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MusicOFFICE: 111 Mandeville Center for the Arts This department is dedicated to the development of musical intelligence and capacity, centering its quest on the music of our own time. The undergraduate programs intend to enhance the exercise and comprehension of the music-making process. The graduate programs aim to educate practitioners and researchers who can nourish the entire domain of music as well as extend its boundaries. ResourcesPerformance/Production OpportunitiesAlthough performance students take lessons and give recitals within the framework of their degree program, non-performance students are also encouraged to participate in the performance life of the department—in ensembles, festivals, and collaborative ventures. During the academic year, a diverse slate of more than 150 public concerts is presented in well-equipped venues: Mandeville Center Auditorium (792 seats), Mandeville Recital Hall (150 seats), Erickson Hall (150 seats), and Studio A (100 seats). These concerts provide students with both performance experience and a forum for examining the music of diverse eras and cultures. Substantial resources and staffing are dedicated to producing the music of our time, including faculty and student works, by new music ensembles, SONOR (faculty), experimental and improvisation ensembles, and student performance collectives (New Music Forum, Performers’ Forum, and CS/EP Forum). Practice facilities include a complement of grand pianos, disclaviers and uprights, an electronic keyboard lab, several harpsichords, a wide array of percussion, a percussion studio, and a limited collection of musical instruments for student checkout. Ensembles in ResidenceConcert Choir Visiting Artists/Artists in ResidenceVisiting artists and artists in residence play an integral part in the research at UCSD’s Department of Music. Outside artists collaborate with faculty and students in Focus seminars, concerts, week-long festivals, and colloquia, bringing an array of new creativity and ideas. Music Technology Facilitieshttp://orpheus.ucsd.edu/dept.music/musictech The Department of Music maintains highly sophisticated, continuously upgraded facilities for the support of graduate and undergraduate instruction. Computer Music Instructional Laboratory (B-104)— Mandeville Center room B-104 was originally established in 1987 to support undergraduate and graduate studies in computer music. B-104 is a 900-square-foot facility with recessed storage and printing areas, machine isolation, acoustical treatments, presentation console, ergonomic workstation components, high- resolution data projection system, CD and DVD authoring, and integrated digital and analog audio equipment for student access to audio processing, duplicating, mixing and high-quality multi-channel audio monitoring. A server is maintained with network connections, mass storage, and archiving systems. Intel computer workstations run unique music software packages developed at UCSD. The CARL package, by Professor F.R. Moore and Gareth Loy, earned UCSD an international reputation for computer music and was adopted for use in computer music facilities around the world. Pd is a new real-time, interactive musical and graphics programming environment written and under continuing development by Professor Miller Puckette. Other audio and graphics editing and processing software packages are also supported. Mobile systems optimized for live performance applications are also maintained in B-104. The facility is configured and optimized to support direct connection of musical instruments to computers for prototyping of real-time interactive performance and compositional projects using MAX/MSP/Jitter and Pd computer music software. Digital Music Project Studio (B-108)—Mandeville Center room B-108 Digital Music Project Studio is a 900-square-foot facility, including an isolation booth, absorption and diffusion treatments, data connections and audio tie-lines to B-104 and Erickson Hall. This studio houses Macintosh and Linux systems and many dedicated devices for music production and recording, including a ProTools digital audio production package with 8 channels of digital and analog i/o for precise digital recording and editing. Recent upgrades include improved microphone preamps and an array of new software packages including ProTools plugins and spatialization tools. The studio features a Tascam 24-track hard disk and digital multi-track recorders with synchronization and digital i/o, a Yamaha 02R96 digital mixing console with all upgrades, Zsys digital patchers, and sound-for-picture capabilities. The studio supports MIDI for synthesis, processing, and control in music composition and performance, and includes hardware and software for CD and DVD mastering. Open Computing Laboratory (B-206)—This facility occupies 1950 square feet, with audio and printer connections to B-104. All workstations are networked and several stations are equipped with CD and DVD burning equipment. B-206 was established in 1990 to support many facets of the music department curriculum, and has been upgraded incrementally nearly every year thereafter. It now comprises of 17 computer workstations (13 iMacs, 3 desktop G4s, and an Intel), most with MIDI interfaces and Yamaha SY22/33 synthesizer. Coda Finale, Max/MSP, Soundhack, Metasynth, Pd, and IRCAM Forum are some of the packages supported in the lab. Large-format music and text printing are supported. For instructional presentation, the room features a high quality data projection and sound system. The presentation station also features a PC workstation, a G4 Mac with stereo ProTools editing, DAT, Bias Peak editor and SpectraFoo, signal display software, and a CD burner. Media Networking—B-104, B-108, B-206, and most of UCSD Department of Music’s performance spaces and classroom spaces have been upgraded for fast ethernet and media networking. Media networking allows advanced students and researchers to “stream” digital video and audio among diverse on-campus facilities and onto the Internet. Additionally, there is wireless connectivity at various campus locations. http://www-crca.ucsd.edu Concert and Recording TechnologyStudents can check out recording and concert production equipment on a daily basis. All faculty and most student concerts are recorded by professional staff or their assistants, and qualified students can utilize the department’s extensive high tech resources for experimental projects resulting in public performance and recordings of new works. Our first annual 2-CD compilation, guided by faculty mentors, features advanced graduate students who performed, composed, edited, and collaborated to produce a snapshot of musical achievement that predicts distinguished careers and new avenues of musical thought and practice. Warren Studioshttp://orpheus.ucsd.edu/dept.music/musictech The Warren Studios are state-of-the-art musical recording and faculty research facilities. The studios were designed to serve the faculty and advanced students of the music department, meeting the following objectives:
Center for Research in Computing and the Arts (CRCA) The Center for Research in Computing and the Arts (CRCA) is an organized research unit of UCSD. CRCA exists to foster collaborative working relationships among artists, scientists, and technologists by identifying and promoting projects in which common research interests may be advanced through the application of computer-mediated strategies. Computer music projects at CRCA cover a broad spectrum, from pure research to technically advanced creative endeavors. Current research in spatialized audio, computer music languages, interactive performance, and synthesis techniques is conducted at CRCA. CRCA offers a broad array of events in its facility, reflecting the areas of research and artistic expression of our faculty, students, associates, and visiting scholars. The center’s event space offers 8-channel spatialized sound capabilities, seating for 75 to 100, projection of computer and video sources, and audio playback from digital and analog sources. Music LibraryThe Music Library (located in Geisel Library) houses an extensive collection of holdings in all areas of Western music, and possesses one of the most exhaustive collections of twentieth-century music in this country. In addition, the collection of materials in non-Western music is aggressively being expanded. The Music Library has remote playback capability whose purpose is to support the coursework and research of UCSD faculty and students. The listener can directly control any of the cassette decks, reel-to-reel tape decks, turntables, CD players, laser disc players, VHS HiFi VCRs, and BETA HiFi VCRs. Ten of the remote control listening stations are equipped with video monitors. The Auxiliary Studio and Seminar Room are equipped with full remote control of any of the audio or video equipment. The Music Library’s innovative Digital/Audio Reserve Project (DARP) uses networked audio streaming to maximize student access to listening assignments. The Undergraduate ProgramUndergraduate courses offered in the Department of Music satisfy a wide range of interests for non-music majors as well as for students majoring in music. Students wishing to acquire a musical background to support further study should take Music 1A-B-C, which develops skills musicians use in the analysis and performance of music. Students interested in “music appreciation” should choose from the following courses, which introduce aspects of the rich heritage of music: Music 4–15. None of the aforementioned courses have prerequisites. For students with prior musical background who wish to continue in upper-division theory courses, Music 2A-B-C (in lieu of 1A-B-C) is essential. Music Major ProgramsThe undergraduate program at UCSD offers a bachelor of arts degree in music and in music humanities. The curriculum emphasizes the development of musical listening and performance skills as applied to both contemporary and traditional music. The music major is intended for students who may choose to engage in music as a profession. This major thus requires extensive development of musical skills. A student without the appropriate level of those skills upon entrance to UCSD must devote considerable time to attaining them, either in lower-division courses or independent study. Students can concentrate in composition, performance, literature, technology, or jazz and the music of the African diaspora. The Department of Music is committed to creative music making; thus all music majors are required to enroll in ensemble performance for at least three quarters (see #8 below). The music/humanities major is intended for students who wish to pursue a broad liberal arts program that includes music as a central element. This program emphasizes music history and literature, and allows the individual student to select an area of interest for the major within the broad field of the humanities. Music Major RequirementsThe lower-division prerequisites for the music major are Music 2A-B-C, and Music 2AK-BK-CK. Jazz emphasis students take Music 2JK in lieu of 2CK. To continue within the major, all students must pass Music 2C or an equivalent proficiency exam. Composition emphasis students must take Music 33, Introduction to Composition, or take a proficiency exam for the course. All required music major courses must be taken for a letter grade, with the exception of Music 143, which is taken on a Pass/No Pass basis. All courses to be counted toward satisfying the major requirements must be passed with a grade of C or better. To complete the music major the following courses are required. Courses which are specific to each area of emphasis are shown in parentheses.
Music/Humanities Major RequirementsThe prerequisite for the music/humanities major is Music 1A-B-C (or 2A-B-C, if qualified). To complete the major the following courses are required:
Students interested in this major should confer with the music/humanities faculty adviser to work out a course of study, which must be submitted at the beginning of the junior year for the adviser’s written approval. Interdisciplinary Computing and the Arts (ICAM) MajorMajor Requirements Twenty courses are required in the computing and the arts major for the attainment of the Bachelor of Arts degree. A minimum of twelve of these courses must be upper division. All courses taken to satisfy major requirements must be taken for a letter grade, and only grades of C– or better will be accepted in the major. The Undergraduate Program The Interdisciplinary Computing and the Arts program in the Music and Visual Arts departments draws upon, and aims to bring together, ideas and paradigms from computer science, art, and cultural theory. It also takes for granted that the computer has become a metamedium and that artists working with computers are expected to combine different media forms in their works. All of this makes the program unique among other currently existing computer art or design programs which, on the one hand, usually focus on the use of computers for a particular media (for instance, specializing in computer animation, or computer music, or computer design for print) and, on the other hand, does not enter into a serious dialog with the current research in computer science, only teaching the students off-the-shelf software. The program also recognizes that creating sophisticated artistic works with computers requires a new model of the creative process, one that combines traditional artistic procedures with the experimental research characteristic of the sciences. All in all, it aims to train a new type of cultural producer, who is familiar with music technology, who is equally proficient with computer programming and artistic skills, who is always ready to learn new technologies, and who is comfortable interacting with scientists and computer industry resources. The goals of the program are:
Admission to the ICAM MajorStudent interest in the Interdisciplinary Computing and the Arts Major (ICAM) has been strong. Because the department has limited resources to accommodate student demand, it is necessary to limit admission to these majors to the most highly qualified students. Any student admitted to UCSD beginning in fall 2002 who wishes to declare an ICAM major will be admitted to the pre-major rather than being directly admitted to the major. ICAM Pre-Major Students designated as pre-majors in ICAM must complete the following eight required lower-division courses within six quarters (by the end of their sophomore years): MUS 4, Introduction to Western Music and one from MUS 1A, Musical Literacy and one from MUS 6, Electronic Music * MATH 20A and MATH 20B is an accelerated calculus course for science and engineering. MATH 10A-B-C covers similar material in a non-accelerated format, and can be substituted. CSE 11 is an accelerated course in the JAVA programming language. CSE 8A and CSE 8B, which cover the same material in a non-accelerated format, may be substituted. Applying to the Major Upon completion of all required lower-division courses, pre-majors who seek entrance to the ICAM major must formally apply at the Music Department Undergraduate Program Office. Admission will be based on the following criteria:
Transfer Students Beginning in fall 2002, transfer students who wish to declare an ICAM major are subject to the major’s admissions policies: that is, they will be admitted initially as pre-majors, apply to the major on the same basis as other students, and be subject to the same requirements with respect to lower-division courses, grade-point average, and portfolio evaluation. Transfers entering with 36 or more quarter units must apply for admission to the major no later than their third quarter of study at UCSD. At the time of admission to the pre-major, transfer students’ transcripts will be evaluated by the departments to determine what courses completed elsewhere, if any, may be petitioned as equivalent to required courses. Students should be prepared to provide course descriptions and other materials that may be required to determine the content of such courses. Continuing Students (Students admitted prior to fall 2002) Any student admitted to UCSD before fall 2002 may declare an ICAM major by completing a Change of Major form at the undergraduate adviser’s office and attending an orientation meeting. Policies Relating to the ICAM MajorSatisfactory Progress Any ICAM major whose GPA in courses required for the major drops below 2.0 will be placed on probationary status the following quarter. If, during that probationary quarter, the GPA does not move back to up 2.0 or better, he or she will be dropped from the major. Prerequisites Students are required to complete all prerequisites prior to enrolling in any course required for the major. Exceptions must be negotiated with the instructor of the course in question, in consultation with the department undergraduate adviser. Limitations to Enrollment by Non-Majors A department stamp is required for all upper-division courses in computing in the arts. Because ICAM is an impacted major, first preference in enrollment in upper-division computing in the arts will be given to ICAM majors and to music majors with a technology concentration. Second preference will be given to other visual arts and music majors. Other students will be admitted to these courses only if space is available. Lower-Division (Eight courses required.) MUS 4, Introduction to Western Music and one from MUS 1A, Musical Literacy and one from MUS 6, Electronic Music * MATH 20A and MATH 20B is an accelerated calculus course for science and engineering. MATH 10A-B-C covers similar material in a non-accelerated format, and can be substituted. CSE 11 is an accelerated course in the JAVA programming language. CSE 8A and CSE 8B, which cover the same material in a non-accelerated format, may be substituted. Upper-Division (twelve courses required) Survey (one course required) ICAM 110. Computing in the Arts: Current Practice Foundation (three courses required) ICAM 101/VIS 140. Digital Imaging: Image and Interactivity Advanced (four courses required) One of: MUS 172. Computer Music II Three of: ICAM 120. Virtual Environments Theory and History (two courses required) ICAM 150/VIS 159. History of Art and Technology and one of: MUS 111. World Music Traditions Senior Project (two courses required) ICAM 160A. Senior Project in Computer Arts I All Computing and the Arts (ICAM) course descriptions are listed at the end of the lower- and upper-division sections under “Courses.” Not all courses are offered each year. Honors1. To be admitted into the honors program a student must have the following:
All of the requirements below must be completed before the last day of instruction in the spring quarter prior to the academic year in which the student proposes to pursue an honors curriculum.
2. Once admitted to the honors program:
3. To receive honors:
Please Note: Being admitted to the honors curriculum does not guarantee that a student will receive honors. For further information on the Department of Music Honors Program and to obtain an application form, students should make an appointment with the undergraduate staff adviser. Transfer StudentsStudents who plan to transfer into the music major should have strong skills in basic musicianship. For those planning to emphasize performance, solid proficiency on the instrument is required. A general course in the history of music is recommended. All transfer students must pass a proficiency examination in Music 2C (Basic Musicianship) and Music 2CK (Basic Keyboard). To verify the acceptability of transfer music courses, students must make an appointment with the undergraduate staff adviser. Minor ProgramsPlease obtain a Department of Music brochure of approved minors from the undergraduate office. Students must seek advice and obtain approval from the undergraduate adviser prior to embarking upon a minor program. The music minor for students entering UCSD in and after winter quarter 1998 consists of:
Students who entered UCSD before winter 1998 may select either the new minor or one of the music minors offered at the time of their entry into the university. A minor with an emphasis in ICAM consists of seven specific courses, of which at least five must be upper division. Prospective minors should consult with the respective departmental adviser for a complete list of appropriate classes acceptable for the minor. Advising OfficeUndergraduate Staff Adviser The Graduate ProgramUCSD offers the master of arts and doctor of philosophy in music as well as a doctor of musical arts. Areas of emphasis for the M.A. include Composition, Computer Music, Critical Studies/ Experimental Practices (CS/EP), and Performance. For the Ph.D., areas of emphasis offered are Composition, Computer Music, and Critical Studies/Experimental Practices. The doctoral of musical arts has an emphasis in Contemporary Music Performance. CompositionThe Composition Program is committed to nourishing the individual gifts and capacities of student composers in a diverse and active environment, with an emphasis on intensive personal interaction between faculty and student. The faculty mentor considers a student's particular goals and then attempts to strengthen his or her technical capacity to meet them. Of course, it is also the case that the diversity and liveliness of our program itself often challenges students to reevaluate their goals. An incoming member in the M.A. or Ph.D. program begins with a year-long seminar (taught by a different faculty composer each quarter) and continues with individual studies thereafter. At the close of the first year fall quarter and again after the following spring quarter, the entire composition community gathers for a day-long “jury.” Each seminar member is allotted a block of time during which the composition that has just been completed is performed and recorded in a carefully rehearsed presentation. There is a detailed discussion of each work by the faculty composers, and the student has opportunity to comment, explain, and pose questions. Following the performance and discussions of this day, the composition faculty meets to assess the students’ work collectively and to offer any guidance deemed necessary. This process is at the root of the uniqueness of the UCSD program, and manifests the range, seriousness, and vitality with which compositional issues are explored here. After completing three quarters of seminar and two juries, students come to know something about the ideas and perspectives of each faculty composer; the faculty, in turn, is aware of each student’s objectives and needs. At this point, an individual mentor is agreed upon and this relationship becomes the center of the student’s continuing work as the degree is completed. A Third Year Forum presents, under departmental auspices, a work composed by each third-year Ph.D. composer in the four quarters since his or her second jury. As a part of preparation for this forum, each student composer is expected to have a faculty performer on his or her Ph.D. committee (as a regular member, or as an additional sixth member). The faculty performer is the student's performance mentor and guide in interfacing with the performance community. There is also a biweekly Focus on Composition Seminar at which faculty, students and selected visitors present work of interest (compositional, analytical, technological, and even whimsical). The seminars serve to foster mutual awareness within the student composer group. Collegial relationships develop which lead not only to friendships but also to further creative outlets in cooperative projects, including the student-run Composers’ Forums, performance collectives, and recital projects. UCSD performers—faculty and student—are all committed to the playing of new music, and frequent composer/performer collaborations are a vital aspect of life in the Department of Music. Computer Musichttp://orpheus.ucsd.edu/dept.music/musictech/ The Computer Music Program emphasizes research in new techniques for electronic music composition and performance, catalyzed through an active concert program of new works by students, faculty, and visitors. Areas of research include:
The Computer Music Program encourages work which overlaps with the other programs of study: composition, performance, and critical studies/experimental practices. Analyzing and performing electronic music repertoire as well as writing new music involving electronics are encouraged. The computer music area’s first year is centered on a yearlong“backbone” course covering the essentials of the computer music field. This material divides naturally into three portions (audio signal processing, compositional algorithms, and musical cognition). In their second year, students work individually with faculty members to deepen their mastery of their subject areas of concentration. For example, a student wishing to focus on signal processing aspects might study techniques for digital audio analysis and resynthesis, drawing on the current research literature. Also during these first two years Ph.D. students take seminars on music analysis, composition, and performance practice. After having taken a critical mass of such subjects students enter a qualifying examination preparation period, and, once successful, they start their dissertation research. UCSD’s Center for Research in Computing and the Arts (http://crca.ucsd.edu) offers an ideal research environment for graduate students in this area. The music department also provides extensive laboratory and computing support for computer music. Critical Studies/ Experimental PracticesThe Program in Critical Studies/Experimental Practices (CS/EP) explores what music is about over the widest possible range of traditions and possibilities. An exploration of experimental, Western, and nonwestern music-making is combined with the critical examination of music and musical ideas within human societies. This interactive environment encourages a cross-fertilization between diverse musical forms and the theoretical and critical discourses that surround them, often drawing in those who may not fit conventional categories of “composer” or “performer,” or those whose work is not constrained by traditional disciplinary boundaries. Thinking about music requires both analytic engagement with real music and the creative investigation of ideas relevant to its nature, creation, production, and reception. Core seminars explore multiple ways of thinking about music, including critical, cognitive, and intercultural approaches as well as traditional syntactical analysis. Recent seminars have included crossculturalism in music, psychoacoustics, film and popular music, multimedia aesthetics, methodologies for improvisation, representations of sexuality and gender in music, ethics, music and theater, and contemporary theories of narrativity in music. Students are encouraged to share their scholarly, musical, and intermedia work in quarterly CS/EP forums. Music-making in CS/EP encompasses both compositional and performance activities. Experimental performance workshops incorporate improvisation and such diverse elements as new technologies, video, dance, visual, and theatrical components to make music in a multiplicity of ways. Student-generated projects and workshops are also an important component of the UCSD Graduate Program in CS/EP. Individual student interests and initiatives are welcomed by the faculty, who are expert in such diverse fields as cognitive psychology, computer-aided improvisation, ethnomusicology, historical development of Western music, and contemporary critical thought. PerformanceFostering the creative, intelligent, and passionate performance of contemporary music is the mission of the Performance Program of the Department of Music. As once stated by founding faculty composer Robert Erickson, we at UCSD are a “community of musicians.” The performance of contemporary music is viewed as a creative act which balances expertise and exploration. Within this context, performers act and interact in a communal environment, working with faculty and student composers, collaborating in music technology, researching instrument design, improvising, and experimenting in performance practice, among many other pursuits. Graduate performance students pursue either a master of arts or a doctor of musical arts degree in contemporary performance. The course of study for both programs involves the completion of required graduate seminars and intensive study with a mentoring faculty member. Students are encouraged to adopt a vigorous, exploratory orientation in their private study. Final degree requirements include a recital, or in the case of the DMA, two recitals and the presentation of personal performance research. The work of graduate performance students forms an integral component of a rich musical environment which produces an astonishing quantity and variety of performances. Students may perform in SONOR (the university’s contemporary music ensemble) or in SIRIUS, (the graduate student contemporary music group). The Performance Forum, a student-initiated concert series, provides an opportunity for students to present a wide variety of concerts of improvised music, world music, and music with technology. A strong, collaborative spirit between the Performance and Composition programs also yields many new works each year performed on New Music Forum concerts series. Graduate AdmissionsStudents are admitted to begin in fall quarter only. The deadline for submission of ALL application materials is January 12. Failure to meet this deadline jeopardizes admission and financial support. Step 1 Preliminary ApplicationThe application process begins at the Department of Music Web site http://www.ucsd.edu/ music with a preliminary online application. We encourage all applicants to apply as early as September. Step 2 PortfolioMusic applicants must submit a portfolio consisting of the following by January 12 to: UCSD, Department of Music, MC 0326, La Jolla, CA 92093. Please include your most recent works as well as twentieth-century pieces, when possible.
—in addition—
Step 3 UCSD Application for Graduate AdmissionAll sections of the official online UCSD Application for Graduate Admission with the $60 non-refundable fee must be submitted by January 12. Applications must include all supporting documents:
Advisory ExaminationsAfter completion of an advisory examination during Welcome Week, each new student will meet with the departmental M.A. or Ph.D. adviser. Students found to be deficient in any areas covered on the advisory examination (dictation, sight reading, keyboard proficiency, history, and literature) will be advised to remedy deficiencies during their first year. Core Graduate CurriculumAll graduate students are required to take Music 201 (Projects in New Music Performance) as outlined under each area, Music 210 (Musical Analysis), Music 228 (Conducting)—optional for CS/EP students, and Music 291 (Problems and Methods of Music Research and Performance). Students who completed Music 210, 228, and 291 during their master’s degree program at UCSD, do not need to retake those courses for their doctoral curriculum. To assure that all requirements are being adequately met, all graduate students must make an appointment with the graduate staff adviser for a degree check no later than the winter quarter of the second year. Master’s Degree ProgramThe master of arts in music degree includes areas of emphasis in Composition, Computer Music, Critical Studies/Experimental Practices (CS/EP), and Performance. The degree requires completion of at least thirty-six quarter units of graduate courses (courses numbered 201–299), including six units of Music 500 (Apprentice Teaching in Music) and six units of Music 299 (Advanced Research Projects and Independent Study) bearing directly on completion of the master’s thesis. Master’s students are expected to complete all requirements for the degree in six quarters of residence. Course RequirementsIn addition to the core graduate curriculum, all master’s degree students are required to complete requirements in their area of emphasis: Composition
Computer Music
Critical Studies/Experimental Practices
Performance
Master’s Degree Completion RequirementsA folio of three research papers in professional format (normally to be written in connection with the courses the student will be taking) must be accepted by the student’s committee prior to approval of the thesis. MA candidates will present a thesis consisting of the following under the supervision of the student’s committee chair in Music 299:
All of the above master’s requirements must have final approval from the student’s individual committee upon completion. Doctoral Degree ProgramStudents of superior musical competence may pursue a program with emphasis in Composition, Computer Music, or Critical Studies/ Experimental Practices (CS/EP) leading to the Ph.D. or doctor of musical arts (D.M.A.) degree in Contemporary Music Performance. All doctoral students within the Department of Music must complete the Core Graduate Curriculum (outlined in the section above the Master’s Degree Program) plus additional core requirements for the Ph.D. Or D.M.A. program. These additional core requirements are:
Course RequirementsIn addition to the core graduate and Ph.D./D.M.A. curriculum, doctoral students (according to their area of emphasis) must complete the following courses prior to the qualifying examination: Composition
Computer Music
Critical Studies/Experimental Practices
Performance
Qualifying Examination/Advancement to CandidacyRequirements prior to taking the qualifying examination:
The qualifying examination for all doctoral students will consist of the following:
Ph.D./D.M.A. Degree Completion Requirements
Materials previously submitted for other degrees are not acceptable for submission for the Ph.D./D.M.A. degree. Time Limit Policy for the Doctoral DegreeNormative Time Limits
Support Time Limits
Total Registered Time Limits
Students who have not completed all Ph.D. requirements within the maximum total registered time will no longer be permitted to register for classes. Advising OfficeGraduate Staff Adviser
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