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John Feierabend Dissertation

John Feierabend

Dr. John Feierabend is considered one of the leading authorities on music and movement development in childhood. He is a Professor Emeritus of Music Education at The Hartt School of the University of Hartford and is a past President of the Organization of American Kodály Educators. He has given presentations in all 50 states and many other countries. He is the author of over 70 books, recordings, and DVDs, several of which served as the inspiration for the award winning PBS children’s television series Lomax: The Hound of Music.

Dr. Feierabend has been honored as a Lowell Mason Fellow by the National Association for Music Education (NAfME); named University Educator of the Year by the Connecticut Music Educators Association; received the outstanding alumni award from Wayne State University; received the Outstanding Educator Award from the Organization of American Kodály Educators, the James Bent Award for outstanding achievement in scholarship and creativity from the University of Hartford, and was the first U.S. recipient of the LEGO Prize, an international award given annually to “an individual who has made a distinctive contribution to the betterment of children.”

Dr. Feierabend continues to be committed to collecting, preserving and teaching the diverse folk music of our country and using that folk music as a bridge to help children understand and enjoy classical music. Dr. Feierabend’s creativity and research has resulted in two music methods; First Steps in Music, a music and movement program for infants through elementary-aged children and Conversational Solfege, a music literacy method suitable for elementary through college-aged student.

Dr. Feierabend’s teaching has provided thousands of teachers and their students with the materials and techniques to help build community through music by evoking enthusiastic participation of all people. To that end his approach strives for all people to become tuneful, beatful and artful through research based and developmentally appropriate pedagogies while promoting the use of quality literature. In the summer of 2012 a group of dedicated and like-minded educators honored Dr. Feierabend’s 40 plus years of teaching and research with the formation of the Feierabend Association for Music Education. For more information go to: www.feierabendmusic.org and www.giamusic.com/feierabend.

The full list of Dr. Feierabend’s publications is available through his publisher, GIA Publications.

Articles and Handouts

 


The Hartt School is an internationally acclaimed performing arts school with programs in music, dance, and theatre. The school was begun by Julius Hartt, Moshe Paranov, and Associated Teachers in 1920 and was one of the three founding institutions of the University of Hartford in 1957. Alongside the traditional performance-oriented majors in music, music theatre, theatre (actor training), and dance, the school offers programs in music history, music theory, music education, and composition. Hartt also offers innovative programs in pre-cantorial music, music management, performing arts management, and music production and technology.

With a strong tradition of excellence, Hartt takes pride in its talented artist-faculty. Recognized nationally and internationally as performers, educators, and scholars, The Hartt School faculty members are active in their areas of expertise. Through performances, recordings, books, articles, major awards, grants and fellowships, faculty members set an excellent example for their students. Interaction between faculty and students provides the framework for the development of future professional performing artists, arts managers, composers, music and production technologists, and teachers. A strong commitment to the select student body ensures a high quality of education.

A wide range of performance opportunities is provided to Hartt’s students. Musicians benefit from participation in large orchestral, wind, or choral ensembles. Smaller chamber music ensembles as well as solo opportunities help to create well-rounded musicians. Each year, master classes are given by guest artists, such as Sherrill Milnes; Vieri Bottazzini; James Galway; Eugene Levinson; Pamela Frank; Angel Romero; Elly Ameling; John Musto; Daniel Pinkham; Midori; Bright Sheng; Joseph Schwanter; John Corigliano; the Miami, Emerson, Colorado, Lark, and Miró string quartets; and the Lions Gate Trio, Hartt’s trio in residence. Hartt also boasts Performance 20/20, a highly competitive, full-scholarship honors chamber music program that provides its students with the opportunity to perform many additional concerts. Vocal opportunities include a variety of choral performing organizations as well as black-box and fully staged operas. Voice students also have the opportunity to audition for and perform in productions by Connecticut Concert Opera, as well as to hold section-leader positions in fine area choirs. Future music educators have years of hands-on practical training with children from The Hartt School Community Division, the University of Hartford Magnet School, the Hartt String Project, the Hartt Band Project, and area schools. Management majors have special opportunities to participate in a comprehensive internship program. Interns have worked at the Bushnell Center for the Performing Arts, with the Hartford Symphony Orchestra, and in a wide variety of arts-related organizations and record companies in New York City and around the country.

Dancers thrive in workshops and large-scale productions. They benefit from working with local professional arts organizations, including the American Ballet Studio Company and Full Force Dance Theatre, as well as collaborating with Hartt music and theatre students. They also perform, teach, and choreograph works during the four-year, comprehensive curriculum. Dance teaching majors have four semesters of hands-on teaching with students in the Hartt Community Division.

In the Theatre Division, the classroom experience is enhanced by the production of 16 plays and musicals, incorporating a broad repertoire of contemporary and classical works. A highlight of the actor training program is the third-year semester in England. Both the music theatre and actor training programs present a yearly showcase in New York City.

For nearly four decades, the growth of The Hartt School was nurtured by the philanthropy of Alfred C. Fuller, founder of the famous Fuller Brush Company. Fuller’s generosity helped to create scholarship opportunities that continue to benefit Hartt students. Additional support from the Fuller family enabled Hartt to build the beautiful Alfred C. Fuller Music Center, the four-story complex that houses The Hartt School music divisions and administration. In the same spirit of generosity demonstrated by her husband, Mary Primrose Fuller left a bequest of $19.8 million in 1998, creating new and exciting opportunities for Hartt.

The Hartt School of the University of Hartford is an accredited institutional member of the National Association of Schools of Music, the National Association of Schools of Dance, and the National Association of Schools of Theatre. Its programs in music education are accredited by the National Council for Accreditation of Teacher Education, and Hartt shares the University of Hartford accreditation by the Commission of Higher Education of the State of Connecticut and the New England Association of Schools and Colleges.

Mission Statement

The Hartt School provides preprofessional training in the performing arts characterized by artistic and academic rigor, individualized attention including mentorship and peer support, and a synthesis of tradition and innovation leading to lifelong service to, and advocacy for, the arts.

Values

We believe in an education that

  • Promotes a contextual understanding of the arts from historical, cultural, and theoretical perspectives;
  • Is rich in performance and collaboration opportunities within the school, University, community, and professional world;
  • Cultivates broadly educated individuals and performing artists of vision, depth, and confidence through unique opportunities available throughout the University;
  • Is connected with the professional world and the evolution of the field;
  • Fosters and develops teaching excellence, which equips and inspires future teachers to positively impact the field; and
  • Underscores the essential role of the arts in enriching society and the human experience.

Facilities

The Hartt School operates the Mort and Irma Handel Performing Arts Center, the Alfred C. Fuller Music Center, and Lincoln Theater.

The Mort and Irma Handel Performing Arts Center was converted from an industrial building designed in 1929 by pioneering industrial architect Albert Kahn. This vibrant new center for performing arts education serves as a resource for the entire community. The 56,000- square-foot center provides performance and rehearsal spaces, classrooms, and studios for students in The Hartt School’s Dance, Theatre, and Community Divisions. Housed in the Handel Performing Arts Center are the 184-seat Edward C. and Ann T. Roberts Foundation Black Box Theater and the 96-seat McCray Theater, given through the generosity of Kent ’51 and Susan McCray. Performances in these venues include the third-year-student public performances in theatre and music theatre, recitals, lectures, and Community Division performances. Each theatre has a state-of-the-art, computerized light board and sound equipment.

All courses for dance majors are taught in the Mort and Irma Handel Performing Arts Center. The south wing includes five spacious studios, artistic and production offices, a conference room, and dressing and shower facilities. The 9,000 square feet of dance studios have high ceilings, hallway observation windows, wooden barres, mirrors, and Gerstung multilayered dance floors.

The Fuller Music Center consists of three wings: Millard Auditorium provides the main performance venue on the University of Hartford campus. An intimate, 428-seat house, Millard is used for opera; theatre productions; orchestra, wind ensemble, and chamber music concerts; solo recitals; and lectures. Millard has computerized sound and lighting equipment, a 50-foot proscenium arch with a stage depth of 32 feet, a 22-line-set fly rail and a full orchestra pit.

O’Connell Hall houses the Organ Studio, Berkman Auditorium (80-seat recital hall), practice rooms, teaching studios, and offices for the Hartt Community Division.

Lincoln Theater welcomes outside bookings as well as campus-based activities. It is used for commencements, lectures, concerts, theatre and music theatre performances, solo performances, larger choral and symphonic concerts, and a variety of other activities. Lincoln Theater seats 716 and has a thrust stage that measures 65 feet at its widest, 52 feet from back wall to front edge of thrust. It has a full orchestra pit as well as sound and computerized lighting equipment. The dressing rooms easily accommodate up to 50 performers.

Paranov Hall, a four-story instructional building, houses classrooms, the Hartt recording studio, faculty and administrative offices, the University of Hartford Center for Computer and Electronic Music, and the LEGO Learning Center, a state-of-the-art research facility housing a large classroom and an adjoining observation room designed to further the understanding of how children in their first seven years develop musical understandings and skills.

The Mildred P. Allen Memorial Library is located adjacent to The Hartt School on the second floor of the east wing of the Harry Jack Gray Center. The Allen Library provides reference, circulating, and online materials in the fields of music, dance, and the related arts for students, faculty, and staff of the University of Hartford. Its holdings include approximately 22,000 books and bound journals on music, 41,000 scores, 23,300 sound recordings (including recordings of Hartt operas, concerts, and recitals), 1,100 videocassettes and DVDs, and thousands of audio tracks streamed over the Internet. More than 400 online and print journals allow students and faculty to remain abreast of current research. In addition, the Allen Library website (http://library.hartford.edu/allenlibrary/) presents extensive resources in music, dance, theatre, and the performing arts. The library catalog and other online research aids help users identify and locate scholarly resources managed by the University Libraries. Members of the University community, holding University of Hartford e-mail accounts, may access restricted databases and electronic journals from locations off campus. Professional library staff are available to help users find materials; library instruction is available upon request.

The Allen Library facilities include 18 iMacs with both Windows 7 and Mac OSX installed, as well as Microsoft Office, to provide access to online resources.Mac and PC laptops may be checked out at the service desk; the Mac laptops have Finale and Sibelius music notation software. The library has three fully equipped listening/viewing rooms. Eight individual audio carrels house additional equipment. A teaching seminar room fitted with a full complement of listening and viewing equipment, iMac computer (Windows 7 and Mac OS X), and overhead projection is available to faculty for classes and lectures. An additional small seminar room with video and computer projection equipment is open for general use. Reading and study areas have wireless networking. Self-service printing and photocopying machines are located at the front of the library, payable only with HawkCASH.

The Allen Library is open Monday through Thursday from 8:30 a.m. until 11 p.m., Friday from 8:30 a.m. until 6 p.m., Saturday from 11 a.m. until 5 p.m., and Sunday from noon until 11 p.m. Special hours are observed during the summer and holidays, and are posted on the library website.

Faculty

Graduate programs offered by The Hartt School reflect the wide variety of professionally focused needs of today’s performers, scholars, and educators. Students have the opportunity to grow and thrive guided by a nurturing faculty, recognized nationally and internationally for its artistic and academic accomplishments. Hartt faculty members are recipients of major awards, fellowships, and grants and have performed in many of the world’s great concert halls. The faculty is justifiably proud of Hartt’s select student body and is committed to maintaining the high quality of its graduate programs. For complete faculty biographies, please visit www.hartford.edu/hartt.

Administration

Aaron A. Flagg, Dean
T. Clark Saunders, Associate Dean and Director of Graduate Studies
David C. Bell, Associate Dean, Finance and Administration
Irene Conley, Director of Undergraduate Studies

Academic  and Contemporary Studies Division

Robert Carl, Chair of Composition
Justin Kurtz, Chair of Music Production and Technology
Patrick Miller, Co-director of Academic and Contemporary Studies Division, Chair of Music Theory
Ken Steen, Co-director of Academic and Contemporary Studies Division
Natalie Wing, Coordinator
Peter Woodard, Chair of The Jackie McLean Institute of Jazz

Instrumental Studies Division

Steve Metcalf, Director
Glen Adsit, Assistant Director
Margreet Francis, Co-chair of Keyboardand Co-chair of Performance 20/20
Robert Black, Chair of Strings, Co-chair of Performance 20/20
Charles Huang, Chair of Chamber Music
Karen Peters, Coordinator
Richard Provost, Chair of Guitar and Harp
Benjamin Toth, Chair of Woodwind, Brass, and Percussion
David Westfall, Co-chair of Keyboard and Chair of Accompanying

Music Education Division

John Feierabend, Director of Music Education and Chair of Undergraduate Music Education
Dee Hansen, Chair of Graduate Music Education
Paula Trebra, Coordinator

Vocal Studies Division

Edward Bolkovac, Director, Vocal Studies Division; Chair of Choral Department
Doris Lang Kosloff, Chair of Opera Department
Joanna Levy, Chair of Voice Department
Barbara Porter, Coordinator

Instrumental Studies Division

Strings

Robert Black, double bass
Renato Bonacini, violin, emeritus
Melinda Daetsch, viola
Teri Einfeldt, violin, Suzuki pedagogy
Terry King, violoncello
Katie Lansdale, violin
Steven Larson, viola
Anton Miller, violin
Emlyn Ngai, violin
Rita Porfiris, viola
Mickey Reisman, violin
Astrid Schween, violoncello
Mihai Tetel, violoncello
Katherine Winterstein, violin

Guitar and Harp

Rebecca Flannery, harp
Christopher Ladd, guitar
David Madsen, guitar, Suzuki pedagogy
Richard Provost, guitar, Chair

Keyboard

Gregory Babal, class piano
Amy Champagne, class piano
Luiz de Moura Castro, piano
Margreet Pfeifer Francis, piano
Raymond Hanson, piano, emeritus
Barbara Johnson, class piano
Phillip Kawin, piano
Watson Morrison, piano, emeritus
Hae Sun Paik, piano
Paul Rutman, piano
Patricia Snyder, organ
David Westfall, piano, accompanying

Woodwinds, Brass, Percussion, and Ensemble

John Amira, percussion
Janet Arms, flute
Curt Blood, clarinet
Rogerio Boccato, percussion
Ronald Borror, trombone
Kevin Cobb, trumpet
Joseph Galeota, percussion
Marc Goldberg, bassoon
James Jackson III, euphonium
Carrie Koffman, saxophone
Jay Lichtmann, trumpet
Humbert Lucarelli, oboe
Scott Mendoker, tuba
Roger Murtha, trumpet, emeritus
Ayako Oshima, clarinet
Ted Piltzecker, percussion
Shane Shanahan, percussion
Greig Shearer, flute
Benjamin Toth, percussion
David Wakefield, French horn
John Wion, flute, emeritus

Conductors

Glen Adsit, Wind Ensemble, Foot in the Door
Edward Cumming, Primrose FullerAssociate Professor of Orchestral Studies
James Jackson III, Symphony Band
Gary Partridge, Capitol Winds

Vocal Studies Division

Voice

Nancy Andersen, voice
Robert Barefield, voice
Cherie Caluda, voice
Claude Corbeil, voice, vocal coach
Kevin Jones, diction, coach
Michael Kutner, voice
Joanna Levy, voice, Chair of Voice Department
Michelle McBride, voice,opera stagecraft
Majorie Melnick, voice
Korby Myrick, voice
Maureen O’Flynn, voice
Wayne Rivera, voice, Italian diction
John Zei, voice, emeritus

Choral

Edward Bolkovac, Chair of Choral Department
Colin Britt, choral conducting
Carolina Flores, choral conducting

Opera

Thomas Baird, movement and historical dance
Michael Bernard, Technical Director and electrician
Doris Lang Kosloff, Chair of the Opera Department, opera coaching
Ron Luchsinger, Opera Stage Manager
Debbie Markowitz, Production Stage Manager
Michele McBride, voice, opera stagecraft
Johanna Morrison, acting
Marla Perlstein, costumer/designer Costume Shop Manager
Larry Z. Rowe, Scene Shop Technical Director

Coaching and Accompanying

Peter Stolzfus Berton, accompanist
Miguel Campinho, accompanist
Stanford Cohn, cantor, pre-cantorial studies
Claude Corbeil, voice, vocal coach
Richard Hereld, accompanist
Kevin Jones, voice, vocal coach, diction
Kamilla Mammedova, accompanist
Barbara Robbins, accompanist
Stephen, Scarlato, accompanist
Kyle Swann, vocal coach
Eric Trudel, vocal coach
Music Education Division

Music Education Division

John Feierabend, Director of Music Education and Chair of Undergraduate Music Education
Dee Hansen, Chair of Graduate Music Education
Warren Haston
Geoffrey Reynolds
Joshua Russell
T. Clark Saunders,Associate Dean

Academic and Contemporary Studies Division

Kris Allen, jazz saxophone
Ira Braus, music history
Robert Carl, Chair of Composition
Chris Casey, Director of Hartt Big Band
Irene Conley, music management, Director of Undergraduate Studies
Steve Davis, jazz trombone
Edward Diemente, composition and music theory, emeritus
Alexander Farkas, music theory, emeritus
Mark Goodell, Music Production and Technology
Stephen Gryc˘, composition and music theory
Gabriel Herman, Assistant Director of MusicProduction and Technology
Justin Kurtz, Chair of Music Production and Technology
Andy Laverne, jazz piano
David Macbride, composition and music theory
Polina Mann, music history
Donna Menhart, music theory
René McLean, jazz saxophone
Patrick Miller, Co-director of the Academic and Contemporary Studies Division, Chair of Music Theory
Shawn Monteiro, jazz voice
Akane Mori, music theory
Kenneth Nott, Chair of Music History
Nat Reeves, jazz bass
Edward Rozie, jazz bass
Michael Schiano, music theory
Thomas Schuttenhelm, music history
Myron Schwager, music history, emeritus
Larry Alan Smith, composition
Ken Steen, composition, Co-director of the Academic and Contemporary Studies Division
Joseph Turrin, composition
Gabor Viragh, music theory, Supervisorof Ear Training
Imanuel Willheim, music history, emeritus
Peter Woodard, music theory, Chair of the Jackie McLean Institute of Jazz

Admission

Application Requirements

Applicants to graduate programs at The Hartt School must submit a completed Graduate Application, Hartt Supplemental Application, and supporting materials that vary according to the intended program of study. A list of necessary supporting materials for each graduate program is included with graduate application forms. All application materials are to be submitted to the Center for Graduate and Adult Academic Services at the University of Hartford.

Admission Requirements

Master of Music

Applicants are expected to have received a bachelor’s degree in music or its equivalent from an accredited college/university. This includes but is not limited to (1) Bachelor of Music, (2) Bachelor of Music Education, (3) Bachelor of Arts, or (4) Bachelor of Science. Candidates must demonstrate background and preparation that will contribute to probable success in the chosen curriculum.

Master of Music Education

Applicants to the Master of Music Education degree will have completed a bachelor’s degree in music education at an accredited institution and have obtained their teacher certification. Hartt’s Music Education Division strongly urges applicants to complete at least one year of teaching experience before beginning their M.Mus.Ed. Students electing master’s degrees with a thesis track must have one year of full-time teaching experience.

Certificate of Advanced Graduate Study

Applicants should have earned a master’s degree in music or music education and show evidence of genuine musicianship and a distinguished record of service in teaching.

Graduate Professional Diploma

Applicants are to have earned a Performance Diploma, a Bachelor of Music, or equivalent, at a recognized institution. They are expected to give evidence of advanced technical and artistic ability.

Certificate of Advanced Graduate Study

Applicants should have earned a master’s degree in music or music education and show evidence of genuine musicianship and a distinguished record of service in teaching.

Graduate Professional Diploma

Applicants are to have earned a Performance Diploma, a Bachelor of Music, or equivalent, at a recognized institution. They are expected to give evidence of advanced technical and artistic ability.

Artist Diploma

Applicants should demonstrate a high level of accomplishment and should be in the beginning stages of a professional career. A diploma, certificate, master’s degree, or an equivalent from an accredited institution is required for admission

Doctor of Musical Arts

Performance
Composition

Applicants must exhibit high scholarly ability and have a broad musical and educational background as well as the appropriate master’s degree from an accredited institution. Applicants are expected to demonstrate advanced technical and artistic ability.

Doctor of Musical Arts and Doctor of Philosophy—Music Education

Applicants for the Doctor of Musical Arts (D.M.A.) and Doctor of Philosophy (Ph.D.) degrees in music education must provide evidence of superior scholastic ability, a broad musical and educational background, and the capacity to profit from advanced study in music education. All applicants must have earned a bachelor of music education degree, with a valid teaching license, and a master’s degree at an accredited institution. Additionally, candidates will have completed a minimum of three years of successful music teaching at an elementary or secondary, public or private school.

Admission to any of these programs does not imply the likely admission to any other. Students wishing to enroll in a different program must apply to that program. This application may involve re-auditioning and testing. In particular, application to the doctoral degrees requires submission of a research or analytical paper and taking admissions examinations in music theory and music history.

Application Procedures

Graduate applications may be obtained by mail, phone, e-mail, or online.

Director of Admissions
The Hartt School
University of Hartford
200 Bloomfield Avenue
West Hartford, CT 06117-1599
860.768.4465

harttadm@hartford.edu
or
http://harttweb.hartford.edu

Center for Graduate and Adult Academic Services
University of Hartford
200 Bloomfield Avenue
West Hartford, CT 06117-1599
860.768.4371
or
www.hartford.edu/graduate

Graduate Financial Aid

Graduate fellowships, assistantships, and scholarships are available to full-time students only. Duties may include performance in designated ensembles or organizations, undergraduate teaching, grading and related faculty support services, or other departmental functions. Every effort is made to have assistantship duties correspond to the student’s educational objectives.

Instrumental performance majors receiving financial aid are required to play in a performing organization during the semester being funded.

Renewal

Graduate awards are reviewed on an annual basis and are renewable. Awards will generally be limited to four semesters for master’s degree and diploma students and six semesters for doctoral degree students. This review is to determine whether or not an award will be continued, raised, or decreased for the next academic year. If a student is not progressing sufficiently, a warning will be given. If after one semester of warning the progress is still insufficient, the award will be reduced or eliminated.

Nonmatriculated Status

With special permission students may register for a maximum of 6 credits of graduate courses prior to matriculation. Students who have not been formally accepted must secure permission of instructors for admission to graduate courses.

Graduate Programs

Degree Programs

Offered at the graduate level are the Doctor of Philosophy (Ph.D.), Doctor of Musical Arts (D.M.A.), Master of Music (M.M.), and the Master of Music Education (M.M.Ed.).

Master’s Degrees

Placement Examinations

All entering master’s degree students are required to demonstrate basic proficiencies in music history and music theory (including ear training) by completing a set of placement examinations. Some master’s degrees require additional placement examinations; please consult the Hartt graduate admissions information at http://harttweb.hartford.edu for specific requirements. Students with deficiencies may be required to take one or more of the following courses within the first 18 credit hours of graduate study. The credits from these courses do not fulfill degree requirements. Students must earn a grade of B– or better to proceed to graduate courses in these areas.

Music Theory Review Courses
Graduate Music Theory Review Requirement

Graduate students must pass all graduate placement examinations in music theory and ear training or earn a grade of B– or better in all respective graduate review courses before proceeding to any graduate courses in music theory. This requirement applies to graduate students in degree programs and diploma programs.

Music History Review Courses
Requirement

Graduate students must pass the graduate placement examination in music history or earn a grade of B– or better in all respective graduate review classes before proceeding to HLM 615 - Pro-seminar in Music History . This requirement applies to graduate students in degree programs and diploma programs.

Placement Examination Schedule

Placement examinations are administered during the week prior to a new semester. Students who do not complete the placement examination will not be able to register for classes in music history, music theory, and ear training. For precise dates and times of the administration of placement examinations, consult The Hartt School Admissions Office.

HLM 615  Requirement
All M.M., D.M.A., and Ph.D. programs require HLM 615 - Pro-seminar in Music History  to be completed during the first year of study. HLM 615  is a prerequisite for enrollment into any other graduate music history courses.

HLM 563  Requirement
A student’s score on the Music History Placement Examination may also result in a student’s requirement to take HLM 563  (History and Literature of Music in the 20th Century). Unlike TH 611 , TH 612 , and TH 613 , this course does count toward graduate degrees at The Hartt School. As an alternative to HLM 563 , students may take TH 550  or TH 551  for graduate credit. To register for TH 550  or TH 551 , students must have fulfilled the Graduate Music Theory review course requirements (TH 611 , TH 612 , TH 613 , TH 614 ) if necessary.

Language Examinations

Master’s candidates in music history, music theory, piano accompanying, choral conducting, and voice are required to take a language proficiency examination. M.M./D.M.A. choral conducting students will be given a language proficiency test at the time of their audition, consisting of two parts: (a) Reading Comprehension and (b) Diction. The M.M. vocal performance test consists of (a) Translation and (b) Diction. Voice candidates with foreign-language deficiencies may be required to audit undergraduate language courses. All language exams will be administered by the appropriate division or department. Students should contact division coordinators for details.

Transfer Credit

Graduate credits that will be used as transfer credits must be agreed upon during the admission process. A maximum of 6 credits beyond a bachelor’s degree may be allowed for master’s programs, and a maximum of 12 graduate credits beyond the master’s degree may be allowed for doctoral candidates. Students who wish to earn graduate credits at another institution during their course of study at The Hartt School must receive advance approval from the director of their division.

Grade Requirements

All graduate performance majors must receive a jury grade by the end of the first 8 credits of major instrument study. Courses in the major field of study with grades lower than B– and electives with grades lower than C are not accepted accepted toward fulfillment of degree requirements. In the D.M.A. and Ph.D. degree programs, no grade lower than B– will be accepted toward degree requirements.

Students who receive 6 credits with a grade of C or a single grade of D will have their academic standing reviewed by the Committee on Academic Standing. These  students may be asked to withdraw from the program. Students who receive a course grade of F are normally withdrawn from the program.

Incomplete (I) grades are granted at the discretion of the instructor. Normally, incomplete grades are allowed only for medical reasons or for reasons beyond the student’s control. Students wishing to graduate must have removed all incomplete grades one month prior to the last day of classes.

Thesis Requirements

Master’s thesis proposals must be approved by the department in which the student’s program is administered. Exact proposal requirements and information on format and style may be obtained from the director of graduate studies. All proposals are to be prepared in consultation with an approved advisor. For May graduation, the completed master’s thesis must be submitted to the department chair no later than March 15. The department may require an oral defense of the thesis. All members of an appointed committee vote on the acceptance of a thesis. Students who have not completed their thesis within the credit hours allotted in their program must continue to register until their thesis/degree requirements are complete.

Comprehensive Examinations

All Master of Music degree candidates are required to take comprehensive examinations. Examination questions pertain to material covered in completed courses and are submitted and graded by the major department faculty. The major department may request questions from other departments such as Music History or Music Theory. The examination, administered separately by each department or division, is  approximately three hours in duration. Candidates should inquire about specific content, dates, times, and places at their division office.

International students whose written English may prove to be a handicap in the  examination may be examined orally to ascertain their comprehension of the required materials. Students who fail the comprehensive examination may request to retake it the following semester. The comprehensive examination may be attempted only twice.

Master of Music Education students submit a capstone portfolio in lieu of a written examination.

Timetable for May Graduation

First week in February—last day to file May degree applications

March—Master’s Comprehensive Examination

Second week in March—last date to submit thesis copies to Thesis Committee

Fourth week in April—last date for thesis defense

First week in May—last date to submit final copies

Doctoral Degrees

Doctoral Programs—General Requirements

Doctoral Examinations for Admission

Doctoral applicants must pass essays in music history and music theory as well as submit a music history, or music education research paper to be considered for admission. D.M.A. candidates in composition and conducting, or with a conducting minor, must take a proficiency examination in score reading, keyboard proficiency, and keyboard harmony. D.M.A. candidates in music education must also pass an evaluation of a teaching video submission. (See graduate application for a full listing of materials needed for admission consideration.)

Prior Experience

All applicants to the D.M.A. and Ph.D. in music education must have completed a minimum of three years of successful music teaching in an elementary or secondary, public, or private school.

Doctoral Programs—Academic Policies

Placement Examinations and Academic Courses

All doctoral students must complete appropriate Graduate Placement Examinations prior to first semester of study (for details see Master’s Degrees Placement Examinations, above). Students may not enroll in any graduate course in music history or in music theory without first completing the Graduate Music History and Music Theory Review Requirements, as described above. Note that HLM 615 is a prerequisite for all graduate courses in music history.

Transfer Credit

A maximum of 12 graduate credits beyond the master’s degree may be transferred from another institution upon approval. Transfer credits must be approved prior to matriculation.

Language Requirements

A candidate for the Doctor of Musical Arts in an instrument must demonstrate proficiency in a language other than English that allows for the pursuit of research appropriate to her/his major instrument. (Appropriate languages could be, but are not limited to, French, German, Italian, Russian, and Spanish.) Composition majors are expected to achieve a reading proficiency in any of the above languages. Music education majors are expected to show proficiency in any language required for the scholarly investigation of their topics. All language exams will be administered by the appropriate division or department.

Candidacy

After completion of 18-27 credits of course work, an oral Preliminary Examination will be administered. The Preliminary Examination is administered by an Advisory Committee that is composed of the division director, chair of the major department, one other faculty member from the performance area if the candidate is a student of the chair, and one representative each from the Music History and Music Theory departments. After questioning the student, the Advisory Committee will recommend future course work if weaknesses are found. In exceptional cases, a student may be advised to discontinue the doctoral program as a result of extremely poor exam results. The Advisory Committee’s recommendations will be communicated in writing to the student. Official candidacy status is conferred upon successful completion of the Oral Qualifying Exam. A student is allowed to take the Oral Preliminary Exam twice. The exam must be completed before 27 credits are completed.

Minor Area

Studies in a minor area are recommended but not required in doctoral programs. A minimum of 18 credits of upper-level work in a specific field fulfills this option. A maximum of 9 credits from previous graduate study may be transferred toward the minor. Students may be accepted into a minor program only with the approval of the department offering courses in the minor area.

Language Proficiency Exit Requirements

Comprehension

D.M.A. in Choral Conducting. Students must be able to demonstrate competency in German and two other languages among French, Italian, or Latin by being able to translate into English song/aria texts with the use of a dictionary.

D.M.A./A.D. Voice Performance. Comprehension competency required in French, German, and Italian.

Diction

D.M.A. Choral Conducting. Students must demonstrate an understanding in language pronunciation in French, German, English, Italian, and Latin (Italianized and Germanic) with the use of the International Phonetic Alphabet (IPA).

D.M.A./A.D. Voice Performance. Students must demonstrate an understanding of language pronunciation in French, German, English, and Italian with the use of IPA.

Final Comprehensive Examinations

A written comprehensive examination is taken after all doctoral course work is completed and all language requirements have been met. Comprehensive exams are two days long, six hours each day. The first day consists of questions submitted by the faculty of the student’s major department; the second day consists of questions questions submitted by the Music History and Music Theory departments. The final comprehensive examination may be attempted twice.

Dissertation/Essay

A dissertation or essay, depending on the degree emphasis, is required of all doctoral candidates.

Performance: Candidates write an analytical, historical, experimental, pedagogical, or other original essay in their major area.

Composition: Candidates submit a work of major proportions.

Music Education: Candidates write an analytical, pedagogical, or experimental dissertation.

All doctoral dissertation or essay proposals and lecture-recital topics must be approved by the Committee on Graduate Studies. For proposal format, consult with the director of graduate studies.

Dissertation/Essay Defense

Upon completion of all course work, recitals, dissertations, and essays, candidates may be administered a final oral exam. Doctoral programs in Performance may not require a final oral exam; however, they are mandatory for doctoral programs in Music Education. The exam is designed to focus on the dissertation or essay, although the questions may originate from a wide range of topics. The oral examination is given by the readers of the dissertation or essay; any member of the faculty, however, is invited to attend and participate in the exam.

Timetable for May Graduation

First week in February—last date to file for May degree applications

Second week in March—last date to submit reading copies to dissertation/essay examining committee

Fourth week in April—last date for final dissertation/essay defense

First week in May—last date to submit final copies of dissertation/essay

September and January graduation dates follow parallel timetables.

Active Status/Continuing Registration

All graduate students are obligated to maintain “continuing registration” while pursuing degree objectives. This is accomplished by filling out a registration form and gaining an approval from the student’s program division director.

Student Performing Organizations

Membership in all performing organizations is by audition and is open to all University students.

Instrumental

Hartt Symphony Orchestra

The Hartt Symphony Orchestra is intended for training in orchestral techniques. More than six public concerts, featuring a healthy balance of classic symphonic literature and newly composed music, are presented, and a number of reading sessions are scheduled. The concert repertory is drawn from the standard symphonic literature, with attention also given to the performance of new music.

Hartt Contemporary Players

Hartt Contemporary Players is a mixed ensemble of advanced players whose repertoire includes music of established as well as emerging 20th-century composers. The ensemble has appeared in New York, Boston, Cleveland, and Indianapolis; has recorded for Opus One and CRI; and has been heard on Connecticut Public Radio and WNYC-FM (New York City). In addition to works by the students, faculty, and alumni, the past several seasons have featured music by Berio, Birtwistle, Cage, Diemente, Druckman, Feldman, Reich, Schoenberg, Stravinsky, Takemitsu, Varese, Volpe, Webern, and Xenakis.

Hartt Concert Jazz Band

This organization prepares and performs music in the jazz style, with both functional and artistic objectives.

Hartt Percussion Ensemble

With an emphasis on chamber music, the Hartt Percussion Ensemble’s repertoire includes works for both small and large ensembles. Programming includes percussion ensemble “classics” (by Varese, Cage, Harrison, Chavez, etc.), as well as contemporary literature and premiere performances. Concerts may include the traditional folk music of various cultures, including Mexican marimba ensembles or ragtime marimba bands. In addition, the Hartt Steelband serves as an extension of the Hartt Percussion Ensemble.

Hartt Steelband

Featuring the music of the Caribbean, the Hartt Steelband serves as an extension of the Hartt Percussion Ensemble. The group performs on authentic Trinidadian steel drums, created from finely tuned, 55-gallon oil barrels, accompanied by an authentic calypso percussion section. The Hartt Steelband’s repertoire includes traditional Jamaican folk songs, Afro-Cuban salsa, American popular music, and Western European classics, and features the calypso and soca music of Trinidad.

Hartt Baroque Colloquium

The Hartt Baroque Colloquium performs instrumental and vocal music of the Baroque and early Classic periods. The Colloquium performs regularly in a concert series throughout the Hartford area. Past concerts have included works by J. S. Bach, Handel, C. P. E. Bach, and Vivaldi.

The Hartt Wind Ensemble and Symphony Band

The Hartt Wind Ensemble and Symphony Band are intended for training and developing careers in music performance, music education, music theory/composition, music management, music production, and music technology. The ensembles perform the highest quality of repertoire written for winds and percussion, ranging from small chamber ensembles to the full symphony band orchestration. The ensembles regularly have as their guests internationally acclaimed composers, soloists, and conductors. In addition to regular tours, community concerts, and convention appearances, the ensembles give four to six performances annually.

Capitol Winds

The Capitol Winds is a symphonic band comprising students from the University of Hartford as well as members of the Greater Hartford community. The group plays challenging concert band literature and performs several concerts each year. The band has premiered works by Hartt composers and hosted guest soloists from the Hartford area.

Vocal

Recent performances of major choral works have included Berlioz’s Te Deum, Brahms’s Schicksalslied, Durufle’s Requiem, Mozart’s Coronation Mass, Verdi’s Requiem, and Vaughan Williams’s A Sea Symphony. In addition, the Hartt choral ensembles frequently perform a cappella works by such composers as Argento, Britten, Copland, and Poulenc.

Hartt Chorale

The Hartt Chorale is a mixed chorus of 45 voices that performs a wide variety of a cappella and accompanied repertoire, from the Baroque period to the present day, in four to six concerts per year.

Hartt Choir

The Hartt Choir is an ensemble of about 60 that performs a variety of both mixed-choir and men’s or women’s choir repertoire.

Camerata

A treble choir of about 30 women that performs a variety of music for female voices, both a cappella and accompanied. Occasionally the Camerata combines with the other choirs to perform major choral works.

Chamber Music

Coached by faculty artists, chamber ensembles for strings, woodwinds, and brass perform both at Hartt and throughout the Greater Hartford area.

Other Performing Opportunities

Special series of master class performances are programmed within all performance areas.

Pianists perform on the Hammerklavier series.

Guitar students present works of leading composers in the series “An Evening with Guitar.”

Paranov Competition. This competition is open to all matriculated students (with some restrictions). Winners are selected to perform with one of the major instrumental ensembles during the next school year. Some of the finalists in this competition may be awarded a reading session. Preliminary and final audition dates are announced in the fall.

Master classes by some of the world’s foremost musicians take place regularly at The Hartt School. Many of the most distinguished artists appear as guest soloists, recitalists, chamber musicians, and lecturers in special workshops.

Other recent appearances include Claude Frank, Armando Ghitalla, Andre-Michel Schub, Steven Isserlis, and Charles Schlueter.

Performance 20/20

Performance 20/20 is Hartt’s innovative honors chamber music program for exceptionally talented instrumentalists. The program offers students the opportunity to be part of an advanced chamber music program that supplements the traditional performance major. Accepted students participate in 20/20 in lieu of the curricular chamber music requirement. The program allows students to work in a professional atmosphere in which they can learn and study chamber music in addition to their other courses.

Admission to Performance 20/20 is by special audition. An entering undergraduate orgraduate student, who is an instrumental performance major and who performs exceptionally well at his/her initial Hartt audition, will be nominated by that committee for inclusion in the 20/20 final auditions. A continuing Hartt student who is not a member of 20/20 is considered for inclusion upon the recommendation of his/her teacher and after passing an intraschool preliminary audition. The performance and progress of 20/20 participants are reviewed on a continuing basis. A student who contributes to the goals of the program and who continues to mature musically may continue in 20/20 for the length of time normally associated with completion of the course of study.

Performance 20/20 provides students the opportunity to perform advanced chamber music with other talented and motivated students. A wide range of instruments allows for unique combinations and the opportunity to perform a varied repertoire of chamber music. In addition to on-campus performances, 20/20 performs off campus at a variety of venues. 20/20 ensembles are coached by eminent members of Hartt’s faculty who are experienced chamber music performers. Workshops, retreats, and special master classes by visiting international artists are an integral part of the 20/20 experience. Friendships and artistic alliances formed with 20/20 colleagues help develop important professional connections and contacts for the future.

Special Lectures and Performance Series

Institute of Contemporary American Music (ICAM)

Founded in 1948, ICAM is Hartt’s link to the larger new-music community. ICAM provides a forum for the presentation and comparison of various styles and trends in new music. Such noted figures as Milton Babbitt, Earle Brown, John Cage, Anthony Davis, Elliot Carter, Aaron Copland, Ross Lee Finney, Steve Reich, Ralph Shapey, and Michael Torke have been featured on the ICAM lecture series.

Hartt Music Theory Forum

The Hartt Music Theory Forum was established in 1988 for musicians and scholars to visit The Hartt School to share their theoretical ideas and research with students, faculty, and the community. Forum speakers have included James Baker, Benjamin Boretz, Charles Burkhart, Scott Burnham, Mark DeVoto, Allen Forte, Joel Lester, Robert Morgan, Dorothy Payne, Lee Rothfarb, Carl Schachter, Janet Schmalfeldt, and Robert Wason.

Hartt Music History Forum

The Music History Forum, founded in 1987, has brought to Hartt accomplished musicologists like Joshua Rifkin, who has visited several times in recent years. Other participants have included John Devario, Barbara Heymen, and Walter Frisch. The program provides students with opportunities to learn about the latest in musicological research.

Hartt Workshops for String Music Educators

The Music Education division of The Hartt School offers one-day workshops for string music educators. Given by nationally recognized string teachers, topics include beginning through advanced string pedagogy, ensemble methods/techniques, and instructional materials/repertoire. The workshops attract music educators from the Connecticut and Massachusetts area.

Hartt Choral Workshops

The Hartt School sponsors an annual High School Choral Festival, in which high school choirs come from Connecticut and the surrounding states for a day of choral workshops, vocal master classes, and choral concerts.

Faculty Recitals

Appearances by members of Hartt’s prestigious faculty occupy an important place on the annual performance calendar. Featured on the Faculty Artists Series are instrumental and vocal solos, duos, trios, quartets, and quintets in performances of both classical and contemporary literature.

Students are also afforded an additional opportunity to hear and learn from Hartt’s master teachers through an ongoing schedule of faculty solo recitals, master classes, and faculty guest appearances with Hartt performing organizations.

Honorary Organization

Pi Kappa Lambda National Music Honor Society, Epsilon Gamma Chapter

Pi Kappa Lambda was organized in 1918 at Northwestern University in Evanston, Ill. Epsilon Gamma Chapter was installed at The Hartt School in 1981. Currently, there are more than 155 active chapters. In 1940, the Society of Pi Kappa Lambda was admitted to the Association of College Honor Societies as the representative in the field of music.

The primary objective of Pi Kappa Lambda is the recognition and encouragement of the highest level of musical achievement and academic scholarship. Graduate and undergraduate consideration for membership is on recommendation by the Faculty Committee upon graduation.

Summerterm

Hartt’s Summerterm offers graduate courses, undergraduate courses, special workshops, master classes, select performance activities, and a summers-only Master of Music Education degree program.

In addition to courses that are an extension of the regular academic curriculum, workshops during June and July are usually one week in length and are both diversified and timely in their appeal. Many international scholars and teachers serve as guest instructors during the program, and there are also special workshops featuring Hartt faculty.

Additional information on Hartt Summerterm may be obtained by contacting

The Hartt School Summerterm
University of Hartford
200 Bloomfield Ave.
West Hartford, CT 06117

860.768.4128 (Connecticut)

Admission

A full listing of courses, workshops, and master classes is included in the Hartt Summerterm Bulletin and online at www.hartford.edu/hartt/summerterm.

Registration

Students are strongly encouraged to register as early as possible and at least two weeks prior to the first day of Summerterm. Please contact the office for further details.

Music Performance, Major Instrument/Voice Study

A one-hour lesson (4 credits) weekly per semester is normally required for performance majors. The specific credits for major instrument/voice study in the various curricula are indicated in the degree programs.

Following are the course codes for major instrument/voice study. Performance major entrance requirements may be found above.

Course Codes

AAN
ABN
ACL
ACO
ADB
AEU
AFH
AFL
AGT
AHD
AHP
ALU
AOB
 Ancient Instrument
Bassoon
Clarinet
Vocal Coaching
Double Bass
Euphonium
French Horn
Flute
Guitar
Harpsichord
Harp
Lute
Oboe
 AOR
API
APR
ARC
ASX
ATB
ATP
ATU
AVA
AVC
AVN
AVO
ACN
 Organ
Piano
Percussion
Recorder
Saxophone
Trombone
Trumpet
Tuba
Viola
Violoncello
Violin
Voice
Conducting
       

Complete outlines of the performance requirements for any major or secondary performance subject are available in the division offices of Vocal and Instrumental Studies.

Master's Degree

Diploma

Display courses for this school/college.



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