7/23/09 11:03:52 AM

ac a d e m i c c ata l o g 2 0 0 9 – 2 0 1 0

Johns Hopkins University P e a b o d y C o n s e r vat o r y 2 0 0 9 - 2 0 1 0

Peabody Institute
One East Mount Vernon Place
Baltimore, MD 21202-2397

Peab_catcover092.indd 1-2
 THE PEABODY CONS E RVATORY
OF THE JOHNS HOPKINS UNIVERSITY

Academic Year 2009–2010

Conservatory Admissions Office

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

First Semester 2009–2010

Fall semester payment postmark date; August 12
late payment fee applied after this date
Orientation begins
Residence Hall opens August 23
Residence Hall move-in day August 25
Registration
All students: 8:30 am–12:00pm September 1
All students: 1:30–5:00pm
Late fee applied for late confirmation and registration September 2
Classes and lessons begin September 3
Convocation, noon September 3
Labor Day Holiday (no classes, lessons, or ensembles) September 7
Last day for course drop/add without fee September 11
Degree recital lottery – Concert Office September 16
Last day for late registration September 18
Last day to add a course for fall semester September 18
Degree recital registration for fall semester recitals September 23 &
September 28
Last day to drop a fall semester course with deletion September 25
All work for spring and summer incompletes due to faculty September 25
Mid-term holiday begins (no classes, lessons, or ensembles) October 11–13
Classes, lessons and ensembles resume October 14
Grades to remove spring and summer incompletes due to October 14
Registrar
Last day to withdraw from a course with an automatic “W” October 16
Last day to change a course to Audit October 16
Application deadline for spring semester diploma program November 1
Last day to withdraw from any fall semester course November 13
Deadline for leave-of-absence return notification to November 15
Office of Academic Affairs
Course selection for spring 2009 semester for undergraduates November 16-27
Course selection for spring 2009 semester for graduate students November 17–27
Thanksgiving Vacation (no classes, lessons, or ensembles) November 25–29
Classes, lessons and ensembles resume November 30
Application deadline for regional and February auditions November 30
Spring semester payment postmark date; December 9
late payment fee applied after this date
Last day of classes, lessons, ensembles for fall semester December 15
Fall semester course examinations December 16–18
First semester ends December 18
Residence Hall move-out deadline for non- December 19
continuing students, noon
Residence Hall closes December 19
Fall grades due to Registrar, noon December 22
Second Semester 2009–2010
Registration
Residence Hall opens January 15
Registration for new students January 15
Martin Luther King Jr. Holiday (no classes, lessons, or ensembles) January 18
Classes, lessons and ensembles begin January 19
Degree recital lottery—Concert Office January 26
Degree recital registration for graduating students only January 28
Petition to graduate in May 2010 due to Registrar January 28
Last day to drop or add courses or reconfirm registration January 29
without fee
Last day for late registration January 29
Last day to add a course for spring semester January 29
Last day to register for spring semester degree recital January 29
without a fee
Degree recital registration for graduating students only February 1 & 4
Degree recital registration for students with Degrees in Progress February 8 & 10
Last day to drop a course with deletion February 12
All work for fall semester Incompletes due to faculty February 12
Dissertation submission deadline for May graduation February 12
Audition/Ensemble/Masterclass Week (no classes or lessons) February 15–19
Classes, lessons and ensembles resume February 22
Grades to remove fall semester Incompletes due to Registrar February 22
Last day to drop course with automatic “W” February 26
Last day to change course to Audit February 26
Spring Vacation begins (no classes, lessons, or ensembles) March 14–21
Classes, lessons and ensembles resume March 22
Deadline for MM/DMA document submission for May graduation March 29
Last day to withdraw from any spring semester course April 2
Application deadline for May auditions April 15
Deadline for leave-of-absence return notification to Office April 15
of Academic Affairs
Course selection for fall semester 2010 for all returning April 19–30
graduate students; juniors and seniors
Course selection for fall semester 2010 for all returning students April 20–30
Last day of classes and lessons May 10
Reading/examination preparation day May 11
Spring semester course examinations May 12–14
Juries and final auditions May 17–20
Second semester ends May 20
Spring grades due to Registrar, noon May 20
Commencement May 27
Residence Hall closes, noon May 28
Graduate Summer Session 2010
Classes begin June 28
Classes end July 30

Audition Calendar
Application deadline November 30
Auditions for admission February 15–19
Application deadline for late auditions April 15
Final auditions for fall semester 2010 admission May 17–20

Cover photo: Gary Thomas (right), director of Jazz Studies and Richard and
Elizabeth Case Endowed Professor in Jazz, works with students in Peabody’s Max
Corzilius Jazz Studio.
Photo: Will Kirk, Homewood Imaging and Photographic Services
Table of Contents
9 General Information
9 The Preparatory
10 The Campus
11 Facilities
13 The Internet and Technology at Peabody
14 Baltimore Area Cultural Activity
14 Peabody Concerts, Lectures, and Master Classes
14 Distinguished Visiting Faculty
14 Trio in Residence
15 Competitions
16 Honorary and Professional Organizations
16 Career Counseling and Placement
16 Partnership between the Yong Siew Toh Conservatory and the
Peabody Institute
17 Study Abroad Program
17 Conducting Fellows Program
18 Student Data 2008–2009
19 Procedural Information
19 Studio Assignments
19 Recitals
20 Official Dress and Equipment
20 Outside Instruction and Public Performance
20 Inter-Institutional Academic Arrangements
21 Peabody/Homewood Double Degree Program
21 Transcripts
22 Administrative Regulations
22 Academic Code of Conduct and Student Conduct Code
22 Grading System and Regulations
23 Academic Standing and Satisfactory Progress
24 Outside Sources of Financial Aid
24 Definition of Full-Time Status and Credit Limits
24 Dean’s List Criteria
24 Graduation Eligibility
24 Attendance and Absences
25 Auditing
25 Course Changes and Withdrawals
25 Change of Major
25 Change of Studio Teacher
25 Interruption of Degree Work
27 Student Rights and Responsibilities
27 Graduation Rates
28 University Policies
33 Degrees and Programs
33 Bachelor of Music Degree
33 Admission Requirements
33 Degree Requirements
34 Common Curriculum Components
 40 Curricula
40 Performance Majors
47 Jazz Performance Majors
48 Composition Majors
50 Computer Music Majors
51 Music Education Majors
58 Music Education Certification Program
59 Performance/Recording Arts and Sciences Majors
67 Bachelor of Music with JHU Concentration
68 Five-Year BM/MM Program
69 Master of Music Degree
69 Admission Requirements
69 Degree Requirements
70 Program Components
72 Curricula
72 Performance Majors
81 Performance/Pedagogy Majors
82 Composition Majors
83 Computer Music Majors
85 Music Education Majors
86 Musicology Majors
88 Music Theory Pedagogy
89 Master of Arts in Audio Sciences Degree
90 Concentration in Recording and Production
91 Doctor of Musical Arts Degree
91 Admission Requirements
91 Degree Requirements
92 Curriculum Components—Requirements and Examinations
96 Curricula
96 Composition Majors
96 Conducting Majors
98 Performance Majors
104 Performer’s Certificate
104 Admission Requirements
104 Certificate Requirements
104 Curricula
108 Graduate Performance Diploma
108 Admission Requirements
108 Diploma Requirements
109 Curricula
110 Artist Diploma Program
110 Admission Requirements
110 Diploma Requirements
110 Curriculum Components
111 Extension Study
112 Conservatory Faculty
1 14 Course Listings
114 Brass
114 Chamber Music
115 Composition
116 Computer Music
117 Conducting
1 18 Early Music
121 Ensemble Arts
122 General Studies
122 Guitar
123 Harp
124 Humanities­—Liberal Arts
126 Humanities—Languages
127 Jazz
129 Large Ensembles
130 Music Education
133 Music Theory
137 Music Theory—Ear-Training/Sight-Singing
138 Music Theory—Keyboard Studies
138 Musicology
143 Opera
144 Organ
144 Pedagogy
145 Percussion
145 Piano
146 Recording Arts
149 Small Ensembles
149 Strings
150 Voice
152 Woodwinds
153 Recitals
1 54 Student Life
154 Residence Hall
154 Dining Hall
154 Health Services
154 Counseling Center Services
154 Health Insurance
155 Shuttle Bus
155 Peabody Escort Van
155 Student Activities
155 Religious Activity
155 Athletic Facilities
1 56 Financial Information
156 Tuition and Fees
157 Schedule of Payments
158 Federal Aid Programs
159 Loan Programs and Grants
160 Federal Work Study
160 Institutional Aid Programs
161 Endowed Scholarships, Prizes and Awards
163 Peabody Career Development Fund
163 Assistantships
164 Employment
1 65 Administration
165 Peabody Institute
166 The Johns Hopkins University
168 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 profes-
sional careers in music as well as with the
education to become leaders in the cul-
tural 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, Pea-
body 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 con-
tribution 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
9
Mennin, Ernst Krenek, Benjamin Lees,
Earle Brown, and Hugo Weisgall; violin-
ists William Kroll, Louis Persinger, Oscar
Shumsky, and Roman Totenberg; cellists
Aldo Parisot and Zara Nelsova; pianists
Harold Bauer, Ernest Hutcheson, Miec-
zyslaw 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 Elisabeth of Belgium
Competition, the ASCAP Deems Taylor
Awards, as well as Guggenheim 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.
Accreditation Statement
The Peabody Conservatory of Music is
accredited by the National Association of
Schools of Music and, as a division 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 expan-
sion throughout an entire city block of
six interconnected buildings. The origi-
nal Conservatory and Peabody Library
buildings face Mt. Vernon Place and are
two of the city’s foremost architectural
landmarks. The Conservatory building
was completed in 1866. The library build-
ing, completed in 1878, is famed for its
tiered cast-iron balconies and spectacular
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
10
the Library of Congress in Washington.
Adjoining the library building is Leakin
Hall, built in 1927, which serves as the
headquarters of the Institute’s Preparatory
department and contains studios for the
use of both Conservatory and Preparatory
faculty.
More recent additions include the resi-
dence hall structure, which was designed
by Edward Durrell Stone, architect of the
Kennedy Center for the Performing Arts
in Washington, and the Arthur Friedheim
Library building, which includes two
floors of classrooms and practice rooms.
The Peabody Inn is housed in a townhouse
complex that has become the home for
the Peabody Elderhostel program. Pea-
body’s Elderhostel, which is among the
most popular in the country’s extensive
Elderhostel network of lifelong learn-
ing vacations for senior citizens, features
music classes and the rich performance
offerings given daily by Peabody students
and faculty.
In spring 2004, the Peabody Insti-
tute completed a $26.8 million major
construction project that has fundamen-
tally restored and enhanced its campus,
integrating the historic 19th-century
buildings into a harmonious whole. A
Grand Arcade cascades down from the
main entrance to the Peabody Plaza by
means of a graceful staircase that provides
an elegant counterpoint to the original
famed circular stairway. 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.
Security
The Peabody campus is protected by
the Peabody Campus Security 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.
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,
11
and an 11-course baroque lute by Mar-
tin Shepherd. Students also have access
to Renaissance and baroque guitars, a
vihuela, and a cittern as well as a full con-
sort 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
120,000 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
Friedheim, 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 collection includes over
90,000 scores and books. An audio-visual
center on the plaza level incorporates a
collection of over 25,000 sound record-
ings, 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 generous gift of P.
William and Vera Ruth Filby established
the Rare Book Room in the Music Library
of the Peabody Conservatory in 1990. The
collection contains over 1,000 volumes
including music scores, individual manu-
scripts, personal papers and artifacts, and
books on music dating from the 16th cen-
tury to the present.
The Peabody community also has access
to the Johns Hopkins Sheridan Libraries
collection. The majority of the Sheridan
collection is contained 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 quan-
tity of its collections and services rank it
as one of the major research libraries in the
country. Peabody students have borrow-
ing privileges for over 2.6 million books
and more than 30,000 print and elec-
tronic journal subscriptions, over 600,000
e-books, over 7,000 videos and DVDs.
These materials are accessible through the
interconnected catalog for the Friedheim
and Sheridan libraries, and Sheridan mate-
rials can be delivered to the circulation
desk at the Friedheim library.
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.
The Recording Studios record most
events direct to CD with hard disc
backup. Master recordings for all events
are permanently stored 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.
Students, faculty, and staff may also use
12
the Recording Studios for special projects
and audition tapes on an hourly fee basis.
A price schedule is available on request
and is published on the Peabody Record-
ing 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. Any
student interested in the recording arts
degree program or classes should call the
Recording Office. More information can
be found at www.peabody.jhu.edu/record-
ingarts.
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 music
began in the summer of 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, espe-
cially after the affiliation with the Johns
Hopkins University. In addition to Pea-
body courses in computer music, Conser-
vatory students have access to university
courses in computer science, electronics,
and related fields.
Computer Music Consort. The Computer
Music Consort is a professional ensemble
in residence at the Computer Music
Department dedicated to the performance
of the digital arts. The Consort aims to
bring the best current computer music
and multimedia performance to the pub-
lic in unique and original ways. Activity
includes performances (many of which
involve “live” performers plus tape, real-
time electronics, and mixed media pre-
sentations), lectures, and commissions for
new works in the medium. The Consort
frequently invites guest composers 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 studio
optimized for solo or chamber music plus
electronics rehearsals, and a digital arts
studio of workstations for use by computer
music and composition students. The
departmental studios feature a wide variety
of music technologies, including MIDI,
Direct Digital Synthesis, Digital Audio
Workstations, SMPTE synchronization and
digital multi-track recording.
1. The Teaching Studio is intended primarily
for introductory-level and non-major
students but is also used as an additional
production facility by departmental
graduate 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 demonstrations.
This studio also houses the department’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-channel A/D and
D/A conversion system to the Macin-
tosh-based digital audio workstation.
13
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 worksta-
tions for MIDI, digital audio, video,
and multimedia are available, as well
as general purpose computers for pro-
gramming, 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 other performance-oriented synthe-
sizers. 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
variety of platforms are supported,
including Windows, Macintosh, Unix,
and Linux. A wireless network allows
the easy integration of student laptops.
A wide variety of commercial and non-
commercial software applications for
music are available for MIDI, audio,
and video recording, editing and play-
back as well as tools for programming
and software for music notation.
The Internet and Technology at Peabody
The Peabody campus is interconnected
to other divisions of The Johns Hopkins
University through a high-speed network.
Most rooms on campus and all residence
halls are wired for Ethernet access. Most
public and teaching spaces on campus are
wired for secure Ethernet and/or WiFi.
Members of the Peabody community
are identified by the Johns Hopkins Enter-
prise Directory (JHED). The issued JHED
ID is used for email accounts through
Johns Hopkins Enterprise Messaging
(JHEM). Students must maintain these
accounts (through use or forwarding) for
all electronic correspondence from the
Conservatory. The JHED ID is also used
for WiFi access and personal webspace.
Students must also use the JHED ID for
access to the Integrated Student Informa-
tion System (ISIS): the official web-based
interface for course registration and aca-
demic records.
Computers for student use are avail-
able in the Friedheim Library, a computer
resource room in 205 Leakin Hall, and
in the Unger Lounge Computer Center.
Information about Peabody can be found
on the Internet in the appropriate direc-
tories of The Johns Hopkins University
website (www.jhu.edu) or at Peabody’s
own site on the World Wide Web (www.
peabody.jhu.edu).
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 website
(www.peabody.jhu.edu/ITpolicies).
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. Numerous
professional chamber music and cho-
ral 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
14
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;
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 the department faculty in
consultation with the dean.
Visiting Composers
A grant from Randolph S. Rothschild
underwrites the cost of visiting 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 Sun-
day Morning, Morning Pro Musica, NPR’s
Performance 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
The Yale Gordon Concerto Competition,
endowed by the Peggy and Yale Gordon
Trust, 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.
The Virginia Carty DeLillo Composition Com-
petition is 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
15
to first- and second-place winners and a
public performance, where practical, of the
winning composition.
The Sylvia L. Green Voice Competition was
founded in 1986 by Beth Green Pierce.
This biennial competition was established
in memory of Mrs. Pierce’s mother, Syl-
via 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.
The Macht Orchestral Composition Competi-
tion was endowed in 2000 by the Macht
Philanthropic Fund. This annual com-
petition 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.
The William L. Marbury Prize is awarded
each year to an outstanding undergradu-
ate violin student in a juried competition,
and 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.
The Prix d’Eté Competition was endowed
by Walter Summer in 1994. This annual
competition encourages Peabody student
composers to create chamber music that
explores new instrumental, vocal, dance,
computer, and multimedia horizons. The
Prix d’Eté is open to undergraduate, grad-
uate, 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.
The Harrison L. Winter Piano Competition
was established in 1990, the Winter Com-
petition encourages the development of
young pianists. It was endowed by gifts
in memory of Judge Winter from his fam-
ily, 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 is a national honorary
society for outstanding juniors, seniors,
and graduate students, elected annually by
the faculty according to the by-laws of Pi
Kappa Lambda. It is the music profession’s
equivalent of Phi Beta Kappa.
MENC (Music Educators National Confer-
ence) is a national professional organiza-
tion 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) is 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.
The Golden Key Society is a national honor-
ary organization that stresses academic
excellence, leadership, and community
16
service. Juniors and seniors who have
achieved at least a 3.65 grade point aver-
age are eligible to be inducted into the
Golden Key Society, 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 interna-
tional exchanges with
the Yong Siew Toh Con-
servatory of the National
University of Singapore,
Paris Conservatory, and
Royal Academy in Lon-
don. Interested students
should approach the
International Student
Coordinator and fill 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-thejob
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.

17
Student Data 2008–2009

Geographical Distribution
United States
Alabama . . . . . . . . . 4 Kentucky . . . . . . . . . 2 Oklahoma . . . . . . . . 2
Alaska . . . . . . . . . . . 1 Maine . . . . . . . . . . . 2 Oregon . . . . . . . . . . 3
Arizona . . . . . . . . . . 1 Maryland . . . . . . . 179 Pennsylvania . . . . . 42
Arkansas . . . . . . . . . 1 Massachusetts . . . . . 19 South Carolina . . . . . 8
California . . . . . . . 34 Michigan . . . . . . . . . 8 South Dakota . . . . . . 2
Colorado . . . . . . . . . 2 Minnesota . . . . . . . . 6 Tennessee . . . . . . . . . 4
Connecticut . . . . . . 17 Mississippi . . . . . . . . 1 Texas . . . . . . . . . . . 18
D.C. . . . . . . . . . . . . 9 Missouri . . . . . . . . . 6 Vermont . . . . . . . . . 3
Delaware . . . . . . . . . 6 Nevada . . . . . . . . . . 1 Virginia . . . . . . . . . 42
Florida . . . . . . . . . . 8 New Hampshire . . . . 5 Washington . . . . . . . 4
Georgia . . . . . . . . . . 9 New Jersey . . . . . . . 25 West Virginia . . . . . . 1
Illinois . . . . . . . . . . 8 New Mexico . . . . . . . 2 Wisconsin . . . . . . . . 4
Indiana . . . . . . . . . . 2 New York . . . . . . . 46 Puerto Rico . . . . . . . . . . 1
Iowa . . . . . . . . . . . . 1 North Carolina . . . . . 9
Kansas . . . . . . . . . . . 1 Ohio . . . . . . . . . . . 15

Foreign Countries
Australia . . . . . . . . . . . . . 1
Brazil . . . . . . . . . . . . . . . 1
Bulgaria . . . . . . . . . . . . . 1
Canada . . . . . . . . . . . . . 14
Costa Rica . . . . . . . . . . . 1
China (P.R.C.) . . . . . . . . 8
Croatia . . . . . . . . . . . . . . 1
Cyprus . . . . . . . . . . . . . . 1
France . . . . . . . . . . . . . . . 1
Hong Kong . . . . . . . . . . 3
Indonesia . . . . . . . . . . . . 2
Israel . . . . . . . . . . . . . . . 2
Italy . . . . . . . . . . . . . . . 1
Japan . . . . . . . . . . . . . . . 3
Korea . . . . . . . . . . . . . 55
Malaysia . . . . . . . . . . . . . 1
New Zealand . . . . . . . . . 1
Phillipines . . . . . . . . . . . 1
Poland . . . . . . . . . . . . . . 3
Romania . . . . . . . . . . . . . 1
Russia . . . . . . . . . . . . . . . 4
Singapore . . . . . . . . . . . . 5
Spain . . . . . . . . . . . . . . . 4
Taiwan/ROC . . . . . . . . 23
Turkey . . . . . . . . . . . . . . 4
United Kingdom . . . . . . 2
Venezuela . . . . . . . . . . . . 1
Vietnam . . . . . . . . . . . . . 2

Classification of Students by Program

Candidates for the BM degree . . . . . . . . . . . . . . . . . . 324
Candidates for the MM degree . . . . . . . . . . . . . . . . . . 201
Candidates for the MA degree . . . . . . . . . . . . . . . . . . . . 13
Candidates for the DMA degree . . . . . . . . . . . . . . . . . . 39
Candidates for the Performer’s Certificate . . . . . . . . . . . 4
Candidates for the Graduate Performance Diploma . . . 69
Candidates for the Artist Diploma . . . . . . . . . . . . . . . . . 8
Graduate Extension Students . . . . . . . . . . . . . . . . . . . . 12
Non-Resident Graduate Students . . . . . . . . . . . . . . . . . 42
Cooperative and Visiting Students . . . . . . . . . . . . . . . . 65
Undergraduate Extension Students . . . . . . . . . . . . .      2
779

18
Procedural Information
Degree and Program Classification
Application deadlines for all classifica-
tions are:
December 1:  Admission/Scholarship
April 15:  Admission, except for DMA
and Artist Diploma, for which audi-
tions and interviews are held only dur-
ing 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.
Studio Assignments
Studio assignments are arranged prior
to matriculation on the basis of student
request and teacher availability. Students
may contact teacher directly during the
admissions process to make their wishes
known. Once students matriculate into
the Conservatory, they may only change
studios with the oversight of the Associate
Dean for Academic Affairs and the agree-
ment of all faculty involved.
Recitals
Public recitals are required for the com-
pletion of all undergraduate and gradu-
ate performance degrees and diplomas.
Peabody presents over 350 degree recitals
each year along with hundreds of other
kinds of concerts. To accommodate all
students with the most equitable division
of resources, all degree recitals must be
scheduled, prepared and performed within
the guidelines set by the Concert Office.
All degree recitals must be on campus.
Exceptions are rarely made and only made
with the written permission of the teacher
and the Associate Dean of Academic
Affairs. Grades given for off-campus recit-
als may not be contested.
All degree recitals, including lecture-
recitals, will be limited to a total of 70
19
minutes of stage time, with the sole excep-
tion of Artist Diploma piano recitals, as
noted below. The 70-minute limit includes
all stage and personnel changes from the
beginning to the end of the recital. Specific
requirements for the length of performance
time vary by degree as follows.
Minimum Performance Time (in minutes)
for Undergraduate Junior Recitals
Guitar 25-30
Violin 25-30
Voice 25-30
Jazz 30
Minimum Performance Time (in minutes)
for Undergraduate Senior Recitals
Orchestral Strings 50-60
Woodwinds and Brass 50-60
Harp and Percussion 50-60
Guitar and Organ 50-60
Early Music 50-60
Piano 50-55
Jazz 50-55
Harpsichord 50
Voice 45
Minimum Performance Time (in minutes) for
MM, GPD, and DMA Graduate Recitals
Orchestral Strings 50-60
Woodwinds and Brass 50-60
Percussion 50-60
Guitar and Organ 50-60
Harp 60
Early Music 60
Harpsichord 60
Piano (MM and DMA) 50-55
Piano (GPD) 55-60
Jazz (GPD) 55-60
Voice 50-55
Performance Time (in minutes) for
AD Graduate Recitals
Piano 70
Voice 55-60
 An Artist Diploma piano recital is the
only degree recital that exceeds 60 min-
utes of music, and as such, may contain
an intermission at the discretion of the
student and his or her teacher.
All recitals must be scheduled through
the procedures established by the Con-
cert Office and in strict observation of
the established deadlines. 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. 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.
For more information, check the guide-
lines in the Student Handbook or the
webpage for the Concert Office at http://
www.peabody.jhu.edu/84.
Official Dress and Equipment
Students performing in Peabody ensem-
bles are required to own professional concert
attire. Detailed information about concert
attire can be found on the website of the
Ensemble Office: http://www.peabody.jhu.
edu/ensembleoffice.
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 purpose
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-
20
mance outside the Conservatory, with the
permission of the teacher.
Inter-Institutional Academic Arrangements
Within the university system, inter-
divisional registration (IDR) without
extra cost extends for Peabody students to
courses offered by the Krieger School of
Arts and Sciences, the Whiting School of
Engineering, the Carey Business School,
and the School of Education. Students
enrolled in the schools of Arts and Sci-
ences or Engineering may, similarly, reg-
ister 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 Hop-
kins 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 Prepara-
tory. Students wishing to take non-credit
private music lessons through the Prepara-
tory must go through placement inter-
views/auditions. Lessons are scheduled on
a space-available basis. Students in the
Krieger School of Arts and Sciences or the
Whiting School of Engineering desiring
to take individual instruction pay 75 per-
cent of the Preparatory individual tuition
as listed in the current Preparatory cata-
log. Students in all other JHU divisions
desiring 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 students 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 Sci-
ence degree from the Whiting School of
Engineering Students must be admitted
independently to Peabody and one of the
Homewood schools and be invited to par-
ticipate 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 stu-
dents transfer into the program midyear.
Typically, the Double Degree Program
takes five years to complete.
Administrative services such as regis-
tration, financial aid, and health care are
provided to Double Degree students by
the Homewood schools. Consequently,
students in the Double Degree Program
21
do not receive Peabody merit scholarships
or any other form of financial aid from
Peabody. Double Degree students must
enroll at a minimum in private lessons and
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 Code of Conduct and
Student Conduct Code
The Peabody Conservatory of The Johns
Hopkins University, its faculty, staff, and
students are committed to encouraging
academic honesty and ethical conduct.
Membership in the Peabody community is
contingent upon adherence to high stan-
dards of personal and professional ethics.
The effective practice of an ethical code
of conduct requires the support of each
member of the Peabody community. Each
person is entrusted with two essential
responsibilities: to live honorably within
the established codes of conduct, and to
hold other members of the community to
the same high standard of conduct.
Students enrolled in the Peabody Con-
servatory assume an obligation to conduct
themselves in a manner appropriate to an
institution of higher education. A student
is obliged to refrain from acts which he
or she knows, or under the circumstances
has reason to know, threaten the academic
integrity of the Conservatory. Violations
of academic integrity include, but are not
limited to cheating, plagiarism, misrepre-
sentation of work, multiple submissions of
the same work, falsification of an approval
signature, knowingly furnishing false
information to any agent of the Conserva-
tory for inclusion in the academic records,
and falsification, forgery, alteration,
destruction, or misuse of official Conser-
vatory documents or shared information
technology resources. Procedures for the
adjudication of alleged violations of the
academic and student codes of conduct
may be found in the Student Handbook.
22
Grading System and Regulations
Letter grades are given for private les-
sons, class work, ensembles, juries, and
recitals. For the purposes of assessing aca-
demic progress, letter grades are assigned
grade points as follows:
A 4.00
A– 3.67
B+ 3.33
B 3.00
B– 2.67
C+ 2.33
C 2.00
C– 1.67
D 1.00
F 0.00
No grade points are assigned for the fol-
lowing non-credit designations:
AU Audit
I Incomplete
IP In progress
W Withdrawn
Grade point averages (GPA) are com-
puted each semester and reported as term
and cumulative GPA. A GPA is deter-
mined by multiplying the grade points for
each earned grade by the number of cred-
its for the course; the product is called the
number of quality points. For example,
a B– in a three-credit course earns 8.01
quality points (2.67 x 3 credits). A GPA is
the total number of quality points divided
by the total number of attempted credits.
Some classes are not assigned letter
grades and are therefore not calculated
in a GPA. Such classes include Artist
Diploma recitals, portfolios, disserta-
tions, graduate review courses, remedial
undergraduate courses, English as a Sec-
ond Language courses. These classes are
graded as follows:
NCR No credit
P Passing
Satisfactory Academic Progress
Completed undergraduate courses result
in one of ten possible grades: A, A–, B+,
B, B–, C+, C, C–, D or F. The grade of A
indicates genuinely outstanding perfor-
mance. The grade of D is a passing grade
for coursework but indicates the need for
marked improvement to remain in the
program.
To maintain satisfactory academic prog-
ress, undergraduate students must:
1. Achieve a cumulative and current
grade point average of at least 2.00
2. Earn a grade of at least B- in major area
enrollments (lessons, juries, recitals,
hearings)
3. Satisfactorily complete 30 credits each
year
The Associate Dean for Academic
Affairs reviews all transcripts every semes-
ter and identifies those students who are
not meeting the stated minimum 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
Committee at its meeting in January (for
fall semester grades) or May (for spring
semester grades).
The Undergraduate Committee is
tasked with upholding the standards
of satisfactory academic progress. They
committee may place students on warn-
ing for dismissal when they do not meet
the minimum benchmarks. A student
that has been warned for dismissal is still
eligible for Financial Aid for one proba-
tionary semester until the Undergraduate
Committee can re-evaluate the student's
academic progress at the conclusion of the
subsequent spring or fall semester. The
Undergraduate Committee may dismiss
without prior warning any student who
does not meet the minimum benchmarks.
A student who is dismissed on academic
grounds may apply for readmission only
after one full semester, but Peabody is
under no obligation to grant readmission.
A dismissed student may not enroll at
23
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 gen-
eral conduct is considered unsatisfactory
Graduate
Completed courses result in one of ten
possible grades: A, A–, B+, B, B–, C+,
C, C–, D or F. The grade of A indicates
genuinely outstanding performance. The
grade of C– is a passing grade for course-
work but indicates the need for marked
improvement to remain in the program.
The grades D and F are not acceptable at
the graduate level.
To maintain satisfactory academic prog-
ress, graduate students must:
1. Achieve a cumulative and current
grade point average of at least 3.00
2. Earn a grade of at least B- in major area
enrollments (lessons, juries, recitals)
3. Satisfactorily complete enough credits
each year as follows: Master of Music
and Doctor of Musical Arts students
must satisfactorily complete 18 credit
hours per academic year, while Gradu-
ate Performance Diploma and Artist
Diploma students must satisfactorily
complete 8 credits per academic year.
The Associate Dean for Academic
Affairs reviews all transcripts every semes-
ter and identifies all students who are not
meeting the stated minimum GPA and/
or major area grade benchmarks. Stu-
dents who fall below one or more of the
stated benchmarks will be brought to the
attention of the Graduate Committee or
the Doctor of Musical Arts Committee
at meetings in January (for fall semes-
ter grades) or May (for spring semester
grades).
The Graduate Committee and the
Doctor of Musical Arts Committee are
tasked with upholding the standards of
satisfactory academic progress. The com-
mittees may place students on warning
for dismissal when they do not meet the
minimum benchmarks. A student that has
been warned for dismissal is still eligible
for Financial Aid for one probationary
semester until the Graduate Committee
can re-evaluate the student's academic
progress at the conclusion of the next
spring or fall semester. The Graduate
Committee may dismiss without prior
warning any student who does not meet
the minimum benchmarks. A student who
is dismissed on academic grounds may
apply for readmission only after one full
semester, but Peabody is under no obliga-
tion 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 con-
duct is considered unsatisfactory.
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.
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:
Undergraduate Programs:
Bachelor of Music 13
Performer's Certificate 13
Graduate Diploma Programs:
Graduate Performance Diploma 4
Artist Diploma 4
Graduate Degree Programs:
Master of Music 9
Doctor of Musical Arts 9
Students enrolled in degree programs
may register for as many credits as is
appropriate for their plan of study. GPD
and AD programs are for full-time stu-
dents only. Students in these programs
are allowed to register for lessons, recitals,
unlimited ensembles, and between one
24
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 gradu-
ate degrees reflect Peabody's educational
philosophy that graduate students should
focus on the intense challenges specific
to their major area and related academic
studies.
In addition to lessons, ensembles, recit-
als, and audited courses, students enrolled
in graduate degree programs (MM and
DMA) may enroll for a maximum of nine
credit hours of Music Theory and Musicol-
ogy coursework each semester. Undergrad-
uate language classes, pedagogy classes,
departmental classes and any elective
coursework not offered as Music Theory
or Musicology will be excluded from the
credit limit. Any combination of Music
Theory and Musicology credits in excess
of nine hours will entail per-credit charges
added to the cost of yearly tuition.
Dean's List Criteria
The criteria for inclusion 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 Incomplete grades for the semester
Dean’s List students with a semester grade
point average of 3.90 or higher will be
designated “High Honors.”
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 and settling
all financial obligations.
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
their teachers be notified. These notifica-
tions do not signify approval but are sent
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
after the fourth week of the semester an
automatic grade of W will be recorded.
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-
25
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.
Interruption of Degree Work
A leave of absence is an approved inter-
ruption of a degree program that is subject
to a fixed duration and/or specific require-
ments for return. A withdrawal is a com-
plete departure from the Conservatory and
its degree programs. A withdrawal can
only be reversed through the mechanisms
of reaudition and petition of the relevant
academic committee. Students who do not
return from a leave of absence will be con-
sidered withdrawn from the Conservatory.
Voluntary Leave of Absence. A student may
request a leave of absence by writing to
the Associate Dean for Academic Affairs.
The Peabody Conservatory is not obliged
to grant a leave of absence. Students
should present compelling personal or
professional reasons for the interruption of
studies when requesting a leave of absence.
A leave of absence is not granted retro-
actively. Students must request the leave
of absence in writing before postponing
their studies. Moreover, voluntary leave of
absence is subject to the following condi-
tions:
• The student must be a current student
who has matriculated into the Conser-
vatory.
• The student must be taking lessons or
coursework to fulfill the requirements
of a degree program.
• DMA students who have completed
their coursework are no longer eligible
for a voluntary leave of absence.
• The student may not be in immedi-
ate jeopardy for dismissal on academic
grounds.
• An international student must make
arrangements regarding his or her visa
with the International Student Advisor.
• A student who receives Financial Aid
must make the appropriate arrange-
ments with the Financial Aid office.
• The student must be given clearance
for all financial obligations, including
but not limited to tuition, instrument
loans, library fines, and residence fees.
If a voluntary leave of absence has
been granted, the leave will be made for
an agreed-upon fixed duration of one
semester or one year. During that time, a
student may not be enrolled as a full-time
student at another institution. Any credits
earned at another institution during the
leave of absence must be approved for
transfer by the Associate Dean for Aca-
demic Affairs in consultation with depart-
ment chairs.
A student on a voluntary leave of
absence 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 Leave of Absence. In situations
where a leave of absence is indicated due
to circumstances as described below, the
Associate Dean for Student Affairs will
encourage the student to initiate a vol-
untary leave of absence. If the student
declines to do so, the Associate Dean may
require an involuntary leave of absence.
This step will be taken when necessary to
protect the safety of the student or other
26
individuals or to preserve the integrity
of the university's learning environment.
Such a decision may be based on behavior
and/or communication 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
• Reflects disorganized or altered think-
ing incompatible with successful par-
ticipation in the academic program
If an involuntary leave of absence is
required, the leave will be made for an
indefinite duration that may not exceed
one year without requesting an extension
and providing the appropriate docu-
mentation from a licensed professional.
A student wishing to return from an
involuntary leave of absence must notify
the Office of Student Affairs in writing
of the intent to return. An assessment
of the student's fitness for return will be
required as a condition of returning from
an involuntary leave of absence and study
at the Conservatory may only resume at
the scheduled start of a semester.
Extended Leave. Any student on a volun-
tary or involuntary leave of absence must
report his or her status to the Conserva-
tory by the middle of the second semester
of leave to either make arrangements to
return or to extend the leave of absence.
Students who are granted an extension to
a leave of absence beyond the originally
stipulated year must petition the appro-
priate academic committee for readmis-
sion and certification of previously earned
credits toward the degree program. This
process may include reauditioning and/or
placement tests in specific areas.
Students who do not report their status
by the end of the second semester of leave
will be considered to have abandoned their
degree program and to have withdrawn
from the Conservatory without following
the proper withdrawal procedures. The
Peabody Conservatory has no obligation
to former students who abandon degree
programs, and former students can only
return to the Conservatory by reaudi-
tioning and petitioning the appropriate
committee for certification of previously
earned credits.
Special Circumstances for Leave of Absence. Doc-
toral students may only take a voluntary
leave of absence while completing their
residency. Once a DMA candidate has
completed the required coursework, he
or she may no longer exercise the leave
of absence option, but must continue
to enroll for Consultation 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 register for
Consultation or failing to pay the Degree-
in-Progress (DIP) fee for more than one
year, the student must petition the DMA
Committee for readmission. If a petition is
approved, all retroactive fees must be paid
in order for the reinstatement of status to
become effective. Any DMA candidate
who fails to register for Consultation will
be dropped from the program
Double Degree students may request a
leave of absence from the Double Degree
program, but they cannot be granted leave
from only the Homewood or Peabody por-
tion of the program. A leave of absence for
Double Degree students is subject to the
guidelines of the advising office for the
Krieger School of Arts and Science or the
Whiting School of Engineering.
International students who request a
leave of absence should be aware that fed-
eral 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 rea-
sons of illness or other medical conditions.
Students wishing to remain in the United
States during their leave of absence must
27
provide medical documentation to the
school to support such a request. Medical
leaves of absence cannot exceed an aggre-
gate of one year.
Withdrawal and Readmission. Requests for
total withdrawal from degree programs
must be initiated in the Office of Aca-
demic Affairs. Students must make
arrangements for all financial obligations,
including but not limited to tuition,
instrument loans, library fines, and resi-
dence fees.
Former degree candidates who have
withdrawn from the Conservatory must
submit a written request for readmis-
sion to the Associate Dean for Academic
Affairs. Final decisions on readmission
will be made by the Associate Dean in
consultation with the appropriate aca-
demic committee and the major teachers
who may request an audition.
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 Conserva-
tory 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.
University Policies
Completion of Program
The awarding of degrees and certificates
of satisfactory completion is dependent
upon satisfaction of all current degree and
instructional requirements at the time of a
student's matriculation, compliance with
university and divisional regulations at the
time of the award, as well as performance
meeting bona fide expectations of faculty.
No member of the faculty is obliged to
provide students or graduates with an
evaluation or letter of recommendation
which does not accurately reflect that fac-
ulty member's true opinion and evaluation
of academic performance and conduct.
The Johns Hopkins University does
not guarantee the awarding 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, reli-
gion, age, national or ethnic origin, dis-
ability, marital status or veteran status
to all of the rights, privileges, programs,
benefits, and activities generally accorded
or made available to students at the uni-
versity. It does not discriminate on the
basis of race, color, gender, marital status,
pregnancy, ethnicity, national origin, age,
disability, religion, sexual orientation,
gender identity or expression, veteran
status, or other legally protected charac-
teristic in any student program or activity
administered by the university, includ-
28
ing the administration of its educational
policies, admission policies, 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 Gar-
land Hall, 410-516-8075, 410-516-6225
(TTY).
Policy on the Reserve Officer Training Corps
Defense Department policies regard-
ing sexual orientation in ROTC programs
conflict with university policy. Because
ROTC is a valuable component of the
university that provides an opportunity for
many students to afford a Hopkins educa-
tion, to train for a career, and to become
positive forces in the military, the univer-
sity, after careful study, has continued its
ROTC program, but encourages a change
in federal policy that brings it into confor-
mity 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 Johns Hopkins while they
are on campus. Each member of the
community is responsible for fostering
civility, for being familiar with this
policy, and for refraining from conduct
that violates this policy.
2. For purposes of this policy, harassment
is defined as: a) any type of behavior
which is based on gender, marital
status, pregnancy, race, color, ethnic-
ity, 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 work-
ing 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:
• submission to such conduct is
made implicitly or explicitly a
term or condition of an individual's
29
employment or participation in an
education program
• 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
• such conduct has the purpose or
effect of unreasonably interfering
with an individual's work or aca-
demic performance or creates an
intimidating, hostile or offensive
working or educational environ-
ment
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; inappropriate
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 educational environment.
5. Retaliation against an individual who
complains of discriminatory harass-
ment under this policy is strictly pro-
hibited. Intentionally making a false
accusation of harassment is also prohib-
ited.
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 Institu-
tional Equity, their supervisors, divi-
sional human resources or the Office of
the Dean of their school. The univer-
sity provides a network of confidential
consultants by which individuals can
discuss concerns related to discrimina-
tory harassment.
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, 410-516-
8075, 410-516-6225 (TTY).
30
Nonimmigrant Alien Students
The Peabody Institute enrolls nonimmi-
grant alien students and encourages appli-
cations 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
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.
31
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 there under,
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,
410-516-4600.
Photography and Film Rights
The Peabody Institute reserves the right
from time to time to take photographs
of and film faculty, staff, and students
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 website 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.
32
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.
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.
The Bachelor of Music Degree
The Bachelor of Music degree program at
Peabody Conservatory is designed to offer
gifted students the training to prepare
themselves for careers in performance, com-
position, computer music, music education,
recording arts, and related areas of profes-
sional activity.
Admission Requirements
Students applying for the Bachelor of
Music degree program should meet the
following criteria:
1. Each applicant from the United States
must present SAT or ACT scores
2. Each applicant whose native language
is not English must present 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.
3. Undergraduate applicants are urged to
perform their auditions during a per-
sonal 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 audi-
tion 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
February audition period. Refer to the
Academic Calendar for dates. Detailed
audition repertoire requirements are
available from the Admissions office
33
and the Peabody website at www.pea-
body.jhu.edu/admissions.
4. An individual may not apply for
admission to a particular degree or
diploma program more than twice.
Successful applicants matriculating into
Bachelor of Music degree program must
meet the following criteria:
1. The student must be a graduate of an
accredited high school or present evi-
dence of equivalent study.
2. International students admitted to
Peabody must take responsibility to
improve their English. General admis-
sion requirements as listed for specific
degrees and programs are identical for
all applicants. However, immigration
regulations, varying educational back-
grounds, and financial considerations
make special procedures necessary in
order to help meet the needs of indi-
vidual students. The detailed instruc-
tions sent to each applicant should be
studied with utmost care.
Degree Requirements (BM)
A minimum of 122 semester hours, exclud-
ing ensembles, is required for the attain-
ment of the Bachelor 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.
Transfer students must fulfill a two-year
full-time requirement and obtain a mini-
mum of 60 hours at Peabody in order to
receive the Bachelor of Music degree. The
applied level of transfer students is deter-
mined by the department at the time of
the audition and validated by the year-end
departmental jury. Required music course
credits may be established through verify-
ing 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.
Ensemble credits do not transfer. Transfer
students must participate in ensembles for
at least two years. See the Student Hand-
book 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 Associate Dean for Academic Affairs in
consultation with the chair of the Humani-
ties Department.
Common Curriculum Components
Major Area Study
Each student taking applied music
must demonstrate satisfactory progress as
determined by the faculty in the major
and minor applied area. Study in the
major field must continue through the
last semester of enrollment. For most stu-
dents, this will consist of eight semesters
of major field 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.
Advancement and assessment is accom-
plished by individual lesson grades and
a graded departmental examination. The
progress of each student is monitored by
the department at intervals not greater
than two semesters. Each student must
play a performance jury for credit in his or
her major applied area by the end of each
school year. A student who does not play
a jury or a recital is not considered to be
making satisfactory academic progress. 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 following
year’s study.
34
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 stu-
dent's overall record, the jury commit-
tee makes recommendations for the
student's remaining years of under-
graduate study. It is in the student's
best interests that a careful professional
assessment and subsequent recommen-
dation 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 technical examina-
tion and/or orchestral excerpts, stu-
dents 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 in Music
Education also perform this recital in
their junior year and qualify for the
Performer's Certificate.
495—The 495 is the senior recital.
Students majoring in Composition and
Computer Music Composition receive pri-
vate lessons with a member of the Com-
position Department. Weekly seminars
are scheduled with the entire Composition
Department in attendance, providing
ongoing departmental evaluation for each
student. Every composition student will
be assessed at the end of the sophomore
year in a portfolio review process that is
the equivalent of a 209 jury.
Pedagogy
In addition to pedagogy courses offered in
specific majors, studio repertoire and mas-
ter classes provide for regular discussions
on principles of pedagogy, enabling all
performance majors to achieve competency
in this area.
Large Ensembles
All undergraduates participate in
performing ensembles, for which speci-
fied blocks of time are set aside each day.
Bachelor of Music candidates majoring in
orchestral instruments must participate in
at least one of the following large ensem-
bles 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 thoroughly during the inter-
vening summer months. Large ensemble
auditions are held during Orientation
Week, and they are heard by the conduc-
tors and departmental coordinators. Other
faculty members are invited to attend.
Composition majors have a four-semester
requirement in one of the above-men-
tioned ensembles or the Peabody/Hopkins
Chorus or Peabody Singers, depending on
the student's primary applied performance
area. All voice and organ BM candidates
have a six-semester choral requirement.
Major Area One
Major Lesson 4 4
Departmental Examination
Recital
Large Ensemble 2 2
Small Ensemble
Note that composers, pianists, guitarists, and vocalists, early music majors, computer music
majors, and jazz majors have different ensemble requirements.
Undergraduate voice majors who are cast
in certain major opera roles determined by
a faculty committee in advance may elect
to substitute the performance for that
semester’s large ensemble requirement. All
other non-orchestral BM 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 two-semester small
ensemble requirement. 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
beyond those required cannot be counted
as elective credits. Detailed guidelines for
large and small ensemble participation are
found in the Student Handbook.
The major area requirements for most
performers are found in the following
grid.
Two Three Four Total
4 4 4 4 4 4 32
1 1 1 3
2 2
2 2 2 2 2 2 16
[1] [1] 1 1 2–4
52–54
35
Supportive Courses in Music
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 1 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 begin-
ning of the freshman year. Those who
are not able to show proficiency in these
areas will be placed in a remedial section.
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.
Ear-training and sight-singing classes
are coordinated with the music theory sec-
tions during the first two years of study.
36
Students who are not able to show profi-
ciency 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.
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.
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 historical 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
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 not apply more
than two courses from other institutions
towards their Peabody undergraduate
degrees, and they must receive at least a
“B” in any courses transferred. Advanced
Placement courses in musicology or music
history cannot be counted toward the
undergraduate musicology curriculum.
The distribution of supportive courses
in music for most majors can be found in
the following chart:
 Supportive Courses One
Thursday Noon Recital Series ½ ½
Thursday Noon Alternate Project
Ear–training I–II 2 2
Keyboard Studies I–II 2 2
Music Theory 1–5 3 3
Music Theory 6 / Elective
Basic Conducting
Musicology: four of five offerings
General Studies
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.
37
Two Three Four
1
½ ½ 1
2 2   8
2 2   8
3 3 3 15
3 3
1 1
2 2 2 2 8
45
All Peabody undergraduates are encour-
aged to fulfill humanities requirements
with courses offered on the Homewood
campus (the Krieger 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. Classes in French, German,
and Italian are offered on the Peabody
campus and other languages are offered on
the Homewood campus. Examinations for
advanced placement in these languages are
given during Orientation Week. While
only voice students are required to take
foreign language in fulfillment of their
degree requirements, All students are
encouraged to pursue foreign language as
part of their humanities studies.
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.
AP and Transfer Credits for Humanities
Classes
Advanced Placement and transfer
determinations are made by the Humani-
General Studies
Humanities Seminar 4   4
Humanities electives GP
Humanities electives HP  
Humanities electives LL  
Humanities elective HE  
Humanities-approved elective
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 the fall semes-
ter Orientation Week at Peabody. This
testing must be completed before the start
ties Department chair in consultation
with the Associate Dean for Academic
Affairs. Superior scores of either a 4 or a
5 on the Advanced Placement Examina-
tions administered by the College Board
or a 6 or 7 on the International Bac-
calaureate Exam are accepted for credit
in most required study areas. Transfer
credits that fulfill humanities distribution
requirements are also accepted. Relevant
documentation must be forwarded to
the Peabody Registrar's Office; students
should then confer with the Humanities
Department chair to review their situa-
tion.
The Humanities curriculum requires
courses in three study areas: Language
and Literature (LL), Global Perspectives
(GP), and Historical/Philosophical Stud-
ies (HP). The distribution of courses for
most majors may be found in the follow-
ing chart:
One Two Three Four
3 3 3 3 3
9 24
 
28
of classes. Students placed in ESL courses
must successfully complete these courses
in order to fulfill the requirements 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.
38
Electives and Other Guidelines
Electives. Unless otherwise specified, the
term elective means class elective. Addi-
tional lessons and additional ensembles do
not count as electives. However, non-Jazz
majors who successfully audition for the
Peabody Jazz Orchestra or the Peabody
Improvisation and Multimedia Ensemble
may petition to apply one semester (2
credits) of one of the Jazz large ensembles
as elective credit. The Associate Dean for
Academic Affairs, in consultation with the
Director of the Ensemble Office, will make
the final decision about the appropriate-
ness of an undergraduate petition to count
a Jazz large ensemble for elective credit.
Questions about the appropriateness of all
other courses for elective credit should be
directed to the Registrar.
Repeated courses. Undergraduate students
who fail a required course must retake
the course for credit. On completion of a
second attempt, the second grade does not
replace the first failing grade. Rather, both
grades are equally computed in a student's
GPA. Any student who fails a single
course more than once will be required
39
to petition the appropriate department
and the Undergraduate Committee before
enrolling for a third time. The appropriate
department may require additional prereq-
uisites to the course failed.
Students who pass a class with a grade
of B or lower may repeat a class, space
permitting, once to improve their skills
and grade. In such cases the grade for
the second attempt does replace the first
grade, which is changed to R (repeated),
even if the grade for the second attempt is
lower. If the student fails a repeat of a class
that he or she has previously passed, both
grades will stand and both grades will be
computed in the student's GPA, but the
passing grade on the first attempt will ful-
fill the student's curricular obligation to
pass the class.
The policy to repeat a class that has
already been passed is an opportunity for
students to improve their skills. However,
this opportunity only exists in sections
that are not filled to capacity. No student
repeating a class should displace a student
who is taking the same class for the first
time.
Bachelor of Music Curricula

Performance
Guitar

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Half Recital 171 • 309 1
Recital 190 • 495 2
Chorus 910 • 511, 512 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
  62
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
52
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL 148
* Strongly Suggested: Lute Tablature and Notation 530 • 431-432

40
Early Music Instruments: Harpsichord

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Organ Minor 010 • 100 2
Voice Minor* 010 • 100 2
Baroque Ensemble 950 • 527–528 7
Baltimore Baroque Band 910 • 527–528 8
56

SUPPORTIVE COURSES IN MUSIC

Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Continuo I–II 530 • 315–445 4
Harpsichord Literature 530 • 421–422 2
Harpsichord Tuning 370 • 492 2
Baroque Ornamentation 530 • 441–442 4
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
53
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL 143
* Or other instrument with the permission of the Department.

41
Early Music Instruments: Viola da Gamba, Baroque Flute, Recorder, Baroque Oboe,
Baroque Violin/Viola, Baroque Cello, Renaissance Lute, Baroque Lute, Theorbo

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Minor Lesson 010 • 100 4
Baroque Ensemble 950 • 527–528 7
Early Music Large Ensemble 910 • 527–528 12
60

SUPPORTIVE COURSES IN MUSIC

Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Major Instrument Literature xxx • xxx 4
Baroque Ornamentation 530 • 441–442 4
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
49
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 3

TOTAL 140

VARIATIONS:  
— for Lute Majors 145 credits
  Lute Tablature and Notation 530 • 431-432 4
  Continuo I–II 530 • 315–445 4
  No Elective Required -3
— for Viola da Gamba Majors 144 credits

42
   Continuo I–II 530 • 315–445 4
  Viola da Gamba Consort 530 • 353–354 [4]
  [Substitutes for 4 credits of Baroque Ensemble]
— for Baroque Cello Majors 144 credits
  Continuo I–II 530 • 315–445 4

Strings, Brass, Woodwinds, Harp, Percussion

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
Small Ensemble 950 • 531–532 2
55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
45
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL 134

43
 VARIATIONS:  
— for Strings and Percussion: 136 credits
  Small Ensemble 950 • 531–532 +2
— for Violin & Viola: 134 credits
  Junior Recital 115, 113 • 309 [2]
  [Replaces 309 jury]
— for Flute: 134 credits
  Piccolo Class 530 • 463–464 [2]
  [Taken as a required elective]

Organ

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 460 • 545–546 8
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  61
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530.315 2
Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  59
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28

44
 ELECTIVES
Electives xxx • xxx 3

TOTAL 151

Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Small Ensemble 950 • 531–532 4
  49
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
60
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL 143
* Recommended Electives include:
Second Semester of Piano Pedagogy (530 • 668)
Basic Conducting (330 • 311)

45
Voice

 MAJOR AREA
Major Lesson 100 • 10x 24
Vocal Coaching 186 • 411–412 4
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 12
Opera Performance Electives 910 • 54x 3
48
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Singing in English – English Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Mélodie 530 • 483–480 5
Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
67
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Italian I 250 • 111-112 6
German I 240 • 111-112 6
French I 230 • 111-112 6
Humanities elective HE 260 • xxx 3
Humanities elective GP 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 6

TOTAL 149
* Second year language or Vocal Literature elective strongly recommended

46
 VARIATION
Early Music Concentration 156 credits
Early Vocal Literature 530 • 543–544 4
Baroque Ornamentation 530 • 441–442 4
Historical Diction for Singers 530 • 559 2
Renaissance Ensemble 950 • 529–530 6
Baroque Ensemble 950 • 527–528
Minus German Lieder 530 • 481 -2
Minus French Mélodie 530 • 480 -2
Minus Chorus in 3rd year 910 • xxx
Minus one Opera Performance 910 • 54x

Jazz Performance
The Bachelor of Music degree program in jazz performance is designed to provide
students with the necessary performance skills to pursue a career in jazz. This goal will
be pursued through private study, improvisation workshops, ensemble rehearsals and
performances, 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. Large ensembles, required each semester of enroll-
ment 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. A certain number of scholarships
are available on a competitive 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

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 16
Small Ensemble 950 • 525–526 4
57

47
 SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Jazz Fundamentals 710 • 127-128 4
Ear–training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  48
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives* xxx • xxx 9

TOTAL 142
* Recommended Electives include:
  Introduction to Web Page Design (350 • 465)
  Music Notation Software (350 • 871)
  Instrumentation & Arranging (710 • 412)

Composition
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-
dents in readings by the Peabody Orchestras, 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

48
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

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Applied Minor 010 • 100 4
55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Introduction to Computer Music 350 • 463–464 6
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  63
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 6

TOTAL 152

49
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

MAJOR AREA
Major Lesson 100 • 100 32
Depart. Seminar: Composition 310 • 545–546 8
Depart. Seminar: Computer Music 350 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 4
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Introduction to Computer Music 350 • 463–464 6
Introduction to Programming 350 • 466 3
Studio Techniques 350 • 835 3
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  69
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Humanities electives GP 260 • xxx, xxx 6
Humanities electives HP 260 • xxx, xxx 6
Humanities electives LL 260 • xxx, xxx 6
Humanities elective HE 260 • xxx 3
Humanities-approved Elective 260 • xxx 3
28
ELECTIVES
Electives xxx • xxx 3

TOTAL 155

50
Music Education
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, soci-
ology, history, literature, US 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 Placement 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

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Recital 190 • 395 2
Chorus 910 • xxx 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 1
Voice Minor 187 • 111 1
61
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637–638 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
52

51
 MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31

TOTAL 171

Music Education: Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209 2
Recital 190 • 395 2
Large Ensemble 910 • xxx 14
Small Ensemble 950 • 531–532 2
Applied Minor xxx • xxx 1
  53
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
44
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Class Woodwinds – Brass 510 • 211–212 5

52
 Class Percussion 510 • 223 1
Conducting I :Choral–Instrumental 510 • 237–238 4
Conducting II: Choral–Instrumental 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
40
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31

TOTAL 168

Music Education: Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 395 2
Large Ensemble [Chorus] 910 • xxx 8
Small Ensemble 950 • 531–532 2
47
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
58

53
 MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Piano Pedagogy 530 • 667 2
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  32
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31

TOTAL 168

Music Education: Voice

MAJOR AREA
Major Lesson 100 • 10x 24
Vocal Coaching 186 • 411–412 2
Departmental Examination xxx • 109–209–309 3
Recital 190 • 395 2
Large Ensemble 910 • xxx 12
Opera Performance Electives 910 • 54x 3
  46
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Singing in English – English/American Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4

54
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Mélodie 530 • 483–480 5
Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
67
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
Italian I 250 • 111-112 6
German I 240 • 111-112 6
French I 230 • 111-112 6
Humanities Electives xxx • xxx 6
31

TOTAL 171

55
Music Education: Jazz Performance

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • 537–8 14
Small Ensemble 950 • 525–526 4
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Jazz Fundamentals 710 • 127-128 4
Ear–training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
48
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Basic Instrumental Pedagogy 510 • 213 1
Conducting the Secondary Ensemble I 510 • 237–238 4
Conducting the Secondary Ensemble II 510 • 337 2
Vocal/General: Elementary–Secondary 510 • 311–314 6
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  27
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31

T O T A L  161

56
Music Education: Composition

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Applied Minor 010 • 100 4
  55
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Introduction to Computer Music 350 • 463–464 6
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  62
MUSIC EDUCATION
Introduction to Music Education 510 • 112 1
Class Woodwinds – Brass 510 • 211–212 5
Class Percussion 510 • 223 1
Conducting I :Choral–Instrumental 510 • 237–238 4
Conducting II: Choral–Instrumental 510 • 337–338 4
Methods I: Vocal/General –Instrumental 510 • 311–312 6
Class Strings 510 • 324 3
Music and Language 510 • 413 3
Instrumentation and Arranging 710 • 412 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
Intern Teaching Seminar 510 • 441 1
  40
GENERAL STUDIES
Humanities Seminar 260 • 115 4
Introductory Psychology 290 • 111 3
US History xxx • xxx 3
Humanities Electives xxx • xxx 21
31

TOTAL 188
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 admis-
sion. 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 program, 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 Certification

MUSIC EDUCATION
Human Growth and Development* 882 • 411
Class Woodwinds – Brass 510 • 211–212 5
Class Strings 510 • 324 3
Class Percussion 510 • 223 1
Methods I: Instrumental Music 510 • 312 3
Methods II: Instrumental Music 510 • 313 3
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
27

Vocal/General Music Certification

MUSIC EDUCATION
Basic Instrumental Pedagogy 510 • 213 1
Vocal/General: Elementary–Secondary 510 • 311–314 6
Conducting the Secondary Ensemble II 510 • 337 2
Music and Language 510 • 413 3
Music and the Special Student 510 • 414 3
Intern Teaching 510 • 411 6
21

58
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 dual-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.
The degree recital should be performed in the fourth year of the program. If all require-
ments 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 any Double Degree program in electrical engi-
neering or arts and sciences at the Homewood campus of The Johns Hopkins University.

Recording Arts: Composition

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 310 • 545–546 8
Departmental Examination xxx • 209 1
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Applied Minor 010 • 100 4
  55
SUPPORTIVE COURSES IN MUSIC
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Music Theory: advanced electives 710 • xxx, xxx 6
Orchestration 710 • 413–414 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
55

59
 RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 197

Recording Arts: Guitar

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 470 • 545–546 8
Departmental Examination 171 • 109–209 3
Half Recital 171 • 309 1
Recital 190 • 495 2
Chorus 910 • 511, 512 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
62

60
SUPPORTIVE COURSES IN MUSIC
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  50
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 199
* S tudents choose one advanced elective from Peabody or WSE
in consultation with the department.

61
Recording Arts: Jazz Performance

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination 109–209–309 3
Recital 190 • 495 2
Large Ensemble: PJO 910 • 537–8 16
Small Ensemble 950 • 525–526 4
  57
SUPPORTIVE COURSES IN MUSIC
Jazz Fundamentals 710 • 127-128 4
Ear–training I 710 • 123–124 4
Jazz Ear-training 710 • 263–264 4
Music Theory 1–2 710 • 111–112 6
Jazz Theory/Keyboard Lab I–II 710 • 259–260–359–360 8
Jazz Arranging and Composition 710 • 361–362 4
Jazz Improvisation I–II 530 • 561, 562, 563, 564 8
Construct. Listening–Jazz History 530 • 569–570 4
Musicology: two of five offerings 610 • 311, 312, 313, 314, 555 4
  46
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28

62
 ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 190
* S tudents choose one advanced elective from Peabody or WSE
in consultation with the department.

Recording Arts: Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble 910 • xxx 16
Small Ensemble 950 • 531–532 2
  55
SUPPORTIVE COURSES IN MUSIC
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  43
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56

63
 GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 185
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

VARIATIONS:   +2
— for Strings and Percussion: 187 credits
  Small Ensemble 950 • 531–532 [2]
— for Violin & Viola: 185 credits
  Junior Recital 115, 113 • 309
  [Replaces 309 jury] [2]
— for Flute: 185 credits
  Piccolo Class 530 • 463–464

Recording Arts: Organ

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Seminar 460 • 545–546 8
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  61
SUPPORTIVE COURSES IN MUSIC
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530.315 2

64
 Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
57
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 205
* Students choose one advanced elective from Peabody or WSE

Recording Arts: Piano

MAJOR AREA
Major Lesson 100 • 100 32
Departmental Examination xxx • 109–209–309 3
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Small Ensemble 950 • 531–532 4
  49

65
SUPPORTIVE COURSES IN MUSIC
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  58
RECORDING ARTS
Basic Recording I 550 • 111–112 4
Basic Recording II 550 • 211-212 4
Basic Recording III 550 • 311–312 4
Circuits – Signals & Systems (WSE) EN.520 • 213–214 8
Advanced Recording I 550 • 411–412 6
Intro Electrical and Computer Engineering EN.520 • 137 3
ECE Laboratory (WSE) EN.520 • 345 3
Psychoacoustics 550 • 517 3
Acoustical and Audio Measurements 550 • 519 3
Copyrights and Contracts 360 • 411 2
Advanced Recording II 550 • 513–514 6
Musical Acoustics–Electroacoustics 550 • 515–516 6
Internship 550 • 419 4
56
GENERAL STUDIES
Calculus I–II (KSAS) AS.110 • 108-109 8
Physics/Lab (KSAS) AS.171 • 101–102 8
Humanities Electives xxx • xxx 12
28
ELECTIVES
One Professional Elective* xxx • xxx 3

TOTAL 194
* Students choose one advanced elective from Peabody or WSE
in consultation with the department.

66
Concentrations
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 BM 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.
67
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 BM 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 BM/MM 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 BM/MM 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.
68
Undergraduate students may apply for
admittance to the BM/MM 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 BM/MM program
guarantees the extension of the student’s
initial merit scholarship award for a fifth
year of study.
Admittance into the BM/MM program
includes the proviso that a student’s fourth
and fifth years of performance or composi-
tion 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 BM in
performance or composition and then earn
an MM in musicology, music theory peda-
gogy, 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
Students applying for the Master of
Music degree program must meet the fol-
lowing criteria:
1. A GPA of at least 3.0 – exclusive of
performance credits – in post-secondary
studies from an accredited institution.
The grades must reflect credits earned
in pursuit of a bachelor degree or the
equivalent, which must be earned prior
to matriculating in the program.
2. Each applicant whose native language
is not English must present 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.
3. All entering students must pass a per-
sonal audition, interview, or examination
in the major field. CDs are acceptable
only for international 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
February auditions. 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). Pre-screening
recordings are required for some majors.
Detailed audition repertoire require-
ments are available from the Admissions
office and the Peabody website at www.
peabody.jhu.edu/admissions.
69
4. All entering students take placement
examinations in music theory, music
history, and sight-singing at the time of
their auditions.
Successful applicants matriculating into
the Master of Music degree program must
meet the following criteria:
1 A Bachelor of Music degree or the
equivalent from an accredited institu-
tion. Evidence of a degree recital in
the senior year must be submitted 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 Peabody Bachelor of Music degree,
demonstrated 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, exclusive of performance
credits. Applicants must demonstrate
good musicianship, solid academic
skills, and substantive musical knowl-
edge through performance and written
examinations.
2. 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 Uni-
versity, prior to their first semester at
Peabody. The Conservatory reserves the
right to require non-native speakers of
English to complete ESL courses before
enrolling in required coursework in
musicology and/or music theory.
Degree Requirements (MM)
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. Excep-
tions to this residency requirement may
be made upon approval of the Graduate
Committee, with consideration given to
previous experience, professional record,
and demonstrated ability. The applica-
tion of previously earned coursework
credits does not remove the full-time
residency requirement for the graduate
degree. Students who have completed all
program requirements except the master’s
essay (required of musicology majors), the
music theory pedagogy project (required
of music theory pedagogy majors), or port-
folio/thesis (computer music majors), must
register for Degree in-Progress.
A maximum of six semester hours of
graduate study (coursework) completed
at other accredited institutions may be
applied to the Master of Music degree
program 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.
Students who have previously studied
at the Conservatory may petition the
Associate Dean for Academic Affairs to
have credits for upper division or gradu-
ate courses which were over and above
the minimum requirements for a previ-
ous Peabody degree applied to the MM
degree program. No coursework that was
required or used to fulfill minimum credit
requirements for an undergraduate degree
may be applied to a subsequent graduate
degree. Work completed in the Graduate
Extension program may transfer to the
MM program upon satisfaction of all other
admission requirements. This includes
credit for properly juried recitals. All
previously earned credits applied to the
MM 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 place-
ment may be awarded in areas of required
coursework, where warranted by place-
ment examination results.
Deficiencies in the areas of music the-
ory, ear-training, music history, keyboard
skills, or English must be corrected by
remedial study at the Conservatory. Please
70
note: Students placed in ESL courses can-
not complete their history requirement in
their first year of study, which may delay
the completion of the degree. 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 determi-
nation. Students must satisfy any review
requirements in music theory, music his-
tory, or keyboard skills before enrolling in
other graduate-level courses in these fields.
All requirements for the Master of
Music degree program must be completed
within five years of the date of initial reg-
istration.
Program components
Core Curriculum
The Master of Music core curriculum
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 musicol-
ogy; see individual program descriptions
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 medi-
eval 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 Intensive Review.
Only after passing Music History Inten-
sive Review are they permitted to enroll
in Graduate Seminars. The only musicol-
ogy graduate course which can be taken
concurrently with Music History Intensive
Review is Music Bibliography. 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
MM 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.
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 satisfied by
participation in either a choral or instru-
mental large ensemble during the first
year of residence. All graduate instrumen-
tal majors in the MM program participate
in one or two semesters of chamber music
as required by the individual program
(this may be studio accompanying for
pianists). Detailed guidelines for ensemble
participation are published in the Student
Handbook.
Recital and Capstone Projects
A full recital is required of all per-
formance and conducting majors. In
individual instances, a teacher or depart-
71
ment may recommend a chamber music
recital, second solo recital, or combina-
tion thereof. Any performance major not
presenting a degree recital in a given year
will be scheduled for a graded hearing
before the department 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, includ-
ing 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 portfo-
lio is presented.
Electives and Other Requirements
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. Curricular Practical
Training may be used to fulfill a maxi-
mum of three elective credits. Questions
about the appropriateness of courses for
elective credit can be directed to the reg-
istrar and Associate Dean for Academic
Affairs.
Foreign language proficiency is required
for the Master of Music degree programs
in musicology and voice performance
(see individual curriculum descriptions).
Coursework undertaken to remove defi-
ciencies in foreign language is governed
by the same regulations as are other review
courses.
Master of Music Curricula
MM Curriculum—Performance Majors

Conducting

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Conducting Seminar 330 • 845–546 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Orchestration 710 • 413—414 6
Early Music Performance 4
24
ELECTIVES
Electives xxx • xxx 4

TOTAL 40

Wind Conducting
MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Conducting Seminar 330 • 845–546 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Counterpoint 710 • xxx 3
Music Theory Analysis 710 • xxx 3
Orchestration 710 • 412 3
17
ELECTIVES
Electives xxx • xxx 6

TOTAL 35

72
Guitar

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Chamber Music 950 • 831–832 2
Guitar Ensemble 950 • 841–842 2
Guitar Seminar 470 • 845–846 2
16
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Guitar Literature 530 • 631–632 2
Lute Literature and Notation 530 • 433–434 4
Guitar Pedagogy 530 • 637–638 4
24

TOTAL 40

VARIATION
Peabody B.M. Guitar Alumni 40 credits
Electives xxx • xxx 6
Guitar Pedagogy 530 • 637–638 -4
Minus Guitar Ensemble 950 • 841–842 -2

Orchestral Instruments

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Large Ensemble 4
Chamber Ensemble 950 • 831 1
15
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14

73
 ELECTIVES
Electives xxx • xxx 6

T O T A L  35

VARIATIONS:
— for Violin, Viola and Cello 36 credits
  Small Ensemble 950 • 832 1
— for Flute: 35 credits
  Piccolo Class 530 • 463–464 [2]
  [Taken as a required elective]

Organ

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Chamber Ensemble 950 • 831–832 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14
ELECTIVES
Electives* xxx • xxx 6

TOTAL 32
* The following courses are recommended and may be required by the department:
Resources /Church Organist 530 • 425–426
Organ Literature 530 • 423–424

74
Piano

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Ensemble xxx • xxx 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Advanced Keyboard Skills for Pianists* 530 • 633–634 4
Analysis of 19th-Century Piano Literature 710 • 647 3
Analysis of 20th-Century Piano Literature** 710 • 648 3
Music Theory Seminar 710 • xxx 3
21
ELECTIVES
Electives xxx • xxx 6

TOTAL 39
  * Students who completed the undergraduate courses in keyboard
skills (530 • 211–212–311–312) at Peabody with a minimum grade of B
are exempt from this class.
** A 20th-century Music Theory analysis seminar may be substituted
with permission of the Piano Department

Piano: Ensemble Arts

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 4
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Instrumental Chamber Music 530 • 621–622 4
Accompanying and Coaching Skills 530 • 619–620 4
Advanced Accompanying 530 • 813–814–817–818 4
26

TOTAL 38

75
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 AREA
Major Lesson 100 • 100 8
Recitals 190 • 695 4
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Advanced Accompanying 530 • 813–814–817–818 4
Accompanying and Coaching Skills 530 • 619–620 4
Accompanying and Coaching Skills II 530 • 625–626 4
Student Coach, Opera Workshop 530 • 639 1
Student Coach, Opera Theatre production 530 • 640 2
29

TOTAL 41

76
Voice

MAJOR AREA
Major Lesson 100 • 100 8
Vocal Coaching 186 • 611–612 2
Recital 190 • 695 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Vocal Literature electives 530 • 621–622 4
18
ELECTIVES
Electives* xxx • xxx 6

TOTAL 36
All candidates for the MM 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: Harpsichord

MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
16
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Harpsichord Literature 530 • 421–422 2
Continuo 530 • 315–445 4
Baroque Ornamentation 530 • 441–442 4
Performance Practice Seminar 610 • 615 3
Harpsichord Tuning 370 • 492 2
29

TOTAL 45

77
Early Music Performance: Instruments

Core Classes
MAJOR AREA
Major Lesson 100 • 100 8
Recital 190 • 695 2
10
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Performance Practice Seminar 610 • 615 3
Musicology Seminar 610 • xxx 3
Music Theory Seminars 710 • xxx 6
Baroque Ornamentation 530 • 441–442 4
18

Specific Majors
BAROQUE OBOE
—— Major Area and Supportive Courses —— 28
Early Wind Literature 610 • 433–434 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
8

TOTAL 36

RECORDER
—— Major Area and Supportive Courses —— 28
Early Wind Literature 610 • 433–434 2
Recorder Consort 530 • 355–356 2
Renaissance Ensemble 950 • 829–830 4
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
14

TOTAL 42

78
TRAVERSO
—— Major Area and Supportive Courses —— 28
Early Wind Literature 610 • 433–434 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
8

TOTAL 36

RENAISSANCE LUTE
—— Major Area and Supportive Courses —— 28
Continuo 530 • 315–445 4
Lute Literature and Notation 530 • 433–434 4
Theorbo Minor 050 • 100 2
Renaissance Ensemble 950 • 829–830 4
Baroque Ensemble 950 • 827–828 2
Renaissance Chamber Ensemble 950 • 853–854 2
18

TOTAL 46

BAROQUE LUTE/THEORBO
—— Major Area and Supportive Courses —— 28
Continuo 530 • 315–445 4
Lute Literature and Notation 530 • 433–434 4
Renaissance Lute Minor 050 • 100 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
16

TOTAL 44

79
 BAROQUE VIOLIN
—— Major Area and Supportive Courses —— 28
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
Literature Electives 530 • xxx 2
8

TOTAL 36

BAROQUE VIOLONCELLO
—— Major Area and Supportive Courses —— 28
Viola da Gamba Minor Lessons 050 • 100 2
Literature Electives 530 • xxx 2
Baltimore Baroque Band 910 • 827–828 4
Baroque Ensemble 950 • 827–828 2
10

TOTAL 38

Early Music Performance: Voice

MAJOR AREA
Major Lesson 100 • 100 8
Vocal Coaching 186 • 611–612 2
Recital 190 • 695 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
Early Vocal Literature 530 • 543–544 4
Performance Practice Seminar 610 • 615 3
Continuo 530 • 315–445 4
Vocal Literature Electives 530 • 621–622 4
29

TOTAL 41

80
MM 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 MM performance program. Courses spe-
cific to the area of pedagogical concentration fulfill the elective requirements in the MM
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 performance major
requirements (see MM curricula on previous pages), the curriculum is designed to pro-
vide 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 Orchestra or Peabody
Concert Orchestra during each semester of residency.

Performance/Pedagogy

PEDAGOGY CONCENTRATION
Pedagogy Practicum (Chose One) 4
Guitar Pedagogy 530 • 637–638 4
Harp Pedagogy 530 • 629–630 4
Piano Pedagogy 530 • 667–668 4
Violin/Viola Pedagogy 530 • 651–652 4
Vocal Pedagogy and Lab 530 • 683–684
Pedagogy Elective (Choose One) 2–3
Psychology of Music Teaching 510.611 2
Music Theory Pedagogy 710.649 3
Human Growth and Development ED.882.511 3
Educational Psychology ED.700.502 3
Independent Study 530 • 998 2
2–3

TOTAL 6–7

81
MM 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 docu-
mented.
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.

Composition

MAJOR AREA
Major Lesson 100 • 100 8
Departmental Seminar 310 • 845–846 2
Composition Portfolio 310 • 691 2
Large Ensemble/Chorus 910 • 811–812 4
16
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14
ELECTIVES
Electives xxx • xxx 6

TOTAL 36

82
MM 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
computer music systems. Students will work with the latest digital synthesis hardware
and software and learn to develop idiomatic composing techniques which take advan-
tage 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 require-
ments.
The Performance/Concert Production track allows students to gain the skills and
sensibilities necessary to become expert performers with the new technology. The term
“performance” may include real-time control of musical parameters using existing tech-
nology 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
performance 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
documenting their research or new technology. Please refer to departmental guidelines
for exact research portfolio requirements.
Students in the three areas of concentration are expected to work together closely. Spe-
cifically, 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 Production 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.

83
Computer Music

MAJOR AREA
Major Lesson 100 • 100 8
Departmental Seminar 350 • 845–846 2
Capstone Project xxx • xxx 2
12
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 3
Music Theory Seminars 710 • xxx 6
History of Electroacoustic Music 350 • 840 3
Digital Music Programming 350 • 837–838 4
Studio Techniques 350 • 835 3
Synthesis Theory 350 • 867–868 6
Musical Acoustics 550 • 515 3
30

TOTAL 42

VARIATIONS:
[Each degree specifies a capstone project]
— CM Composition 42 Credits
  CM Composition Portfolio 350 • 693 [2]
— CM Performance/Concert Production 42 Credits
  Recitals 190 • 695 [2]
— CM Performance/Concert Production 42 Credits
  Thesis 350 • 691 [2]

84
MM 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. For more information, contact the Music
Education Department at 410-659-8100, ext. 4430, or http://www.peabody.jhu.edu/
musiceducation.

Music Education

MAJOR AREA
Psychology of Music Teaching & Learning 510 • 611 2
Research in Music Education 510 • 612 2
History and Philosophy of Music Education 510 • 613 2
Music Education Electives* 510 • 6xx– 8
Indpendent Field Study 510 • 691 4
  18
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
Music Theory Seminars 710 • xxx 6
14

TOTAL 32

* Possible Electives Include:  

Supervision and Curriculum Development 510 • 614
Graduate Practicum 510 • 621
Conducting Wind Literature 510 • 624
Music Education and Society 510 • 626

85
MM 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-
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 submis-
sion 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.

86
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 fol-
lows the template provided in Appendix F of the DMA Guidelines (available from the
Office for Academic Affairs).
1. 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.
2. The bibliography and footnotes should be formatted according to the methods out-
lined in The Chicago Manual of Style.
3. There is no required page length for the master’s essay, but most range between 30
and 50 pages in length.

Musicology

MAJOR AREA
Seminars in Musicology 610 • 63x– 9
Musicology Colloquium 610 • 847–848 6
Graduate Research 610 • 755–756 4
Master’s Essay 610 • 691 2
Applied Minor Lessons or Ensemble xxx • xxx 2
  23
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Music Theory Seminars 710 • xxx 6
8
ELECTIVES
Elective* ASEN.xxx • xxx 3

TOTAL 34
* To be selected in consultation with the Musicology chair from courses offered at
other divisions of The Johns Hopkins University or another affiliated institution.

87
MM 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 stu-
dents 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.
Music Theory Pedagogy

MAJOR AREA
Baroque Counterpoint* 710 • 634 3
Analysis Courses Choose Two 6
Twentieth Century Analysis Course Chose One 3
Music Theory Pedagogy 710 • 649 3
Music Theory Internship 710 • 650 3
Music Theory Pedagogy Project 710 • 685 3
21
SUPPORTIVE COURSES IN MUSIC
Music Bibliography 610 • 651 2
Musicology Seminars 610 • xxx 6
8
ELECTIVES
Electives** xxx • xxx 6

TOTAL 35
* Students who test out of Baroque counterpoint take Renaissance Counterpoint 710 • 633

Possible Analysis Courses Include:

Analysis and Performance 710 • 655
Analytical Techniques 710 • 702
Baroque Style and Practice 710 • 637
Fugue from Bach to Shostakovich 710 • 677
Schenkerian Analysis 710 • 623
Styles Analysis 710 • 635
Thinking by Ear: Common-Practice 710 • 713

Possible Twentieth-Century Courses Include:  

Music from 1900-1945 (Fall) 710 • 643
Music from 1900-1945 (Spring) 710 • 644
Music Since 1945 (Fall) 710 • 645
Music Since 1945 (Spring) 710 • 646
Thinking by Ear: Segue-20th Century 710 • 714
20th Century Style and Analysis 710 • 651
**May include additional music theory, musicology, or graduate-level courses
offered at Homewood.

88
Master of Arts in Audio Sciences Degree
The Master of Arts program in Audio Sciences was developed in conjunction with
members of the professional audio community to provide the technical knowledge and
musical skills necessary to work at an advanced level in the field of audio and/or acous-
tics. The program is intended both for current audio professionals wishing to obtain a
post-baccalaureate credential and individuals with a background in science, technology,
and/or music seeking additional training in order to gain employment in the audio or
acoustics industry.
Students choose from two tracks: a concentration in Recording and Production or an
emphasis on Acoustical Studies. Core coursework will include music theory 1-2, Musi-
cal Acoustics, Electroacoustics, Psychoacoustics, and Physical Acoustics. The remaining
coursework in each track will consist of courses specific to the concentration chosen by
the student in accordance with his or her background and professional goals.
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.
For admission, an undergraduate degree in architecture, audio technology, computer
sciences, electrical engineering, mechanical engineering, physics, or recording sciences
is required. Undergraduate 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 instrument at high school level, courses in music history, and skills sufficient to
enter music theory 1. International students must demonstrate competencies in English
commensurate with expectations for Peabody’s Master of Music degree program.

Audio Sciences

MAJOR AREA
Architectural Acoustics 550 • 624 3
Noise Control 550 • 626 2
Sound System Design 550 • 625 3
Acoustical and Audio Measurements 550 • 519 3
Computer Modeling 550 • 627 2
Professional Practices 550 • 631 2
Acoustics Design Practicum 550 • 64 3
Musical Acoustics 550 • 515 3
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
  30
SUPPORTIVE COURSES IN MUSIC
Music Theory 1-2 710 • 111-112 6

TOTAL 36

89
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.
For admission, an undergraduate 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 engi-
neering, and circuits and signals or the equivalent. Additional requirements are a back-
ground 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 competencies in English commensurate with expectations for Peabody’s
Master of Music degree program.

MAJOR AREA
Music and Technology 550 • 611 3
Audio Science and Technology 550 • 612 3
Advanced Recording Systems 550 • 511–512 6
Advanced Recording II 550 • 513–514 6
Musical Acoustics 550 • 515 3
Pyschoacoustics 550 • 517 3
Electroacoustics 550 • 516 3
Physical Acoustics 550 • 623 3
  30
SUPPORTIVE COURSES IN MUSIC
Music Theory 1-2 710 • 111-112 6

TOTAL 36

90
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
Students matriculating into the Doctor of
Musical Arts degree program should meet
the following criteria:
1. A Master of Music degree or its dem-
onstrated equivalent is a prerequisite
for admission to the Doctor of Musi-
cal Arts degree program. Evidence of
a graduate-level degree recital must
be submitted in the form of a recital
program or credit listed on the appli-
cant’s transcript. Prior to applying to
Peabody, a DMA candidate should have
taken a course in Music Bibliography
or its demonstrated equivalent; if not,
the student will be required to enroll in
610 • 651 Bibliography.
2. All applicants must pass a personal
audition. It is not possible to audition
for the DMA program by recording.
Audition requirements by major are
available on the Peabody website at
www.peabody.jhu.edu/admissions or
from the Admissions Office. Pre-screen-
ing recordings are required for some
majors.
3. All applicants must submit 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 musi-
91
cal subject of the applicant’s choice. It
must be typed and supported by cita-
tions and references. The essay serves
as the basis of the DMA interview and
should adequately reflect the applicant’s
academic capability. Of particular
interest to the DMA interviewing
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 submit-
ted by the application deadline, the
application is considered incomplete,
and the applicant must wait until the
next audition period for admission con-
sideration. Graduates of other Peabody
programs are not exempt from this
requirement.
4. At the time of audition, the DMA
applicant will be scheduled for an
interview with members of the Pea-
body faculty. The purpose of this 15- to
20-minute interview is to ascertain the
applicant’s suitability for the academic
aspects of the DMA program. The
meeting also provides an opportunity
for the faculty to assess the applicant’s
verbal skills, and to discuss the appli-
cant’s particular interests and motiva-
tion in pursuing the degree. A portion
of the interview will relate to the essay
submitted with the application.
5. At the time of auditions, all applicants
take music theory examinations, writ-
ten and aural and a music history exam
in which they write essays chosen from
a list of topics in the history of Western
music. These examinations are used to
evaluate the applicant both for admis-
sions and for placement in graduate
courses.
Degree Requirements (DMA)
The program of study for the Doctor of
Musical Arts degree will normally require
an attendance of two years beyond receipt
of the master’s degree. The doctoral candi-
date 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 com-
plete the remainder of the requirements
on a part-time basis. Upon completing
coursework and recitals, students achieve
Degree-in-Progress (DIP) status. For the
purposes of student loans and F-1 visas,
students who have achieved DIP status are
considered full-time students. To main-
tain that status, students must register
for Consultation (610 • 813–814) each
semester and pay DIP fees. Continuous
registration each year in courses, applied
studies, or is required: a DIP students may
not take a leave of absence.
A maximum of 12 semester hours of
graduate study (coursework) 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 examina-
tion 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.
Students may petition the Associate
Dean for Academic Affairs to have credits
for courses and/or ensembles that were
over and above the minimum require-
ments for a previous Peabody degree
applied to the DMA degree program. No
coursework that was required or used to
fulfill minimum credit requirements for a
previous degree may be applied to a sub-
sequent graduate degree. Work completed
in the Graduate Extension program,
beyond the MM degree level, may transfer
to the DMA program, upon satisfaction of
all other admission requirements. All pre-
viously earned credits applied to the DMA
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.
Deficiencies in ear-training and music
theory identified during the entrance/
placement examinations must be corrected
92
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.
All requirements for the Doctor of
Musical Arts degree must be completed
within seven academic years from the date
of initial DMA registration. Exceptions
to this regulation may be granted by the
DMA Committee only under extraordi-
nary circumstances.
Curriculum Components (DMA)
Advisory Committees
Each student will be assigned a major
field advisory committee consisting of
three faculty members appointed by the
Associate Dean for Academic Affairs and
including the major teacher. This com-
mittee is responsible for approving the
student’s repertoire list, approving and
jurying all the student’s recitals, and
submitting questions for the major field
qualifying examination.
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 mem-
bers 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 available to the student for consulta-
tion and advice concerning curriculum
and possible dissertation or paper topics.
Members of this committee also shall sub-
mit appropriate questions for the written
qualifying examinations and sit on the
oral qualifying examination committee.
Major Applied Study
Individual studio work includes in-
depth repertoire development, and culmi-
nates in a series of recitals or final projects,
depending on the chosen path of study.
DMA candidates may elect alternative
programs of study in some areas (see indi-
vidual curriculum descriptions).
Upon entry to the program, each can-
didate 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 can-
didate will submit an updated repertoire
list reflecting new works studied and per-
formed.
DMA students may perform in large
ensembles on a space-available basis after
students with an orchestral requirement
have been seated.
Recitals
A minimum of three recitals is required
of all performance majors. Any student
not playing a degree recital in a year of
residency will be scheduled for a graded
hearing before the department faculty at
the end of the spring semester.
For performance majors, one recital pro-
gram may be specialized in content if the
others are varied. One ensemble program
may be presented. One lecture-recital may
be presented subject to prior approval by
the major field advisory committee.
For conducting majors, the first two
recitals must be chosen from the following
three options
1. A full-length program given on campus
2. A full-length program presented at
some other venue while the student is
in residence
3. A combination of performances pre-
sented during the student’s residency
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
93
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.
It is advisable for the doctoral 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 registration). Any
degree recital must be approved by the
Associate Dean for Academic Affairs and
Concert Office (see Program Approval
above and Student Handbook).
Recital Programs
Each program must be approved by the
candidate’s major field advisory commit-
tee and the Associate Dean for Academic
Affairs. A copy of the approved program
must be received by the Concert Office
four weeks before the recital. Students are
responsible for obtaining the necessary
signatures.
The student must supply program notes
of publishable quality before each program
is approved. These should be approxi-
mately one page in length, and must be
approved by a representative of the musi-
cology faculty. The program submitted
to the candidate’s committee must carry
the appropriate signature indicating such
approval.
The lecture-recital must be based on an
analytical or historical document approved
by the candidate’s academic advisory com-
mittee and by the Graduate Document
Committee. The program submitted to
the Concert Office must carry the appro-
priate signatures indicating such approval.
The recital is juried by the members of the
candidate’s major field and academic advi-
sory committee. 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 presenta-
tion of the lecture-recital.
Portfolio of Compositions
Composition majors must submit 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 Committee. 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 consul-
tation with the composition faculty.
Candidates who are enrolled full time
may register for the portfolio of composi-
tions without additional 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 reg-
istration must make application through
the Office of Academic Affairs and must
be registered for private study during the
semester in which the portfolio is actu-
ally presented. No additional fees will be
charged for a delayed submission.
The student should submit the com-
pleted portfolio to the composition fac-
ulty, at the same time advising the Office
of Academic Affairs that this is being
done. Following acceptance of the port-
folio 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 course-
94
work in humanities at the School of Arts
and Sciences of The Johns Hopkins Uni-
versity or another accredited institution.
Minimum requirements vary depending
on the major. See the curriculum listings
for individual programs, below.
Doctor of Musical Arts students are
required to enroll in the Musicology Col-
loquium during their first year. The col-
loquium provides opportunities to hear
guest lecturers speak on musicology topics
of their expertise, and focuses on develop-
ing writing and critical thinking abili-
ties. Some majors require DMA students
to take additional graduate seminars in
musicology as well; see specific program
curricula for details. After DMA 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 DMA musicology curriculum. These
duties will include approving program
notes, preparing and helping to administer
the DMA history examination, and advis-
ing on preparation of the document or
dissertation, lecture-recital, and final oral
examination. For further details students
should refer to the DMA guidelines, avail-
able in the Office of Academic Affairs.
Doctoral students will be required to
demonstrate proficiency in one language
besides English, the language to be
approved by the department and compe-
tency determined by the results of a read-
ing examination. As a rule, the foreign
languages must be chosen from among
French, German, or Italian. With approval
of the members of the DMA Committee,
other languages may fulfill the require-
ment when so indicated by the special
nature of the student’s intended research.
In addition to the reading examination,
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.
 Unless otherwise specified, the term
elective means class elective. Ensemble
credits cannot be counted as elective cred-
its. Questions about the appropriateness of
courses for elective credit can be directed
to the Associate Dean for Academic
Affairs.
Preliminary Oral Examination
The third-semester preliminary oral
examination is intended to demonstrate
a student’s ability to speak about and
respond to questions on a single, sub-
stantial piece of repertoire, chosen by the
student and approved by members of the
DMA Committee.
The 25-minute preliminary oral
examination consists of an examination
on selected repertoire and a listening por-
tion. The intention of the preliminary oral
examination is to identify areas in which
the student may need additional guidance.
Admission to Candidacy
A student is not admitted to official
candidacy for the DMA degree until he or
she has satisfactorily passed all qualifying
examinations. In order to be eligible to
take the qualifying examinations the stu-
dent must have completed all coursework,
at least two recitals, and satisfied the
language requirement. Piano majors must
have completed the literature exam. The
qualifying examinations must be taken
within one calendar year after comple-
tion 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 examination
may be found in the DMA 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 DMA
Guidelines).
95
Curriculum Options: Lecture-Recital or
Dissertation
The following curriculum options are
available for the DMA program:
1. Option A—dissertation
2. Option B—lecture-recital
3. Option C—offered in piano (Ensemble
Arts) and voice (Performance/Pedagogy)
In fields where candidates for the DMA
degree have a choice of writing a disserta-
tion, they must choose a musical subject
which has been approved by the Gradu-
ate Document Committee. Dissertations
may deal with any aspect of music, e.g.,
analysis, theory, history, criticism, perfor-
mance practice, development of a critical
edition, etc. For composition majors, the
dissertation will be a composition of major
proportions as to length and medium
(e.g., a symphony) accompanied by a sub-
stantial written commentary on it. See also
the statement on page 94 under Portfolio
of compositions (composition majors).
An oral defense of the dissertation must
immediately follow completion of the
dissertation, and must take place at least
two weeks prior to the date of submission
of the dissertation to the library. Detailed
procedures are available in the DMA
Guidelines.
For most DMA candidates, the final
recital will be a lecture-recital. The
lecture-recital will be based on an analyti-
cal 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 presenta-
tion of the lecture-recital. Candidates will
submit two clean copies of their essay,
incorporating all additions and correc-
tions, for placement in the Arthur Fried-
heim Library. Details concerning the scope
of the project, topic approval, the format
of the lecture-recital, and the timetable
of the process may be found in the DMA
Guidelines.
DMA Curriculum—Composition Majors
Composition

MAJOR AREA
Major Lesson 100 • 100 16
Departmental Seminar 310 • 845–846 2
Compositions/Commentary 310 • 793 6
24
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Musicology Seminars 610 • xxx 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 12
Consultation [DIP] 610 • 813–814 (2–10)
26
ELECTIVES
Electives xxx • xxx 7
Humanities Elective xxx • xxx 3
10

TOTAL 60

DMA Curriculum—Conducting Majors

The DMA 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.
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 con-
ducting programs.
Orchestral Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Recital, off campus 190 • 797 2
Lecture (with recital 190.796) 190 • 799 2
Conducting Seminar 330 • 847–848 4
Document 610 • 792 2
32

96
 SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 62

Wind Conducting

MAJOR AREA
Major Lesson 100 • 100 16
Recital (or PWE performances) 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Conducting Seminar 330 • 847–848 4
Curricum Option (Dissertation or Lecture Recital) 4–8
30–34
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 60–64

97
 CURRICULUM OPTIONS
— Option A 64 Credits
  Dissertation 610 • 791 6
  Graduate Research + 610 • 756 2
— Option B 60 Credits
  Lecture (with recital 190.796) 190 • 799 2
  Document 610 • 792 2

DMA Curriculum—Performance Majors

Guitar

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Recital (concerto) 190 • 797 2
Recital (chamber-music) 190 • 798 2
Recital (lecture-recital) 190 • 799 2
Document 610 • 792 2
30
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 60

98
DMA Curriculum—Performance Majors
Orchestral Instruments: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Performance Elective xxx • xxx 2
Curricum Option (Dissertation or Lecture Recital) 8
32
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 62

CURRICULUM OPTIONS
— Option A 64 Credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 Credits
  Recital (concerto) 190 • 797 2
  Recital (chamber-music) 190 • 798 2
  Recital (Lecture Recital) 190 • 799 2
  Document 610 • 792 2

99
DMA Curriculum—Performance Majors
Organ and Piano: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital (solo) 190 • 794 2
Recital (solo) 190 • 795 2
Recital (solo) 190 • 796 2
Piano Seminar 450 • 845 1
Curricum Option (Dissertation or Lecture Recital) 8
31
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 14
Humanities Elective xxx • xxx 3
17

TOTAL 62

CURRICULUM OPTIONS
— Option A 64 Credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 Credits
  Recital (concerto) 190 • 797 2
  Recital (chamber-music) 190 • 798 2
  Recital (Lecture Recital) 190 • 799 2
  Document 610 • 792 2

100
Piano: Option C (Ensemble Arts)

MAJOR AREA
Major Lesson 100 • 100 16
Recital (chamber music / sonatas) 190 • 794 2
Recital (chamber music / sonatas) 190 • 795 2
Recital (chamber music / sonatas) 190 • 796 2
Recital (chamber music / sonatas) 190 • 797 2
Recital (chamber music / sonatas) 190 • 798 2
Piano Seminar 450 • 845 1
Recital (Lecture Recital) 190 • 799 2
Document 610 • 792 2
31
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 12
Humanities Elective xxx • xxx 3
15

TOTAL 60

DMA Curriculum—Performance Majors

Voice: Options A and B

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Coaching 186 • 711-714 4
Curricum Option (Dissertation or Lecture Recital) 8
34

101
 SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 13
Humanities Elective xxx • xxx 3
16

TOTAL 64

CURRICULUM OPTIONS
— Option A 64 Credits
  Dissertation 610 • 791 6
  Graduate Research 610 • 756 2
— Option B 64 Credits
  Recital (concerto) 190 • 797 2
  Recital (chamber-music) 190 • 798 2
  Recital (Lecture Recital) 190 • 799 2
  Document 610 • 792 2

Voice: Option C (Performance/Pedagogy)

MAJOR AREA
Major Lesson 100 • 100 16
Recital 190 • 794 2
Recital 190 • 795 2
Recital 190 • 796 2
Recital (Lecture Recital) 190 • 799 2
Coaching 186 • 711-714 4
Performance Electives xxx • xxx 2
Document 610 • 792 2
32
PEDAGOGY
Vocal Pedagogy 530 • 683 2
Vocal Pedagogy Lab 530 • 684 2
4

102
SUPPORTIVE COURSES IN MUSIC
Musicology Colloquium 410 • 847-848 6
Graduate Research 610 • 755 2
Music Theory Seminars 710 • xxx 6
Consultation [DIP] 610 • 813–814 (2–10)
Program Notes for All Recitals 0
14
ELECTIVES
Electives xxx • xxx 11
Humanities Elective xxx • xxx 3
14

TOTAL 64

103
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.
The admission requirements for the Performer’s Certificate are the same as those for
the Bachelor of Music degree program. Students should consult the appropriate section
of this catalog and the Peabody website at www.peabody.jhu.edu/ admissions for com-
plete information. Pre-screening recordings are required for some majors.
The Performer’s Certificate is normally a three-year course of study, with a minimum
residency of two years. At least 80 semester hours of course credit are needed for the
completion of requirements. Candidates must participate in ensembles throughout their
period of study.

Guitar

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Seminar 470 • 545–546 6
Departmental Examination 171 • 109–209 2
Recital 190 • 495 2
Chorus 910 • 511, 512 8
Guitar Ensemble 950 • 541, 542 6
Small Ensemble 950 • 531–532 2
  50
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I 710 • 155–156 4
Guitar Music Skills I–II 530 • 585–586–587–588 4
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Guitar Literature 530 • 431, 432 4
Guitar Pedagogy 530 • 637-368 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  52

TOTAL 102

104
Strings, Brass, Woodwinds, Harp, Percussion

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble 910 • xxx 12
Small Ensemble 950 • 531–532 6
46
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  45

TOTAL 91

VARIATIONS:  
— for Flute: 93 credits
  Piccolo Class 530 • 463–464 2

Organ

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Seminar 460 • 545–546 6
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 12
Piano Minor 010 • 100 2
Voice Minor 010 • 100 2
  50
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills/ Piano Majors I–II 530 • 211–212 4
Music Theory 1–5 710 • 111–112–211–212–311 15

105
 Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Resources /Church Organist 530 • 425–426 6
Continuo I: Figured Bass 530 • 315 2
Organ Literature 530 • 423–424 6
Basic Conducting 330 • 311 1
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  59

T O T A L  109

Piano

MAJOR AREA
Major Lesson 100 • 100 24
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble [Chorus] 910 • xxx 8
Small Ensemble 950 • 531–532 4
  40
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Skills for Piano Majors I–IV 530 • 211–212–311–312 8
Music Theory 1–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Sight Reading 530 • 111–112 4
Accompanying 530 • 213–214 2
Keyboard Literature I–IV 530 • 411–412–413–414 8
Piano Pedagogy 530 • 667 2
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
  60

TOTAL 100

106
Voice

MAJOR AREA
Major Lesson 100 • 10x 18
Vocal Coaching 186 • 411–412 2
Departmental Examination xxx • 109–209–309 2
Recital 190 • 495 2
Large Ensemble 910 • xxx 8
Opera Performance Electives 910 • 54x 3
35
SUPPORTIVE COURSES IN MUSIC
Thursday Noon Recital Series 530 • 501–502 1
Thursday Noon Alternate Project 530 • 503–504 1
Ear–training I–II 710 • 123–124–223–224 8
Keyboard Studies I–II 710 • 155–156–255–256 8
Music Theory [Intensive] 1–3; 4–5 710 • 111–112–211–212–311 15
Music Theory 6 / Elective 710 • xxx 3
Singing in English – English Song 530 • 475–476 4
Singing in Italian – Italian Song 530 • 469–470 4
Singing in German – German Lieder 530 • 477–481 4
Singing in French – French Melodiè 530 • 483–480 5
Acting for Opera 530 • 491 1
Stage Movement 530 • 391 1
Opera Literature 560 • 473–474 4
Musicology: four of five offerings 610 • 311, 312, 313, 314, 555 8
67
GENERAL STUDIES
Italian I 250 • 111-112 6
German I 240 • 111-112 6
12

TOTAL 114

107
The 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 MM or DMA Majors are available in
all areas of performance, including opera
and chamber music.
Admission Requirements
Students matriculating into the Gradu-
ate Performance Diploma program should
meet the following criteria:
1. A Performer’s Certificate, undergradu-
ate degree in music, or equivalent from
a recognized institution is a prerequi-
site for admission to the Graduate Per-
formance Diploma program.
2. Applicants must perform selections
from a full recital program for the
applied department at the regularly
scheduled audition periods in February
and May. Detailed audition repertoire
requirements are available from the
Admissions office and the Peabody
website at www.peabody .jhu.edu/
admissions. Pre-screening recordings
are required for some majors.
3. For the Graduate Performance Diploma
in Chamber 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 “Pro-
gram Overview.”
Diploma Requirements (GPD)
Residency
Part-time enrollment in the Graduate Per-
formance Diploma program is not permitted.
One year of full-time residency is required,
with two years of study generally necessary
to complete the program. Completion in
less than two years requires the permission
of the major teacher and Associate Dean for
Academic Affairs.
108
International students in this program
are considered by Immigration and Natu-
ralization Services to be full-time students
when enrolled for lessons and recitals.
Performance Requirements
In addition to individual major les-
sons, chamber music participation is an
essential component of the Graduate Per-
formance Diploma program, and each stu-
dent 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 major-
ing in performance, one of the recitals may
be a chamber music recital with the per-
mission 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 necessarily a complete role) during
each semester of study is required. For
percussion majors, a juried performance
of orchestral repertoire will serve as the
second recital. Any student not presenting
a graded recital in a given year is required
to perform at a graded hearing before
the department 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.
Ensembles
Graduate Performance Diploma can-
didates majoring in orchestral instru-
ments must participate in the Peabody
Symphony Orchestra, Peabody Concert
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 candi-
dates. Detailed guidelines for ensemble
participation are published in the Student
Handbook.
Related Requirements
The student may choose electives from
music theory, musicology, repertoire
studies, Curricular Practical 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 semester, in addition to
lessons, recitals, and ensembles. Addi-
tional course credits or audits carry a per-
credit charge.  In the areas of music theory
and musicology, the student must take the
appropriate placement examinations and
satisfy any review requirements prior to
enrolling in graduate-level courses.

Curriculum Components (GPD)

Performance

MAJOR AREA
Major Lesson 100 • 100 16
Two Recitals 190 • 695–696 4
Large Ensemble 8
Chamber Ensemble 950 • 831 1
29
ELECTIVES
Electives xxx • xxx 8

TOTAL 37

Opera

MAJOR AREA
Major Lesson 100 • 100 12
Opera Coaching 530 • 893–894 4
Two Recitals (Opera Roles) 190 • 695–696 4
Opera Ensemble* 4
24
ELECTIVES
Electives xxx • xxx 8

TOTAL 32
*Opera Theatre, Chamber Opera, or Opera Workshop

109
The Artist Diploma Program
The Artist Diploma is a non-degree pro-
gram reserved for the most exceptional and
experienced performers, with emphasis on
repertoire designed to meet the needs of per-
formers 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 their application:
1. Standard evidence of formal training,
e.g., certificates and/or diplomas, includ-
ing transcripts certifying proficiency in
all basic areas of musical study.
2. Evidence of professional performing
experience, e.g. programs. Reviews are
optional.
3. Repertoire list indicating works studied
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 admission to the Artist
Diploma program more than twice.
Entrance to the Artist Diploma pro-
gram is determined by live audition only
in February. All applicants must perform
selections from a full recital program for
the applied department at the regularly
scheduled audition time. Upon the rec-
ommendation of the department, the
performer(s) will be scheduled for a second
Curriculum Components (AD)
MAJOR AREA
Major Lesson
Four Recitals
ELECTIVES
Electives
TOTAL
110
audition before a panel of invited outside
judges on the final day of February audi-
tion week.
Diploma Requirements (AD)
One year of full-time residency is
required, with a minimum of two years of
study at Peabody expected. The program
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.
The Artist Diploma candidate must
present a minimum of four public recit-
als. 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.
The Artist Diploma curriculum
includes pertinent coursework as deter-
mined by the student or as advised by the
major teacher in consultation with mem-
bers of the department and the dean. The
program also includes counseling, course-
work, and/or independent study projects
in various aspects of career development,
as directed by the dean, the major teacher,
and/or the department.
100 • 100 16
190 • 795–796–797–798 8
24
xxx • xxx 8
32
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 pro-
gram, may register for such study through
the Peabody Extension Division, pending
faculty availability and demonstration 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 under-
graduate or master’s degree in music, or
the equivalent of a Peabody Performer’s
Certificate, and who may fall into the fol-
lowing 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 a Fulbright
4. Has missed the degree or diploma
entrance deadlines and wishes to begin
work on a space-available basis
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
111
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.
An undergraduate or graduate degree
in music from a recognized institution, or
the equivalent of the Performer’s Certifi-
cate, is required. A Graduate Extension
student may make his/her own arrange-
ments with an applied teacher before
making formal application to the Conser-
vatory. The audition (then or earlier) must
be heard by the accepting teacher. A tape
or CD will be acceptable, but the perform-
ing level must be validated in person upon
the student’s arrival at Peabody before
Graduate Extension status 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.
The student may register for applied
study and/or any combination of academic
coursework. In the areas of music theory
and music history, the Graduate Extension
student must take the appropriate place-
ment examinations and satisfy any review
requirement prior to enrolling in gradu-
ate-level courses. Lesson, performance, and
coursework credits may count toward ful-
fillment of subsequent graduate diploma
or degree requirements, if approved by
the major department. Formal application
for any change in graduate program must
be made with the Admissions 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 scholarship support.
Conservatory Faculty
Chamber Music Graduate Conducting Brass
Small Ensembles Gustav Meier, Coordinator Trumpet
Michael Kannen, Director Markand Thakar Josef Burgstaller
Katherine Jacobson Guitar Edward Hoffman
Seth Knopp Manuel Barrueco Horn
Maria Lambros Philip Munds
Ray Chester
Violaine Melancon Denise Tryon
Julian Gray, Chair Trombone
Jeffrey Sharkey
Alison Wells Jazz Randall Campora
Larry Williams Nasar Abadey David Fetter
Paul Bollenback James Olin, Coordinator
Early Music
Jay Clayton Tuba
Baroque cello, viola da David Fedderly
gamba Michael Formanek
Euphonium
John Moran Donvonté McCoy Steven Kellner
Baroque flute Timothy Murphy
Harp
Colin St. Martin Gary Thomas, Chair
Jeanne Chalifoux
Baroque lute, theorbo Ruth Inglefield,
Opera
Richard Stone Coordinator
Baroque oboe Carol Bartlett
Percussion, Timpani, and
Stephen Bard Garnett Bruce
Marimba
Baroque violin Roger Brunyate, Chair Robert Van Sice
Risa Browder Eileen Cornett Organ
Harpsichord JoAnn Kulesza Donald Sutherland,
Adam Pearl Coordinator
Orchestral Instruments
Recorder John Walker
and Organ
Gwyn Roberts
Renaissance lute Woodwinds Piano
Mark Cudek, Director Flute Ensemble Arts
Marina Piccinini Eileen Cornett
Composition Emily Skala Ellen Mack, Coordinator
Composition Laurie Sokoloff Piano
Oscar Bettison Piccolo Leon Fleisher
Michael Hersch Brian Ganz
Laurie Sokoloff
Kevin Puts Marian Hahn
Clarinet Seth Knopp
Computer Music Steven Barta
McGregor Boyle, Chair Ellen Mack, Chair
Anthony McGill Yong Hi Moon
Geoffrey Wright Edward Palanker Benjamin Pasternack
Ensembles and Conducting Saxophone Alexander Shtarkman
Ensembles Gary Louie Boris Slutsky
Hajime Teri Murai, Oboe Repertoire Studies
Chair Jane Marvine Michael Habermann
Harlan Parker Katherine Needleman Sharon Levy
Edward Polochick Bassoon Hyunsook Park
Gene Young Phillip Kolker, Chair Adam Pearl

112
Strings Humanities Ear-training
Violin Language Clinton Adams,
Victor Danchenko Paul Oorts Coordinator
Pamela Frank Patricia Palmer Courtney Orlando
Herbert Greenberg Karen Pevac Keyboard Studies
Violaine Melancon Christine Rothbaum Patricia Graham,
Keng-Yuen Tseng, Chair Sebastian Vogt, Coordinator
Viola Coordinator Ken Johansen
Victoria Chiang, Liberal Arts Lura Johnson
Coordinator Ron Levy, Chair Professional Studies
Richard Field Gary Popoli
Stephen Wyrczynski Hollis Robbins Business of Music
Violoncello Sarah Snyder Linda Goodwin
David Hardy Gary Louie
Amit Peled Musicology Music Education
Alan Stepansky, Suhnne Ahn Harlan Parker, Chair
Coordinator Robert Follet Laura Parker
Alison Wells Richard Giarusso Cherie Stellaccio
Double Bass John Gingerich Recording Arts
Paul Johnson, Coordinator David Hildebrand Matthew Lyons
Jeffrey Weisner John Moran Michael MacDonald
Elam Ray Sprenkle Scott Metcalfe, Chair
Voice Andrew Talle, Chair Neil Thompson Shade
Phyllis Bryn-Julson, Elizabeth Tolbert Edward Tetreault
Chair Piero Weiss Repertoire Studies
Marianna Busching Susan Weiss Rebecca Henry
Stanley Cornett Pedagogy
Ah Hong Music Theory Laura Parker, Coordinator
Steven Rainbolt Music Theory
William Sharp Vern Falby
John Shirley-Quirk Mark Janello
Ildar Khannanov
Vocal Coaching and Sharon Levy
Repertoire Studies Paul Mathews
Vera Danchenko-Stern David Smooke
Wolfgang Justen Elam Ray Sprenkle
Ernest Ligon Stephen Stone, Chair
Ernest Liotti Kip Wile
Stacey Mastrian
Robert Muckenfuss

Distinguished Visiting Faculty

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

113
Course Listings
In most cases, there are two semester hours numbers in parentheses following the
course description. The first number refers to the first semester, and the second number
refers to the second semester. A dash separating the two numbers indicates that the com-
pletion 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 require-
ments. Undergraduates may enroll in 600- or 700-level courses with permission of the
instructor and the registrar.
Students should check with the Registrar's Office each semester for the latest informa-
tion 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

114
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 elec-
tive. (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 gui-
tar. (1,1) Cudek

Composition
McGregor Boyle, Chair
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

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) Faculty

115
310 • 691 Composition Portfolio
The completion of works of major proportions, for full orchestra and chamber ensemble, as
required in the MM 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 over-
view 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), various
music synthesis and processing languages. Specifically for computer music majors and record-
ing arts majors, but open to others with permission of the instructor. Prerequisites: 350 •
463-464 and 350 • 835 or equivalent. (3-3) Faculty

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

116
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 department 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 MM 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 MM 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

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

117
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. (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. (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 bro-
ken 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

118
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 rec-
itative, chamber ensembles, orchestral, including Italian, French, German. Offered on an as-
needed basis. (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

119
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 soloistic 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 instruments themselves and consideration of how the recorder, flute, and oboe repertoires
overlap, differ, 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

120
120
Ensemble Arts
Ellen Mack, Coordinator

350 • 847,848 Ensemble Arts Seminar

(1,1) 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. (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. (2-3,0) Ligon

121
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)

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)

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. (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. (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

122
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) 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) 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

123
Humanities
Ron Levy, Chair

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. (4,0) 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

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-

124
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 exam-
ine the role that race, cultural identity, legal status, and the impersonal structures (or shack-
les) 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 Sci-
ence (2008) will show how contemporaries distinguish science and religion as separate modes
of inquiry and understanding, while assessment of earlier commentators and scientific think-
ers 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

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

125
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 Writ-
ing. 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) Rothbaum

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

240 • 114 German for Reading Knowledge

Designed to help students prepare for translations on the level required to pass DMA exams.
It concentrates on recognizing sentence structure and grammatical features encountered 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. Prerequi-
site: 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-

126
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 720 • 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: 720 • 127-128 Jazz Fundamentals and 530 • 570 Jazz History or
placement 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

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

127
720 • 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

720 • 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

720 • 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

720 • 359-360 Jazz Theory/Keyboard Lab II

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

720 • 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 Peabody 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-
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

128
Large Ensembles
Hajime Teri Murai, Chair
Orchestral instrument majors please note: the large ensemble requirement can be met with
participation in the Peabody Symphony Orchestra, the Peabody Concert Orchestra, and/or
the Peabody Wind Ensemble. Credit is awarded for participation in the other large ensembles
but is in addition to the aforementioned organizations.

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
also 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. Repertoire ranges from a cappella music to major works
with full orchestra. Placement is by audition. (2-2) Polochick

910 • 515-516/815-816 Peabody 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 • 527-528/827-828 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 Peabody 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

129
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-
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 Peabody 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 Peabody 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

130
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

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

131
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

510 • 441 Intern Teaching Seminar

Concomitant with 510 • 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. (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

132
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 that music plays in them. (2,0) Faculty

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
Steven Stone, Chair
Undergraduate Curriculum for Sophomores and Juniors: Applies to undergraduate students
who entered before 2009

710 • 211 Baroque Styles

Continuing studies of counterpoint. Analysis and composition of two- and three-voice
baroque-style pieces, including fugue. (3,0) Faculty
* Will be offered for the last time in fall 2009

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
* Will be offered for the last time in spring 2010

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
* Will be offered for the last time in fall 2010

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
* Will be offered for the last time in spring 2011

Revised Undergraduate Curriculum: Applies to student undergraduates

entering in 2009–2010

710 • 111 Music Theory 1: Diatonic voice leading

This course includes study of melody, figured bass, diatonic and chromatic harmony, and
analysis and composition of short homophonic and polyphonic pieces. (3,0) Faculty
* First offered in fall 2009

133
710 • 112 Music Theory 2: Diatonic and chromatic voice leading; Introduction to
form and counterpoint
Continuation of techniques learned in Theory 1 and a study of counterpoint in two and three
voices. Students study simple binary, rounded binary and ternary forms. (0,3) Faculty
* First offered in spring 2010

710 • 211 Music Theory 3: Baroque counterpoint

Analysis and composition of two- and three-voice baroque-style pieces, including fugue. (3,0)
Faculty
* First offered in fall 2010

710 • 212 Music Theory 4: Classical and Romantic musical practices

A study of Classical style, exemplified by the works of Haydn, Mozart, Beethoven and Schu-
bert, and an understanding of the design principles they employ. The class continues to cover
the harmonic, formal and contrapuntal techniques in music of the nineteenth century. (0,3)
Faculty
* First offered in spring 2011

710 • 311 Music Theory 5: Late Romantic and 20th-Century musical practices
A study of the newer formal, contrapuntal and harmonic techniques of the late nineteenth
through the twenty-first centuries. A wide variety of styles and techniques are covered,
through listening, analysis and writing. (3,0) Faculty
* First offered in fall 2011

710 • xxx Music Theory 6: Elective

Students take one of several specially designated electives. (TBA) Faculty.
* First offered in spring 2012

Music Theory Seminars

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

134
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

135
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 MM 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 DMA students. (0,3) Faculty

710 • 662 Music Theory Seminar

For DMA 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 • 667 Beethoven’s String Quartets

An intensive analysis of selected quartets from all three style periods. (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

136
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 Cla-
vier. (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
interpretation 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

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 1. (2-2)
Adams/Orlando

137
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-
century 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

Musicology
Andrew Talle, Chair

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, Mes-
siah; Beethoven, Symphony no. 9; Berlioz, Symphonie Fantastique; and Stravinsky, Le Sacre
du Printemps. A series of additional pieces commissioned especially for the course from Pea-
body composers concludes the semester. No previous knowledge of musical notation or ter-
minology is required. This course meets on the Homewood campus and requires registration
through the Krieger School of Arts and Sciences. (3,0) Talle

AS.376.340 Music and Literature: Thomas Mann’s Doctor Faustus (Homewood)

One of the greatest and most complex works of twentieth-century fiction, Thomas Mann’s
Doctor Faustus might be described most concisely as a novel about music. In narrating the

138
life of the fictional composer, Adrian Leverkühn, Mann invokes a vast network of musical
references that enrich our understanding of Leverkühn’s creative personality and his place in
music history. In the shadow of World War II, Leverkühn’s creative struggles as an artist run
parallel to the disastrous moral collapse of the German nation in the 1930s and 40s. In this
course, we will supplement our study of Mann’s novel through a detailed examination of the
many works of music mentioned in the text. In studying pieces of Beethoven, Brahms, Bach,
Wagner, Schoenberg, and others, we will sketch out an historical and aesthetic context essen-
tial to an understanding of the book. Students should possess a basic knowledge of twentieth-
century European history. The ability to read music, while certainly helpful, is not required.
All course readings and discussion will be conducted in English. (3,0) Giarusso

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. (0,3) Tolbert

AS.376.xxx History and Technology of Musical Instruments (Homewood)

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. (0,3) S. Weiss

610 • 311 History of Music I

A study of music from classical antiquity through the Renaissance period. Offered 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. Offered fall
and spring. (2) Sprenkle/Gingerich

610 • 313 History of Music III

A study of music in the 19th century. Offered fall and spring. (2) P. Weiss/Gingerich

610 • 314 History of Music IV

A study of music since the beginning of the 20th century. Offered fall and spring. (2) Giarusso

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. Offered fall and Spring. (2) Follet/Green

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

139
610 • 601 Music History Intensive Review
A review course for graduate students, covering classical antiquity to the 21st century. Fall
only. (2,0) Tremblay

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.
Offered 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 his-
tory. 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 DMA 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 DMA Committee and suitable as the
basis for a lecture-recital, culminating in a written paper and a public lecture-recital. Offered
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. Offered 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. Offered
fall and spring. (1-3) Giarusso/Tolbert/P. Weiss/S. Weiss

610 • 847-848 Musicology Colloquium

The colloquium introduces DMA 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.

140
Fall Semester
610 • 372 Issues in Ethnomusicology
An introduction to the theories and methods of ethnomusicology. Topics include transcrip-
tion and analysis, fieldwork, performance practice, and intercultural aesthetics. (3,0) Tolbert

610 • 615 Teaching Virtuosity: Pedagogy and Performance at the Paris Conservatory
Who were the key faculty members when the Paris Conservatory was established in 1795?
What did the performers teach? When were various pedagogical standards for different instru-
ments and vocal types codified? Why do we still play some of the same canonical repertoire
even today? This seminar on the Paris Conservatory will attempt to address these questions.
Central to this course will be an examination of the concerto: the rise of the genre at the begin-
ning of the 19th century, Parisian vs. Viennese perspectives, its connection to the conservatory,
its composers and proponents. Students will also have an opportunity through individual proj-
ects to explore the history and pedagogical origins of their own areas of specialization, includ-
ing piano, strings, winds, brass, percussion, voice, and composition. (3,0) Ahn
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 • 635 Eighteenth-Century Italian Opera

An introduction to opera in eighteenth-century Italy. Students will investigate a selection of
works and their relationship to European culture of the period. (3,0) P. Weiss

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, poeti-
cally 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 • 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 • 686 Politics and Sex in Music

An examination of political and sexual elements in the work of composers from Adam de la
Halle to Béla Bartók. (3,0) S. Weiss

610 • 692 Sound Travels: Musical Circulation from Mozart to .mp3s

Music has been on the move for as long as humans have been making it, accompanying the
travels of warriors, merchants, and missionaries who have left in their wake hybrid forms
from Indian brass bands to Mozart’s Turkish marches. The successive development of new
technologies, economic systems, and networks of musical exchange, from the printing press

141
to the .mp3 have only intensified the speed and unpredictability with which music moves.
But musical movement does not just happen spontaneously; rather, it is the product of tech-
nology, economics, colonialism, labor, law, and political and cultural hierarchies. How does
musical meaning change across cultural lines? What are the ethics of appropriating other
musical forms? What is the attraction of exoticism? How do technologies of musical circula-
tion shape our experiences of producing and consuming music? What do current legal and
economic changes in music distribution mean for the future of music? These issues can be
addressed by looking at various case studies—electronic sampling of Micronesian music,
Brazilian musicians who pirate their own recordings, Renaissance Venetian music printing,
West Africans adopting Afro-Cuban music to transcend ethnic sectarianism, white listen-
ers to black radio in 1950s America, amateur music like karaoke and Victorian brass bands,
and the rise and fall of Napster. This course will examine case studies of musical movement,
touching on the theme of “connection” by addressing the kinds of alliances, misinterpre­
tations, and reconfigurations to which they give rise, in order to rethink the role of music
in everyday life and in the constitution of society here in the U.S. and around the world. (3,0)
Quintero

Spring Semester

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 An Introduction to Verdi Studies

Students will investigate a selection of his works within their historical and biographical con-
text. (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 • 668 Berlioz and the Romantic Imagination

Few composers embody the ideal of the “Romantic” artist as extravagantly as Hector Berlioz.
While works like the Symphonie fantastique, La damnation de Faust, Les Troyens, Roméo
et Juliette, and the Requiem are exemplary works of musical Romanticism, Berlioz’s life
itself, with all of its drama, excess, and turbulence, stands as a testament to the power of the
Romantic spirit in nineteenth-century European art. This course will situate Berlioz in the
context of nineteenth-century Romanticism, considering the influences (musical and other-
wise) that affected Berlioz’s style, contemporary assessments of his music, and his influence
upon subsequent generations of artists. An examination of the composer’s Memoirs, along
with excerpts from the orchestration treatise and his extensive body of musical criticism, will
supplement our study of the musical works. We will broaden our perspective of Romantic
aesthetics with readings from Wordsworth, Coleridge, Kant, Hoffmann, and others. With a
focus upon Virgil, Shakespeare, and Goethe, the three authors whose works bore most directly
upon Berlioz’s creative development, we will also consider the reception of these authors’
writings during the nineteenth century and the ways in which Berlioz’s musical settings offer
particularly contemporary readings of these classic works.” (0,3) Giarusso

142
610 • 678 Two Operas, Two Historical Epochs
A detailed study of Berg’s Wozzeck and Mozart’s The Marriage of Figaro in their cultural
contexts. (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

Opera
Roger Brunyate, Chair

530 • 391 Stage Movement for Singers

Techniques for attaining intellectual and physical control to achieve greater security and facil-
ity 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. (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. (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

143
910 • 541,2/841,2 Peabody 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 Peabody 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 Peabody 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. (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. (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 MM 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

144
Percussion
Robert Van Sice, Coordinator
530 • 567, 568 Contemporary Chamber Music for Percussion
(1,1) Van Sice

Piano
Boris Slutsky, 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 in keyboard harmony, including transposition, figured bass, melody harmonization,
and analysis. Required for undergraduate piano and organ 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 score-reading, transposition, and figured bass accompaniment. Required for MM
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. Also available for elective credit. (2-2) 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 • 614 Explorations in Piano Literature.

A course exploring some of the vast uncharted territories of the great repertoire for solo piano.
Topics will change from year to year. (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

145
450 • 845 Graduate Piano Seminar
A seminar required of all doctoral students and open to second-year MM 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) Faculty

Recording Arts
Scott Metcalfe, Chair

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

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.

146
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
coursework, 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. (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

147
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. (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 in alternate years.
(0,3) Faculty

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. (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
in alternate years. (0,2) Faculty

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. (2,0) Shade

550 • 640 Acoustics Design

Practicum In this course taken in the final semester of study, students will act as acousti-
cal 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, measure-
ments, modeling, 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 in alternate years. (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

148
Small Ensembles
950 • 535,6/835,6 Peabody Camerata
A larger chamber ensemble devoted to study and performance of the music of the 21st 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 Varèse to
Zappa to traditional Javenese Gamelan. Students will learn basic technique of Asian metallo-
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

149
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. (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. (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
Schumann’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, Schön-
berg, Strauss, etc.). Offered in alternate years. (2,0) Shirley-Quirk

150
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 BM 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. (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. (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. (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. (2,0) Shirley-Quirk

151
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 MM in Voice with Pedagogy Emphasis and the DMA 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 MM in Voice with Pedagogy Emphasis and the DMA 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. (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. (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

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

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

152
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) Faculty

530 • 591,592 Oboe Reedmaking

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

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 Educa-
tion and/or the Performer’s Certificate. (2)

190 • 495 Recital

A public performance required of students earning the Bachelor of Music degree program. (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 MM degree 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)

153
Student Life
Student Accommodations
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. The main floor of
the East Tower houses recreational space
in Unger Lounge, student mailboxes, the
Student Affairs Office Suite, and the Insti-
tute’s mailroom. The Residence Hall com-
plex includes a common 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 Residence
Life Office. On-campus residency permits
entering students to adjust more easily
to college life and Conservatory studies.
It also encourages students to cultivate
new friendships, to explore the historic
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
154
participate in a “commuter” plan, either a
30 block of meals with Flex Points or an
all-declining-balance plan. A la carte retail
service is also offered.
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
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
website 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 –
including Degree-in-Progress 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 cam-
pus and the Johns Hopkins Medical Insti-
tutions with stops at the Peabody campus
and the train station. The buses run from
6:15 a.m. to 11:30 p.m. on weekdays; 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
7 p.m. to 2 a.m. and at 3, 4, and 5 a.m.
upon request, seven days per week.
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 wel-
comes 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
Handbook. Peabody students are eligible
to participate in a wide range of student
activities, including intramural athletics,
offered on the JHU Homewood campus.
Religious Activity
Within walking distance of the Peabody
campus, one can find a synagogue and
155
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.
Athletic Facilities
The nonacademic Department of Ath-
letics 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 bad-
minton, racquetball/squash courts, a 30’
climbing wall, a fitness center for strength
and cardiovascular 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 website 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.

Financial Information
Tuition and Fees, 2009–2010
Tuition
Full-time study (per academic year)
Degree programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $34,250
Artist Diploma and Graduate Performance Diploma programs . . . . . . . . . . . . 28,700
Part-time study (per academic year)
Major study (one-hour lessons + jury/recital); unlimited ensembles . . . . . . . . 15,230
Major study (half-hour lessons + jury/recital); one ensemble . . . . . . . . . . . . . . 7,940
Vocal coaching or minor study: one hour lessons . . . . . . . . . . . . . . . . . . . . . . . 7,940
Vocal coaching or minor study: half-hour lessons . . . . . . . . . . . . . . . . . . . . . . 4,850
Supplementary Study
Hourly per semester credit or audit
Second major field lessons (double performance major) . . . . . . . . . . . . . . . . . . 6,645
Classroom studies, ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975
Music Education certification courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 490
Degree-in-progress, graduate consultation . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,500
Elective minor study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Remedial tutorial study (per clock hour)
   (assigned only in consultation with the Dean’s Office) . . . . . . . . . . . . . . . . . 210
General Fees
* Application for degree program . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
* Application for Extension students . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
* Tuition deposit (students returning from leave, nonrefundable) . . . . . . . . . . 50
* Tuition deposit (new students, nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . 600
* Matriculation (one-time fee for new degree/diploma candidates) . . . . . . . . . 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 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1,677
Special Fees
Late payment (payments postmarked after August 11th for fall semester
and December 8th for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Late registration (late registrations/registration
confirmations after September 4 for fall semester and
January 9 for spring semester) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
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

156
 Instrument rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $100- $125
Bass case rental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $  50-$200
Lost folder (ensembles) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost instrument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 500 min
Lost ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 15
Lost key (studio/classroom) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 25

* Nonrefundable
N.B. It is required that all students pay tuition and fees in full in order to complete
registration and attend classes each semester.
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.

Room and Board Fees (per academic year)

Room reservation (nonrefundable after June 30) . . . . . . . . . . . . . . . . . . . . . $ 150
Residence Hall security deposit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 100
Room and Board—Double occupancy/Board Plan I . . . . . . . . . . . . . . . . . . $ 11,100
Board Plan I with a single room . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 12,430
Double occupancy/ Board Plan II . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 10,700
Lost key (Residence Hall and mailbox) nonrefundable . . . . . . . . . . . . . . . . $ 25
Lock replacement (nonrefundable) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . $ 50 min

Schedule of Payments, 2009–2010 Residence Hall

Tuition and Fees
Fall semester payment:
Postmark date August 11, 2009
Spring semester payment:
Postmark date December 8, 2009
Entering students must pay the tuition
deposit upon notification of admission.
Student account invoices for return-
ing students are available on the student
website (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 11, 2009
Second semester payment:
Postmark date December 8, 2009
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 refund-
able 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.

157
Tuition Refund Schedule for Withdrawals, 2009–2010
Withdrawal Date Refund
Fall Semester 2009
Before 09/02/09 100% less $100 administrative cost
09/03/09 – 09/12/09 90% less $100 administrative cost
09/13/08 – 09/27/09 50% less $100 administrative cost
09/28/09 – 10/23/09 25% less $100 administrative cost
After 10/23/09 No refund
Spring Semester 2010
Before 01/19/10 100% less $100 administrative cost
01/20/10 – 01/30/10 90% less $100 administrative cost
01/31/10 – 02/24/10 50% less $100 administrative cost
02/25/10 – 03/21/10 25% less $100 administrative cost
After 03/21/10 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 2009–2010
Before October 23 (Fall), March 21 (Spring) Fees prorated proportionately
After October 23 (Fall), March 21 (Spring) No refund

Tuition Payment Assistance Graduation

The Clarence Manger and Audrey
Cordero 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
Peabody also offers a 10-month pay-
ment plan through Tuition Management
Systems (TMS) call 1-800-722-4867 for
more information, or contact the Peabody
Business Office.
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 finan-
cial 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 Pea-
body 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 Finan-
cial Aid office or the student’s high school
or college counselor’s office.
Additional information and other
required forms are available on the Pea-
body financial aid office website at www.
peabody.jhu.edu/finaid.
The Peabody Conservatory will not
issue transcripts or perform any other

158
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 $8,000.
Peabody Student PLITT Loans
Student PLITT Loans are available to
students enrolled at least half-time and is
based on demonstrated financial need and
availability of funds. Student PLITT Loans
carry a 3% interest rate, and payment is
deferred while a student is enrolled at
least halftime. Awards range from $500 to
$6,000.
Subsidized 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 stu-
dents, $8,500. Payments are deferred while
a student is enrolled at least half-time. The
interest rate is currently fixed at 5.6% for
undergraduate student loans, and 6.8% for
graduate student loans.
Unsubsidized Federal Direct Student
Loans
Unsubsidized Federal Direct Student
Loans are available to graduate students,
independent undergraduate students,
and dependent undergraduate students.
Dependent undergraduate students may
not borrow more than $2,000 per year
unless a parent is denied a PLUS loan.
However, independent undergraduate
students and dependent undergraduate
students whose parents are not eligible to
159
borrow a PLUS Loan may borrow as much
as $5,000 in additional unsubsidized loan.
Freshmen and sophomores can borrow
no more than $4,000 per year. Graduate
students may borrow up to an additional
$12,000 in unsubsidized loan. Unsubsi-
dized 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
$976 to $5,350 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. citizens or permanent residents of
the U.S.
• 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 pro-
gram
• First-year students must not have been
previously enrolled in an undergraduate
program . Students enrolled less than
full-time will have their awards pro-
rated.
• 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 $2,500 and
are based on the availability of funds.
Additional information can be obtained
from the Financial Aid Office.
Institutional Aid Programs
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
160
they apply for admission; however, only
students who submit the Free Applica-
tion for Federal Student Aid (FAFSA) or
the International Student Financial 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 scholarships are for
one year and are renewed annually for the
duration (8 semesters for undergraduate
students and 4 semesters for graduate stu-
dents) of a student’s degree or certificate,
depending on the progress of the student
as indicated by examination and grade-
point average. The amount of Peabody
Scholarship remains the same throughout
a student’s program, provided 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 scholarship. 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 DMA 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.
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 Scholar-
ship 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)
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
161
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, Vio-
lin 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 Schol-
arship (piano and violin)
Lillian Hirschmann Konowitz Memorial
Scholarship (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 & Sci-
ences
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 Scholarship
(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)
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 Scholar-
ship Fund at the Peabody Conservatory
162
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 gradu-
ates in voice)
Virginia Carty deLillo Award (graduating student with
highest GPA in the Bachelor of Music degree program)
Virginia Carty deLillo Composition Competition
Israel Dorman Memorial Award (outstanding progress 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 student 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 out-
standing 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 gradu-
ating 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 (out-
standing opera student)
The Pamela Buell Annual Scholarship
The Rildia Bee O’Bryan Cliburn Memorial
Scholarship
Zelda & Ben Cohen Annual Scholarship
Dorothy deCourt Prize in Organ Evergreen House Foun-
dation Scholarship
The Madeleine Friedheim Memorial Scholarship
The William T. Gerrard & Mario A. Duhon
Peabody 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.
163
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
The assistantship is for a term of one
year, but upon recommendation of the
faculty, may be extended to a maximum
of two years. Only under extraordinary
circumstances may an assistantship be
renewed for a third year. This requires
a recommendation from the faculty and
approval of the dean.
Full-time graduate assistants are
expected to assist the faculty 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 por-
tion of assistantship income is considered
taxable unless it qualifies for special con-
sideration by tax authorities. Consult the
human resources manager of the Institute
for full details.
Graduate assistants must be registered
as full-time students for a minimum of 18
164
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
Conservatory reserves the right to restrict
the activities of holders of assistantships.
Students holding graduate assistant-
ships 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 les-
son and departmental examinations. Fail-
ure 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.
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
Andrea Trisciuzzi, Associate Dean for Development and Alumni Relations

Directors – Department Managers

Academic Program Coordinator Head Librarian
Caitlin Vincent Robert Follet
Admissions Human Resources/Payroll Services
David Lane Laura Brooks
Alumni Relations Information Technology and Telecommunications
Debbie Kennison Jonathan Richardson
Business Services International Student Advisor
Larry Catron Susana Rodriguez
Campus Security Major Gifts
David Fulgham Patrick O'Neall
Concert Office Marketing and Communications
Teresa Perez Shirley-Quirk Richard Selden
Ensemble Office Registrar
Linda Goodwin James Dobson
Facilities Management Residence Life
Joseph Brant Kyley McClain
Financial Aid
Thomas McDermott

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

165
The Johns Hopkins University

Trustees Gail J. McGovern

Pamela P. Flaherty Peter A. Meyer
Chair Kweisi Mfume
C. Michael Armstrong, ex officio Westley W. O. Moore
Richard S. Frary Naneen H. Neubohn
Mark E. Rubenstein David P. Nolan
Vice Chairs Ronald M. Nordmann
Geraldine A. Peterson, ex officio
Christopher C. Angell Walter D. Pinkard Jr.
Jeffrey H. Aronson Joseph R. Reynolds Jr.
Janie E. Bailey Brian C. Rogers
Lenox D. Baker Jr. David M. Rubenstein
Alfred R. Berkeley III Marshal L. Salant
Paula E. Boggs Robert A. Seder
Michelle A. Brown Donald J. Shepard
George L. Bunting Jr. Rajendra Singh
Francis B. Burch Jr. Raymond W. Snow, ex officio
Charles I. Clarvit Adena W. Testa
N. Anthony Coles Selwyn M. Vickers
Ronald J. Daniels, ex officio William F. Ward Jr.
Sarah R. David James L. Winter
Anthony W. Deering Shirley S. L. Yang
Ina R. Drew
Harvey Eisen Trustees Emeriti
Maria T. Fazio Robert J. Abernethy
Marjorie M. Fisher Leonard Abramson
Louis J. Forster Peter G. Angelos
Helene D. Gayle Norman R. Augustine
Sanford D. Greenberg H. Furlong Baldwin
Benjamin H. Griswold IV Jeremiah A. Barondess
Taylor A. Hanex 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
Jeong H. Kim A. James Clark
David H. Koch Victor J. Dankis
Christopher Kovalchick Edward K. Dunn Jr.
Donald A. Kurz Manuel Dupkin II
Joanne Leedom-Ackerman James A. Flick Jr.
Alexander H. Levi Gottlieb C. Friesinger II
Kwok-Leung Li Robert D. H. Harvey
Roger C. Lipitz Rafael Hernandez-Colon
Diana C. Liu F. Pierce Linaweaver
Christopher E. Louie Raymond A. Mason
Howard C. Mandel Harvey M. Meyerhoff
Christina L. Mattin Charles D. Miller

166
Milton H. Miller Huntington Sheldon
Ralph S. O’Connor R. Champlin Sheridan Jr.
Morris W. Offit Wendell A. Smith
George G. Radcliffe Helmut Sonnenfeldt
John F. Ruffle Shale D. Stiller
Arthur Sarnoff Morris Tanenbaum
Frank Savage Edward G. Uhl
Wayne N. Schelle Calman J. Zamoiski Jr.
Herschel L. Seder

Principal Administrative Officers and Deans

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

167
Index
A Change of Studio Teacher 25
Academic Code of Conduct 22
Academic and
Administrative Regulations 22
Academic Standing 22
Administration
The Johns Hopkins University 165
The Peabody Institute 165
Admission to Candidacy, DMA 91
Admission Requirements
Artist Diploma 110
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 91
Extension Study 111
Graduate Performance Diploma 108
Master of Arts in Audio Sciences 89
Master of Music Degree 69
Performer’s Certificate 104
Advanced Standing 38
Advisory Committees, DMA 91
Application Deadlines 4
Arthur Friedheim Library 11
Assistantships 163
Athletic Facilities 155
Attendance and Absences 24
Auditing 25
Audition requirements
Artist Diploma 110
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 91
Extension Study 111
Graduate Performance Diploma 108
Master of Music Degree 69
Performer’s Certificate 104
Awards 161
B Music Theory Pedagogy 88
Baltimore Area Cultural Activity 14
Brass Course Offerings 114
C
Calendars
Academic 2
Audition 4
Summer Session 4
Campus 10
Career Counseling and Placement 16
Career Development Fund 163
Chamber Music Course Offerings 114
Change of Major 25
168
Common Curriculum Components
Bachelor of Music Degree 34
Doctor of Musical Arts Degree 92
Master of Music Degree 70
Competitions 15
Composition Course Offerings 115
Computer Music Studio 12
Computer Music Course Offerings 116
Concert Halls 11
Concerts 14
Conducting Course Offerings 117
Conducting Fellows Program 18
Course Changes and Withdrawals 25
Course Listings 114
Cross Registration 20
Curriculum
Artist Diploma 122
Bachelor of Music
Composition 48
Computer Music 50
Music Education 51
Performance 40
Recording Arts and Sciences 59
Doctor of Musical Arts
Composition 96
Conducting 96
Performance 98
Graduate Performance Diploma 109
Master of Arts in Audio Sciences 89
Master of Music
Composition 82
Computer Music 84
Early Music Performance 77
Music Education 85
Musicology 87
Performance 72
Performance/Pedagogy 81
Piano: Ensemble Arts 76
Performer’s Certificate 104
D
Dean’s List 24
Degree-in-Progress 27
Degree Requirements
Bachelor of Music 33
Doctor of Musical Arts 91
Master of Arts in Audio Sciences 89
Master of Music 69
Dining Hall 154
Dismissal 24
Dissertation Requirements 95
Distinguished Visiting Faculty 14, 113
Documents, DMA 94
Double Degree Program 21
E
Early Music Course Offerings 119
Ear-training Course Offerings 137
Educational Facilities 11
English as a Second Language 38, 70
Ensemble Arts Course Offerings 121
Ensemble Requirements 35, 71, 93
Examinations
Entrance 69
Qualifying, DMA 95
Preliminary Oral, DMA 95
F
Faculty Listing 113
Federal Aid Programs 158
Fee Payment Schedule 157
Financial Aid Eligibility 24
Financial Information 156
Five-Year BM/MM Program 68
Full-Time Status 24
G Musicology Course Offerings 138
General Information 9
General Studies Course Offerings 122
Grading System 22
Graduate Assistantships 163
Graduation Eligibility 24
Graduation Rates 27
Grants 159
Guitar Course Offerings 122
H
Harp Course Offerings 123
Health Insurance and Services 154
Humanities Course Offerings 124
Humanities, undergraduate 37
I Piano Course Offerings 145
Instrument Collection 11
Internet Service 13
169
J
Jazz Course Offerings 127
JHU Concentrations 67
Juries 34
K
Keyboard Studies Course Offerings 138
L
Language Course Offerings 126
Language Requirements
Bachelor of Music Degree 37
Doctor of Musical Arts Degree 94
Master of Music Degree 71
Large Ensembles 129
Leave of Absence 25
Lecture–Recital, DMA 95
Liberal Arts undergraduate 37
Liberal Arts Course Offerings 124
M
Master Classes 14
Master’s Essay 86
Master’s Portfolio 71
MENC 16
Music Education Course Offerings 130
Music Theory Course Offerings 133
Musicology Colloquium 94
O
Official Dress 20
Opera Course Offerings 143
Oral Defense of Dissertation 95
Organ Course Offerings 144
Outside Instruction and Performances 20
P
Peabody National Advisory Council 165
Peabody Trio 14
Pedagogy Course Offerings 144
Percussion Course Offerings 145
Performance Facilities 11
Pi Kappa Lambda 16
Portfolio of Compositions 71, 94
Preparatory Division 9
Previously earned Peabody Credits 70, 92
Prizes 162
Procedural Information 19
Program Completion
Doctor of Musical Arts Degree 95
Master of Music Degree 71
R Student Data 18
Readmission 27
Reciprocal Academic Arrangements 20
Recitals 19
Artist Diploma 110
Bachelor of Music Degree 34
Doctor of Musical Arts Degree 93
Graduate Performance Diploma 108
Master of Music Degree 71
Recording Arts Course Offerings 146
Recording Studios 12
Religious Activity 155
Repertoire Requirements, DMA 91
Residence Hall 154
Residency Requirements
Artist Diploma 110
Bachelor of Music Degree 33
Doctor of Musical Arts Degree 92
Graduate Performance Diploma 108
Master of Music Degree 69
Review Courses 70, 92
170
S
Scholarships 161
Shuttle Bus Service 155
Small Ensemble Course Offerings 149
String Course Offerings 149
Student Life 154
Student Rights and Responsibilities 27
Study Abroad Program 18
T
Transcripts 21
Transfer Credits 38
Trustees, The Johns Hopkins University 166
Thursday Noon Recital Series 36
Tuition and Fees 156
V
Voice Course Offerings 150
W
Withdrawals
Course 25
Refund Schedule 158
Woodwind Course Offerings 152
 7/23/09 11:03:52 AM
ac a d e m i c c ata l o g 2 0 0 9 – 2 0 1 0

Johns Hopkins University P e a b o d y C o n s e r vat o r y 2 0 0 9 - 2 0 1 0

Peabody Institute
One East Mount Vernon Place
Baltimore, MD 21202-2397

Peab_catcover092.indd 1-2