The Shepherd School of Music Rice University Proposal for a Post ...

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The Shepherd School of Music

Rice University

Proposal for a Post-Master’s

Artist Diploma in Music

Submitted to the Rice University Faculty Senate

February 14, 2012

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Table of Contents

Preamble 3

1. Rationale 4

2. Learning/Assessment 8

3. Faculty/Courses 12

4. Resources 21

5. Financial Support 22

6. Administration 23

7. Degree Requirements 26

8. Program Launch 28

9. Letters from Department Chairs 29

Appendix A – D.M.A. and M. Mus. Degree Plans 34

Appendix B – Changes to D.M.A and M. Mus. Degree Plans 54

Appendix C – Research on Peer Institution Diploma Programs 56

Appendix D – Meetings with Faculty and Administration 59

Appendix E – Artist Diploma Curricula at Peer Institutions 62

Appendix F – Non-degree Programs Accreditation 87

Appendix G – League of American Orchestras Statistics 90

Appendix H – Recent Shepherd School Graduates Placement 93

Appendix I – Brown Fine Arts Library, Fondren Library, Music Collections 95

Appendix J – Suggested New Wording for Rice’s General Announcements 96

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Preamble

The Shepherd School of Music is proposing the creation of a post-master’s program that

would award the Artist Diploma in Music.

The Shepherd School has considered the initiation of such a program for several years. It

was necessary however to complete the restructuring of both our doctoral and master’s

degree programs prior to moving forward with the new degree program proposal. The

revisions to our doctoral and master’s degrees occurred in 2007 and 2009 respectively

(though substantive they did not meet the criteria for requiring Senate approval - see

Appendix A). The appropriateness of creating an Artist Diploma program became

increasingly clear as we contemplated, assessed and eventually implemented the changes

to our existing graduate degree programs (see Appendix B).

Our desire to move forward with an Artist Diploma proposal became compelling for

several reasons. First and foremost, however, as we refocused our doctoral program on

preparing students for careers in academia, we came to realize that it would no longer

accommodate students wishing to pursue careers exclusively in music performance. We

were also reminded that the master’s degree is not always sufficient for those interested

in receiving professional training at a very advanced level. An Artist Diploma program

was needed to complete our program offerings.

Our revised doctoral degree program was implemented in 2007. The revised master’s

degree program began in 2009 although full implementation occurred only at the

beginning of this academic year (2011-2012).

Discussion about the creation of an Artist Diploma program intensified as we neared

completion of the master’s degree revisions. In the two years that followed, we

conducted conversations with peer institutions and did comparative research, gathering as

much information as possible about the contents of Artist Diploma programs being

offered nationwide but primarily at our peer institutions (see Appendix C).

Further discussion among the entire Shepherd School faculty, both in committee and

collectively, has taken place over the last one-and-a-half years. Additional discussions

with critical administrators outside the Shepherd School provided a much-needed

external perspective (see Appendix D).

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1. Rationale

Historical Perspective

Training musicians in music performance is a centuries-old tradition. Fundamental to

this tradition is the master/apprentice mode of instruction, which has remained intact

from the earliest times through the present.

At the core of the master/apprentice model is an oral tradition where invaluable

information is shared, mostly orally and often by way of “modeling.” An example would

be the legendary violin pedagogue Ivan Galamian, who taught Dorothy Delay, the

renowned Juilliard professor, who taught Cho-Liang Lin, the renowned Shepherd School

Professor, who now teaches Luke Hsu, perhaps our most gifted undergraduate violinist.

This mode of instruction has endured, primarily because of its effectiveness.

Traditionally, all performance programs but particularly the Artist Diploma have strongly

emphasized the master/apprentice relationship in their design. Artist Diploma programs

typically have few if any requirements other than increased and intensified interaction

between the studio teacher (master) and the student (apprentice). Preserving flexibility

and fashioning the course of study to the students’ needs have been the hallmark of such

programs. As explained later, we at the Shepherd School have developed a program plan

that we believe improves upon the traditional model.

To fully comprehend and appreciate the significance of the traditional master/apprentice

relationship, it is perhaps useful to put that model into a broader context.

Music can, at times, be interpreted objectively in spite of the fact that sounds do not

necessarily have precise meanings. It is more often the case however that music requires

a far more subjective interpretation, primarily because sounds in musical compositions,

unlike words, do not have a precise meaning.

The subjective nature of interpreting music, and by extension music performance, is what

makes the master/apprentice model of instruction such a powerful pedagogical method.

The master teacher spends inordinate amounts of time developing the student’s

interpretive skills and instincts. Performing traditions and methods are passed along

orally and through modeling from generation to generation.

Among the most important interpretive skills are musicality, i.e. the ability to transform

notated pitches and rhythms into coherent, meaningful musical statements in a way that is

unique to that individual student and comprehensible to his/her audience; style, i.e.

understanding the style in which a particular composition should be rendered; genre, i.e.

being conversant with the different approaches one takes when performing solo versus

chamber music versus orchestral repertoire; and music notation, i.e. developing one’s

skill in translating the symbols on a page into comprehensible musical ideas (learning to

fully comprehend and interpret the many nuances and peculiarities encountered in music

notation alone requires years of intensive study).

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The master/apprentice paradigm is clearly fundamental to music performance pedagogy.

It also plays a pivotal role in the creation, preservation and advancement of musical

traditions. Bachelor’s, master’s and doctoral programs in music performance all have,

without exception, the master/apprentice paradigm at their core. Furthermore, it stands to

reason that the primary emphasis in an Artist Diploma program is an even more

concentrated version of the master/apprentice paradigm.

Peer Programs

The Shepherd School is currently the only school among 99% of our peers not currently

offering an Artist Diploma program. Our peer institutions in fact offer a variety of

diploma and or certificate programs -- the Performers Certificate, the Graduate Diploma

and finally the Artist Diploma (see Appendix E). The Performers Certificate is offered

as both an undergraduate and graduate option at some institutions, whereas the Graduate

Diploma is exclusive to master’s-level study. Certificate and graduate diploma programs

are nearly always categorized as non-degree programs.

Artist Diploma programs are also typically classified as non-degree programs. This has

no bearing on their accreditation status however. Artist Diploma programs are accredited

both by the Southern Association of Colleges and Schools and the National Association

of Schools of Music (see Appendix F). The best Artist Diploma programs are

comparable to degree programs in their design.

A required course of study, clearly defined goals, benchmarks, systematic evaluation,

minimum numbers of accumulated credit for program completion, residency

requirements, ongoing overall program assessment and the awarding of a recognized

credential are ingredients common to both diploma and degree programs. A notable

difference however would be the emphasis placed on “professional” studies in Artist

Diploma programs versus the “academic” concentration within degree plans.

The Artist Diploma represents the most advanced level of performance study at our peer

institutions. At a select few, such as Yale, it is offered only at the post-master’s level.

Our program would be similar to Yale’s in that respect.

The Artist Diploma at the Shepherd School -- as well as at peer institutions like the

Juilliard School, the New England Conservatory, the Yale School of Music, the

Cleveland Institute, the Peabody Institute at Johns Hopkins University and Northwestern

University -- is intended for exceptional students who possess both extraordinary musical

talent and the potential to flourish in the highly competitive contemporary musical world.

Unlike many of our peers however our Artist Diploma would be designed as a logical

alternative to our doctoral program (D.M.A.). Both our D.M.A. and our proposed Artist

Diploma represent post-master’s degree programs. The Shepherd School’s D.M.A.

program is designed for brilliant musicians who seek academic careers whereas the Artist

Diploma would be for exceptional musicians aiming toward a career focused on

performance at the highest levels.

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The focus of the Artist Diploma program is obviously on highly advanced training in

music performance. However we have infused the program with a certain amount of

academic rigor that we deem appropriate to its mission. This differentiates us from our

peer institutions.

Specifically, courses in performance style or performance practice will be required as

well as courses in career and skills enhancement. Our peer programs have comparatively

few, if any, requirements other than advanced study in the major instrument or in voice.

Furthermore, we feel that admitting only students who possess a master’s degree imbues

the program with a credible academic standing.

Another distinctive feature of our proposed Artist Diploma program is that instrumental

students would be required to perform alongside our faculty in a new faculty/student

orchestra called the Sinfonietta. Artist Diploma students would additionally perform in

faculty chamber music ensembles formed from across the School’s departments, the

exception being opera students who are cast in operatic roles. No other Artist Diploma

program offers, let alone requires, this opportunity to perform with faculty as part of its

program plan.

One final and truly unique feature is our concept of assigning a “master teacher

committee” (the Diploma Committee) to each student in the Artist Diploma program for

instruction in their major instrument or voice.

The concept involves a student receiving instruction in their major area with a principal

teacher but also with two or three additional studio faculty. A violin student for example,

will work primarily with one violin professor however individual lessons from other

members of the committee will be required as well. The student violinist’s committee

might consist of violin, cello, flute and piano professors. The student would obviously

work with the violin professor but the cello, flute and piano professors would provide

instruction as well albeit from different professional perspectives. Accordingly, the

student will be presented with multiple viewpoints and an abundance of feedback. No

other institution offers instruction of this magnitude, scope and intensity. This elevates

the master/apprentice paradigm to an unprecedented level and sets us apart, dramatically,

from any of our peers.

Educational Mission

The Shepherd School focuses on training performers, composers and musicologists to be

informed musicians. In light of this, a particularly effective strategy we currently employ

is requiring all of our performance majors – doctoral, masters and bachelors – to perform

together in orchestra, chamber music and opera. There is some separation by degree and

level -- most notably in chamber music and opera -- but this commixing, particularly in

orchestra, has worked remarkably well for our purposes. Graduate students serve as role

models and mentors for undergraduate students while graduate students both at the

doctoral and master’s levels benefit from close interaction with one another.

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The addition of Artist Diploma students will further enrich the chamber music, orchestral

and operatic experiences for all our current students. Being advanced, post-master’s

degree students with a focused interest in a performance career, they will provide a

different kind of role model for the undergraduate and graduate students -- particularly

those with similar long-term interests -- and they will constitute a complementary peer

group for our doctoral students as well.

Finally, our faculty relishes the thought of mentoring a different profile of student. The

Artist Diploma students will create a new dynamic within and among the faculty studios.

Their advanced level presents a different kind of challenge for studio faculty, the

Diploma Committee, ensemble conductors and the faculty chamber music coaches.

Career Prospects

It is indeed true that having a professional career in the field of music is extremely

challenging. The statistics however, particularly within the orchestral field, suggest a

fairly stable and enduring marketplace (see Appendix G). Moreover, the Shepherd

School’s current students and graduates have had extraordinary success in winning

positions in orchestras, opera companies, chamber music ensembles, university teaching

positions, and other music-related professions (see Appendix H). We anticipate that

graduates of the proposed Artist Diploma program will successfully compete for the very

finest orchestral, opera and chamber music opportunities available.

Our relatively newly revised doctoral program has been successful in attracting

outstanding musicians wishing to combine a career in academia with performing and/or

composing. Nonetheless, there is still an extremely qualified segment of the applicant

population that we currently are not able to engage: those who are interested solely in

highly advanced, post-master’s training in performance. We essentially yield to our peers

when competing for this exceptionally gifted sector.

Conclusion

In sum, adding a small cadre of Artist Diploma students to our current performance

program would significantly enhance the quality of our orchestral and chamber music

ensembles and opera productions as well. It would also clarify the goal and purpose of

our doctoral program by offering applicants a clear choice between pursuing a career in

academia or continuing on their trajectory as performers. And lastly, the new program

will provide us access to a pool of gifted students currently unavailable to us, thereby

endowing us with a stronger competitive advantage among our peers.

The prestige of the School’s current programs suggests that we are well positioned to

move forward with the creation of a new and unique Artist Diploma program, one that

adds luster to the already fine reputation enjoyed by the Shepherd School.

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2. Learning/Assessment

Goal #1

Students will demonstrate the technical mastery and musical expertise requisite to having

a significant professional career in their chosen area of performance.

- Students who focus on solo performance should be capable of having a solo

career.

- Students who focus on orchestral performance should be capable of winning a

chair in one of our nation’s premiere symphony orchestras.

- Students who focus on chamber music performance should be capable of winning

a position or be a founding member in a renowned chamber ensemble such as a

string quartet, piano quartet, piano trio, and wind or brass quintet.

- Students who focus on conducting should be capable of entering the profession as

an associate music director in a major orchestra or music director of a regional

orchestra.

- Students who focus on opera should be capable of winning a position in a

premiere young artist program or moving directly to a professional operatic

career.

Method to achieve goal: Students will be enrolled each semester for Individual and

Committee Instruction. Weekly lessons with their principal teacher as well as periodically

scheduled coachings with members of the Diploma Committee will cover all areas of

performance relating to their chosen field. Be it solo, orchestral, chamber music or opera

performance, all performance-related issues including technique, musical interpretation,

style and repertoire will receive focused, particularized feedback from both the studio

teacher and the members of the student’s Diploma Committee. The master/apprentice

model by design offers multiple opportunities for personalized instruction. The Diploma

Committee paradigm will further increase the amount and frequency of instruction

targeted to a specific individual.

Goal #2

Students will intellectually master the stylistic differences when performing music of the

Baroque, Classical, Romantic, modern and contemporary eras and be able to apply them

in performance situations.

- In addition to acquiring a command of various styles and performance practices,

students should accumulate a significantly expanded and diverse list of repertoire.

Method to achieve goal: The Artist Diploma Seminar, required in either the first or third

semester of study, will be modular in design and team-taught. A variety of experts will

instruct students on matters of musical style and historically informed performance

practices. The course will typically survey performing practices ranging from the

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Baroque period through today. Individualized assessments of performance style will be

offered on a bi-weekly basis via in-class, student performances.

The Performance requirement for each instrumental student will include participation in

orchestra and/or chamber music (the requirement will adjusted accordingly for

conductors and students pursuing solo performance). Multiple rehearsals in those

ensembles each week will address issues relating to style, technique and repertoire.

Participation in the newly formed Sinfonietta will stress repertoire and the ability to

prepare a concert within the standard professional timeframe (i.e. a 2 – 3 day preparation

period with three, 2-hour rehearsals followed by the concert).

For their performance requirement, opera students will be cast in operatic roles, do

intensive work in scenes programs and have a greater concentration of language and

diction training. Additional work focused on refining their acting skills will be included

in the performance requirement as well.

Goal #3

Students will be equipped with multiple extra-musical career skills.

- Students should be able to speak intelligently to an audience about the music they

perform.

- Students should possess the social skills to interact comfortably with the members

of an audience.

- Students should possess the research and writing skills requisite to writing

program notes and their own biographical sketch.

- Students should have an appropriate understanding of the business side of the

profession.

- Students should have sufficient command of technology to:

o Develop and maintain their own website.

o Record, edit and produce a compact disc.

Method to achieve goal: Career and Skills Enhancement courses are designed to equip

students with a broad complement of skills that are essential to the professional

development of today’s musicians. A sample of the course listings include: Technology

for Musicians; Enhanced Performance: Writing, Speaking, Playing; and Advanced

Mental Training. The Career and Skills Enhancement courses align particularly well with

the Special Project in the proposed Artist Diploma program.

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The Special Project will be an opportunity for students to apply both their performance

and career-building skills directly in the marketplace. A special project must be designed

and implemented in each year of the program. Projects will vary in content. An example

might be a student creating a recital program for an alternative venue, such as an art

exhibition or perhaps arranging multiple concerts in traditional venues. The project would

include making all the necessary arrangements for “producing” the recital(s), including

identifying a presenter, engaging additional musicians, handling the contractual

agreements, overseeing any technical needs (i.e. lighting, microphones, recording,),

interacting with the audience, etc. A second scenario might include a student

researching and preparing the works of a relatively obscure composer for performance.

Establishing a historical context, analyzing, editing, writing program notes, rehearsing

and performing the works might all be included in the research project.

Curriculum Map

The three specific goals (learning outcomes) articulated above, along with the required

courses for the Diploma relative to those goals, are as follows:

Year One

Individual and Committee Instruction Goals #1, #2 and #3

Artist Diploma Seminar (1st or 3

rd semester) Goals #1 and #2

Special Project Goals #1, #2 and #3

Performance Goals #1 and #2

Recital Goals #1 and #2

Year Two

Individual and Committee Instruction Goals #1, #2 and #3

Career and Skills Enhancement Goal #3

Special Project Goals #1, #2 and #3

Performance Goals #1 and #2

Recital Goals #1 and #2

Program Assessment

We propose to evaluate the Artist Diploma program on an ongoing basis from two

distinct perspectives: directly and indirectly. First, as a direct method, we plan to monitor

student development within the two-year program as it relates to the stated learning

objectives. Second, we plan to gauge the program’s overall effectiveness by tracking

student success one, three, five and ten years after graduation.

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Together these gauges will provide a broader context for data collection and ultimately

program assessment. The combined data will enable us to evaluate what adjustments are

needed to improve the program’s effectiveness in realizing its stated mission. The data

will also be essential in developing the Program’s 5-year progress report to the Rice

Faculty Senate.

Direct Assessment: Frequent evaluation of student development is configured within the

program plan. The master/apprentice model by design offers faculty and administration

multiple opportunities for assessing student progress and program effectiveness. Both the

required courses, Individual and Committee Instruction and Performance, enable the

faculty and administration to track student progress on a weekly basis from day one

through completion of the program. What is programmatically effective becomes readily

apparent.

The Special Project is another reliable measurement of the program plan’s formulation.

Both a student’s performance level and the degree to which s/he has procured the

requisite career skills can be determined. Utilizing the assessment opportunities inherent

in the program is a reliable means for measuring program effectiveness.

Indirect Assessment: Tracking the career paths of our graduates has proven effective for

evaluating the quality of our current degree programs. We believe a comparable

methodology will enable assessment of the Artist Diploma program as well.

We maintain regular contact with alumni, typically through our faculty. This provides us

with relatively current information regarding their status in the profession. Our new e-

newsletter Resonance has quickly become a reliable way to establish contact with our

graduates as well. Several of our alumni were formally surveyed six years ago as part of

our doctoral program review. The data collected was invaluable to our assessing and

subsequent reconfiguration of that particular program.

Our intention would be to conduct more consistent and formal surveys particularly

among alumni of the Artist Diploma program. We believe that success in the profession

is a significant indicator of the efficacy of our programs.

In sum, the Artist Diploma program will have numerous built-in and external

mechanisms whereby overall program effectiveness can be regularly monitored and

assessed.

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3. Faculty/Courses

Faculty Workload

The Artist Diploma program will consist of a comparably small number of students. The

idea, as stated earlier, is to have a highly selective, elite program.

We currently enroll a total of approximately 135 masters students and calculate the

overall size of the Diploma program to be 18 (9 admits per year maximum). Our

intention is to reduce the number of master’s degree students to approximately 117,

thereby making room for the 18 new Diploma students. Overall enrollment in the School

should therefore be largely unaffected and the impact on our existing programs will be

minimal. Rare exceptions might occur however.

Departments need to consider the overall number of undergraduate, graduate and doctoral

students participating in our orchestral and chamber music programs before determining

the number of Artist Diploma students they wish to recommend for admission.

Preserving the requisite quota of students participating in our core ensembles is a priority.

If we admit an Artist Diploma student whose program plan does not include their

participation in our core ensembles, we may need to adjust the number of our degree-

seeking students required to participate. Alternatively, in exceptional cases, we could ask

a faculty member to agree to modestly increase the size of his/her studio.

A studio faculty member wishing to exceed his/her studio quota by accepting an artist

diploma student who will not participate in our core ensembles may do so in consultation

with the Dean, providing the requisite number of students from his/her studio and/or

department participating in our core ensembles has been met.

The number of Artist Diploma slots available to departments overall will reflect the

proportions of the student body represented by those departments, excluding the

departments for which the Artist Diploma is not pertinent (Composition/Theory and

Musicology).

Our calculations indicate that current faculty resources will be sufficient for

implementation of the Diploma program; additional faculty will not be required. The

extra burden on current faculty for realization of the Diploma Committee should be quite

manageable assuming a strategic allocation of the workload and given the particularly

small number of students enrolled.

The same applies to the new Artist Diploma Seminar. It will be a one-semester course,

team-taught and offered every other year, and hence the additional workload will be

widely distributed. The Performance course interfaces with our new faculty/student

Sinfonietta as well as existing faculty chamber music performances. The program will

necessitate additional administrative resources, which are addressed later in this proposal.

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Current Faculty

Dean

Yekovich, Robert A., 2003. Dean of the Shepherd School of Music, Elma Schneider

Professor of Music

BMus (1978), MMus (1980) University of Denver; DMA (1991) Columbia University

Faculty

Al-Zand, Karim, 2002. Associate Professor of Composition and Theory

BM (1993) McGill University; PhD (2000) Harvard University

Atherholt, Robert, 1984. Professor of Oboe; Former Principal, Houston Symphony

Orchestra

BMus (1976), MMus (1977) Juilliard School of Music

Bado, Richard, 2005. Professor of Opera, Director of the Opera Studies Program;

Chorus Master, Houston Grand Opera

BM (1981) West Virginia University; MM (1983) Eastman School of Music

Bailey, Nancy Gisbrecht, 1997. Lecturer of Vocal Literature

BA (1975) University of the Redlands; MA (1981), PhD (1985) University of

Southern California

Bailey, Walter B., 1982. Associate Professor of Musicology, Chair of Musicology

BMus (1976) Lewis and Clark College; MA (1979), PhD (1982) University of

Southern California

Barnett, Gregory, 2002. Associate Professor of Musicology

BA (1988) Oberlin College; MFA (1992), PhD (1997) Princeton University

Barnhill, Allen, 2010. Associate Professor of Trombone; Principal, Houston Symphony

Orchestra

BM (1977) Eastman School of Music

Brandt, Anthony K., 1998. Associate Professor of Composition and Theory

BA (1983) Harvard College; MA (1987) California Institute of the Arts; PhD (1993)

Harvard University

Brown, Richard, 1984. Professor of Percussion, Chair of Percussion and Harp

BME (1969) Temple University; MMus (1971) Catholic University of America

Buchman, Rachel, 2005. Lecturer of Music

BA (1978) Vassar College

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Buyse, Leone, 1997. Joseph and Ida Kirkland Mullen Professor of Flute,

Chair of Woodwinds

BM (1968) Eastman School of Music; Certificat d’Etudes (1970) Paris Conservatory;

MM (1980) Emporia State University

Chen, Shih-Hui, 2000. Associate Professor of Composition and Theory

Diploma (1982) National Academy of the Arts, Taiwan; MM (1985) Northern Illinois

University; DMA (1993) Boston University

Cho, David, 2011. Associate Conductor

BMus ( 1997) Oberlin Conservatory; MM (2000) Peabody Institute; MMus (2003)

Rice University

Citron, Marcia J., 1976. Martha and Henry Malcolm Lovett Distinguished Service

Professor of Musicology

BA (1966) Brooklyn College; MA (1968), PhD (1971) University of North Carolina,

Chapel Hill

Connelly, Brian, 1984. Artist Teacher of Piano and Piano Chamber Music and Accompanying

BMus (1980), MMus (1983) University of Michigan

Cowan, Kenneth, Fall 2012. Associate Professor of Organ

BMus (1997) Curtis Institute of Music; MMus (1999), Artist Diploma (2000) Yale

Institute of Sacred Music

DerHovsepian, Joan, 2001. Artist Teacher of Viola; Associate Principal, Houston

Symphony Orchestra

BM (1991), MM (1994) Eastman School of Music

Dickinson, Debra, 1993. Artist Teacher of Opera Studies

BS (1975) Northwestern University; MA (1991) Hunter College

Dunham, James F., 2001. Professor of Viola and Chamber Music

BFA (1972), MFA (1974) California Institute of the Arts

Dunn, Susan, 2002. Lecturer of Voice

BMus (1985), Graduate Diploma of Music (1987) Queensland Conservatorium of

Music

Ellison, Paul V. H., 1975. Lynette S. Autrey Professor of Double Bass, Chair of Strings

BME (1965) Eastern New Mexico University; MM (1966) Northwestern University;

Performer’s Certificate (1991), Nouvelle Technique Teacher’s Certificate (1991)

Instuit International de contrabasse “Francois Rabbath”

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Ferris, David, 1998. Associate Professor of Musicology

BM (1982) New England Conservatory; PhD (1993) Brandeis University

Fischer, Jeanne K., 1992. Artist Teacher of Piano and Collaborative Skills

BMus (1971) Oberlin College; MMus (1977) New England Conservatory of Music

Fischer, Norman, 1992. Herbert S. Autrey Professor of Cello

BMus (1971) Oberlin College

Freeman, Phillip, 2010. Associate Professor of Trombone; Bass Trombone, Houston

Symphony Orchestra

BM (1997) University of Houston

French, Christopher, 1999. Artist Teacher of Cello Orchestral Repertoire; Associate

Principal, Houston Symphony Orchestra

BM (1982) North Park University

Goldsmith, Kenneth, 1991. Professor of Violin

BM (1966) George Peabody College for Teachers; MA (1968) Leland Stanford

University

Gottschalk, Arthur W., 1977. Professor of Composition and Theory,

BMus (1974), MA (1975), DMA (1978) University of Michigan

Graf, Hans, 2002. Artist in Residence; Music Director, Houston Symphony Orchestra

Gross, Robert, 2010. Lecturer of Music

BMus (1995) Oberlin Conservatory; MMus (1998) Rice University; MA (2002)

Bristol University; Graduate Certificate, DMA (2008) University of Southern

California

Halen, Eric, 2008. Artist Teacher of Violin Orchestral Repertoire; Associate

Concertmaster, Houston Symphony Orchestra

BM (1977) Central Missouri State University; MM (1979) University of Illinois

Hawley, Richard, 2011. Professor of Clarinet

BM (1992) Curtis Institute of Music

Hoebig, Desmond, 2008. Professor of Cello

BM (1982), MM (1983) The Juilliard School of Music

Huang, Frank, 2011. Artist Teacher of Violin; Concertmaster, Houston Symphony Orchestra

BMus (2000) Cleveland Institute of Music; Artist Diploma (2001) The Juilliard School

of Music

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Jaber, Thomas I., 1988. Professor of Music, Director of Choral Ensembles

BME (1974) Arkansas State University; MMus (1976) Indiana University;

Performer’s Certificate (1977) Curtis Institute of Music

Jalbert, Pierre D., 1996. Professor of Composition and Theory, Chair of Composition and

Theory

BM (1989) Oberlin Conservatory of Music; PhD (1993) University of Pennsylvania

Kamins, Benjamin C., 1987. Professor of Bassoon; Former Principal, Houston Symphony

Orchestra

Kantor, Paul, Fall 2012. Sallie Shepherd Perkins Professor of Music

BM (1977), MM (1978) The Juilliard School of Music

Kaun, Kathleen, 1998. Lynette S. Autrey Professor of Voice

BM (1966) Indiana University; MM (1970) University of Texas–Austin

King, Stephen, 2003. Professor of Voice, Chair of Voice

BMus (1982) Auburn University; MMus (1985) Florida State University; Performer’s

Certificate (1990), DMA (1991) Southern Baptist Theological Seminary

Kirk, David E., 1982. Associate Professor of Tuba; Principal, Houston Symphony

Orchestra

BM (1982) Juilliard School of Music

Kloeckner, Phillip, 2003. Lecturer of Music

BA (1982) Swathmore College; BM (1986) Oberlin College; MMus (1991), DMA

(2003) Rice University

Lavenda, Richard A., 1987. Professor of Composition and Theory

BA (1977) Dartmouth College; MMus (1979) Rice University; DMA (1983)

University of Michigan

LeGrand, Thomas, 2003. Associate Professor of Clarinet; Associate Principal, Houston

Sympony Orchestra

BMus (1980) Curtis Institute of Music

Li, Joseph, 2011. Artist Teacher of Opera Studies

BA (2002), MM (2004) Manhattan School of Music

Lin, Cho-Liang, 2006. Professor of Violin

BMus (1981) The Juilliard School of Music

Loehnig, Grant, 2008. Artist Teacher of Opera Studies

BA (2002) Macalester College; MM (2005) Manhattan School of Music

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Loewen, Peter V., 2006. Assistant Professor of Musicology

BMus (1987) University of Manitoba; MMus (1990), PhD (2000) University of

Southern California

Mentzer, Susanne, 2006. Professor of Voice

BMus (1979), MMus (1980) Juilliard School of Music

Page, Paula, 1985. Associate Professor of Harp; Principal, Houston Symphony Orchestra

BMus (1969) Cleveland Institute of Music

Park, Sohyoung, 2005. Artist Teacher of Piano and Piano Pedagogy

BMus (1991) Seoul National University; MMus (1993) University of Michigan; DMA

(2000) Rice University

Parker, Jon Kimura, 2000. Professor of Piano

BMus, MMus (1981), DMA (1989) Juilliard School of Music

Pitts, Timothy, 1992. Professor of Double Bass

BMus (1981) New England Conservatory of Music

Rachleff, Larry, 1991. Walter Kris Hubert Professor of Orchestra Conducting

BS (1977) University of Connecticut; MM (1979) University of Michigan

Rarick, Janet, 1992. Associate Professor of Music Career Development

BM (1973) University of Southern California

Roux, Robert, 1990. Professor of Piano, Chair of Keyboard

BMus (1970) Loyola University; MMus (1978), DMA (1980) University of Texas–

Austin

Shank Jr, C. Dean, 1984. Artist Teacher of Piano and Piano Technology

BMus (1968), MMus (1971) North Texas State University; DMA (1988) University of

Texas–Austin

Smith, Brinton, 2005. Associate Professor of Cello; Principal, Houston Symphony Orchestra

BA (1986) Arizona State University; MA (1988) University of Southern California;

MMus (1991), DMA (1998) Juilliard School of Music

Speziale, Marie, 2002. Professor of Trumpet and Chair of Brass

BM (1964) College Conservatory of Music, University of Cincinnati

Stallmann, Kurt, 2002. Lynette S. Autrey Associate Professor of Composition and Theory

BM (1987) Northern Illinois University; AM (1998), PhD (1999) Harvard University

Stasney, C. Richard, 1999. Adjunct Professor of Performing Arts Medicine

18

BA (1965) Yale University; MD (1969) Baylor College of Medicine

Van der Werff, Ivo-Jan, 2007. Professor of Viola Associate

Hons (1980) Royal College of Music

VerMeulen, William, 1990. Professor of French Horn; Principal, Houston Symphony

Orchestra

Watkins, Cornelia, 2009. Lecturer of Music

BM (1983) The Hartt School, University of Hartford; MM (1974) University of

Houston

Webster, Michael, 1997. Professor of Music

BM (1966), MM (1967), DMA (1975) Eastman School of Music

Weckstrom, Virginia, Fall 2012. Artist Teacher of Piano Chamber Music and Accompanying

BA (1969) Western College for Women; MM (1971) Yale School of Music

Winkler, Kathleen, 1992. Professor of Violin

BMus (1972), Performer’s Certificate (1972) Indiana University; MMus (1974)

University of Michigan

New Course Descriptions

Individual and Committee Instruction (4 semester hours)

Another unique feature of the Artists Diploma program is that students are assigned a

“Diploma Committee” in addition to a principal teacher. The committee may consist of

Shepherd School faculty either from within or outside the department. Students meet

individually with all the members of their committee based upon a mutually agreed upon

schedule and under the direction of their studio teacher. As a result, students are

provided a wide array of perspectives and multi-dimensional input regarding various

aspects of their performance training.

Artist Diploma Seminar (3 semester hours)

All students within the Artist Diploma program are required to participate in the seminar.

The course has a modular design and is team-taught. The general focus tends toward

stylistic questions in performance although topics vary and are chosen with the specific

makeup of the class in mind. The Artist Diploma Seminar is a one-semester course,

offered every other year.

Special Projects (3 semester hours)

A special project must be designed and implemented in each year of residency. An

example might be a student creates a recital program for an alternative venue, such as an

art exhibition or perhaps arranges multiple concerts in traditional venues. The project

19

would include making all the necessary arrangements for “producing” the recital(s)

including identifying a presenter, engaging additional musicians, handling the contractual

agreements, overseeing any technical needs (i.e. lighting, microphones, recording,),

interacting with the audience, etc. Students are required to submit a project proposal to

their Diploma Committee and the Director of the Artist Diploma program in the semester

prior to the realization of the project.

Performance (3 semester hours)

Students in the Artist Diploma program will be required to perform alongside faculty,

either in chamber music ensembles and/or the Shepherd School Sinfonietta, a unique

feature of the program mentioned earlier. The Sinfonietta is an ensemble comprised

primarily of faculty and advanced students, of which the rehearsal and performance

schedules are modeled after a professional orchestra. Artist Diploma students will also

participate in the Shepherd School Symphony and/or Chamber Orchestras and chamber

music when appropriate. The performance requirement will be adjusted accordingly in

the case of a student pursuing solo performance or conducting. For their performance

requirement, opera students will be cast in operatic roles, scenes programs and additional

language and diction training. Students in the Artist Diploma program receive 3 hours of

credit each semester as their performance requirements exceed those in other degree

programs.

Current Career and Skills Enhancement Courses

MUSI 413 – Introduction to Dalcroze Eurhythmics

Dalcroze Eurhythmics is a musical education which aims to engage and utilize one's

whole being in the learning process. Students will explore very basic to quite complex

rhythmic concepts through experiencing their own inner fluidity and spacial energy. The

class is designed around the philosophy and teachings of Emile Jaques-Dalcroze.

MUSI 501 – Enhanced Performance: Writing, Speaking, Playing

This course prepares music students to communicate with audiences effectively beyond

their musical performance through the use of words, both written and oral. Students will

study, practice, and gain practical experience in writing and speaking about music

through a variety of performance situations.

MUSI 502 – Conducting: An Overview of Practical Skills

This course is designed to present an array of conducting tools to instrumentalists,

vocalists and composers. Discussions and presentations will cover diverse topics ranging

from baton technique to education/outreach programming.

MUSI 503 - Music and Performance: The Mind/Body Connection

Students learn effective ways to address the physical and mental stress of performance by

developing an awareness of the mind/body connection. This course introduces a variety

of techniques that help musicians to notice and change unhelpful practice habits and

move toward a better performance experience.

20

MUSI 506 - Advanced Sight-reading

This course will focus on developing effective sight-reading. Students will improve their

ability to quickly and accurately perceive the music they study, rehearse and perform,

through intensive practice and aural drills using advanced harmony, rhythm, and melody.

MUSI 507 - Technology for Musicians

This course will provide student musicians with the computer skills necessary for modern

musical life. Computer assisted notation, the basics of audio/video production, and

website creation will be covered as students learn to use a number of computer

applications.

MUSI 508 - Fundamentals of Private Teaching

This course will focus on the teaching of individual lessons to music students. It will

emphasize effective ways to start a beginning student, how to develop musicianship, and

how to teach good practice habits.

MUSI 509 – The Alexander Technique for Performers

The Alexander Technique is an educational method for developing conscious awareness

and control in relation to one's own poise, balance and movement patterns. Music

students will learn how the Technique can be a useful tool for developing greater

perception and ease within their art.

MUSI 510 – Professional Development for Musicians This course explores the practical aspects of building and sustaining a career in music.

Using networking, self-promotion, and presentation skills, students will create projects

needed for pursuing their careers. Guest speakers will offer additional resources for

students as they learn how to navigate the world of the Music Business.

LPCR 200 – Advanced Mental Training

This course is designed to focus on the psychology of performance excellence.

Specifically, it will highlight the relationship between mental toughness and performance

and will explore the ways in which the psychological skills training can be applied to a

variety of performance setting (e.g. business, music, drama and sport).

MGMT 621 – The New Enterprise

Evaluating opportunities and developing a business concept; analyzing new ventures;

pricing, selling, and cost control; attracting stakeholders and bootstrap finance; the legal

form of business and taxation; financing, deal structure and venture capital; harvesting

value; developing a business plan.

MGMT 625 – Creative Entrepreneurship

Designed for those wishing to form their own business. It takes the prospective

entrepreneur from the conception stage through the opening of the doors on the first day

of business. Students will form teams to make final presentations of their business plans.

The winning team of the final presentation will be eligible to participate in the Southwest

Business Plan Competition at Rice University. Numerous invited speakers.

21

MGMT 629 – Business Plan Development

This course is based on reading, analyzing and discussing business plans of actual

companies in motion. Class participation is important for this course. Reading the

material, discussing the business plans, and interacting with company management will

also make the course more enjoyable and meaningful. During the course, we will have

entrepreneurs and founders as guest lecturers. SalvageSale, BizSupplies and SimDesk are

examples of business plans we will discuss.

MGMT 676 – Social Enterprise

What might constitute social responsibility in a market setting? If social responsibility

connotes a connection between a person and a social problem say between you and a

poor person in Bangladesh or Houston how might it be exercised in a market transaction

of buying or selling? Is there a role of private enterprise or of private consumption for

alleviating some of the social problems (e.g., health, education, pollution, poverty, etc.)

that we observe and experience in communities across the world? Social Enterprise

explores these and related questions in the context of business.

4. Resources

Library Resources Fondren Library has an excellent collection of musical scores, recordings, DVDs and

essentially all the source materials necessary for supporting the Artist Diploma program.

The program, and its focus exclusively on performance, requires something less in the

way of library holdings than our D.M.A. program for example. That said, performers

often study scores, listen to recordings, watch videos, consult standard biographical

references and access other source materials regarding performance-related issues.

Fondren Library has more-than-ample resources in this regard (see Appendix I).

Computing Resources

The Technology for Musicians course is well supported. Computing and processing

equipment is readily available in The Finale Lab, Rice Electronic Music Labs

(REMLABS) and the new-outfitted Digital Media Center. All these facilities are

accessible to Shepherd School students enrolled in the appropriate courses. Site-specific

licenses are secured each year for the most recent versions of music notation, recording,

editing and sequencing software.

22

Space Resources Trimming the enrollment in our master’s degree program will offset the rather modest

numbers in the Artist Diploma program. There will be virtually no measurable impact on

our current spaces.

We are in need, however, of a new opera theatre, the Artist Diploma program

notwithstanding. We estimate that potentially attracting an even higher level of singer to

the opera program will further underscore the need for a greatly improved facility. The

most glaring inadequacy is the undersized orchestra pit that significantly restricts our

repertoire choices. A new opera theatre would remedy that limitation.

5. Financial Support

The new Artist Diploma program will have a very modest impact on the current budget

of the Shepherd School. Overall enrollment will not increase, as the size of the M. Mus.

program will be reduced so as to accommodate the new Diploma students.

Nearly 85% of the students currently enrolled in the M.Mus. program receive full tuition

scholarships, with about 10% receiving three-quarters tuition and the remaining 5% at

one-half tuition remission. The Artist Diploma students will supplant equal numbers of

M. Mus. students being currently funded at the full-tuition level hence there will be no

budgetary impact related to tuition.

We intend the Artist Diploma students to receive modest stipends however. Recruiting

students at this level will require making offers competitive with our peers, much the

same as our doctoral and most-qualified master’s students.

Student tuition is currently funded from a variety of endowed funds as well as some

annual gifts. The yields on our endowed funds are sufficient for providing not only the

requisite support for tuition but modest stipends as well.

23


Artist Diploma July 2013 - June 2018

1% incr 1% incr 1% incr 1% incr FY 2014 FY 2015 FY 2016 FY 2017 FY 2018

Enrollment 9 18 18 18 18 Tuition rate 26,160 26,422 26,686 26,953 27,222 Revenues: Total Tuition Revenue 235,440 475,589 480,345 485,148 490,000 SSM Term Endowment 64,540 119,080 119,080 119,080 119,080

Total Revenues 299,980 594,669 599,425 604,228 609,080 Expenses: Tuition 235,440 475,589 480,345 485,148 490,000 Stipend, 6K per student 54,000 108,000 108,000 108,000 108,000 Fringes 1% 540 1,080 1,080 1,080 1,080 Administrative 10,000 10,000 10,000 10,000 10,000

Total Expenses 299,980 594,669 599,425 604,228 609,080

Net Budget 0 0 0 0 0

6. Administration

Program Size and Oversight

The Artist Diploma program, a two-year residential program, will target a total

enrollment of 18 students, with a maximum of 9 students admitted annually. Artist

Diploma tracks will be offered in all orchestral instruments, conducting, keyboard and

opera.

A full-time, tenured member of the studio faculty will serve as Director of the Artist

Diploma Program. The director reports to the dean and has primary responsibility for all

aspects of the program, including the admissions process, organizing the Artist Diploma

Seminar, and tracking student progress. The director, along with the designated studio

teachers, advises Diploma students and coordinates the work of the Diploma Committees.

24

Admission Standards

The Artist Diploma program is for outstanding musicians aiming toward distinctive

professional performance careers. The admission standards therefore are exceptionally

high. A student aiming toward a solo career for example, should, in reality, have already

made significant strides toward attaining that goal and possess the extremely rare

potential to continue on that trajectory. Similarly, a student directed toward orchestral

performance should have the ability to win not just a chair in a professional orchestra, but

a chair in one of the world’s finest orchestras. It is imperative that these standards be

recognized and strictly adhered to.

Admission Requirements and Process

A master’s degree is required for all applicants along with, when appropriate, the

requisite TOEFL score (90 on the internet-based exam) for admittance to Rice

University. An Admissions Committee consisting of departmental faculty, the Director

of the Artist Diploma program and the dean makes admission recommendations. The

program is small and admission highly selective.

Applicants desiring admission to the Artist Diploma program must apply directly to that

program. An applicant for our Doctoral of Musical Arts degree program will not be

automatically considered for the Artist Diploma unless application is made to both

programs prior to the December 1 deadline.

Applicants are required to submit a compact disc recording (requirements differ among

departments) and a statement of purpose that articulates their reasons for pursuing the

Artist Diploma and the goals they wish to attain during the two-year residency. The

statement of purpose needs to be thoughtfully conceived and compelling because it will

be carefully weighed in the admissions decision. The Admissions Committee will review

the statement and develop a specific course plan, tailored to the individual, that includes

all performance-related and, wherever appropriate, academic requirements.

Interested applicants who pass the initial screening should be prepared to perform a full

recital (audition requirements differ among departments) as part of the live audition

process. Four letters of reference are required and other documentation may be requested

depending on a particular student’s statement of purpose and the recommendations of the

Admissions Committee.

Students are admitted to one of two tracks within the Artist Diploma program:

instrumental or vocal. Different emphases exist within each track. The instrumental

track enables students to focus on solo, chamber, orchestral performance or conducting

whereas the vocal track emphasizes only opera.

25

Tracking Student Progress

Each semester students will receive focused, particularized comments from weekly

interactions with their studio teacher. Individual coachings with the members of their

Diploma Committee will provide additional feedback offered from different perspectives.

The master/apprentice model by design offers multiple opportunities for providing a

student with regular assessment of his/her work. The Diploma Committee paradigm

further increases the amount and frequency of feedback targeted to a specific individual.

The Performance requirement for each student includes participation in orchestra,

chamber music or opera (adjustments are made for students pursuing a solo or conducting

emphasis). Weekly rehearsals in those ensembles provide students with direct faculty

input relating to both style and technique. Students receive comments following official

performances by those ensembles as well.

Career and Skills Enhancement courses require active student participation thereby

maximizing opportunities to receive immediate faculty response.

The Special Project provides yet another opportunity for evaluating student progress and

providing input. Students are required to submit a project proposal to their Diploma

Committee and the Director of the Artist Diploma program in the semester prior to the

realization of the project. The Committee and Director critique the proposal and make

recommendations. The Project typically provides valuable opportunities for students to

gather comments from both faculty and external constituencies.

Other opportunities for assessing students’ progress and providing them with feedback

are inherent in the program plan. Among them is the Recital Preview.

Students are required to perform a Recital Preview prior to obtaining approval to

formally present a required recital. The preview is performed for the Recital Committee,

which may or may not include members of the Diploma Committee. Aural as well as

written comments provide a critical assessment of the student’s progress to date. Once

approved, members of both the Recital and Diploma committees review the formal

recital.

Finally, the Diploma Committee meets near the end of each semester, first alone then

subsequently with the student. The Committee assesses the progress to date and

articulates areas of strength and, when appropriate, those requiring improvement.

In sum, the Artist Diploma program will have numerous built-in mechanisms whereby

student progress and overall program effectiveness can be regularly monitored and

assessed.

26

7. Degree Requirements

Degree Requirements

Completion of the Artist Diploma in Music requires two years of residency and a

minimum of 41 credit hours.

Each student is required to present one solo recital (opera students perform roles) and

participate in several ensemble (large and/or small depending on the course plan) or

opera performances during each year of residency. Students must enroll for a minimum

of 9 credit hours each semester.

Course Requirements

Students must enroll for a minimum of 9 credit hours per semester and accumulate no

fewer the 37 credit hours for completion of the Artist Diploma program.

Year One Credit Hours

Fall Semester

- Individual and Committee Instruction 4

- Artist Diploma Seminar 3

- Performance 3

_____

Semester total 10

Spring Semester


- Special Projects 3

- Performance 3

- Recital --

_____

Semester total 10

Annual total 20

27

Year Two

Fall Semester


- Career and Skills Enhancement (2, 2-hour courses) 4

- Performance 3

_____

Semester total 11

Spring Semester


- Special Projects 3

- Performance 3

- Recital --

_____

Semester total 10

Annual total 21

Combined two-year total 41

Students may wish to take courses beyond what is required and are encouraged to do so.

Advance music courses taken as electives, particularly in theory and/or musicology, will

require the permission of the instructor and may entail diagnostic exams.

28

8. Program Launch

Projected Time Line

Following is the ideal projected schedule for reviewing, obtaining approval, announcing

and implementing the program. Our suggested new wording for Rice’s General

Announcements can be found in Appendix J.

January/early February – Complete faculty review; make revisions to proposal;

convene faculty for final discussion and vote.

Mid-February/April – Submit to the Faculty Senate; review by the Graduate

Council; recommendations for revisions by Graduate Council; final

recommendation made to the Senate; final Senate vote

May- October – Design and place ads in professional publications and summer

festival programs announcing the launch of the Artist Diploma program; finalize

details and plans for admissions materials and process.

December 1 – Deadline for applications; first class of Artist Diploma students to

matriculate in August 2013

September 2012– March 2013 – Initial screening and applications review; make

admissions recommendations and develop individualized program plans; develop

plan and course schedule for the Artist Diploma Seminar.

29

9. Department Chairs and Director of Graduate Studies

Letters of Support

Dr. Robert Yekovich

Dean, Shepherd School of Music

Rice University

Dear Bob:

It is a pleasure to write in support of the proposed Artist Diploma program. Having taught

at the Shepherd School since 1997, I have long felt that our exceptional institution would

be further strengthened by the addition of the AD—provided that such an offering would

be truly unique when compared with AD programs at peer institutions such as the Yale

University School of Music.

The proposal before us is structurally unique in several significant ways, particularly in

the creation of a pedagogically involved Artist Diploma Committee of master teachers for

each student, the inclusion of required Career Skills Enhancement courses and special

projects to foster entrepreneurial creativity, and the stipulation of a performance

requirement for instrumentalists to appear in concert alongside faculty in ensembles such

as the newly created Shepherd School Sinfonietta. No other top-level music school in the

United States offers an Artist Diploma with such a rigorous curriculum—a curriculum

that will define without a doubt our remarkable strengths as a school within a highly

renowned university.

Adding the Artist Diploma program will enable faculty to recruit the highest level of

post-master’s performing talent from around the world. Since the program will be

extremely selective, our studios and ensembles will attain an even higher degree of

artistic mastery, further enhancing the reputation of Rice University both nationally and

internationally.

I greatly appreciate and am strongly in favor of this well-designed proposal.

Sincerely,

Leone Buyse

Joseph and Ida Kirkland Mullen Professor of Flute; Chair of Woodwinds

30

Dear Dean Yekovich,

Among many aspects of the AD program that I find appealing is the manner in which we

will be joining our peer institutions but with a far more well tailored, appropriate and up-

dated AD built with considerably more substance.

To reference the Table of Contents 1. Rational, traditional "modeling" is enhanced with

course and faculty coaching opportunities for the AD candidate to rise to todays standard

of appropriate contextual performance.

21 century artists must be well versed on the latest scholarship/research available

regarding period practice and how that may impact their future music making.

The Shepherd School is exceptionally well positioned and equipped to support this kind

of 'smart' AD.

My feeling is this program will have a very positive impact on our North American and

international standing/visibility among our peer and competitive institutions.

Not only are we adding a sought after diploma program--the Rice Shepherd School AD

offers unique value to those who qualify.

Sincerely,

Paul

Paul Ellison

L. S. Autrey Professor of Double Bass

String Department Chair

Shepherd School

Rice University

[email protected]

Studio, 713 348 3745

Dear Bob,

I write to offer my strongest endorsement for the proposed Artist Diploma. After

participating in and listening to discussions about this idea, it is obvious that this is a

timely proposal for the School and for the public that it will serve.

First, the AD is unique compared to any institution that Rice or the Shepherd School uses

as a measurement. The very small scope of the program and the highest possible standard

for admission create an environment that ensures accepting and training only the very

best in each discipline.

mailto:[email protected]

31

Second, after reading the final proposal, it is obvious that the School cares about creating

a structure that allows artist-level performers to thrive and succeed after their time here.

This is a crucial element so often lacking in similar programs. The instructional

committee will provide the "checks and balances" to ensure close interaction with faculty

and the personal attention so necessary to fostering great artists.

Finally, I believe we would offer this AD at a time when it will be well received by the

people who are looking for such training and those who advise them. The School's

national and international profiles are at the highest levels. The AD will create a new

level of interest and prepare a generation of artists that will reflect well upon the School

and Rice.

Warm regards,

Dr. Stephen King

Lynette S. Autrey Professor of Voice, Chair of Vocal Studies

The Shepherd School of Music Rice University

Dean Robert Yekovich

Shepherd School of Music

Rice University

Dear Dean Yekovich:

The new Artist Diploma proposal has the enthusiastic and unanimous support of the

Keyboard Department of the Shepherd School of Music. I know all too well that there

are many exceptionally talented students out there at the post-masters level who want

distinguished performing careers rather than a career in academia, which is served by our

current Doctor of Musical Arts degree. This large body of special and attractive young

artists has gone to AD programs at our peer institutions that have typically offered little

more than additional study with a prominent teacher on their instrument.

Here at Shepherd, we will be highly selective among this field of applicants and will

address their needs in a better way; especially noteworthy in the proposed program is the

committee supervision that will give the students access to a variety of faculty

performing perspectives and areas of expertise, particularly of the historically informed

kind.

32

Also noteworthy and unique is the requirement that the AD students perform alongside

Shepherd School faculty. The administration of the Shepherd School is to be

congratulated on showing the initiative in designing this new program which is brilliant

in conception and which, if implemented, will be a major contribution to the musical

environment for promising young artists with major career aspirations.

Sincerely,

Dr. Robert Roux

Chair, Keyboard Department

Shepherd School of Music

Rice University

Dear Dean Yekovich,

I write this letter in support of the proposed Artist Diploma and do so with the greatest

enthusiasm. I see this as a wholly positive addition to what is already an extremely

rigorous, distinguished program here at The Shepherd School of Music.

The design and content of this proposal is superb, well thought out, very thorough and

quite impressive in its scope and content. One of the most compelling aspects of this

program is the unique feature that will allow the student artist the opportunity to perform

alongside their teacher and other members of our highly acclaimed faculty. What an

invaluable experience! This concept is one that is not offered by our peer institutions

and will no doubt attract uniquely talented and highly intelligent, dedicated young

musicians.

Ultimately I feel the Artist Diploma will help propel our program to an even higher level

of excellence and will provide an unparalleled competitive edge.

Respectfully submitted,

Marie Speziale

Professor of Trumpet

Chair, Brass Department


Rice University

34

Appendix A. Sample Degree Plan (prior to revision)

MASTER OF MUSIC IN VIOLIN PERFORMANCE

VIOLIN LESSONS (12 hours required)

Course # Title Hrs

MUSI 691 Violin for Majors – Advanced 3




ADVANCED ORCHESTRA (4 semesters required)

MUSI 635 Advanced Orchestra 2




CHAMBER MUSIC (4 semesters required)

MUSI 636 Advanced Chamber Music 1




ORCHESTRAL REPERTOIRE (4 semesters required)

MUSI 531-001 Orchestral Repertoire 1




OTHER REQUIREMENTS

MUSI Approved Theory course 3

by exam Aural Skills exam

by conference Piano Proficiency

ELECTIVES (18 hours required)

MAY INCLUDE: remedial courses (including Graduate Aural Skills Review, and

secondary piano); university courses 300-up, foreign languages 100-up; Independent

Studies up to a total of 3 hrs; secondary lessons (fee); jazz ensemble.

MAY NOT INCLUDE: extra hours of required courses; undergrad theory and history

courses; more than 3 hrs Independent Studies; any course taken P/F.

RECITALS (required)

MUSI 641 Master’s Recital I 0

MUSI 741 or

MUSI 631

Master's Recital II or

Mock Audition 0

TOTAL HOURS (must be at least 49):

Rev 5/08

35

Appendix A. (cont.) Sample Degree Plan (prior to revision)

MASTER OF MUSIC IN PIANO PERFORMANCE

PIANO LESSONS (12 hours required)

Course # Title Hrs

MUSI 681 Piano for Majors – Advanced 3




PIANO TECHNOLOGY, PEDAGOGY (Choose 2 of the following 4 courses.)

MUSI 447 Introduction to Piano Technology 2

MUSI 448 Piano Technology Practicum for Pianists 2

MUSI 588 Piano Pedagogy I 2

MUSI 589 Piano Pedagogy II 2

CHAMBER MUSIC (4 hours required)





LARGE ENSEMBLE (4 semesters required; must be MUSI 635, 640, or 642)

OTHER REQUIREMENTS

MUSI 426 Piano Literature 3




MAY INCLUDE: remedial courses (including Graduate Aural Skills Review); university

courses 300-up, foreign languages 100-up; Independent Studies up to a total of 3 hrs;

secondary lessons (fee); jazz ensemble.



RECITALS (required)


MUSI 741 Master's Recital II 0


Rev 5/08

36


MASTER OF MUSIC IN VOCAL PERFORMANCE

VOICE LESSONS (12 hours required)

Course # Title Hrs

MUSI 673 Voice for Majors – Advanced 3




ENSEMBLE (every semester, 4 semesters required)

MUSI 572 Opera Role Performance 1




OPERA THEATER WORKSHOP (4 hours required)

MUSI 474 Opera Theater Workshop 1




VOCAL COACHING (every semester)

MUSI 571 Vocal Coaching 1




PREREQUISITES (required if not completed at undergraduate level; may be counted as

electives)

Voice Repertoire (4 hours required)

MUSI 575 Voice Repertoire I 2

MUSI 576 Voice Repertoire II 2

Diction (4 semester hours required)

MUSI 573 Italian Diction 1

MUSI 574 German Diction 1

MUSI 577 English Diction 1

MUSI 578 French Diction 1

Languages

FREN 101 Elementary French I 5

GERM 101 Elementary German I 5

ITAL 101 Elementary Italian I 4

102 (2nd

semester) 4


MAY INCLUDE: prerequisites; remedial courses; university courses 300-up, foreign

languages 100-up; Independent Studies up to a total of 3 hrs; secondary lessons (fee); jazz

ensemble.



37


OTHER REQUIREMENTS




RECITALS (2 required; one must include a chamber music piece)




38

Appendix A. (cont.) Sample Degree Plan (after revision)

MASTER OF MUSIC IN VIOLIN PERFORMANCE

LESSONS (12 hours required)

Course # Title Hrs





ENSEMBLES AND REPERTOIRE (16 hours required)













ADDITIONAL COURSES (10 hours required)


MUSI Theory or Music History course 3

MUSI Career & Skills Elective 2



MAY INCLUDE: university courses 300-up, foreign languages 100-up; Independent Studies

up to a total of 3 hrs; secondary lessons (fee); jazz ensemble.

MAY NOT INCLUDE: remedial courses (including Graduate Aural Skills Review, and

secondary piano); extra hours of required courses; undergrad theory and history courses; more

than 3 hrs Independent Studies; any course taken P/F.

OTHER REQUIREMENTS



RECITALS (required)


MUSI 741 or

MUSI 631

Master's Recital II or

Mock Audition 0

TOTAL HOURS (must be at least 44): Rev 7/2011

39


MASTER OF MUSIC IN PIANO PERFORMANCE


Course # Title Hrs





CHAMBER MUSIC & LARGE ENSEMBLE (minimum 6 hours required)





MUSI 1-2

MUSI 1-2






MUSI 426 Piano Literature 3

MUSI 588 Piano Pedagogy 2

DEGREE SPECIFIC COURSES (Choose 2 of the following 5 courses.)

MUSI 414 Piano Chamber Music Literature 3

MUSI 447 Introduction to Piano Technology 2

MUSI 514 Score Reading and Theory at the Keyboard 3

MUSI 619 History of the 20th

Century Pianism 2

MUSI 620 Historical Overview of Piano Technique 2


MAY INCLUDE: university courses 300-up, foreign languages 100-up; Independent Studies up

to a total of 3 hrs; secondary lessons (fee); jazz ensemble.

MAY NOT INCLUDE: remedial courses (including Graduate Aural Skills Review); extra hours

of required courses; undergrad theory and history courses; more than 3 hrs Independent Studies;

any course taken P/F.

OTHER REQUIREMENTS


RECITALS (required)




40


MASTER OF MUSIC IN VOCAL PERFORMANCE


Course # Title Hrs









OPERA (minimum 8 hours required)

MUSI 572 Opera Role Performance 1-2




MUSI 570 Advanced Operatic Studies 1









DEGREE SPECIFIC COURSES (8 hours required)

MUSI 549 Vocal Physiology and Function 2

MUSI 575 Voice Repertoire I (offered Fall only) 2

MUSI 576 Voice Repertoire II (offered Spring only) 2

MUSI 587 Graduate Diction for Singers 1

MUSI 587 Graduate Diction for Singers 1

PREREQUISITES (required if not completed at undergraduate level; will not count

toward elective hours)

FREN 101 Elementary French I 5

GERM 101 Elementary German I 5

ITAL 101 Elementary Italian I 4

102 (2nd

semester) 4

ELECTIVES (Minimum 6 hours required)

MAY INCLUDE: university courses 300-up, foreign languages 100-up; Independent Studies

up to a total of 3 hrs; secondary lessons (fee); jazz ensemble.

MAY NOT INCLUDE: remedial courses (including Graduate Aural Skills Review, and

secondary piano); extra hours of required courses; undergrad theory and history courses;

more than 3 hrs Independent Studies; any course taken P/F.

MUSI

MUSI

41


OTHER REQUIREMENTS



RECITALS (2 required; one must include a chamber music piece)




42


DOCTOR OF MUSICAL ARTS: PERFORMANCE - ORCHESTRAL INSTRUMENTS

Curricular Requirements Beyond the Bachelor’s Degree

PRIVATE INSTRUCTION (24 hrs. required-12 master’s, 12 minimum DMA)

Course # Description Hrs MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3

SOLO, CHAMBER, AND CONCERTO REPERTOIRE (12 hrs. required-DMA level)

MUSI 736 Solo, Chamber, and Concerto Repertoire 3 MUSI 736 Solo, Chamber, and Concerto Repertoire 3 MUSI 736 Solo, Chamber, and Concerto Repertoire 3 MUSI 736 Solo, Chamber, and Concerto Repertoire 3

PEDAGOGY & TECHNOLOGY (4 hrs req.)

MUSI Pedagogy 2 MUSI Technology or Pedagogy 2

HISTORY OF MUSIC (12 hrs req)

MUSI 523 Bibliography & Research Methods 3

THEORY OF MUSIC (12 hrs. required).

MUSI 711 Analytical Approaches 3

OTHER REQUIREMENTS (20 hours required)

I. Academic Electives (at least 3 hrs. required)

II. Performance Electives and Independent Study (max. of 9 hrs., taken at DMA)

III. Orchestra

MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2

DOCTORAL DOCUMENT (6 hours required) Begun after other work is completed and

Comprehensive Qualifying Exams are passed.

MUSI 750 Doctoral Document 3 MUSI 750 Doctoral Document 3

43


EXAMINATIONS

Aural Skills Proficiency (by exam or course)

Piano Proficiency (by exam or course)

Comprehensive Qualifying Exams in Music History, Music Theory, and the development and

literature of the major instrument.

Reading Competency in German, French, or Italian (by written exam)

RECITALS

MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital (req. for Violin, Viola, Cello, Double Bass) 0

TOTAL Minimum 90 hrs. beyond bachelor’s degree Rev 12/98

44


DOCTOR OF MUSICAL ARTS in PIANO PERFORMANCE


PRIVATE INSTRUCTION (24 hrs. required-12 master’s, 12 DMA)

Course # Description Hrs MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3 MUSI 681 Piano for Majors-Advanced 3



PIANO PEDAGOGY (4 hrs req.)

MUSI 588 Piano Pedagogy I 2 MUSI 589 Piano Pedagogy II 2

PIANO TECHNOLOGY (4 hrs req.)

MUSI 447 Intro to Piano Technology 2 MUSI 448 Practicum in Piano Technology 2


MUSI 523 Bibliography & Research Methods 3

THEORY OF MUSIC (12 hrs. required)

MUSI 711 Analytical Approaches 3


ENSEMBLES (Requirement to be determined)

DOCTORAL DOCUMENT (6 hours required)


45


RECITALS

MUSI 641 Advanced Recital 0 MUSI 741 Master’s Recital 0 MUSI 751 Doctoral Recital: Solo 0 MUSI 751 Doctoral Recital: Solo 0 MUSI 751 Doctoral Recital: Chamber Music 0 MUSI 751 Doctoral Recital: Concerto Performance 0 MUSI 751 Doctoral Recital: Lecture 0

FURTHER REQUIREMENTS

Aural Skills Proficiency (by exam or course) Written Qualifying Exam Oral Qualifying Exam



46


DOCTOR OF MUSICAL ARTS: VOCAL PERFORMANCE


PRIVATE INSTRUCTION (24 hrs. required-12 master’s, 12 minimum DMA)

Course # Description Hrs MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3 MUSI 673 Voice for Majors-Advanced 3



VOCAL COACHING (4 hrs. required-DMA level)

MUSI 571 Vocal Coaching 1 MUSI 571 Vocal Coaching 1 MUSI 571 Vocal Coaching 1 MUSI 571 Vocal Coaching 1

VOCAL PEDAGOGY (4 hrs req.).

MUSI 549 Vocal Pedagogy 2 MUSI 549 Vocal Pedagogy 2

OPERA PERFORMANCE (4 hrs req.-DMA level).

MUSI 610 Advanced Opera Workshop 2 MUSI 610 Advanced Opera Workshop 2


MUSI 523 Bibliography & Research Methods 3 MUSI (A course in opera history) 3

THEORY OF MUSIC (12 hrs. required)

MUSI Theory VI or designated alternate 3 MUSI 711 Analytical Approaches 3


DOCTORAL DOCUMENT (6 hours required) 60-70 pages in length


47


RECITALS

MUSI 641 Advanced Recital 0 MUSI 741 Master’s Recital 0 MUSI 751-001 Doctoral Recital: Solo 0 MUSI 751-001

MUSI 751-001

Doctoral Recital: Solo 0 MUSI 751-002 Doctoral Recital: Chamber Music 0 MUSI 751-004 Doctoral Recital: Lecture 0

FURTHER REQUIREMENTS



Comprehensive Qualifying Exams, by the end of the 8th

enrolled semester, in Music History,

Music Theory, and the development and literature of the major instrument.

Reading Competency in 2 of the following: German, French, or Italian (by written exam)


48


DOCTOR OF MUSICAL ARTS: PERFORMANCE - ORCHESTRAL INSTRUMENTS


PRIVATE INSTRUCTION (24 hours)

Course # Description Hrs MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3 MUSI Lessons for Majors-Advanced 3

DMA CORE (24 hours)

MUSI 523 Bibliography and Research Methods 3 MUSI 611 Classroom Pedagogy 3 MUSI 711 Analytic Techniques 3 MUSI 733 Doctoral Seminar I: Career Skills 3 MUSI 735 Doctoral Seminar II: Repertory MUSI 736 Repertory for Doctoral Students MUSI 738 Individual Project MUSI 739 Pedagogy for Doctoral Students

ACADEMIC MUSIC REQUIREMENTS (15 hours)

(Theory) 3 (Theory) 3 (History) 3 (History) 3 (History)

DEGREE SPECIFIC REQUIREMENTS (10 hours, 8 for Flute and Clarinet)

MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2 MUSI 635 Advanced Orchestra 2 Technology: oboe/violin/viola/cello/double bass 2

ELECTIVES (11 hours, 13 for Clarinet, Flute and Percussion) Performance electives must be

taken at DMA level. Academic electives must be taken at the 300-level or above.

RECITALS

MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital 0 MUSI 751 Doctoral Recital (req. for Violin, Viola, Cello) 0

49


EXAMINATIONS



Comprehensive Exams in Music History, Music Theory, and the development and literature

of the major instrument.


DOCTORAL DOCUMENT (6 hours) Begun after coursework is completed and Comprehensive

Exams are passed.



50


DOCTOR OF MUSICAL ARTS: PERFORMANCE - PIANO



Course # Description Hrs MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3

DMA CORE (24 hours)




SPECIFIC INSTRUMENTAL REQUIREMENTS (6 hours)

MUSI 736 Repertory 3 MUSI 736 Repertory 3

ELECTIVES (15 hours) Performance electives must be taken at DMA level. Academic electives

must be taken at the 300-level or above.

RECITALS

MUSI 751-001 Doctoral Recital: Solo 0 MUSI 751-001 Doctoral Recital: Solo 0 MUSI 751-002 Doctoral Recital: Chamber 0 MUSI 751-003 Doctoral Recital: Concerto 0 MUSI 751-004 Doctoral Recital: Lecture 0

51


EXAMINATIONS







Exams are passed.



52


DOCTOR OF MUSICAL ARTS: PERFORMANCE - VOICE



Course # Description Hrs MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3 MUSI 681 Lessons for Majors-Advanced 3

DMA CORE (24 hours)




DEGREE-SPECIFIC REQUIREMENTS (6 hours)

MUSI 572 Opera Role Performance 1-2 MUSI 572 Opera Role Performance 1-2 MUSI 610 Advanced Opera Workshop 2 MUSI 610 Advanced Opera Workshop 2

ELECTIVES (15 hours) Performance electives must be taken at DMA level. Academic electives

must be taken at the 300-level or above.

RECITALS

MUSI 751-001 Doctoral Recital: Solo 0 MUSI 751-001 Doctoral Recital: Solo 0 MUSI 751-002 Doctoral Recital: Chamber 0 MUSI 751-004 Doctoral Recital: Lecture 0

53


EXAMINATIONS







Exams are passed.



54

Appendix B. Changes to the D.M.A. and M.Mus.

In 2007 the D.M.A. degree plans of the Shepherd School were substantially revised.

Input from recent alums and the faculty indicated that there should be more of a focus on

preparing students in these programs for a career in teaching at the university level in

addition to maintaining our extremely high performance standard. The highlights of

these changes follow.

I. Admission procedure changes

A. Maximum admissions in a given year limited to eight students

B. Academic accomplishment and preparation is as important as admissions

criterion as performance ability

C. Potential as a teacher is considered in admissions

D. Required supplemental application questions

1. What are your career goals? In addition to studying with a specific

teacher, which aspects of our D.M.A. degree do you think will help

you achieve your goals?

2. What music classes would you like to teach? Which, if any, do you

feel qualified to teach right now? Please describe your teaching

experience in both studio and classroom situations.

3. What music course do you wish had been available to you as an

undergraduate student? Describe it.

4. The Shepherd School has a small student population by design,

especially at the doctorate level. Each student therefore has the

opportunity to make a significant contribution to the school. Please

describe what you would contribute.

II. Strict adherence to a shortened timeline: all course work must be completed in

three years; comprehensive exams take place within one year of completion of

coursework.

III. Required classroom teaching experience during the second and third year of

coursework

IV. A common core curriculum, including team-taught seminars exclusively for

doctoral students

While the work with the revision of our doctoral programs was taking place, it became

apparent that we could also improve the offerings of our M.Mus. program. Three

substantive changes were researched, formatted and fully implemented this past fall. The

result is a somewhat more academically oriented degree that at the same time provides

additional preparation for enrolled students to enter the marketplace upon graduation.

I. Remedial courses, as determined by diagnostic placement exams in music theory,

music history and aural skills, while required, no longer count for credit

toward the degree.

55

Appendix B. (cont.)

II. An additional elective course requirement in advanced music theory or

music history was added to each degree plan.

III. A series of fourteen Music Career and Skills Enhancement courses was

developed; students are required to take any two of these courses in order to

graduate.

56

Appendix C. Preliminary Research for Peer Institutions done by Heather Garbes,

post-doctoral student from University of Washington, Spring 2011

1. The Juilliard School

Offerings: BMus, BFA, MMus, DMA, Undergraduate Diploma in Performance,

Graduate Diploma in Performance, Artist Diploma

Admission to Artist Diploma: audition, letters of recommendation, essay outlining

professional and artistic goals

Credit/transcript: semester hour credit (however GPA not calculated); transcript held at

Juilliard

Curriculum: determined by faculty with student input based on student application essay

Tuition: same as for degree students; (fully-funded) tuition and small stipend

Background of applicants: extraordinarily talented students looking for a somewhat

structured performance program to help guide them in their professional path. A post-

Master’s program of the highest level.

Applicant pool: 200 applicants per year

Impact on degree programs: minimal; encourage applicants to pursue program most

suitable for their needs/background

2. New England Conservatory of Music

Offerings: BMus, MMus, DMA. Undergraduate Diploma, Graduate Diploma, Artist

Diploma

Admission to Artist Diploma: audition (including non-faculty performing artists on

committee)

Credit/transcript: semester hour credit; transcript held at NEC

Curriculum: very flexible, determined by faculty with student input

Tuition: about 10% less than degree students (fewer hours); full tuition and modest

stipend awarded

57

Appendix C. (cont.)

Background of applicants: strong interest in performance (string and piano) and a

significant number of international students

Applicant pool: less than 100 applicants per year

Impact on degree programs: No negative impact; very small numbers in program, and

most students in diploma programs hold a traditional degree

3. Cleveland Institute of Music

Offerings: BMus, MMus, DMA, Artist Certificate (undergraduate, non-degree),

Professional Studies (graduate, non-degree), Artist Diploma (graduate, non-degree)

Admission to Artist Diploma: audition, entrance exam (theory and aural skills), letters of

recommendation

Credit/transcript: semester hour credit is awarded and GPA is calculated; transcript held

at CIM

Curriculum: determined by the faculty and administration

Tuition: same as degree students; generous merit scholarships

Background of applicants: highly accomplished performers with performance

obligations that do not allow them to complete a traditional degree; undergraduate

degree is a prerequisite

Applicant pool: 70 applicants per year

Impact on degree programs: allows the conservatory to differentiate the programs and

better match the programs to students seeking different educational experiences.

4. The Peabody Institute at Johns Hopkins University

Offerings: BMus, MMus, DMA, Performer’s Certificate. Graduate Performance

Diploma, Artist Diploma

Admission to Artist Diploma: live audition, letters of recommendation, professional

credentials

58

Appendix C. (cont.)

Credit/transcript: semester hour credit awarded, GPA calculated, transcript issued by

Johns Hopkins

Curriculum: determined by faculty with student input based on their career path and

remedial needs

Tuition: about 15% less than degree students (fewer semester hours)

Background of applicants: most come from traditional degree programs or are

international students. Small number come from European degree programs.

Applicant pool: 161 per year

Impact on degree programs: very positive; the energy generated by the school is

increased by the presence of diploma students.

5. Eastman School of Music at University of Rochester

Offerings: BA, BMus, MA, MMus, DMA, PhD, Performer’s Certificate and Artist

Diploma (in conjunction with a degree program)

Admission to Artist Diploma: nomination by faculty, audition

Credit/transcript: semester hour credit awarded, GPA calculated, transcript issued by

University of Rochester

Curriculum: set by the faculty with extensive electives

Tuition: same as degree student (concurrent enrollment in degree plan required)

Applicant pool: as it is part of traditional degree programs and not something

individually pursued, the interest from the applicant pool is in the degree program

Impact on degree program: minimal as it currently stands, but the Eastman faculty has

begun initial conversations about a stand-alone diploma program.

59

Appendix D. Meetings with Faculty and Administrators

Numerous meetings were held to discuss curricular revisions to our degree programs and

the eventual creation of the Artist Diploma.

February 12, 2010 Richard Lavenda, Director of Graduate Studies

April 23, 2010 Richard Lavenda

April 26, 2010 Richard Lavenda

May 20, 2010 Richard Lavenda

August 18, 2010 Richard Lavenda




August 27, 2010 Richard Lavenda and Voice Faculty

September 21, 2010 Richard Lavenda

September 30, 2010 Richard Lavenda

November 10, 2010 Richard Lavenda

January 14, 2011 Richard Lavenda

January 28, 2011 Mary McIntire and Paula Sanders

February 15, 2011 Shepherd School Faculty

March 25, 2011 Gary Smith, Mary McIntire, Paula Sanders, John

Cornwell, Richard Lavenda

April 26, 2011 Musicologists (Bill Bailey, Greg Barnett, Marcia Citron,

David Ferris, Peter Loewen); Richard Lavenda

60

April 27, 2011 Shepherd School Faculty

May 11, 2011 James Dunham, Paul Ellison, Norman Fischer, Ben

Kamins, Larry Rachleff, Gary Smith

May 11, 2011 Larry Rachleff

September 13, 2011 Chairs Council

October 4, 2011 Chairs Council

October 10, 2011 James Dunham, Paul Ellison, Norman Fischer, Richard

Lavenda

October 18, 2011 Voice Faculty (Richard Bado, Kathy Kaun, Stephen King,

Susanne Mentzer); Richard Lavenda

October 19, 2011 Winds/Brass (Leone Buyse, Robert Atherholt, Richie

Hawley, Ben Kamins, Marie Speziale); Richard Lavenda

October 20, 2011 Piano (Jon Kimura Parker, Robert Roux, Brian Connelly);

Richard Lavenda

October 24, 2011 Violin Faculty (Paul Kantor, Cho-Liang Lin, Kathy

Winkler, Ken Goldsmith, Gary Smith); Richard Lavenda

November 8, 2011 Chairs Council

November 8, 2011 Composition Faculty (Tony Brandt, Shih-Hui Chen,

Art Gottschalk, Pierre Jalbert, Richard Lavenda)

November 9, 2011 Composition Faculty (Karim Al-Zand, Kurt Stallmann)

November 9, 2011 Musicologists (Bill Bailey, Greg Barnett, Marcia Citron,

David Ferris, Peter Loewen); Richard Lavenda

December 6, 2011 Shepherd School Faculty

January 11, 2012 Richard Lavenda and Gary Smith

January 17, 2012 Vice President of Finance

61

January 17, 2012 Chairs Council

January 19, 2012 Provost

January 30, 2012 Associate Vice Provost, Office of Institutional

Effectiveness, Registrar, Associate Dean



62

Appendix E. Artist Diploma Curricula at Peer Institutions

1. Bienen School of Music at Northwestern University

2. The Cleveland Institute of Music

3. University of Cincinnati College-Conservatory of Music

4. The Colburn School

5. The Curtis Institute of Music

6. Eastman School of Music at University of Rochester

7. Jacobs School of Music at Indiana University

8. The Juilliard School

9. Oberlin College Conservatory

10. The Peabody Institute of Music at Johns Hopkins University

11. New England Conservatory

12. Thornton School of Music at University of Southern California

13. Yale University School of Music

63

Appendix E. (cont.)

Bienen School of Music at Northwestern University

ARTIST CERTIFICATE DEGREE PROGRAM

This professional performance program of intensive advanced study in piano, string

instruments, voice, and wind and percussion instruments is intended for music

performance students, either post-bachelor or post-graduate degrees, who demonstrate

outstanding professional ability. The program is designed to be completed in one

academic year of full-time study.

8.0

General Information for all Certificate Students

8.1

Transfer of Credits. No transfer of credit toward the Certificate in Performance

requirements is accepted.

8.2

Program Overview. A minimum of nine units are required (3 each quarter). All Artist

Certificate programs include 3 units of 500-level applied study, 3 units of related

performance study (at least one of which is at the 400 level), and 3 units of music

electives (at least one of which is at the 400 level). All courses/plans of study must be

approved by the advisor and program.

8.3

Course Credits. Only those courses taken at the 300-, 400-, or 500-levels may apply to

the Certificate.

8.4

Ensemble. Artist Certificate students may become members of major ensembles or

smaller chamber ensembles/opera if determined appropriate by their program faculty.

8.5

Recitals. The Artist Certificate typically requires the successful completion of two full-

length recitals. Individual programs make decisions about the content and timing of these

required recitals.

9.0

Certificate Programs of Study

9.1

Piano

PIANO 561 Applied Piano, 500 level (3 units)

Related Performance Studies (3 units, at least one at the 400 level)

Music Electives (3 units, at least one at the 400 level)

Recitals (2 registrations required)

PIANO 575 Certificate Recital (0 units)

64

Appendix E. (cont.)

Bienen School of Music at Northwestern University (cont.)

PIANO 575 Certificate Recital (0 units)

Bienen School of Music at Northwestern University continued

Two full-length recitals are required in piano. Please check repertoire requirements with

your major professor. The studio professor or an approved faculty substitute must attend

and approve each Certificate recital.

9.2 String Instruments

STRINGS 500-level Applied Strings, 500 level (3 units)



Recitals (0 units)

STRINGS 575 Certificate Recital, solo

STRINGS 575 Certificate Recital, solo

STRINGS 575 Certificate Recital, chamber

Three full recitals are required. Two must be solo recitals. The other is usually a chamber

music recital, but solo and chamber music may be combined on each of three solo

recitals. Options may be discussed with the program coordinator. The studio professor or

a designated faculty substitute must attend and approve each certificate recital. Certificate

students must register for all recitals (580) for zero credit.

9.3 Voice and Opera

VOICE 510 Applied Voice, 500 level (3 units)


Music electives (3 units, at least one at the 400 level)

Recitals (2 registrations required)

VOICE 575 Certificate Recital (0 units)

VOICE 575 Certificate Recital (0 units)

Two full recitals required. One should represent several periods and languages. The other

may take different forms, such as an approved operatic role or solo performance with

orchestra. Options may be discussed with the Program Coordinator. The studio professor

or a faculty-designated substitute must attend and approve each certificate recital.

65

Appendix E. (cont.)

Bienen School of Music at Northwestern University (cont.)

9.4 Wind and Percussion Instruments

WIND PER Applied Winds/Percussion 500 level (3 units)



Recitals (Two registrations required)

WIND PER 575 Certificate Recital (0 units)

WIND PER 575 Certificate Recital (0 units)

Two full-length recitals are required. One recital must consist of solo repertoire; the

content of the second recital is to be determined in consultation with the studio professor.

The studio professor or an approved faculty substitute must attend and approve each

Certificate recital.

The Cleveland Institute of Music

Artist Diploma

The Artist Diploma is a special graduate, non-degree certificate granted upon

demonstration of an extraordinary level of performance skills. Candidates may pursue

study in the following areas: bassoon, cello, clarinet, collaborative piano, concertmaster

academy, double bass, flute, guitar (classical), harp, harpsichord, horn, oboe, organ,

piano, timpani and percussion, trombone, bass trombone, trumpet, tuba, viola, violin, and

voice. Application procedures, audition repertoire, admission examinations and

requirements are the same as for all other graduate programs.

Audition procedures exercise the highest degree of selectivity and a live audition is

required. Students who do not successfully complete the first recital may continue study

in the Professional Studies program.

Performance requirements for the Artist Diploma consist of the presentation of three full

recitals that include solo repertoire only. A recital performed in fulfillment of program

requirements cannot be considered retroactively as a recital requirement for any other

degree or program. Students should work closely with faculty in advance to ensure that

recital content aligns appropriately with degree expectations.

Candidates must complete at least one year (two consecutive regular semesters) in full-

time residence at CIM and participate routinely in ensembles, as assigned; candidates in

collaborative piano are required to undertake secondary keyboard studies. Artist Diploma

66

Appendix E. (cont.)

Cleveland Institute of Music (cont.)

students must maintain full-time status for the duration of the program, and the maximum

time allotted for completion of all requirements is three consecutive years from the date

of initial enrollment. It should be noted that the Artist Diploma is not an academic

degree.

CIM’s Concertmaster Academy provides intensive study within the Artist Diploma

program for students who wish to develop the skills required in the leadership position of

concertmaster. Key aspects of the program are: a one-year program of study; lessons and

coaching with William Preucil, concertmaster of The Cleveland Orchestra; attendance at

all Cleveland Orchestra rehearsals, each followed by discussion with Mr. Preucil; study

of part preparation for Cleveland Orchestra repertoire; concentrated work on standard

audition solos and key repertoire. Performance requirements for completion of the

program include two mock auditions for a concertmaster position and a recital.

67

Appendix E. (cont.)

University of Cincinnati College-Conservator of Music

Artist Diplomas

Artist Diploma in Opera—Vocal Track

Cincinnati audition and interview required. At least five arias

should be prepared with special emphasis placed on style,

interpretation and languages. Applicants should have college

level proficiency in French, German and Italian. Program is

extremely competitive, with no more than 12 (usually postmaster’s)

students enrolling in any given year.

Artist Diploma in Piano

A personal audition in Cincinnati is required. Repertoire is similar

to that of the MM/DMA; admission is extremely competitive

and is for the student who seeks a performance career.

Artist Diploma in Strings

Repertoire requirements are similar to that of the MM/DMA. The

expected level of performance accomplishment must exceed

that of MM or DMA students, since the artist diploma program

is limited to those select students who seek a solo performance

career. The audition selections should include the following styles:

baroque, classical, romantic, contemporary. (One of these works

should be a major concerto.)

Artist Diploma—Chamber Music Track

This program is open only to serious pre-existing chamber

music ensembles in the final stages of preparing for an active

performing career. Each individual in an ensemble must apply

separately and meet the requirements for admission; however,

the audition and acceptance into the program will be as a

group, not as individuals. Progress through the curriculum is

dependent on the group remaining together; such activities as

chamber music major study (regular coachings), annual board

examinations, and the four required recitals will all involve

the ensemble playing together. For the audition, which under

normal circumstances must be in Cincinnati, the group should

prepare one hour or more of music of varying styles, showing

best its musical, interpretive and technical abilities.

68

Appendix E. (cont.)

University of Cincinnati College-Conservatory of Music (cont.)

Opera Performance

The objective of this two-year program is to train highly talented

young singers for a career in opera performance. Structured

as a modular program, it should be completed in a two-year

time span. Most students admitted to this program have already

completed the master of music degree. It is possible upon

the completion of the diploma program, or at any point within

the program, to elect those modular units that would lead

directly to the master of music or doctor of musical arts degree,

whichever degree program is appropriate to the student’s level.

Opera — Vocal Track

Voice & Coaching (38 cr. hrs.) Qtr. Hrs.

Applied Study (16-VOICE-850, 950) 24

Opera Coaching for Singers (16-OPRA-850) 12

* Independent Study: for Dramatic Coaching

for Singers (16-OPRA-560) 2

(2 cr. per Qtr.)

Acting (Max 27 cr. hrs.)

* Characterization (16-OPRA-780) 18

(3 cr. per Qtr.)

Graduate Acting (16-DRPF-801, 802, 803) 9

(3 cr. per Qtr.)

* For students accepted into study in Acting III (by permission),

in lieu of a second year of Characterization, register

for Special Topics: Opera Acting III (16-OPRA-660).

University of Cincinnati College-Conservatory of Music continued

Performance Training (Min 12 cr. hrs.)

Opera Studio (Coaching and Production) (16-OPRA-675) 3*

Opera Theater (Coaching) (16-OPRA-677) 2*

Opera Theater (Production) (16-OPRA-678) 2*

Special Topics: Combat for Opera Singers

(16-OPRA-660) 1CR/1

Qtr.* A minimum of 12 CR required of Opera Studio & Opera

Theater Courses.

Performance:

A minimum of four major roles must be prepared and performed.

Those roles, which are not performed as part of either

69

Appendix E. (cont.)


Opera Theater (16-OPRA-677, 16-OPRA- 678) or Opera Studio

(16-OPERA-675) must be presented in excerpt form before

members of the Opera Faculty in tandem with a written

dramaturgical presentation and score preparation. Of the four

required roles, a maximum of two may be performed outside

CCM in full production. Students must then provide documentation

of their performance. The performance role must be coached by a

member of the CCM Opera Faculty.

Language Training (22-28 cr. hrs.)

Special Topics: Italian Libretto (16-OPRA-630) 4

(2 cr. per Qtr.)* Students must take one year of Italian

(3 cr. per Quarter for 9Qtr. hrs.) and one year of either

French (3 cr. per Quarter for 9 Qtr. hrs.),

or German. (5 cr. per Quarter for 15 Qtr. hrs.)

To be determined by the Opera Faculty.

Professional Development (2-8 cr. hrs.)

Professional Development (16-OPRA-750)

(Course is taken each quarter a student is in residence for

either 0 credit or 1 credit, depending upon student load in a

particular quarter.)

Managing a Professional Performance Career (16-INTR-610)

(2cr./Qtr.)per Qtr.)

Total Credits 101-113

Remedial Requirements

* Students will be evaluated by the Opera Faculty and, when

necessary, they will be asked to take the following Graduate

Diction courses:

Graduate Italian Diction and Recitative (16-VOICE-631)

Graduate French and German Diction (16-VOICE-632, 3)


* There is No TOEFL requirement for admission.

Important Note Concerning Time To Degree

Students who are required to take additional language or diction

classes may find that it takes longer than six quarters to

complete this program.

70

Appendix E. (cont.)


Piano

Curriculum Qtr. Hrs.

Major Applied Study (16PIAN850, 950) 36

Other Requirements

Chamber Music (three quarters) 3-6

Master Class in Piano Performance (three quarters) 6

Advisor-Approved Electives

(from CCM graduate music courses) 16-19

Performance Accomplishments

Four public recitals, approved and graded by the faculty 8

Total Credits 69-75

Further Requirements

A diagnostic board upon entering the program and two additional

boards.

Instrumental Music Performance

for Strings, Woodwinds, Brass and

Percussion Curriculum

(Double Bass, Harp, Viola, Violin, Violoncello, Bassoon,

Clarinet, Flute, French Horn, Oboe, Percussion, Trombone,

Trumpet, Tuba)

The objective of this two-year program is to provide specialized

training for performers post-Bachelors or post-Masters. The

structure of this degree program is to provide ample practice

time to prepare for recitals, chamber music, competitions and

auditions and should be completed in two years of full-time

study. It is also possible that these credits would lead directly to

the master of music or doctor of musical arts degree, whichever

program is appropriate to the student’s level.

Curriculum Qtr. Hrs.

Applied Study (6 crs. per qtr., 6 qtrs.) 36

Performance Accomplishments (16xxx855) 8

Two solo recitals, two chamber recitals, 2 credits each (viola,

double bass, tuba substitute an orchestral excerpt board for

one recital)

Major ensemble (1 cr. each qtr.) 6

Chamber Music */ Secondary ensemble 12

Music electives (any CCM graduate music course) 10

Total 72

71

Appendix E. (cont.)


* The above curriculum assumes 2 credits of chamber music per quarter.


Instrumental Music Performance —

Chamber Music Track

Module I: Applied Study Qtr. Hrs.

Chamber Music Major Study (coaching)

(16COAC850, 950) 24

Major Instrument Applied Study (16XXX910) 12

Module II: Support Area

Music History and Literature courses (16HILTXXX) 12

Managing the Professional Performance Career

(16INTR610) 2

Other supporting classroom and/or laboratory courses in

history, literature, theory, performance practice, ensembles,

applied study, pedagogy, arts administration, or related

subjects, as determined by the student and adviser 16

Module III: Analysis and Performance

Graduate Theory and Analysis (16MTHC801, 2, 3) 9

Module IV: Performances

Four Chamber Music Recitals (50-60 min. ea.)

(16COAC860) 8

Total 83

The Colburn School

Curriculum unavailable

The curriculum for the Artist Diploma program requires lessons (applied studies),

chamber music, orchestra (foe instrumentalists) and four recitals. A wellness seminar s

also required.

as per Kathleen Tesar, Associate Dean, Conservatory, on 1/19/12

72

Appendix E. (cont.)

The Colburn School (cont.)

Artist Diploma (AD)

The Artist Diploma (AD) program focuses on the development of highly skilled

performing musicians. The program is a minimum of two years and a maximum of four

years in length, with a requirement of four recitals. Students must have completed a

baccalaureate degree prior to beginning studies at the Conservatory of Music.

The Curtis Institute of Music

Professional Studies Certificate in Opera

This two-year, non-degree program parallels the Master of Music course of study in

opera. No undergraduate degree is required to enter the program and no degree is

awarded upon completion. An individual curriculum will be designed by the head of the

Vocal Studies Department together with the student to meet the singer’s specific needs in

language, musical skills, and coaching.

Eastman School of Music, University of Rochester

Performer’s Certificate/Artist Diploma

These certificates recognize students who demonstrate outstanding performing ability. A

candidate for the Performer’s Certificate must be an Eastman undergraduate or graduate

student, or an arts and sciences student matriculated in the Bachelor of Arts degree

program with a concentration in music. Certificate candidates are nominated by an

examining committee in the instrumental or vocal concentration in which the certificate is

sought. The certificate is awarded on the basis of a public recital judged by a faculty

committee.

A graduate student holding the Performer’s Certificate who demonstrates the highest

level of performing ability may, with the unanimous recommendation of the applied

music faculty, become a candidate for the Artist’s Diploma. Candidates must fulfill the

same general requirements as for the Performer’s Certificate, but must perform two

public recitals and appear as soloist with an orchestra. A special interdepartmental

committee judges these performances. Granting of the Artist’s Diploma must have final

approval of the entire faculty.

73

Appendix E. (cont.)

Jacobs School of Music at Indiana University

ARTIST DIPLOMA PROGRAM

ADMISSION

To be admitted, students must be at a performance level equivalent to acceptance into a

major international competition. Candidates are admitted conditionally to the Artist

Diploma program of the Jacobs School of Music through regular departmental audition

procedures. For students new to the Jacobs School, this departmental audition takes place

during the regular audition times. For current Jacobs School of Music students, this

departmental audition must take place in the semester before the one in which the student

wishes to begin the program.

Students recommended by departmental audition must be heard in a School-wide

audition by the Artist Diploma Committee of the Jacobs School of Music for final

approval. For students new to the Jacobs School, this audition must take place in the first

semester of enrollment. For current Jacobs School of Music students, this audition must

take place in the semester before the one in which the student wishes to begin the

program.

Admission to this program does not require a high school or General Educational

Development (GED) diploma, but one of these must be earned before the Artist Diploma

can be granted.

ENROLLMENT

A.D. students must be enrolled in at least 9 credit hours each semester (4 credit hours in

summer). A maximum of four semesters of enrollment is allowed in a total period of five

years for completion of the A.D. Program.

COURSE OF STUDY

PERFORMANCE STUDY 3-8 credit hours each semester; except summer session II,

where it is possible to register for 2-6 credit hours. The minimum required grade is A-.

MAJOR ENSEMBLE 2 credit hours each semester of enrollment. The minimum required

grade is B. Piano students must enroll in X002 Piano Accompanying each semester.

CHAMBER MUSIC COACHING

Instrumental students 1 credit hour each fall and spring semester, specified by instrument

and area:

Early Music Y450/Y550 Early Music Chamber Ensemble (1 cr.)

74

Appendix E. (cont.)

Jacobs School of Music at Indiana University (cont.)

Guitar, Organ, Piano, and Strings F450/F550 Chamber Music (1 cr.)

Brass F450/F550 Chamber Music (1 cr.) or F445/F545 Brass Chamber

Ensemble (1 cr.)

Woodwinds F450/F550 Chamber Music (1 cr.) or F446/F546 Woodwind

Chamber Ensemble (1 cr.)

Percussion F450/F550 Chamber Music (1 cr.) or F447/F547 Percussion

Chamber Ensemble (1 cr.)

Harp F450/F550 Chamber Music (1 cr.) or F449/F549 Harp Ensemble

(1 cr.)

Not required for voice majors. Not required in the summer. The minimum required

grade is A-.

LANGUAGE STUDY

International students whose first language is not English must have a TOEFL score of

510 (paper based) 183 (computer based) or 65 (internet based) or higher to be

considered for admission. Instrumental students whose first language is English must

demonstrate knowledge of the grammar of one non-English language equivalent to two

semesters at the college level with a grade of C or higher in each. Voice students must

demonstrate knowledge of French, German, and Italian grammar equivalent to two

semesters at the college level with a grade of C or higher in each, and proficiency in

diction in each language by examination or by passing a Jacobs School of Music diction

course. Students must take all three diction exams in their first semester of enrollment;

with Voice Department permission, they may take specific exams for a second time in

their second semester of enrollment. For any exam not passed, students must pass the

appropriate IU Jacobs School of Music diction course with a grade of C or higher.

Foreign language proficiency in any language other than English can be demonstrated in

one of four ways: 1. Take two semesters of first year undergraduate language study in

one language at IU. 2. Take one semester of accelerated undergraduate language study in

one language at IU. 3. Take the Foreign Language Placement Exam (FLPE) at IU to

demonstrate that you have the equivalent knowledge of a student who has taken at least

one year of the foreign language at the college level. 4. Bring the Music Graduate office

an official university transcript that shows that you have taken either two semesters or

one accelerated semester of the foreign language with appropriate grades (C or higher).

The transcript needs to include the title of the course, the number of credits taken, and the

75

grade of C or higher. Courses taken for Pass/Fail grades, courses taken as an auditor, or

Appendix E. (cont.)


transcripts that do not include the title of the course will not be accepted. Courses taken

more than 10 years ago cannot be used. Students requesting to have a language waived

based on transcripts must make an appointment to see the Graduate Academic Advisor

before or during their first semester.

MUSIC COURSES A total of 6 credit hours in addition to lessons, ensemble, and

chamber music coaching. The minimum required grade in each course is C. The Director

of Graduate Studies, who will use the following guidelines, must approve courses

selected:

In general, classes chosen for the Music Course requirement should be lecture or

lecture/activity courses. Examples include conducting, music theory, music history,

music education, orchestral repertoire, music literature, pedagogy, jazz studies, courses in

early music, or similar courses. Applied lessons, chamber music, or ensembles will not

count, with one exception: up to 2 credits in early music (such as Baroque violin or

harpsichord) or in an instrument that is not the student’s major (such as clarinet for a

saxophone major).

Students must take courses suited to their level. For example, students who have

completed a bachelor’s degree, or equivalent work for a conservatory diploma, should

register for music graduate courses. Graduate review courses in music history and

literature or music theory will count for students who have not previously enrolled in the

M.M. program. Students who have completed a master’s degree may not use review or

proficiency courses toward the diploma. Prerequisites for courses must be met before

enrollment is allowed.

Transfer courses may not be used to satisfy any part of this requirement. Courses taken

before the date of first enrollment in the Diploma Program may not satisfy this

requirement.

Exceptions may be requested, by written petition.

Courses outside the Jacobs School of Music may count only with written approval.

Ethnomusicology courses are an example of this type of course.

ARTIST DIPLOMA RECITALS Four recitals required, all 0 (zero) credit hours. The

minimum required grade for all Artist Diploma recitals is A-. Instrumental students 3 solo

recitals (I911 - one concerto must be included as one of the solo recitals) and 1 chamber

music recital (I921). Voice students 4 solo recitals (I911).

76

GRADUATION Students must complete an Application for Graduation prior to, or at the

Appendix E. (cont.)


beginning of, the intended last semester. Please check with the Music Graduate Office for

official deadlines and notices regarding graduation. A minimum 3.00 cumulative grade

point average is required to graduate. Diplomas are mailed about three months after

graduation to the permanent address listed with the Office of the Registrar. Transcripts

requested about a month after graduation should reflect the completion of your diploma.

Students will be subject to all rules and regulations of the School of Music. It is the

student’s responsibility to understand all academic requirements (from the Jacobs School

of Music Bulletin).

The Juilliard School


The curriculum for the Artist Diploma program is by advisement. Applicants write a

proposal in their application about what they would want to accomplish during the two

year program, and an oversight committee works closely with each student to help

achieve what they wanted to do, with the resources available.

as per Lee Cioppa, Associate Dean for Admissions, on 1/12/12

Music Performance

The Artist Diploma in Music Performance is a two-year program for the few highly

gifted and experienced performers at the post-master’s level who wish to pursue focused

studies in their major field leading to specific professional goals. With an emphasis on

repertoire, the program is designed to develop both the artistry and professionalism in

performers who possess the ability and determination to realize their talent in the

contemporary world.

Admissions decisions for Artist Diploma in Music Performance applicants are made by

the Artist Diploma Performance Committee. In addition to consideration of the audition

results, the Committee carefully reviews the applicant’s Artist Diploma essay and

dossier. The statement of artistic and educational objectives for this period of study is a

critically important aspect of the review process.

The level of musical competence required for the Artist Diploma in Music Performance

77

is the same as that required for admission to the Doctor of Musical Arts degree program.

That competence is determined by the faculty in the same way as it is for admission to

Appendix E. (cont.)

Juilliard School (cont.)

the doctoral program. Applicants who wish to be considered for both the Artist Diploma

in Music Performance and the Doctor of Musical Arts degree programs may select this

option on the online application. The application fee to apply to BOTH programs is $110.

One pre-screening recording (if applicable) and audition will be considered for both

programs. Applicants must be sure to fulfill ALL of the application requirements for

BOTH programs.

Opera Studies

The Artist Diploma in Opera Studies is a two-year program for the few highly gifted and

experienced singers at the post-master's level who wish to pursue focused studies in opera

training.

Centered in intensive acting and audition courses with the Director of Opera Studies, the

program consists of a personalized schedule of advanced repertoire and language

coaching, weekly voice lessons, movement instruction, high-level career consultation,

text and character work, and performing opportunities in Juilliard’s main stage

productions as well as black-box and concert work. The city of New York and the

Metropolitan and New York City Operas provide an unmatched pool of guest faculty,

professional advisement as well as audition and performance opportunities (a certain

amount of outside professional work is encouraged). The Artist Diploma in Opera

Studies is a tuition-free program and includes a stipend for the academic year.

Applicants must be at least 21 years old and be able to speak, read, and understand

English fluently. In general, successful applicants to Opera Studies have already obtained

undergraduate and graduate degrees or their equivalent in education or experience.

The Opera Studies application deadline is November 1, 2011.

Opera Studies is a pre-screened program. All applicants must submit a standard CD or

cassette tape post-marked by the application deadline in order to be considered for an

invitation to a live audition.

Oberlin College Conservatory

Artist Diploma (ADip)

78

This four-semester program, offered only in certain performance departments, is intended

for a limited number of exceptionally gifted performers who have completed the BM or

its equivalent, who have acquired extensive musical background through institutional or

Appendix E. (cont.)

Oberlin College Conservatory (cont.)

private studies or through unusual performing experiences, and who wish to concentrate

on private applied study without additional course requirements. Oberlin Conservatory

Bachelor of Music graduates may apply to the Artist Diploma program only with the

recommendation of the department and approval of the Office of Associate Deans of the

Conservatory. Students who enroll in and/or complete the Artist Diploma program may

not transfer to the Bachelor of Music degree program.

80

Appendix E. (cont.)

Oberlin College Conservatory (cont.)

81

Appendix E. (cont.)

The Peabody Institute of Music at Johns Hopkins University

The Artist Diploma is a program reserved for the most professional and experienced

performers, with emphasis on repertoire designed to meet the needs of performers who

are preparing and qualified to embark upon a professional career. Evidence of a

professional performance career already underway is a prerequisite for admission. The

curriculum consists of lessons, recitals and one class per semester. Artist Diploma

students may audit as many classes as they wish. Due to the few courses required, tuition

is substantially lower than for a degree program.

The Artist Diploma is a non-degree program reserved for exceptional and experienced

performers, with an emphasis on repertoire designed to meet the needs of those who are

preparing to embark upon professional careers.

Diploma Requirements (AD)

One year of full-time residency is required, with a minimum of two years of study

expected. The program must be completed within five years. Financial aid is awarded for

a maximum of two years. Students enrolled in the program are expected to be active

performing members of the Peabody campus community.

The Artist Diploma candidate must present a minimum of four public recitals. 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. Artist Diploma

candidates must successfully perform two public recitals during each year they are

enrolled in lessons to maintain good standing and make satisfactory academic progress.

Artist Diploma candidates must complete eight credits of elective coursework during the

semesters in which they are enrolled in lessons. The electives are determined by the

student or as advised by the major teacher in consultation with members of the

department and the Associate Dean for Academic Affairs. The program also allows for

independent study projects in various aspects of career development as appropriate for

the student.

82

Appendix E. (cont.)

The Peabody Institute of Music at Johns Hopkins University (cont.)

New England Conservatory


The curriculum for the Artist Diploma program is quite minimal by design. Studio

lessons are required every semester as well as an annual recital. Students may register for

other classes, but are not required to do so. It is intentionally designed to be flexible so

that it can be tailored to each student.

as per Thomas Novak, Dean of the College, on 1/11/12

The Artist Diploma is the highest level performance program at NEC, and focuses on

developing both the artistry and professionalism of gifted young musicians. We offer two

Artist Diplomas: the Artist Diploma for Solo Performers, and the Artist Diploma in

Opera in partnership with Opera Boston.

Candidates for either Artist Diploma possess not only great talent, but also the ability and

determination to realize that talent in the contemporary musical world. They may have

already embarked on performing careers or may be on the brink of such careers. Students

enrolled in this program receive full tuition remission and a modest stipend.

The two-year program is tailored to the participant's individual needs. Working in close

collaboration with studio faculty and advisors, Artist Diploma students focus on

performance, deepening their artistry in close collaboration with master teachers. Some

will also want to enhance their education through studies of music theory, languages, etc.,

while others will want to begin practical preparations for careers to which their talents

have led.

83

Appendix E. (cont.)

New England Conservatory (cont.)

In each case, participants have opportunities to reflect on their music, to enjoy the support

of an educational environment, and to feel the freedom to create their music

Artist Diploma in Solo Performance

Artist Diploma for Solo Performers

Except in unusual and compelling circumstances, the Artist Diploma is limited to areas of

performance with substantial and significant solo repertoire.

Artist Diploma students have the opportunity to perform in our world-renowned Jordan

Hall each year. As part of their program responsibilities, these young artists play an

active role in the musical life of the Conservatory during the required two years’

residence, participating in institutional outreach and demonstrating their commitment to

musical artistry.

The program typically admits one or two students each year, following final auditions

before the Artist Diploma Committee, chaired by NEC President Tony Woodcock, and

made up of professional solo artists and high-level NEC faculty and administrators.

Artist Diploma in Opera

NEC offers its two-year Artist Diploma in Opera program in partnership with Opera

Boston. The program provides opportunities to perform with both a professional

company and a fully-fledged conservatory training program at a time in a singer's

development when he or she can benefit from both environments.

The program typically admits one or two singers each year following final auditions

before the Artist Diploma in Opera Committee, chaired by NEC President Tony

Woodcock and made up of opera company executives and high-level NEC faculty and

administrators. The small size of the program allows the NEC Opera Department

to invest significant time in tailoring the musical and dramatic training to each Artist

Diploma student’s needs.

Thornton School of Music at university of Southern California

Curriculum unavailable.

The Thornton School does not have succinctly defined curriculum for Artist Diploma

students. This very exclusive program allows the students who are enrolled in it to have

an individually tailored course of study, specific to their needs, with a focus specifically

designed for students about to launch a solo performance career.

As per P. J. Woolston, Director of Admission, on 1/13/12

84

Appendix E. (cont.)

Thornton School of Music at university of Southern California (cont.)

Artist Diploma Program

This program is designed for young artists of exceptional ability and musical sensitivity

who plan careers as solo performers. The Artist Diploma Program provides young artists

with the opportunity to devote their full time to concentrated study and practice for the

duration of their assigned programs.

Entrance Requirements

Following the recommendation of the student’s major department, a performance

audition, consisting of a full-length recital before the Artist Diploma Committee, is

required.

Curriculum Requirements

A minimum of 16 units at the 754 level (from MPEM, MPGU, MPKS, MPST, MPVA or

MPWP) and four full-length recitals are required. This program typically requires two to

three consecutive years of study for completion.

Yale University School of Music

Artist Diploma

The Artist Diploma curriculum is a full-time program of studies designed for gifted

composers and performers. Applicants must hold a master’s degree or the professional

equivalent and may be admitted only on the basis of a personal audition before a faculty

committee. Students accepted must be in residence for two years.

On recommendation of the major teacher and endorsement by a faculty committee,

students who have completed the Master of Music degree at Yale may be admitted to the

Artist Diploma program. These students are expected to complete work for the diploma

in one academic year. The course of study for Artist Diploma candidates is flexible and

designed for the individual needs of advanced students.

Although the Artist Diploma track does not require the academic breadth of the MMA

program, Artist Diploma candidates hold MM degrees, so a fundamental knowledge of

musicianship and the history of Western music is presumed.

85

Appendix E. (cont.)

Yale University School of Music (cont.)

Artist Diploma

SPECIAL REQUIREMENTS

All students present a public degree recital, one major ensemble performance, and one

performance of a work composed for soloist and orchestra during each year of residence

in the program. One-year internal candidates must complete two nonperformance

electives at the rate of at least one per term. Two-year external candidates must complete

four nonperformance electives at the rate of at least one per term.

Course Requirements

1-year internal

candidates

2-year candidates

Orchestral Instruments

Philharmonia/New Music New Haven 4 8

▪ Chamber Music 4 8

▪ Seminar in the Major 4 8

▪ Individual Instruction 8 16

▪ *Music History — 4 minimum

▪ †Hearing — 4 minimum

▪ Electives 8 8

____ ____

▪ Total 28 56

Piano

▪ Chamber Music 4 8

▪ Instrumental Accompanying — 2

▪ Vocal Accompanying — 2

▪ Seminar — 16




▪ Electives 16 8

____ ____

▪ Total 28 60

86

Appendix E. (cont.)


Orchestral Conducting

▪ Philharmonia/New Music New Haven 4 8

▪ Score Reading/Analysis 8 16





▪ Electives 8 16

____ ____

▪ Total 32 72

Voice (Opera)

▪ Vocal Repertoire — 8

▪ Movement 2 4

▪ Acting 2 4

▪ Lyric Diction — 8

▪ Opera Workshop 6 12

▪ Art Song Coaching 2 4





▪ Electives 16 16

____ ____

▪ Total 40 88

Organ

▪ ‡Colloquium (ISM students only) 2 4





▪ Electives 14 20

____ ____

▪ Total 28 56

*Unless exempt on the basis of a placement examination.

†Students are normally required to complete four credits of Hearing and Analysis (502 or

503) or two terms of 500 or 501 unless exempt on the basis of a placement examination.

‡School of Music students replace the colloquium with an elective.

87

Appendix E. (cont.)


Artist Diploma

Composition

Course Requirements

1-year internal

candidates

2-year candidates

Tonal Analysis elective — 4

Nontonal Analysis elective — 4

Seminar in the Major 4 8

Individual Instruction 8 16

*Music History — 4 minimum

†Hearing — 4 minimum

Electives 16 16

____ ___

_

Total 28 56

*Unless exempt on the basis of a placement examination.

†Students are normally required to complete four credits of Hearing and Analysis (502 or

503) or two terms of 500 or 501 unless exempt on the basis of a placement examination.

88

Appendix F. Artist Diploma –Accrediting Non-degree programs

The National Association of Schools of Music (NASM) is the primary accrediting

organization in the U.S. for schools of music. The Southern Association of Colleges and

Schools (SACS) however accredits Rice University and the Shepherd School along with

it. We participate nevertheless in the NASM annual conference as they accredit nearly

all of our peers, with the exception of the Juilliard School. We are mindful therefore of

their criteria for accreditation. Included below are the NASM’s guidelines for non-

degree granting programs.

NASM Handbook 2010-11

NON-DEGREE-GRANTING PROGRAMS IN MUSIC

A. Basic Program Types. The National Association of Schools of Music recognizes two

distinct types of non-degree-granting programs:

1. Community or Precollegiate Education.

2. Postsecondary Professional Education and Training. Non-degree-granting programs of

study in a particular field or fields of music. These programs are at the collegiate or

graduate level.

B. Fundamental Purposes and Principles

1. Purposes. Each institution is responsible for developing and defining the specific

purposes of its overall non-degree-granting program in music and of each non-degree-

granting program it offers.

2. Relationships: Purposes, Content, and Requirements

a. For each non-degree-granting program, there must be logical and functioning

relationships among purposes, structure, and content, and levels of competency or

proficiency expected for continuation or completion.

b. For each non-degree-granting program, the program or curricular structure and

any requirements for admission, continuation, or completion must be consistent

with program purposes and content.

c. Titles of programs must be consistent with their content.

C. Certificates and Diploma Programs.

The awarding of a certificate, diploma, or equivalent implies the successful completion of

a prescribed course of study oriented to the achievement of specific results.

ADMISSION TO PROFESSIONAL POSTSECONDARY NON-DEGREE-GRANTING

PROGRAMS IN MUSIC

A. Admission Criteria. Institutions are responsible for establishing specific admission

policies or requirements for their non-degree-granting programs in music. Admission

89

Appendix F. (cont.)

standards must be sufficiently high to predict the prospect of success in the program for

which the student is enrolling. Diversities of previous education, background, and

interests of applicants should be considered in assessments of potential as appropriate to

the specific purposes of individual programs.

Professional Certificates or Diplomas. Admission procedures for professional certificates

or diplomas in music should develop evidence that the candidate possesses the requisite

talent, the potential to develop high-level competencies as a practitioner, artistic

sensibilities, and a strong sense of commitment.

SPECIFIC PROFESSIONAL POSTSECONDARY NON-DEGREE-GRANTING

PROGRAMS

(The following standards apply to each professional postsecondary non-degree-granting

program.)

A. Specific coherent sets of purposes shall be developed and published that include, but

are not limited to:

1. title or basic information regarding subject matter, techniques, or issues to be

addressed;

2. the level and length of the program; and

3. specific content, methods, and perspectives used to consider subject matter,

techniques, or issues, including expectations regarding:

a. specific artistic, intellectual, or disciplinary engagement; and

b. breadth and depth in component disciplines and specializations.

B. Applicable prerequisites for courses or curricula shall be clearly stated, especially with

regard to levels of competence in specific disciplines central to the artistic or educational

purposes and content.

C. There must be clear descriptions of what students are expected to know and be able to

do upon completion consistent with Section XIX.A., and effective mechanisms for

assessing student competencies against these expectations. For programs with specific

emphases or concentrations such as performance, musicianship skills, theory, history, etc.,

students shall be expected to develop the same competencies in the area(s) of specific

emphasis or concentration as those required for degree programs at the level of the

program. These expectations must include, but are not limited to:

1. achieving a measurable degree of advancement in and fulfillment of specified

and stated program purposes including mastery in the content and in at least one of

the sets of traditional or innovative techniques appropriate to their craft or field of

study;

2. developing an effective work process and a coherent set of ideas and goals which

are embodied in their work; and

90

3. developing a significant body of knowledge and skills sufficient for evaluation

and a level of artistry and/or technical proficiency and/or scholarly competence

observable in work acceptable for public exhibition or publication.

D. Evaluation mechanisms shall be consistent with the goals defined for specific courses,

projects, programs, or curricula, and to the specific approach(es) involved.

E. Guidance, counseling, and mentoring shall be adequate to support the achievement of

purposes.

The Schools below are all members of the NASM, with the exception of the Juilliard

School as noted earlier, and represent the Shepherd School’s immediate peer group.

These peers either on their websites or in conversation with their respective

administrations confirm that their diploma and certificate offerings are considered to be

“non-degree programs”; they are “diploma” programs.

Bienen School of Music at Northwestern University

The Cleveland Institute of Music

The Colburn School

The Curtis Institute of Music

Eastman School of Music at University of Rochester

The Juilliard School

New England Conservatory

The Peabody Institute of Music at Johns Hopkins University

Thornton School of Music at University of Southern California

Two schools’ websites list their diploma and certificate offerings under the heading

“Degree Programs”, but after speaking with their respective administrations, it turned out

not to be the case. They were placed there to make it easier for applicants to find the

listing. They are considered to be “diploma programs”.

Oberlin College Conservatory

Yale University School of Music

One school indicated that they have always considered their certificate and diploma

offerings to be actual degree programs, but a recent conversation with their

administration indicates that this has come into question during the past academic year by

the Financial Aid Compliance Officer at the university, and it is possible that they will no

longer be considered as such.

Jacobs School of Music at Indiana University

Only one school indicated and confirmed that their diploma program is considered a

degree program.

University of Cincinnati College-Conservatory of Music

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Appendix G. League of American Orchestras Statistics

Quick Orchestra Facts

April 2011

Orchestras are a Vital Part of America’s Musical Landscape and Civic Life…

With more than 1,800 symphony, chamber, collegiate, and youth orchestras across the

country, America is brimming with extraordinary musicians, live concerts, and orchestras

as unique as the communities they serve.

Orchestral music making is flourishing in our country, encouraging creativity and

bringing people together to share the experience of live music. Orchestras fuel local

economies, attract new business development, educate young people, and - through the

power of music - unite individuals and cultures in good times and bad.

How many communities and people are involved with orchestras?

Orchestras exist in all 50 states, in virtually every community, with annual budgets

ranging from less than $10,000 to more than $90 million.

350-400 professional orchestras, which means they have paid musicians

800-900 volunteer orchestras

150-200 collegiate/conservatory orchestras

400-500 youth orchestras

More than half a million individuals are involved in orchestras, including conductors,

staff, board members, musicians, and volunteers. And that’s not even counting millions

of people in the audience!

Who goes to orchestra concerts?

More people (and younger) than you realized! In the 2008-09 season, they played to an

audience of just over 25 million attendees nationwide. At traditional classical

subscription concerts, more than 60% of the audience were adults younger than 55 in

2008. The total number of concerts performed has risen by nearly 4% in the last decade.

In 2008-09 America’s orchestras performed more than 32,000 concerts.

13,417 Education

9,544 Classical

1,612 Pops

1,288 Community Engagement

1,779 Chamber/Ensemble

5,173 Other Concerts (including choral, opera, ballet, summer, family, and festival

events)

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Appendix G. (cont.)

What is the financial structure of orchestras?

Orchestral activity is supported by a combination of public and private support – and

every piece is critical. Orchestras are not supported by ticket sales alone. As members of

the nonprofit charitable community, orchestras depend upon private philanthropy and

civic support.

2008-09 Orchestra Revenue

Private contributions 39%

Concert Income 35%

Endowment 13%

Other Earned Income 9%

Government Grants 4%

Orchestra revenue totaled $1.69 billion in 2008-09. Their economic impact exceeds

several times that amount as orchestras create jobs, engage in commerce with local

businesses, and spur local expenditures on related goods and services (hotels, restaurants,

parking facilities, and more).

Why does a community support its orchestra?

Orchestras are an important part of the community fabric. The presence of an orchestra is

often an indicator of a community’s economic and cultural strength, as communities with

orchestras tend to draw volunteers, voters, philanthropists and other active, civic-minded

participants. From a survey of 800 random households in 10 American cities2, the vast

majority of citizens believe that the presence of live, professional performing arts in

the community…

• Improves the quality of life

• Promotes understanding of other cultures

• Fosters pride in the community

• Contributes to the education and development of children

What role do orchestras play in music education and community engagement?

Orchestras are essential and active partners in increasing access to lifelong music

education. They enhance the quality of life in their communities by collaborating with

school systems and other local partners to deliver a wide array of education and

community programs. Education and community engagement activity in America’s

orchestras is growing fast, with nearly three times as many events as a decade ago.

Orchestras now offer nearly 13,000 education concerts, more than 1,000 community

engagement concerts, and more than 40 kinds of programs, including:

93

Appendix G. (cont.)

• Pre-school programs

• In-depth, multi-year community residencies

• Long-term partnerships with schools

• Instrumental instruction

• Educational classes for seniors

• Programs in libraries and hospitals

How can children reap even more of the benefits of music education?

Music education is an indispensable part of life-long learning, and participation in music

programs prepares students to succeed in school, work, and life. That’s why the great

majority of orchestras engage in advocacy on behalf of in-school music education in their

communities. Also, kids “play their part” by joining an orchestra.

Being part of an orchestra encourages young people to develop their talents and to

experience teamwork, self- discipline, and individual expression. There are nearly 500

youth orchestras across America. New orchestras are created each year to help meet the

growing demand for music education and positive activities for young people. These

orchestras involve more than 50,000 young musicians in the joy of music making

and all its ancillary benefits.

League of American Orchestras

The League of American Orchestras leads, supports, and champions America’s orchestras

and the vitality of the music they perform. The League works to stimulate the exchange

of innovative ideas and practices and to promote unity across the orchestra field. The

League delivers meaningful information, learning and leadership opportunities, grass-

roots advocacy and other services to its diverse membership, which encompasses nearly

900 member symphony, chamber, youth, and collegiate orchestras of all sizes. Founded

in 1942 and chartered by Congress in 1962, the League links a national network of

thousands of instrumentalists, conductors, managers, board members, volunteers, staff

members, and business partners.

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Appendix H. Recent Shepherd School Graduate Placement

Orchestras:

Metropolitan Opera Orchestra, Chicago Symphony Orchestra, Philadelphia Orchestra,

Cleveland Symphony Orchestra, Boston Symphony Orchestra, Los Angeles

Philharmonic, St, Louis Symphony, Atlanta Symphony Orchestra, Houston Symphony,

Pittsburgh Symphony, National Symphony Orchestra, San Diego Symphony, Utah

Symphony, Baltimore Symphony, New Jersey Symphony, Fort Worth Symphony

Orchestra, Houston Ballet Orchestra, Houston Grand Opera Orchestra, San Antonio

Symphony, Cincinnati Symphony Orchestra, Dallas Opera Orchestra, Louisville

Symphony Orchestra, North Carolina Symphony, Louisiana Symphony, Knoxville

Symphony, Colorado Symphony, Oregon Symphony, Chattanooga Symphony, Buffalo

Philharmonic, Civic Orchestra of Chicago, Honolulu Symphony, Nashville Symphony,

Milwaukee Symphony, Kansas City Symphony, San Francisco Opera Orchestra, New

Mexico Orchestra, Santa Fe Opera Orchestra, River Oaks Chamber Orchestra, Austin

Symphony, Lyric Opera of Chicago Orchestra, U.S. Coast Guard Band, U.S. Marine

Band, U.S. Naval Academy Band, U.S. Army Drum & Fife Corp, Richmond Symphony

Hong Kong Philharmonic, Lucerne Symphony, Royal Scottish National Orchestra,

Johannesburg Philharmonic Orchestra, Brussels Philharmonic Orchestra, Vancouver

(BC) Symphony, Victoria (BC) Symphony, Malmo Symphony, Copenhagen

Philharmonic Orchestra, Sydney Symphony, Valencia Philharmonic, New Zealand

Symphony, National Orchestra of Santiago, Chile, Orchestre Symphonique de Montreal,

Israel Chamber Orchestra, St. Gallen Symphony, Toronto Symphony, Stuttgart Chamber

Orchestra, Macao Orchestra (China), Adelaide Symphony Orchestra (Australia)

Opera Houses:

Metropolitan Opera, Lyric Opera of Chicago, New York City Opera, San Francisco

Opera, Houston Grand Opera, Los Angeles Opera, Washington National Opera, Santa Fe

Opera, Dallas Opera, Minnesota Opera, Michigan Opera Theater, Arizona Opera, Atlanta

Opera, Central City Opera, Wolf Trap Opera, Chicago Opera Theater, Seattle Opera,

Utah Opera, Opera North, Chautauqua Opera, Sarasota Opera, Orlando Opera

The Royal Opera House, National English Opera, L’Opera National de Paris, Teatro alla

Scala, the Vienna Staatsoper, the Bayerische Staatoper, the Theatre du Chatelet, Theater

an der Wien, the Aix-en-Provence Festival, Teatro Municipal in Santiago de Chile,

Vancouver Opera, Pacific Opera Victoria, Israeli Opera, Hessiche Staatstheater

Wiesbaden, Opera Ireland, Teatro Regio di Torino

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Appendix H. (cont).

Young Artist Programs:

Metropolitan Opera Lindemann Young Artist Development Program, Lyric Opera of

Chicago, Merola Program at San Francisco Opera, Houston Grand Opera Studio,

Domingo-Cafritz Young Artist Program with Washington National Opera, Ryan Opera

Center, Utah Young Artist Program, New World Symphony, Da Camera Young Artist

Program

Soloist with Orchestras:

Chicago Symphony Orchestra, Los Angeles Philharmonic, New York Philharmonic,

Houston Symphony, St. Louis Symphony, National Symphony Orchestra, Philadelphia

Orchestra, Boston Symphony Orchestra, San Francisco Symphony, Pittsburgh

Symphony, Florida Orchestra, Oregon Symphony, Kansas City Symphony, San Diego

Symphony, Colorado Symphony, Baltimore Symphony

The London Symphony Orchestra, City of Birmingham Symphony Orchestra, l’Orchestre

de Paris, Staatskapelle Berlin, The National Arts Center Orchestra, Orchestre

Symphonique de Montreal, Orchestre Metropolitain, Toronto Symphony, Canadian

Opera Company Orchestra, Vancouver Symphony, Calgary Philharmonic, Edmonton

Symphony, The New Japan Philharmonic, Orquestra Sinfonica Brasileira, Hong Kong

Philharmonic

University teaching: University of Chicago, Rice University, Oberlin College

Conservatory, The Juilliard School, Cleveland Institute of Music, Northwestern

University, Arizona State University, SUNY at Binghamton, Grinnell College, Belmont

University, St. Olaf College, Yonsei Univeristy (Korea), University of Missouri at

Kansas City, Sweet Briar College, Houston Community College, San Jacinto Junior

College, University of Texas at Arlington, Western Michigan University, Hartt School of

Music, Valpariso, Illinois State, University of Colorado at Boulder, Memorial University,

Baylor University.

Chamber Music Ensembles: Enso String Quartet, Mercury Baroque Ensemble, Marian

Anderson String Quartet, Jasper String Quartet, Chiara String Quartet

Professional Management:

Columbia Artists Management, Inc.; IMG Artists; Opera Vladarski; Young Concert

Artists, Inc.

96

Appendix I. Music Collection in Brown Fine Arts Library, Fondren Library

As of 1/19/2012

Books: 59,342

Scores and manuscripts: 42,065

Serial titles: 334

Rare books/scores: 281

Recordings:

CDs: 31,221

LPs: 9,135

DVDs: 158

VHS: 181

Total all recordings: 40,690

Total all holdings: 142,712

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Appendix J. Relevant Changes to Rice General Announcements

Currently:

Professional Degrees

Rice University offers advanced degree programs to prepare students for positions in a

number of professional fields. The professional degrees offered appear in the Graduate

Degree Chart. In some departments, the professional degree also prepares the student for

a doctoral-level program. All professional degrees are master’s degrees with one

exception: candidates earn the DMA after concluding a program of advanced music

study.

Requirements for professional degrees include the successful completion of 30 semester

hours or more of upper-level courses (at the 300 level or higher) with at least 24 hours

taken at Rice. Minimum residency for all master’s degrees is one semester of full-time

study. At least 15 hours of course work must be at or above the 500 level. All courses

must be in the relevant field. Specific information and requirements for individual

degrees appear in the Graduate Degree Chart. Program information and application

materials also are available from the departments.

Graduate financial aid and tuition waivers are not available to professional master’s

students. This should be stated in the department’s offer letter.

With Addition of Artist Diploma:

Professional Degrees

Rice University offers advanced degree programs to prepare students for positions in a

number of professional fields. The professional degrees offered appear in the Graduate

Degree Chart. In some departments, the professional degree also prepares the student for

a doctoral-level program. All professional degrees are master’s degrees with two

exceptions: candidates earn the AD or DMA after concluding a program of advanced

music study.

Requirements for professional degrees include the successful completion of 30 semester

hours or more of upper-level courses (at the 300 level or higher) with at least 24 hours

taken at Rice. Minimum residency for all master’s degrees is one semester of full-time

study. At least 15 hours of course work must be at or above the 500 level. All courses

must be in the relevant field. Specific information and requirements for individual

degrees appear in the Graduate Degree Chart. Program information and application

materials also are available from the departments.

Graduate financial aid and tuition waivers are not available to professional master’s

students. This should be stated in the department’s offer letter.

http://ga.rice.edu/Home.aspx?id=2147483650






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Appendix J. (cont.)

Currently:

Degrees Offered: BA, BMus, BMus/MMus, MMus, DMA

At the undergraduate level, The Shepherd School of Music offers both professional

training and a broad liberal arts curriculum. Degree programs include a BA degree in

music and a BMus degree in performance, composition, music history, and music theory.

Acceptance into a five-year honors program leads to the simultaneous awarding of the

BMus and MMus degrees.

At the graduate level, the school offers professional music training for qualified students

who concentrate on music composition, performance, or research that is supported by lab

or performing ensembles. This training includes theory and history seminars. Advanced

degree programs include a MMus degree in composition, choral and instrumental

conducting, historical musicology, performance, and music theory and a DMA degree in

composition and selected areas of performance.

Degree Requirements for MMus and DMA in Music

Admission—For instrumental, voice, and conducting applicants, an audition is required.

Composition majors must submit portfolios, and musicology and theory majors must

provide samples of their written work. The Graduate Record Examination (GRE) is

required of graduate applicants in musicology and theory. Musicology applicants also

must complete the advanced music tests.

Requirements—For general university requirements, see Graduate Degrees. For the

MMus degree, candidates must complete at least two semesters of full–time study at

Rice. Semester hour minimums for the MMus degree vary according to major area. For

the DMA, candidates must complete a total of 90 hours beyond the bachelor’s degree,

attending Rice full time for at least four semesters after receiving their MMus degree.

Thesis—A thesis is required of both music history and music theory majors. In lieu of a

thesis, composition majors must produce an original work of extended scope, and

conducting majors must present an extended composition or project.

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Appendix J. (cont.)

With Addition of Artist Diploma

Degrees Offered: BA, BMus, BMus/MMus, MMus, AD, DMA

At the undergraduate level, The Shepherd School of Music offers both professional

training and a broad liberal arts curriculum. Degree programs include a BA degree in

music and a BMus degree in performance, composition, music history, and music theory.

Acceptance into a five-year honors program leads to the simultaneous awarding of the

BMus and MMus degrees.

At the graduate level, the school offers professional music training for qualified students

who concentrate on music composition, performance, or research that is supported by lab

or performing ensembles. This training includes theory and history seminars. Advanced

degree programs include a MMus degree in composition, choral and instrumental

conducting, historical musicology, performance, and music theory; an Artist Diploma

(AD) in composition, instrumental conducting, and performance; and a DMA degree in

composition and selected areas of performance.

Degree Requirements for MMus, AD and DMA in Music

Admission—For instrumental, voice, and conducting applicants, an audition is required.

Composition majors must submit portfolios, and musicology and theory majors must

provide samples of their written work. The Graduate Record Examination (GRE) is

required of graduate applicants in musicology and theory. Musicology applicants also

must complete the advanced music tests.

Requirements—For general university requirements, see Graduate Degrees. For the

MMus degree, candidates must complete at least two semesters of full–time study at

Rice. Semester hour minimums for the MMus degree vary according to major area. For

the Artist Diploma students must complete a two-year residency at Rice and a minimum

of 41 semester hours. For the DMA, candidates must complete a total of 90 hours

beyond the bachelor’s degree, attending Rice full time for at least four semesters after

receiving their MMus degree.

Thesis—A thesis is required of both music history and music theory majors. In lieu of a

thesis, composition majors must produce an original work of extended scope, and

conducting majors must present an extended composition or project.

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