credit review is
required. The interest rate on both Parent
and Grad Direct PLUS loans is fixed at
7.9%.
Undergraduate Grants
Federal Pell Grant
Federal Pell Grant is only available to
undergraduates. Pell Grant ranges from
$400 to $4,731 and is based on demon-
strated financial need.
Federal SEOG
Federal Supplemental Educational
Opportunity Grant is also only available
to undergraduates. FSEOG ranges from
$500 to $2,000 and is based on demon-
strated financial need and the availability
of funds.
Federal Academic Competitiveness Grant
The Academic Competitiveness Grant
(ACG) is a federal grant for first-year
undergraduate students who graduated
from high school after January 1, 2006,
and second-year undergraduate students
who graduated from high school after
January 1, 2005.
 Students may receive an ACG of up to
$750 for their first year of study and up
to $1,300 for their second academic year
of study. To receive the ACG, applicants
must meet these initial qualifications:
• U.S. citizenship
• Federal Pell Grant recipient
• Completion of a rigorous high school
program of study (for both first- and
second-year students) as determined by
the U.S. Department of Education
• Full-time enrollment in a degree
program
• First-year students must not have been
previously enrolled in an undergraduate
program
• Second-year undergraduate students
must have a cumulative GPA of at least
3.0 on a 4.0 scale
Federal Work Study
Federal Work Study is available to
students who demonstrate financial need.
Awards range from $500 to $2,000 and
are based on the availability of funds.
Additional information can be obtained
from the Financial Aid Office.
Institutional Aid Programs
Scholarships, Awards, Prizes
Peabody Scholarships are awarded based
on the merit, talent, and financial need of
the student and the needs of the school
for a balanced ensemble. All students are
considered for Peabody Scholarship when
they apply for admission; however, only
students who submit the Free Applica-
tion for Federal Student Aid (FAFSA)
or the International Student Financial
171
Aid and Scholarship Application by
February 1 will be considered for amounts
higher than $10,000. Students receive
written notification of scholarship award
with the acceptance letter. All scholar-
ships are for one year and are renewed
annually for the duration (8 semesters for
undergraduate students and 4 semesters
for graduate students) of a student’s degree
or certificate, depending on the progress
of the student as indicated by examina-
tion and grade-point average. The amount
of Peabody Scholarship remains the same
throughout a student’s program, pro-
vided the student maintains satisfactory
academic progress. Peabody Scholarships
will not increase in subsequent years in
the same program, and students cannot
re-audition in the same program for a new
scholarship or to increase current scholar-
ship. Completing a satisfactory jury is a
personal benefit to the student and will
not result in a Peabody Scholarship award
or increase.
Scholarship is not awarded to students
in the Doctor of Musical Arts program.
Applicants to the D.M.A. are encouraged
to apply for graduate assistantships.
Auditions are held by the departmental
faculties and by the traveling admissions
representative on the dates indicated in
the admissions packet.
Designated Scholarships, Awards, Prizes
Many scholarships, awards, and prizes
are made possible through the generosity
of various individuals and organizations.
They are made to outstanding students
based on terms specified by the donors.
Endowed Scholarships, Fellowships, and Graduate Assistantships
Cosimo C. Abato Clarinet Scholarship
Aegon USA Scholarship Fund
The Denes Agay Piano and Composition
Scholarship
Elaine Austin and Oscar J. Kurtz Endowed
Scholarship
Bach-Horstmeier Scholarship (interpretation of the
works of J.S. Bach).
James Backas Memorial Endowed Scholarship
Fund (clarinet, chamber wind instrument)
Baltimore & Ohio Railroad Women’s Music Club
General Award
Ruth Brouse Bauer Endowed Scholarship in Piano
Louis D. Beaumont Foundation Scholarship
Lindred Scott Bendann Endowed Scholarship in
Violin
Louis Blaustein Memorial Scholarship
Michael R. Bloomberg Scholarship Funds
John Charles Bohl Memorial Flute Scholarship
Victor Borge Scholarship
Franz C. Bornschein Memorial Scholarship
The Yale Brody Memorial Scholarship (horn)
Chauncey Brooks Memorial Violin Scholarship
Lucy Brown Memorial Piano Scholarship
Charlie Byrd Memorial Endowed Scholarship in
Guitar
Cape Foundation Endowed Scholarship
Louis Cheslock Memorial Scholarship (composition)
Elizabeth Rountree Church Memorial Scholarship
Edna Parker Clemmitt Memorial Scholarship
Frederick Campbell Colston Memorial Scholarship
in Piano
Helen McGraw Chambers Memorial Endowed
Scholarship in Piano
Austin Conradi Memorial Piano Scholarship
Conservatory Endowed Scholarship Fund (piano)
Elizabeth Coulson Piano Teaching Fund
(upperclass or graduate)
Richard and Rosalee Davison Scholarship
The Deering Endowed Scholarship Fund
Mabell Antoinette Leonhardtsen del Mar
Scholarship
Jane Emel Donato Endowed Scholarship
Richard Dragon Memorial Scholarship (composition)
Ruth and Arno Drucker Scholarship
Dr. & Mrs. Gottfried Duschak Voice Scholarship
Fund
Leah O. Effenbach Piano Scholarship
Jennie K. Elle and Kurt D. Elle Scholarship
(piano or violin)
May Garretson Evans Memorial Scholarship (every
4th year to a graduate of the Peabody Prep studying
at the Conservatory)
P. William and Vera Ruth Filby Scholarship
(orchestral instrument or voice)
172
Ruby and Albert Flaccoe Endowed Scholarship Fund
Scott E. Forbush Scholarship
E. Carl Freeman Organ Scholarship
Dorothea H. Freitag Scholarship
Lillian Freundlich Endowed Scholarship in Piano
The Eric Friedheim Endowment Fund
Fraser Gange Memorial Scholarship (voice)
Joseph Gegan Memorial Scholarship
General Scholarship Endowment Fund
Lydia and Richard Gillespie Scholarship
Philip D. Glass Endowed Scholarship in Composition
Richard Franko Goldman and Alexandra Rienzi
Goldman Memorial Scholarship
Douglas and Hilda Perl Goodwin Endowed
Scholarship Fund for Opera
Arabella Leith Symington Griswold Endowed
Scholarship in Piano
The Norman J. and Sarah J. Groves Scholarship
Willard and Lillian Hackerman Endowed Scholarship
Asger Hamerik and Sidney Lanier General
Scholarship
John J. Hanex Memorial Scholarship
The Jean Harnish Endowed Scholarship
Howard Reid Hayden Memorial Organ Scholarship
Ida Heyser Memorial Piano Fellowship
Frank M. Hines Memorial Organ Fund
Hoffberger Foundation Scholarships
The Carl Holzapfel Violin Shop Endowed
Scholarship (strings)
Charlotte Ludlow Hopkins Piano Scholarship
Merritt V. Howard Memorial Voice Scholarship
Florence Bentley Hughes Endowed Scholarship
Alma D. Hunt/VCM Endowed Scholarship in
Piano, Violin or Organ (sacred music)
Helen J. Iliff Endowed Scholarship (piano)
Joseph and Elizabeth Imbrogulio Scholarship
(strings)
The Agi Jambor Scholarship (piano)
Claire and Allan Jensen Scholarship
Beatrice Feldman Kahn and Raymond S. Kahn
Endowed Scholarship in Cello
William H. Kaltenbach Jr. Endowed Scholarship
Stephen Kates Memorial Endowed Scholarship
in Cello
Henriette Ries Kern Memorial Award
Hans Kindler Cello Scholarship
Warren Donald and Marie Evelyn Kinsman
Memorial Scholarship
Hjalmar and Emma Kivekas Scholarship
(piano and violin)
Lillian Hirschmann Konowitz Memorial Scholar-
ship (piano)
The Edward and Frances Kosnik Endowed
Scholarship Fund (piano, organ, voice, violin and
trumpet)
Willella S. Kriel General Scholarship
Kuehne-Finn Memorial Endowed Scholarship Fund
Elaine Austin and Oscar J. Kurtz Scholarship
Maud C. Lewis Memorial Peabody Alumni
Scholarship
The Irving Lowens and Margery Morgan Lowens
Endowed Scholarship Fund
Linda A. Mantegna Endowed Scholarship Fund
Jack E. Russell Markert Memorial Scholarship
(trombone, euphonium, or tuba)
The Theodore A. Martin Violin Scholarship
Samuel Masland Jr. Memorial Scholarship
(horn or piano)
Georgia McEver Endowed Scholarship for Voice
Leonora Jackson McKim Memorial Scholarship
(violin in the field of composition)
Thomas Menehan Memorial Scholarship
Milton H. Miller Sr. Endowed Scholarship in Organ
Dr. Lee Mitchell Memorial Scholarship
W. Edwin Moffett Memorial Scholarship
(double bass)
Sylvia Friedberg Nachlas Endowed Scholarship
Rose and Leon J. Neiburger Memorial Scholarship
William and Dorothy Nerenberg Endowed
Scholarship in Piano
Hedy Oliven Scholarship Fund
C. Leslie Oursler Piano Music Scholarship
Peabody Conservatory Endowed Piano Scholarship
Peggy Pearlstone Scholarship
Phi Mu Alpha Fraternity Scholarship
Gregor Piatigorsky Scholarship (cello)
Barbara W. Pickus Memorial Scholarship
Matthew S. Polk Scholarship for Recording Arts
& Sciences
Mary Stewart Reid Piano Scholarship (every 3 years)
Horace Wolcott Robbins Piano Scholarship
Ruth Blaustein Rosenberg Orchestral Scholarships
Ruth Blaustein Rosenberg Scholarship
Marion Savage Rosette Piano Scholarship
Richard Ross Memorial Organ Scholarship
Randolph S. Rothschild Scholarship (composition)
Charles P. Sachs Conservatory Scholarship
The Leonard Sandler Scholarship (percussion)
Daniel and Isabel Savanuck Endowed Scholarship
in Piano
The Eugene Scheffres & Richard E. Hartt Scholar-
ship (composition and performance)
Joseph and Frances Schillinger Endowed
Composition Scholarship
Jacques T. Schlenger Scholarship
M. Sigmund Shapiro Scholarship
Steven C. Shea Memorial Guitar Scholarship
Leonie Shorey Piano Scholarship
Sigma Gamma Rho Sorority Scholarship
The Esther G. and Joseph Silver Memorial
Scholarship
Albert and Rosa Silverman Memorial Scholarship
(piano)
173
Alexander Sklarevski Piano Scholarship
The Valerie Slingluff Violin Scholarship
(upperclass or graduate)
David C. Smith Memorial Scholarship Fund
Albert Snellenburg Voice Scholarship
Florence Solomon Memorial Piano Scholarship
Ruth Blumberg Sopher Endowed Memorial
Scholarhip in Piano
The Grace H. Spofford Scholarship
(upperclass or graduate piano)
Geraldine D. Stansell Scholarship Fund
Hortense Iseman Stern Memorial Scholarship
The Catherine Laura Stevens Memorial
Scholarship Fund
The Clinton Alvey and Catherine Stouffer
Scholarship
Donald S. Sutherland Organ Scholarship
Fanny B. Thalheimer Memorial Scholarships
Marie K. Thatcher Memorial Theory Scholarship
Mabel H. Thomas Memorial Scholarship
(piano–Alumni award)
Louis McLane Tiffany Piano Scholarship
Louis McLane Tiffany Voice Scholarship
Senator Millard E. Tydings Scholarship
The Ervin R. Van Artsdalen Endowed Scholarship
George M. Wagner Endowed Scholarship Fund
Weldon Wallace Memorial Scholarship
The Richard E. and Margaret Wertheimer Wolf
Scholarship Fund at the Peabody Conservatory
The Edna Dunham Willard Voice Scholarship
Elizabeth Winston Piano Scholarship
Russell C. and Selina H. Wonderlic Fund
The George Woodhead Quasi-Endowed
Scholarship Fund
Charles R. Woods Voice Scholarship
Carol Jean and Jay Young Scholarship in Piano
Miles M. Young Memorial Scholarship
Endowed Prizes and Awards
Clinton Lee Arrowood Memorial Prize (flute)
Clara Ascherfeld Award (accompanying)
Martha and William Bill Memorial Prize
(graduating student)
P. Bruce Blair Award in Composition
George Castelle Memorial Prizes (male and female
graduates in voice)
Virginia Carty deLillo Award (graduating student
with highest GPA in the Bachelor of Music program)
Virginia Carty deLillo Composition Competition
Israel Dorman Memorial Award (outstanding prog-
ress in violin, viola, or cello)
Charles M. Eaton Award (voice)
Anita Erdman Award (superior talent and promise
in opera)
Pauline Favin Memorial Prize (full-time piano stu-
dent who has shown marked improvement during final
year at the Conservatory)
Sidney M. Friedberg Prize (chamber music)
The Richard Franko Goldman Prize Fund
(graduating student who most exemplifies the former
director of Peabody)
Yale Gordon Concerto Competition
Sylvia Green Competition
The Lillian Gutman Memorial Prize (upperclass or
graduate piano student)
The Lynn Taylor Hebden Prize Fund (performance)
Sidney Jensen Memorial Prize (clarinet)
Britton Johnson Memorial Prize (flute)
Josef Kaspar Award (graduating violinist showing the
most promise)
Gustav Klemm Award (exemplary work in a field
of study)
James Winship Lewis Endowed Memorial Prize
Lillian Howard Mann Memorial Award (voice)
William L. Marbury Violin Competition
Ada Arens Morawetz Award (composition)
Otto Ortmann Award (literature and composition
proven outstanding after two or three years)
Olga von Hartz Owens Memorial Prize
(graduating string student)
Prix d’Eté Competition (a composition competition
involving electronic and computer music technologies)
Harold Randolph Prize (greatest general ability in
work, musicianship, and public performance)
Grace Clagett Ranney Endowed Memorial Prize
Randolph S. Rothschild Award
Alice and Leary Taylor Prize
Azalia H. Thomas Prize (instrumentalist and vocalist
graduating with highest GPAs in theory)
Zaidee T. Thomas Prize (instrumentalist and vocalist
demonstrating special proficiency, outstanding talent
or accomplishment)
Melissa Tiller Memorial Prize (violin)
J.C. van Hulsteyn Violin Award
Annie Wentz Prize (accompanying and voice)
Frances M. Wentz Turner Memorial Prize (piano)
Harrison L. Winter Piano Competition
The George Woodhead Endowed Prize
(voice, emphasis on oratorio or church music)
Sarah Stulman Zierler Prize (accompanying)
Annual Scholarships, Prizes, Awards
Abrams Double Degree Scholarship
American Bassoon Company Prize
Annual Anonymous Scholarship
The Associated Italian American Charities of
Maryland, Inc., Frank and Vincenzina Rapisarda
Memorial Scholarship 14
Baltimore Music Club Award (graduating
accompanist)
The Mary Finney Barada Scholarship
Marian B. and Samuel Bernstein Memorial Prize
(outstanding opera student)
The Pamela Buell Annual Scholarship
The Rildia Bee O’Bryan Cliburn Memorial
Scholarship
174
Zelda & Ben Cohen Annual Scholarship
Dorothy deCourt Prize in Organ
Evergreen House Foundation Scholarship
The Madeleine Friedheim Memorial Scholarship
The William T. Gerrard & Mario A. Duhon Pea-
body Conservatory Senior Orchestral Scholarship
Douglas and Hilda Goodwin Annual Scholarship
in Chamber Music
The Dr. and Mrs. Walter Edwards James Award
Jephson Educational Trust No. 2 Scholarship
Christian A. Johnson Scholarship
The John J. Leidy Foundation, Inc. Scholarship
Liberace Foundation Scholarship
Maryland State Music Teachers Association Award
Rose Marie Milholland Award (outstanding student
in piano)
Marcia Neff Voice Scholarship Fund
Presser Foundation Scholarship
Presser Music Award
The Mary and Martin Raila Music Education
Award
Rotary Club of Baltimore Student Scholarships
William Ellsworth Russell Memorial Scholarship
Gulen F. Tangoren, M.D., Award for Vocal
Excellence
Three Arts Club of Homeland General Award
Sheila Vickers Memorial Scholarship
Frank D. Willis Memorial Prize in Composition
The Harrison L. and Gladys W. Winter
Scholarship
Avedis Zildjian Percussion Scholarship
Other Scholarships
The General Assembly of the State of
Maryland has enacted legislation creating
scholarship programs to assist students
in obtaining a college education. Any
Maryland resident is eligible to compete
for Maryland State Scholarships. Since
these are important sources of assistance
for many Peabody students, all Maryland
residents are strongly encouraged to apply.
Further information and applications are
available from:
Maryland State Scholarship
Administration
839 Bestgate Road, Suite 400
Annapolis, Maryland 21401-3013
www.mhec.state.md.us
The application deadline for these
scholarships is generally in early February.
Peabody Career Development Fund
The Peabody Career Development Fund
was established in 1986 to assist eligible
students and recent alumni in the devel-
opment of their careers. The awards are
made possible through the generosity of
the following donors:
• Douglas S. Goodwin
• Caswell & Constance Caplan
• Malcolm & Loraine Bernstein
• Eyer Educational Corporation
• Peggy & Yale Gordon Trust
• Friends of Peabody
Applications are considered each
semester by the committee, and awards
are noted annually in the Graduation
program. Information is available in the
Director’s Office and on the Peabody web
site at www.peabody.jhu.edu/careerdev.
Assistantships
A limited number of assistantships
are available to students who have been
admitted into a graduate program as full-
time degree or diploma candidates. A
graduate assistantship is awarded on the
basis of previous academic record, place-
ment examination results, and a personal
interview/audition in the specific area of
interest. Assistantships are available in the
following areas:
accompanying music education
bibliography musicology
chamber music music theory
composition opera accompanying
computer music piano maintenance
conducting piano teaching
ear-training recording arts
guitar voice
jazz wind conducting
liberal arts
Responsibilities. Full-time graduate
assistants are expected to assist the fac-
ulty for up to an average of 15 hours per
week, with specific assignments made by
individual faculty members. Graduate
assistants should not work more than a
combined total of 20 hours per week for
the university. A portion of assistantship
175
income is considered taxable unless it
qualifies for special consideration by tax
authorities. Consult the human resources
manager of the Institute for full details.
Registration requirements. Graduate
assistants must be registered as full-time
students for a minimum of 18 credits
per year. It is advisable not to take more
than 12 hours of study per semester. The
student must be registered for study in
the major area. All credits taken must be
necessary and applicable to the degree for
which the candidate is enrolled. The Con-
servatory reserves the right to restrict the
activities of holders of assistantships.
Term of assistantship. The assistantship
is for a term of one year, but upon recom-
mendation of the faculty, may be extended
to a maximum of two years. Only under
extraordinary circumstances may an assis-
tantship be renewed for a third year. This
requires a recommendation from the fac-
ulty and approval of the dean.
Retention of assistantship. Students
holding graduate assistantships must
maintain a consistently high level of
performance in every area of study, with
a grade point average of at least 3.0, and
a grade of at least B- in the major lesson
and departmental examinations. Failure to
fulfill terms of the assistantship may result
in its immediate termination and may
require repayment of income.
Employment
Jobs are available at Peabody for full-
time students enrolled in a degree or
diploma program. Students are authorized
to work on campus up to a maximum of
20 hours per week after they complete
the necessary paperwork with the Office
of Human Resources and Payroll Services.
Students are encouraged to apply for avail-
able positions at the beginning of the
academic year, as jobs are available on a
first-come, first-served basis. A listing of
hiring departments and further informa-
tion may be obtained through the Office
of Human Resources and Payroll Services,
or by calling 410-659-8100, ext. 3050.
Administration
The Peabody Institute
Principal Administrative Officers and Deans
Jeffrey Sharkey, Director of the Institute
Mellasenah Morris, Dean of the Conservatory and Deputy Director
Carolee Stewart, Dean of the Preparatory
Gayle Ackley, Senior Associate Dean for Finance and Administration
Katsura Kurita, Associate Dean for Student Affairs
Paul Mathews, Interim Associate Dean for Academic Affairs
Joyce Ritchie, Associate Dean for External Relations

Directors – Department Managers

Admissions Head Librarian
David Lane Robert Follet
Alumni Relations Human Resources/Payroll Services
Debbie Kennison Laura Brooks
Business Services Information Technology and Telecommunications
Larry Catron Jonathan Richardson
Campus Police/Security Internal Student Advisor
David Fulgham Susana Rodriguez
Concert Office Major Gifts
Teresa Perez Patrick O’Neall
Ensemble Office Marketing and Communications
Linda Goodwin Richard Selden
Facilities Management Registrar
Joseph Brant James Dobson
Financial Aid Residence Life
Thomas McDermott TBA

National Advisory Council of the Peabody Institute of

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

176
The Johns Hopkins University

Trustees Westley W. O. Moore

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

177
George G. Radcliffe R. Champlin Sheridan Jr.
John F. Ruffle Wendell A. Smith
Arthur Sarnoff Helmut Sonnenfeldt
Frank Savage Shale D. Stiller
Wayne N. Schelle Morris Tanenbaum
Herschel L. Seder Edward G. Uhl
Huntington Sheldon Calman J. Zamoiski Jr.

Principal Administrative Officers and Deans

William R. Brody Ray Gillian
President of the University Vice Provost for Institutional Equity
Kristina M. Johnson Pamela Cranston
Provost and Senior Vice President Vice Provost for International Programs
for Academic Affairs Scott Zeger
James T. McGill Vice Provost for Research
Senior Vice President for Finance Jerome D. Schnydman
and Administration Executive Assistant to the President and
Edward D. Miller Secretary of the Board of Trustees
Chief Executive Officer of Johns Hopkins Arthur Roos
Medicine, Vice President for Medicine, and Treasurer
Dean of the School of Medicine
Kathryn J. Crecelius
Stephen S. Dunham Chief Investment Officer
Vice President and General Counsel
Adam F. Falk
Michael C. Eicher Dean, Krieger School of Arts and Sciences
Vice President for Development and
Alumni Relations Nicholas P. Jones
Dean, Whiting School of Engineering
Linda L. Robertson
Vice President for Government, Michael Klag
Community, and Public Affairs Dean, Bloomberg School of Public Health
Charlene Moore Hayes Martha Hill
Vice President for Human Resources Dean, School of Nursing
Paula P. Burger Jessica P. Einhorn
Vice Provost Dean, Nitze School of Advanced
International Studies
Michela Gallagher
Vice Provost for Academic Affairs Yash P. Gupta
Dean, Carey Business School
Edgar E. Roulhac
Vice Provost for Academic Services Ralph Fessler
Dean, School of Education
James J. Zeller Jr.
Vice Provost for Budgets and Planning Jeffrey Sharkey
Director, Peabody Institute
Jonathan Bagger
Vice Provost for Graduate and Postdoctoral Richard T. Roca
Programs and Special Projects Director, Applied Physics Laboratory
Stephanie L. Reel Winston Tabb
Chief Information Officer and Dean, University Libraries,
Vice Provost for Information Technology Vice Provost for the Arts,
Director, Johns Hopkins University Museums

178
Index
A Change of Major 26
Academic Honesty 23
Academic and
Administrative Regulations 23
Academic Standing 23
Administration
The Johns Hopkins University 178
The Peabody Institute 176
Admission to Candidacy, D.M.A. 102
Admission Requirements
Artist Diploma 121
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 97
Extension Study 123
Graduate Performance Diploma 118
Master of Arts in Audio Sciences 95
Master of Music Degree 71
Performer’s Certificate 113
Advanced Standing 38
Advisory Committees, D.M.A. 99
Application Deadlines 4
Arthur Friedheim Library 11
Assistantships 175
Athletic Facilities 165
Attendance and Absences 25
Auditing 25
Audition requirements
Artist Diploma 121
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 97
Extension Study 123
Graduate Performance Diploma 118
Master of Music Degree 72
Performer’s Certificate 113
Awards 171
B Early Music Performance 81
Baltimore Area Cultural Activity 15
Brass Course Offerings 126
C Performance 76
Calendars
Academic 2
Audition 4
Summer Session 4
Campus 10
Career Counseling and Placement 17
Career Development Fund 175
Chamber Music Course Offerings 126
179
Change of Studio Teacher 26
Competitions 16
Composition Course Offerings 127
Computer Music Studio 13
Concert Halls 11
Concerts 15
Conducting Course Offerings 129
Course Changes and Withdrawals 26
Course Listings 126
Common Curriculum Components
Bachelor of Music Degree 34
Doctor of Musical Arts Degree 99
Master of Music Degree 74
Computer Music Course Offerings 128
Conducting Fellows Program 18
Credit Limit for Graduate Programs 26
Cross Registration 21
Curricular Practical Training 75, 102,
119, 122
Curriculum
Artist Diploma 122
Bachelor of Music
Composition 49
Computer Music 50
Music Education 52
Performance 39
Recording Arts and Sciences 59
Doctor of Musical Arts
Composition 103
Conducting 103
Performance 105
Graduate Performance Diploma 119
Master of Arts in Audio Sciences 95
Master of Music
Composition 89
Computer Music 90
Music Education 92
Musicology 92
Music Theory Pedagogy 94
Performance/Pedagogy 88
Piano: Ensemble Arts 79
Performer’s Certificate 113
D
Dean’s List 24
Degree-in-Progress 27
Degree Requirements
Bachelor of Music 34
Doctor of Musical Arts 98
Master of Arts in Audio Sciences 95
Master of Music 73
Dining Hall 165
Dismissal 24, 25
Dissertation Requirements 102
Distinguished Visiting Faculty 15, 125
Documents, D.M.A. 100
Double Degree Program 22
E
Ear-training Course Offerings 149
Early Music Course Offerings 130
Educational Facilities 11
English as a Second Language 36, 71
Ensemble Arts Course Offerings 133
Ensemble Requirements 37, 75, 99,
113, 119
Examinations
Entrance 71, 98
Qualifying, D.M.A. 102
Preliminary Oral, D.M.A. 102
Extension Study 123
F Master Classes 15
Faculty Listing 124
Federal Aid Programs 169
Fee Payment Schedule 168
Financial Aid Eligibility 25
Financial Information 167
Five-Year B.M./M.M. Program 70
Full-Time Status 26
G
General Information 9
General Studies Course Offerings 134
Grading System 23
Graduate Assistantships 175
Graduation Eligibility 25
Graduation Rates 28
Grants 169
Guitar Course Offerings 134
H Peabody Trio 15
Harp Course Offerings 135
Health Insurance and Services 166
Humanities Course Offerings 136
Humanities, undergraduate 36
180
I
Instrument Collection 11
Internet Service 14
J
Jazz Course Offerings 139
JHU Concentrations 69
Juries 34
K
Keyboard Studies Course Offerings 149
L
Language Course Offerings 138
Language Requirements
Bachelor of Music Degree 37
Doctor of Musical Arts Degree 101
Master of Music Degree 74
Large Ensembles 140
Leave of Absence 26
Lecture–Recital, D.M.A. 102
Liberal Arts undergraduate 36
Liberal Arts Course Offerings 136
M
Master’s Essay 93
Master’s Portfolio 75
MENC 17
Mu Phi Epsilon 17
Music Education Course Offerings 142
Music Theory Course Offerings 145
Musicology Colloquium 101
Musicology Course Offerings 150
O
Official Dress 21
Opera Course Offerings 154
Oral Defense of Dissertation 103
Organ Course Offerings 155
Outside Instruction and Performances 21
P
Peabody National Advisory Council 176
Pedagogy Course Offerings 155
Percussion Course Offerings 155
Performance Facilities 11
Pi Kappa Lambda 17
Piano Course Offerings 156
Portfolio of Compositions 75, 100
Preparatory Division 9
Previously earned Peabody Credits 73, 99
Prizes 171
Procedural Information 20
Program Completion
Doctor of Musical Arts Degree 99
Master of Music Degree 74
Program Notes, M.M. 75
R T
Readmission 28
Reciprocal Academic Arrangements 21
Recitals 20
Artist Diploma 121
Bachelor of Music Degree 35
Doctor of Musical Arts Degree 100
Graduate Performance Diploma 118
Master of Music Degree 75
Recording Arts Course Offerings 157
Recording Studios 12
Religious Activity 166
Repertoire Requirements, D.M.A. 100
Residence Hall 165
Residency Requirements
Artist Diploma 121
Bachelor of Music Degree 34
Doctor of Musical Arts Degree 98
Graduate Performance Diploma 118
Master of Music Degree 73
Review Courses 74, 99
181
S
Scholarships 171
Shuttle Bus Service 166
Small Ensemble Course Offerings 160
String Course Offerings 160
Student Data 19
Student Life 165
Student Rights and Responsibilities 28
Study Abroad Program 18
Transcripts 22
Transfer Credits 37, 73, 98
Trustees, The Johns Hopkins University 177
Thursday Noon Recital Series 35
Tuition and Fees 167
V
Voice Course Offerings 161
W
Withdrawals
Course 26
Refund Schedule 169
Woodwind Course Offerings 163