The Hartt School The Hartt School - University of Hartford · the Hartford Symphony Orchestra, ......
Transcript of The Hartt School The Hartt School - University of Hartford · the Hartford Symphony Orchestra, ......
374 / The Hartt School
T
The Hartt
School
he Hartt School is an internationally
acclaimed performing arts school with
programs in music, dance, and theatre.
The school was established by Julius Hartt,
Moshe Paranov, and Associated Teachers in
1920 and was one of the three founding institu-
tions of the University of Hartford in 1957.
Alongside the traditional performance-oriented
majors in music, theatre, and dance, the school
offers programs in music history, music theory,
music education, and composition. Hartt also
offers innovative programs in pre-cantorial
studies, music management, performing arts
management, and music production and tech-
nology.
With a strong tradition of excellence, Hartt
takes pride in its talented artist-faculty. Recog-
nized nationally and internationally as perform-
ers, educators, and scholars, The Hartt School
faculty members are active in their areas of ex-
pertise. Through performances, recordings,
books, articles, major awards, grants, and fel-
lowships, faculty members set an excellent ex-
ample for their students. Interaction between
faculty and students provides the framework for
the development of future professional perform-
ing artists, arts managers, composers, music and
production technologists, and teachers. A strong
commitment to a select student body ensures a
high quality of education.
A wide range of opportunities is available to
Hartt students. Musicians benefit from partici-
pation in large orchestral, wind, or choral en-
sembles. Smaller chamber music ensembles as
well as solo opportunities help to create well-
rounded musicians. Each year, master classes
are given by guest artists that have included
Sherrill Milnes, Hank Jones, Vieri Bottazzini,
Eugene Levinson, Pamela Frank, Maureen
O’Flynn, Angel Romero, Elly Ameling, John
Musto, Amiri Baraka, Eugenia Zuckerman,
Daniel Pinkham, Midori, Bright Sheng, Joseph
Schwantner, John Corigliano, the American
Brass Quintet, and the Miami, Emerson, Colo-
rado, Lark, and Miró string quartets. Hartt also
boasts Performance 20/20, a highly competitive
honors chamber music program that provides its
students with the opportunity to perform even
more extensively. Vocal performance opportu-
nities include a variety of choral performing or-
ganizations as well as black-box and fully
staged operas. Voice students also have the
opportunity to audition for and perform in pro-
ductions by Connecticut Concert Opera, and to
hold section-leader positions in many fine area
choirs. Future music educators have years of
hands-on practical training with children from
The Hartt School Community Division, 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, at the John
F. Kennedy Center for the Performing Arts, at
Creative Artists Agency, and in a wide variety
of other 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
professional arts organizations like the Ameri-
can Ballet Studio Company and Full Force
Dance Theatre, as well as collaborating with
Hartt music and theatre students. They also per-
form, teach, and choreograph works throughout
the four-year, comprehensive curriculum. Ballet
pedagogy majors have four semesters of hands-
on teaching with students in the Hartt Commu-
nity Division.
In the Theatre Division, the classroom expe-
rience is enhanced by the yearly 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, and actor
training students present an additional showcase
in Los Angeles. Music theatre students have the
opportunity to participate in Goodspeed Musi-
cals’ annual Festival of New Artists. Actor
training students have the opportunity to partic-
ipate in activities with the Hartford Stage
Company, in roles or understudying in the com-
pany’s productions.
For more than four decades, the growth of
The Hartt School was nurtured by the philan-
thropy of Alfred C. Fuller, founder of the fa-
mous Fuller Brush Company. Fuller’s
generosity helped to create scholarship opportu-
nities that continue to benefit Hartt students.
Additional support from the Fuller family ena-
bled Hartt to build the Alfred C. Fuller Music
Center, the four-story complex that houses The
Hartt School music divisions, administration,
and community division. In the same spirit of
The Hartt School / 375
generosity demonstrated by her husband, Mary
Primrose Fuller left a bequest of $19.8 million
in 1998, creating new opportunities for Hartt.
The Hartt School of the University of Hart-
ford 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 it shares 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 The Hartt School provides preprofessional train-
ing in the performing arts characterized by artis-
tic 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 op-
portunities within the school, University,
community, and professional world;
• Cultivates broadly educated individuals and
performing artists of vision, depth, and confi-
dence 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 en-
riching 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 build-
ing designed in 1929 by pioneering industrial
architect Albert Kahn. This vibrant new center
for performing arts education serves as a re-
source for the entire community. The 56,000-
square-foot center provides performance and
rehearsal space, classrooms, and studios for stu-
dents 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 thea-
ter has a state-of-the-art, computerized light
board and sound equipment.
All courses for dance majors are taught at 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 one of the main
performance venues on the University of Hart-
ford campus. An intimate, 428-seat house, Mil-
lard is used for operas; 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 Recital Hall, practice rooms, teaching
studios, and offices for the Hartt Community
Division.
Paranov Hall, a four-story instructional
building, houses classrooms, the Hartt recording
studios, faculty and administrative offices, the
University of Hartford Center for Computer and
Electronic Music, and the LEGO Learning Cen-
ter, 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.
Lincoln Theater accommodates outside
bookings as well as campus-based activities. It
is used for commencements, lectures, concerts,
theatre and music theatre performances, solo
performances, orchestra/wind ensemble con-
certs, 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 orches-
tra pit as well as sound and computerized light-
376 / The Hartt School
ing equipment with follow spots. The dressing
rooms easily accommodate up to 50 performers.
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 refer-
ence, circulating, and online materials in the
fields of music, dance, and related arts. Its hold-
ings include approximately 22,000 books and
bound journals, 41,000 scores, more than
23,300 sound recordings (including recordings
of Hartt operas, concerts, and recitals), more
than 1,100 videocassettes and DVDs, and thou-
sands of audio tracks streamed over the Internet.
Subscriptions to 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, and thea-
tre. The library catalog and other online re-
search aids help users identify and locate all the
scholarly resources managed by University Li-
braries. Members of the University community
holding University of Hartford e-mail accounts
(available from Information Technology Ser-
vices) may access subscription databases and
electronic journals from locations off campus.
Professional library staff members are available
to help users find materials, and library instruc-
tion is available upon request.
The Allen Library’s facilities include 18
iMacs with both Windows XP and Mac OS X
installed, as well as Microsoft Office, to provide
access to online resources. The library has three
fully equipped listening/viewing rooms to allow
for in-library use of audiovisual materials. Eight
individual audio carrels provide another option
for in-library listening. A teaching seminar
room, fitted with a full complement of listening
and viewing equipment, iMac computer (Win-
dows XP and Mac OS X), and overhead projec-
tion, is available to faculty for classes and
lectures. An additional small seminar room with
a PC, overhead projection, and some listening
and viewing equipment, is available for group
study and meetings. Self-service photocopying
($ .10/copy) and printing ($ .05/page) is availa-
ble, 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
Instrumental Studies Division Strings
Robert Black, double bass, Chair for Strings
Renato Bonacini, violin, emeritus
Melinda Daetsch, viola
Teri Einfeldt, Suzuki pedagogy (violin)
Rebecca Flannery, harp
Terry King, violoncello
Christopher Ladd, guitar
Katie Lansdale, violin
Steven Larson, viola
David Madsen, Suzuki pedagogy (guitar)
Anton Miller, violin
Emlyn Ngai, violin
Rita Porfiris, viola
Richard Provost, guitar, Chair
for Guitar and Harp
Mickey Reisman, violin
Mihai Tetel, cello
Keyboard
Gregory Babal, class piano Amy
Champagne, class piano Luiz de
Moura Castro, piano Margreet
Pfeifer Francis, piano,
Co-chair for Keyboard, Co-director
for Performance 20/20
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, Co-chair
for Keyboard and Accompanying
Woodwinds, Brass, Percussion,
and Ensemble
John Amina, 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
Greig Shearer, flute
The Hartt School / 377
Benjamin Toth, percussion, Chair for
Woodwinds, Brass, and Percussion
David Wakefield, French horn
Conductors
Glen Adsit, Wind Ensemble and Foot in the
Door, Assistant Director of Instrumental
Studies
Edward Cumming, Primrose Fuller Associate
Professor of Orchestral Studies
James Jackson III, Symphony Band
Gary Partridge, Capitol Winds
Vocal Studies Division Voice and Vocal Coaching
Edward Bolkovac, Director of Vocal Studies,
Chair of Choral Department
Nancy Andersen, voice
Robert Barefield, voice
Colin Britt, diction
Cherie Caluda, voice
Miguel Campinho, accompanist
Sanford Cohn, cantorial coach
Richard Hereld, accompanist
Kevin Jones, diction
Doris Lang Kosloff, coach Michael
Kutner, voice and diction Kamilla
Mammedova, accompanist Joanna
Levy, voice, Chair
of Voice Department
Michele McBride, voice
Marjorie Melnick, voice
Korby Myrick, voice
Wayne Rivera, voice
Barbara Robbins, accompanist
Stephen Scarlato, accompanist
Kyle Swann, coach
Technical Staff Marla Perlstein, costumer/designer
Larry Z. Rowe, Technical Director
Conductors for Vocal Studies Division
Edward Bolkovac, Director of Vocal
Studies, Chair of the Choral Department
Colin Britt
Stuart Younse
Music Education Division Music Education
John Feierabend, Director of Music Education
Sallie Ferrebee
Demaris Hansen, Chair of Graduate
Music Education
Warren Haston
Geoffrey Reynolds
Joshua Russell
Stuart Younse
Academic Studies Division Music History, Composition,
and Music Theory
Ira Braus, music history
Robert Carl, Chair for Composition
Edward Diemente, composition,
music theory, emeritus
Alexander Farkas, music theory, emeritus
Stephen Gryc̆, composition, music theory
Donna Menhart, music theory
David Macbride, composition, music theory
Patrick Miller, Chair for Music Theory
Akane Mori, music theory
Kenneth Nott, music history, Chair
for Music History
Michael Schiano, music theory Thomas
Schuttenhelm, music history Myron
Schwager, music history, emeritus Larry
Alan Smith, composition
Kenneth Steen, composition, music theory
Charles Turner, music history
Gabor Viragh, music theory, Supervisor
of Ear Training
Imanuel Willheim, music history, emeritus
Peter Woodard, music theory
The Jackie McLean Institute of Jazz
Kristopher Allen
Chris Casey
Steve Davis
Richard Goldstein
Randolf B. Johnston Jr.
Andrew Laverne
René McLean
Eric McPherson
Shawnn Monteiro
Nat Reeves
Rick Rozie
Gabor Viragh
Peter Woodard, Chair of the Jackie McLean
Institute of Jazz
Music and Performing Arts Management
Irene Conley, Chair of Music and Performing
Arts Management, Director of Undergraduate
Studies
Susan Davison
Lief Ellis
Erika Haynes
B. Gabriel Herman
Kathleen MacHose
Brian Smith
Music Production and Technology
Jim Chapdelaine, instructor
Mark Goodell, instructor
B. Gabriel Herman, Assistant Director
of Music Production and Technology
378 / The Hartt School
Justin Kurtz, Director and Chair of Music
Production and Technology
Kathleen MacHose, coordinator,
recording studio
Bachelor of Arts in Music Kenneth Nott, Program Director
Dance Division Miguel Campaneria, ballet, men’s class
Lorelei Chang, modern dance, composition
Lief Ellis, dance technology
Katrina Hawley, movement, Pilates
Denise Leetch-Moore, ballet, pointe
Amy Lesko, dance pedagogy
Tim Melady, pas de deux, men’s class
Hilda Morales, ballet, pointe, pedagogy
Alla Nikitina, ballet, character dance
Ralph Perkins, Martha Graham technique
Amy Piantaggini, Martha Graham technique
Stephen Pier, ballet, repertory, Director
of the Dance Division
Ann Quinn, kinesiology, dance administration
Leana Reisman, music history and theory
Larry Rowe, dance production
Debra Ryder, ballet, pointe, music
in the ballet studio
Katie Stevinson-Nollet, modern,
composition, repertory
Rae Tattenbaum, issues in pedagogy
Nina Watt, Limon technique, modern, repertory
Bonita Weisman, improvisation
Theatre Division Annmarie Davis, movement
Robert Davis, acting, voice and speech
Robert Felstein, vocal coach
Paul Feyer, vocal coach
Kevin Gray, acting, career preparation
Kristin Huffman, voice
Denise Leetch-Moore, dance
Debbie Markowitz, production stage manager
Diana Moller-Marino, movement, acting
Michael Morris, Director of Music
Johanna Morrison, voice and speech
Malcolm Morrison, phonetics and language
Carolyn Paulus, voice
Ralph Perkins, dance
John Pike, text analysis
Mark Planner, voice
Larry Raiken, voice
Philip Rittner, vocal coach
Alan Rust, acting, Director
of Theatre Division
Humphrey Tonkin, Shakespeare
Leslie Unger, dance
David Watson, voice and speech, acting
Joni Weisfeld, movement
Marishka Wierzbicki, voice
Stanley Wietrzychowski, vocal coach
Faculty in England Peter Craze
Barbara Houseman
Ilona Linthwaite
Bruce Malkin
Francis Thomas
Admission
Requirements for Admission
Each fall, The Hartt School admits more than
160 new students. A very small number of
students are also admitted in January. To be
considered a candidate, The Hartt School
requires of all applicants:
• University of Hartford and Hartt School
applications and fees ($80)
• High school/college transcript(s) and
SAT/ACT scores
• Two letters of recommendation
• Application essay
In addition, specific majors’ requirements
are as follows:
Instrumental Performance
Jazz Studies
B.S. Acoustical Engineering and Music
• Performance résumé/repertoire list
• Audition
Vocal Performance
• Performance résumé/repertoire list
• A recent full-length photograph
• Audition
• Musicianship interview
Music Education—Vocal Emphasis
Music Education—Instrumental Emphasis
Music History—Performance Practices
Music History—Scholarship and Research
Music Management
Music Production and Technology
Music Theory
• Résumé/repertoire list
• Audition
• Interview with department
• Music education applicants only: sing-back test
• Vocal applicants only: recent full-length photograph and musicianship interview
Composition
• Two or three original compositions
(recordings and/or paper scores)
• Interview with department
• Audition
The Hartt School / 379
B.A. Music and B.A. Performing Arts
Management
• Interview with department
• B.A. Music with lessons only: audition
Dance Performance
Ballet Pedagogy
• Performance résumé
• Recent full-length photograph in leotard and tights
• Audition
• Interview with department Actor Training
Music Theatre
• Performance résumé
• Recent head-shot photograph
• Audition
• Music Theatre applicants only: group dance
audition
Applicants to The Hartt School must be
graduates of, or students who will graduate
from, an accredited secondary school; or they
must have successfully passed a high school
equivalency examination. It is expected that a
college preparatory program of studies will have
been pursued in high school.
Candidates for admission to the freshman
class should file application as early as possible
during the senior year of high school but no lat-
er than January 15. Students seeking entrance in
January should apply by November 1. Late ap-
plications will be considered only if vacancies
exist.
Prospective students are strongly encouraged
to visit the campus. To arrange an information
session, request application forms, or obtain
other information, contact
The Hartt School
Office of Admissions
University of Hartford
200 Bloomfield Ave.
West Hartford, CT 06117-1599
Telephone: 860.768.4465
Fax: 860.768.4441
http://harttweb.hartford.edu
Transfer Students Qualified transfer students, including inter-
school transfer students, are accepted to Hartt in
both fall and spring semesters for music pro-
grams, and in fall only for theatre and dance
programs. In order to be considered for admis-
sion, applicants must be in good standing from
other regionally accredited institutions or from
another school at the University of Hartford.
(Note: Individual programs within Hartt often
have additional admission requirements and
standards. These may include, but are not lim-
ited to, cumulative GPA requirements and addi-
tional academic review.)
Official transcripts from each institution pre-
viously attended are required, whether or not
transfer credit is desired. Students who have
earned fewer than 30 transferable credits are al-
so required to submit official high school tran-
scripts and ACT or SAT scores, unless 15
appropriate nondegree credits have been suc-
cessfully completed at the University of Hart-
ford through the Center for Graduate and Adult
Academic Service. All credentials must be sent
directly from the institutions attended to the
University of Hartford, Office of Admission
and Student Financial Assistance.
Transfer credit is limited to work completed
at regionally accredited colleges and universi-
ties in the United States. Course work complet-
ed abroad will be evaluated case by case, based
on submission by the student of relevant course
materials and grading information. Previous
studies should have been completed within a
10-year period immediately preceding applica-
tion for admission; credits over 10 years old
may not be accepted. A minimum grade of C–
at the undergraduate level is required for
transfer credit. Credits granted by previous col-
leges for CLEP, nontraditional learning experi-
ences, and other examinations will be evaluated
on a separate basis and generally may not be
used to fulfill All-University Curriculum re-
quirements. Credit may be granted for service-
connected learning as recommended by the
A.C.E. Guide for Evaluation of Educational Ex-
periences in the Armed Forces; form DD214 or
295, or Course Completion Certificates, should
be forwarded to the office of Admission and
Student Financial Assistance.
Grades do not transfer, even when credits do.
Grade point averages are computed solely on
courses completed at the University of Hartford.
A preliminary transfer evaluation is done upon
acceptance to The Hartt School. The student
must furnish course descriptions for all college-
level courses previously taken. A final evalua-
tion cannot be completed until a final transcript
is received.
Bachelor of Music and Bachelor of Arts
Applicants
Transfer students seeking admission to B.Mus.
or B.A. degree programs should note that their
class ranking may be diminished from their
380 / The Hartt School
most recent standing at another institution (i.e.,
if a student is currently a sophomore, the
student may not automatically enter Hartt as a
junior). The University evaluates previous
course work for transfer to satisfy academic
degree requirements; performance-related
courses may require that a student demonstrate
proficiency, measured through a placement
examination, an audition, or a jury with Hartt
faculty, before transfer credit is granted for pre-
vious performance-related course work. In
many instances, a full course description and
syllabus are required to determine if a course
satisfies a University of Hartford requirement.
The Hartt School retains the authority to make
all decisions regarding transfer of music-related
credits, and also has the authority to evaluate
and place transfer students in programs at the
level deemed appropriate by faculty.
Bachelor of Fine Arts in Dance Applicants
Students seeking admission into the dance pro-
grams should understand that all students enter-
ing these majors enter as first-year students in
the performance areas, regardless of previous
work. The Hartt School does consider previous
course work for transfer to satisfy academic de-
gree requirements; however, the performance-
related courses in dance may require a full eight
semesters of study at The Hartt School. The
Dance Division generally accepts transfer stu-
dents for fall-semester matriculation only and
considers each candidate for scholarship based
on the audition.
Bachelor of Fine Arts in Theatre Applicants
(Music Theatre and Actor Training) Transfer students seeking admission to the The-
atre Division should understand that all students
enter the music theatre and actor training pro-
grams as first-year students, regardless of previ-
ous work. The Hartt School does consider
previous course work for transfer to satisfy aca-
demic degree requirements; however, the per-
formance-related courses of these programs
require a full eight semesters of study at The
Hartt School to fill program degree require-
ments. The Theatre Division considers transfer
students for fall-semester matriculation only and
considers each candidate for scholarship based
on the audition.
Performing Arts Scholarships Hartt School applicants are eligible for Hartt’s
performing arts scholarships, which are awarded
based on the student’s audition/interview and
are therefore primarily talent/merit awards.
Scholarships are awarded for fall entrance only.
No separate application is necessary; all Hartt
applicants are automatically considered. Hartt
scholarships may not be combined with any
other scholarships or grants from the University.
Scholarships are awarded upon acceptance and
are renewable each year for the length of the
degree program into which the student has been
accepted, contingent upon continued academic
performance and progress at the level required
each semester. Need-based aid is awarded ac-
cording to the results of the FAFSA (Free Ap-
plication for Federal Student Aid), which should
be filed by February 1.
Audition Information The Hartt School schedules audition days in
December, January, and February of each year,
plus additional regional dates for theatre. See
The Hartt School website (http://harttweb
.hartford.edu) for specific dates and locations.
Student Performing Organizations
Hartt’s professional character is reflected in the
richness of performance opportunities afforded
its students. Membership in all performing
organizations of the instrumental and vocal
divisions is by audition and is open to all
University students.
The Hartt School Theatre Division offers a
performance degree (B.F.A.) in two distinctive
programs: Actor Training and Music Theatre.
The Hartt School Theatre Division is distin-
guished by its professional connections. All
members of the faculty are artists who maintain
their contacts with regional theatres, Broadway,
film, and television. The school regularly in-
vites guest directors, agents, managers, and
casting directors to enhance the work done in
each of the programs. The Theatre Division also
employs many guest teachers and directors who
provide coaching and stage productions.
Performance is an essential part of the train-
ing experience. Casting is supervised by the
director of the division, in consultation with
the faculty and visiting artists. The plays
chosen for production in each of the majors
(music theatre or acting) are selected from a
broad range of classical, modern, and new mate-
rial. The intent is to provide experience for the
student in many styles of theatre, supporting the
work of the classes and expanding the student’s
knowledge of the theatrical repertoire.
Currently, the Theatre Division is enjoying
partnerships-in-training with Tony Award–
winning (for regional theatre) Hartford Stage
Performing Organizations / 381
Company and Tony Award–winning (for re-
gional theatre) Goodspeed Musicals.
Instrumental Hartt Symphony Orchestra
Hartt’s principal instrumental performing or-
ganization, the Hartt Symphony Orchestra, is
intended for training in orchestral techniques.
Six public concerts, featuring a healthy balance
of classic symphonic literature and newly
composed music, are presented.
Foot in the Door (Hartt Contemporary
Players)
Foot in the Door (Hartt Contemporary Players)
is a mixed ensemble of advanced players whose
repertoire includes music of established as well
as emerging 20th-century composers. The en-
semble 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.
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, and
music production and technology. Each ensem-
ble performs the highest-quality repertoire writ-
ten for winds and percussion ranging from small
chamber ensembles to the full symphony band
orchestration. Regularly, the ensembles have as
guests internationally acclaimed composers, so-
loists, and conductors. In addition to regular
tours, community concerts, and convention ap-
pearances, the Hartt Wind Ensemble and Sym-
phony Band give four to six performances
annually.
Hartt Concert Jazz Band and Combos
These organizations prepare and perform music
in the jazz style, with both functional and artis-
tic objectives.
Hartt Percussion Ensemble
With an emphasis on chamber music, the Hartt
Percussion Ensemble’s repertoire includes
works for both small and large ensembles. Pro-
gramming includes percussion ensemble ―clas-
sics‖ (by Varese, Cage, Harrison, Reich, etc.),
as well as contemporary literature and premiere
performances. Concerts have also featured the
folk music of various cultures, including that of
Mexico, Africa, Cuba, Brazil, and the Middle
East, as well as American Ragtime. In addition,
the Hartt Graduate Percussion Group and the
Hartt Steelband serve as extensions of the Hartt
Percussion Ensemble. Ensemble members are
pursuing a wide variety of majors at The Hartt
School, including percussion performance, mu-
sic education, music management, acoustics,
music production and technology, and compo-
sition.
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, Ameri-
can popular music, Western European classics,
and features the calypso and soca music of Trin-
idad.
Hartt Baroque Collegium The Hartt Baroque Collegium performs instru-
mental and vocal music of the Baroque and ear-
ly Classic periods. The Collegium performs
regularly at Hartt and in concert series through-
out the Hartford area. Past concerts have includ-
ed works by J. S. Bach, Handel, C. P. E. Bach,
and Vivaldi.
Capitol Winds 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 litera-
ture and performs several concerts each year.
The band has premiered works by Hartt com-
posers and hosted guest soloists from the Hart-
ford area.
Vocal Recent performances of major choral works
have included Brahms’s Schicksalslied, Duru-
fle’s Requiem, Mozart’s Coronation Mass, Ber-
lioz’s Te Deum, Verdi’s Requiem, and Vaughan
Williams’s A Sea Symphony. In addition, the
Hartt choral ensembles frequently perform a
cappella works by composers such as Argento,
Britten, Copland, and Poulenc.
Choral department auditions for placement in
choral ensembles take place during the first
week of classes in the fall. The audition consists
of singing a prepared piece, sight-reading, and
some musicianship testing. Based on the audi-
tion, the educational needs of the students, and
the artistic needs of the department, students are
assigned to four hours per week in appropriate
choral ensembles. Choral ensembles are open to
all University of Hartford students as well.
382 / The Hartt School
Hartt Chorale
A mixed chorus for about 45 voices that per-
forms a wide variety of a cappella and accom-
panied repertoire from the Baroque period to the
present in four to six concerts each year.
Hartt Choir
A mixed choir of 60 voices that performs a
variety of both mixed-choir and men’s or
women’s repertoire.
Hartt Chamber Choir
A mixed chorus for about 20 voices performing
advanced repertoire.
Camerata A treble choir of about 30 women that performs
a variety of music for female voices, both a
cappella and accompanied repertoire. Occasion-
ally, the Camerata combines with the other
choirs to perform major choral works.
Opera Black Box and Mainstage
Opera Black Box provides opportunities for vo-
cal performers to learn stagecraft through the
performance of a variety of opera scenes each
semester. Recent performances include Die
Zauberflote, L’Enfant et les Sortileges, The Old
Maid and the Thief, Orpheus in the Under-
world, The Tender Land, and Hansel and
Gretel.
Dance Performing opportunities for Hartt dance majors
include two fully produced series in Millard
Auditorium and/or Lincoln Theater, productions
in the Handel Performing Arts Center’s black-
box theaters, studio showings of works-in-
progress, lecture-demonstrations, and open re-
hearsals. Outreach performances in local
schools and community centers offer students
valuable performance and production experi-
ence. There is also the opportunity for students
in good standing to perform with various pro-
fessional and semiprofessional companies with
permission from the division director. The
school has performed at Jacob’s Pillow, The
Kennedy Center, and American College Dance
Festival Association events, among other festi-
vals and venues.
Dance majors have performed on tour at
Jacob’s Pillow, The Hollywood Bowl, and the
Kennedy Center.
Chamber Music
Coached by faculty artists, chamber ensembles
for strings, woodwinds, and brass perform at
Hartt and throughout the Greater Hartford area.
Six semesters of chamber music are required in
all instrumental performance majors.
Performance 20/20 Performance 20/20 is Hartt’s innovative honors
chamber music program for exceptionally
talented instrumentalists. Admission is by audi-
tion, and all members are given a full-tuition
scholarship. The program offers students the
opportunity to be part of an advanced chamber
music program that supplements the traditional
performance major. Accepted students partici-
pate in 20/20 in lieu of the curricular chamber
music requirement. The program allows stu-
dents to work in a professional atmosphere
where they can learn and study chamber music
in addition to their other courses.
An entering undergraduate or graduate per-
formance major who performs exceptionally
well at the initial Hartt audition will be nomi-
nated by that committee for inclusion in the live
20/20 audition. A continuing Hartt student who
is not a member of 20/20 is considered for in-
clusion upon the recommendation of his/her
teacher and after passing an intraschool prelimi-
nary 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 musi-
cally 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 op-
portunity 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 profes-
sional connections and contacts for the future.
Other Performing Opportunities Special master classes are programmed within
all performance areas. Pianists perform in the
Hammerklavier series. Guitar students present
works of leading composers in the series ―An
Evening with Guitar.‖ 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
Performing Organizations / Student Organizations / 383
special workshops. Recent appearances include
Edward Carroll, Charles Castleman, Glenn
Dodson, the Emerson String Quartet, Norman
Krieger, Edgar Meyer, David Finckel and Wu
Han, the New York Brass Quintet, the St. Law-
rence Quartet, the Orion Quartet, Nelita True,
William Vacchiano, and Glen Velez.
The Paranov Competition is open to all ma-
triculated students (with some restrictions).
Winners are selected to perform with one of
the major instrument ensembles during the next
school year. Some of the finalists in this compe-
tition may be awarded a reading session. Pre-
liminary and final audition dates are announced
in the fall.
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, Elliot Carter, Aaron Copland, An-
thony Davis, Ross Lee Finney, Steve Reich,
Ralph Shapey, and Michael Torke have been
featured on the ICAM Lecture Series.
Hartt Music History Forum The Music History Forum, founded in 1987,
has brought to Hartt accomplished musicolo-
gists 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 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 Choral Workshops The Hartt School sponsors an annual High
School Choral Festival in which high school
choirs come from Connecticut and the sur-
rounding states for a day of choral workshops,
vocal master classes, and choral concerts.
Faculty Artist Series
Appearances by members of Hartt’s prestigious
faculty occupy an important place on the annual
performance calendar. Featured in the Faculty
Artists Series are instrumental and vocal solos,
duos, trios, quartets, and quintets in perfor-
mances of both classical and contemporary
literature.
Students are afforded an additional oppor-
tunity 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 organ-
izations.
Student Organizations
MEISA
The Music and Entertainment Industry Student
Association (MEISA) provides its members
with information regarding career opportunities
in the music and performing arts industries and
provides experience in the field of arts man-
agement through a variety of events, including
seminars, concerts, and workshops. Member-
ship is open to any University of Hartford
student.
Music Educators National Conference
(MENC) Student Chapter 227
As part of their course requirements, music edu-
cation majors are expected to maintain member-
ship in the Hartt chapter of this national
professional association of music educators.
Elected student officers, along with the mem-
bership, plan an agenda of activities designed to
provide hands-on experience in the planning
and execution of events that will play an
important part in their future as music educa-
tors. Activities typically include a weekend
professional conference with invited guest clin-
icians jointly sponsored by Hartt and MENC
chapters, and hosting and planning a junior high
school choral or jazz band festival.
American String Teachers Association The Hartt School Student Chapter of American
String Teachers Association (ASTA) is open to
all string music education and performance ma-
jors. The club sponsors activities such as faculty
recitals, play for your peers, instrument dona-
tion drives, and guest speakers. All string stu-
dents are encouraged to join. For more
information, contact the Music Education de-
partment of The Hartt School.
384 / The Hartt School
American Choral Directors Association
The American Choral Directors Association
(ACDA) is an organization dedicated to the en-
hancement and enrichment of choral music and
choral music education. The club sponsors ac-
tivities that further the understanding and prac-
tice of choral music in our University, district,
state, division and national levels. All students
are encouraged to join, regardless of their ma-
jor. Guest conductors and speakers give work-
shops. Hartt’s chapter hosts informal readings
of choral music and sponsors school and Uni-
versity activities as well as travel to local, state,
and national festivals of ACDA.
Phi Mu Alpha Sinfonia Phi Mu Alpha Sinfonia is a national music fra-
ternity for men. Membership is open to all men
who have a sincere love of music and brother-
hood. Phi Mu Alpha Sinfonia was founded
in 1898 at the New England Conservatory of
Music, when a group of 13 young men, under
the guidance of Ossian Everett Mills, ―met to
consider the social life of the young men stu-
dents of that institution‖ and to ―devise ways
and means by which it might be improved.‖
Sinfonia became a national fraternity in 1900
with the admission of another group of men into
the group at the Broad Street Conservatory in
Philadelphia. Since that time, Sinfonia has
grown into the largest music fraternity in the
world, with more than 140,000 brothers and sis-
ters, and chapters on more than 200 college and
university campuses across the nation. Phi Mu
Alpha Sinfonia has a history at The Hartt
School dating back to 1955. The Zeta Omega
chapter of Sinfonia was founded in 1955 at the
Hartt College of Music.
Pi Kappa Lambda National Honors 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 over
155 active chapters. The primary objective
of Pi Kappa Lambda is the recognition and
encouragement of the highest level of music
achievement and academic scholarship. Consid-
eration for membership is based on the
recommendation of the Faculty Committee.
Membership eligibility:
1. Any junior considered by the Faculty Com-
mittee to be outstanding in scholarship and
musicianship, provided the student has been
in residence the equivalent of at least four
semesters and ranks not lower than the
highest 10 percent of the junior class as de-
termined by GPA.
2. Any graduating senior considered by the
Faculty Committee to be outstanding in
scholarship and musicianship, provided the
student has been in residence the equivalent
of at least four semesters and ranks not low-
er than the highest 20 percent of the graduat-
ing class.
Sigma Alpha Iota Sigma Alpha Iota (SAI) is an international mu-
sic fraternity for women. The SAI Manual for
Members states that fraternity, which comes
from the Latin feminine noun fraternitas, refers
to both men and women. All the music fraterni-
ties have used it for many years.
The Eta Mu chapter was installed at The
Hartt School in 1987. Since that time, its mem-
bers have sought to promote an interest in
music within the chapter, the school, and the
community.
Summerterm
Undergraduate courses are offered in the sum-
mer for undergraduates matriculated in The
Hartt School. Three- and six-week core curricu-
lum classes are offered from mid-May to
mid-August.
Registration
Students are strongly encouraged to register as
early as possible and at least three weeks prior
to the first day of Summerterm.
The Core Summerterm Catalog may be found
online at www.hartford.edu/summerterm. For
undergraduate Core Summerterm Registration
forms, contact
Summerterm Office
University of Hartford
200 Bloomfield Ave.
West Hartford CT 06117-1599
860.768.5020
Online registration is available at
www.hartford.edu under Self-Service Center/
Students.
Academic Load
Students normally carry a maximum load of
6 credits per session during Summerterm. In
special cases, and with permission of the
advisor, undergraduates may carry 8 or 9 credits
simultaneously.
Community Division / Degree Programs / 385
The Hartt School Community Division
A variety of noncredit activities is offered
through the Community Division of The Hartt
School. The Community Division provides not
only music and dance instruction for students
preparing to enter the field of music, dance, and
theatre, but also training and experiences for in-
dividuals of all ages and levels of experience
who wish to enhance their ability and
knowledge. Study is offered in 28- and 34-week
increments plus a summer session. More than
2,500 students, including many enrolled at the
University of Hartford, participate in Commun-
ity Division activities each year.
The Hartt Community Division offers a
comprehensive program for the study of instru-
mental music. Private lessons are available for
all orchestral instruments, in addition to piano,
organ, and guitar. Precollege students may par-
ticipate in a variety of ensembles, including
Concert Ensemble for middle school students
and the Greater Hartford Youth Wind Ensemble
and Connecticut Youth Symphony for advanced
high school students.
The Community Division has one of the
most successful Suzuki programs in the nation,
offering instruction for violin, viola, cello, bass,
piano, guitar, and flute. The Suzuki program in-
cludes five string orchestras, multiple group
classes, weekend workshops, and the weeklong
Hartt Suzuki Institute in early August.
For vocalists, opportunities include private
voice lessons and regular master classes. Precol-
lege students, beginning at age 6, may partici-
pate in the five premier ensembles of the
Connecticut Children’s Chorus. Choral ensem-
bles regularly perform with the Hartford Sym-
phony Orchestra.
The Community Division Dance department
offers programs for beginning through advanced
students at the Handel Performing Arts Center.
Serious pre-college dancers participate in either
the Ballet or Modern Theater dance programs,
which provide intensive training and unique
performance opportunities. In addition, classes
in Jazz, Salsa, Hip-Hop, Yoga and Pilates are
offered.
Early childhood education in music is of-
fered through the First Steps in Music program.
Parents, along with their infant and toddler chil-
dren, attend music and movement classes to-
gether, thereby providing a foundation for
future study in the performing arts. Adult stu-
dents also have many opportunities for partici-
pation at the Community Division, including
private instruction, dance classes and adult
string and wind ensembles.
All programs of the Community Division are
open as noncredit options to University of Hart-
ford students. Community Division students en-
joy access to the Mildred P. Allen Memorial
Library and to all events presented by The Hartt
School.
For further information, contact the Hartt
Community Division at 860.768.4451, visit the
website at www.hcd.hartford.edu, or visit the
Community Division office in room 19 of the
Fuller Music Center.
Undergraduate Programs
DEGREE PROGRAMS
Offered at the undergraduate level are the Bach-
elor of Music, the Bachelor of Fine Arts, and
the Bachelor of Arts. Additionally, an
interdisciplinary program is available: the Bach-
elor of Science in Engineering with a
major in acoustical engineering and music,
which is offered by the College of Engineering,
Technology, and Architecture.
Bachelor of Music
The Bachelor of Music may be achieved
with a major in any of the following areas:
performance, music education, composition,
music theory, music history, jazz studies, music
production and technology, and music man-
agement.
All Hartt students pursuing the Bachelor of
Music degree receive a common body of
knowledge and skills, consisting of
• Private lessons (up to eight semesters) and
participation in large and/or small ensembles
(up to eight semesters)
• Music theory, ear-training, and music history
(a minimum of four semesters each)
• Four All-University Curriculum (AUC) cours-
es
• Two semesters of reading and writing courses • One semester of math
• Academic electives
A minor in music is also available. See page
391 for more information.
Performance:
Instrumental and Vocal The Hartt School’s Bachelor of Music in Per-
formance has a distinct profile that sets it apart
from other conservatories and music schools in
the United States. In addition to the required
386 / The Hartt School
course work, the major consists of three signifi-
cant elements: performance, pedagogy, and
career development.
Performance: Majors are involved with solo,
chamber, and large-ensemble performances.
Pedagogy: Course work ensures that all
performance students leave Hartt prepared as
private teachers. The program includes a special
class in the techniques of teaching and an
observation program in Hartt’s Community
Division.
Career development: For instrumentalists,
this consists of two classes: Communicating
with an Audience and Building a Music Career.
These courses prepare students for artist resi-
dencies, community performances, and arts in
education programs. Students are provided with
the information and skills to present themselves
effectively in these activities through prepara-
tion in content and repertoire selection, stage
presentation and speaking techniques, and
building a relationship with the audience. Stu-
dents also are provided with information on
résumé preparation, negotiating a contract,
making a recording, and other career-related
concerns. Vocal performance majors address ca-
reer-related issues in the vocal performance
seminar, which meets weekly for all eight
semesters of the program.
Please refer to curricula on pages 395–403.
Music Education (includes Music
Teaching Certification requirement) Music education applicants are accepted in a
vocal, orchestral instrument, or double emphasis
major; or as a double major combining instru-
mental music education with the instrumental
performance major; or as a double major com-
bining vocal music education with the vocal
performance major. During the audition pro-
cess, all students interested in music edu-
cation will have an interview with a music edu-
cation faculty member, which includes singing a
patriotic song and a test of singing and aural
skills. In addition, all students have an audition
with the Vocal or Instrumental Division with
classical repertoire.
There are a variety of music education
major possibilities; each emphasis has its
own curriculum requirements. Please contact
the Hartt Admissions Office at 860.768.4465
or a music education faculty member at
860.768.4479 for details.
Studies for the Bachelor of Music in Music
Education at The Hartt School consist of a bal-
anced program of specialized music, profes-
sional education, and liberal arts studies de-
signed to develop musician-teachers.
Students in music education programs are
required to master the ability to model, observe,
and assess music and movement behaviors in
both large- and small-group settings in pre-
school through grade 12.
Students in both the instrumental and vocal
tracks are required to master crucial philoso-
phies and methodologies and be able to pre-
scribe appropriate strategies that will enhance
the development of music and movement skills
as described in the pedagogies of Kodály, Gor-
don’s Music Learning Theory, Orff, Dalcroze,
Laban, and the ―Conversational Solfège‖ and
―First Steps in Music‖ curricula.
To be considered for certification, each can-
didate must complete, or be waived from, the
Praxis I Computer-Based Test (CBT) exam in
basic mathematics, reading, and writing skills,
administered by Educational Testing Services at
Sylvan Learning Center facilities nationwide
(see page 252 for waiver information). The
Praxis II exam, taken in the junior year, covers
music education, music history, and music theo-
ry. Students are encouraged to take the Praxis I
CBT exam in their freshman or sophomore year
and complete Praxis II in order to qualify for
student teaching. Contact the Music Education
office for test materials and information.
Students are required to study their principal
instrument or voice each semester (except dur-
ing Student Internship) and attain a minimum
accomplishment level to be determined by the
department. A minimum cumulative grade point
average (GPA) of 2.67 must be maintained and
a sophomore evaluation successfully completed
before students are allowed to register
for junior-level music education classes. Stu-
dents are responsible for providing their own
transportation to and from all Student Intern-
ship commitments. Public transportation is not
usually available.
A minor in music education is also available.
It does not result in state certification. See page
391 for more information.
Music Education Core Curriculum The core curriculum prepares students to as-
sume positions at a variety of levels (N–12) in
vocal and instrumental music education. Stu-
dents choose either a vocal or instrumental em-
phasis in which they would like to specialize.
Four semesters of methods classes form the core
of each program.
Please refer to curricula on pages 406–409.
388 / The Hartt School
Composition The Bachelor of Music in Composition offers a
balanced curriculum of courses that emphasizes
traditional skills, classical practice, and contem-
porary techniques. Beyond Hartt’s core theory
and music history sequence, required courses
for undergraduate composers include orchestra-
tion, analysis, and electronic music. From the
sophomore year on, all majors receive a weekly
lesson with a faculty member. The department
also encourages students to take electives in
conducting, sound technology, music manage-
ment, and jazz studies. The program includes a
wide range of performance opportunities, by
which students can hear, and receive recordings
of, their music. This program involves instruction in both tra-
ditional techniques and practical experience with
new and emerging musical and media technolo-
gies. Studio D is the composition department’s
teaching and composition studio. At its heart is a
MacPro workstation with multiple displays and a
flexible, multichannel audio system. Sequencing/
digital audio, notation, digital audio editing and
sound design, synthesis, sampling, CD mastering,
sound and music for picture, and algorithmic
composition are taught through the realization of
compositional concepts and use of the following
software: Logic Studio, Finale, MetaSynth, Pro-
Tools, MAX/MSP, Komplete7, East/West Plati-
num Complete + Symphonic Choirs, Kenaxis,
StutterEdit, and others.
Please refer to curriculum on page 404.
Music Theory Music theory is a vital component in the educa-
tion of musicians. Music theory instruction at
The Hartt School provides students majoring in
music, dance, and theatre with experiences in
perceiving, analyzing, and performing music.
The core music theory and ear training curricu-
lum for undergraduates is two to five semesters
of music theory with two to six semesters of ear
training. Kodály instruction is used for all levels
of ear training.
Applicants for the Bachelor of Music in Mu-
sic Theory usually have preparatory training in
music theory and performance. A total of 137.5
credits is required for the bachelor’s degree,
which is usually completed in eight full-time
semesters. Music theory majors follow a care-
fully planned curriculum under the supervision
of a faculty member of the music theory de-
partment. The undergraduate degree program
includes instruction in the fundamentals of mu-
sic theory, tonal harmony, tonal analysis, post-
tonal analysis, tonal counterpoint, modal coun-
terpoint, keyboard harmony, orchestration,
score reading, music theory pedagogy, and ear
training pedagogy. A senior essay is completed
during the senior year. The senior essay topic is
selected by the student and is supervised by a
faculty member of the music theory department.
Undergraduate music theory majors are required
to maintain an overall grade point average of B–
throughout their degree programs.
Please refer to curriculum on pages 410–11.
Music History Hartt’s Department of Music History, Litera-
ture, and Criticism teaches students not only
about the various musical styles throughout his-
tory but also about recent views on performance
practices. Candidates for the Bachelor of Music
in Music History may select an emphasis in ei-
ther performance practices or research. The de-
partment provides opportunities for students to
perform through the Collegium, a select group
of singers and instrumentalists.
Please refer to curricula on pages 412–13.
African American Music/ Jazz Studies
The Jackie McLean Institute of Jazz
In celebration of the jazz legacy that Jackie
McLean (1931–2006) created for The Hartt
School, the University renamed its African
American Music program The Jackie McLean
Institute of Jazz in 2000, honoring McLean’s
30th anniversary at the school.
An American jazz saxophone great, McLean
enabled Hartt to offer its first classes in jazz,
and in 1980 the Department of African Ameri-
can Music was founded with McLean as its di-
rector. In 1981 the Bachelor of Music in Jazz
Studies was approved by the National Associa-
tion of Schools of Music, and the program
accepted its first class of 10 students in the
1981–82 academic year. The Bachelor of Music
in African American Music/Jazz Studies pro-
gram continues to thrive, offering students the
opportunity to focus on the jazz and African
American idiom, perform in jazz ensembles, in-
teract with internationally recognized jazz mu-
sicians in special workshops and master classes,
and participate in a creative cultural relationship
with Hartford’s community-based Artists Col-
lective, an organization founded by McLean and
his wife, Dollie, and dedicated to the promotion
of African and Caribbean art forms.
Please refer to curriculum on page 403.
Degree Programs / 387
Music Production and Technology The world of music has taken great strides due
to the many technological advances in audio
production tools. The computer has moved to
the center of the modern production studio, al-
lowing artists to create high-quality recordings
that once required access to often prohibitively
expensive facilities. The Internet has leveled the
distribution playing field between the major la-
bels and smaller, independent labels. Artists and
producers can more affordably than ever create
recordings—with a fidelity that was once im-
possible on a small budget—and distribute them
through online sales of CDs, DVDs, and/or
formats like MP3, AAC, and RealAudio. Much
like the transition experienced by the photog-
raphy industry—from expensive, highly tech-
nical cameras to point-and-shoot models that
anyone could use—recording equipment has
followed a similar path, making powerful tools
available to nearly anyone. What is still com-
mon to both industries is the sensibility and
technique of the operator: a photographer must
understand image composition and lighting,
while the music producer must be a knowledge-
able and practiced musician. It is the goal of the
Music Production and Technology (MPT) de-
partment to train musicians to be producers of
quality music products (thus the audition re-
quirement and core music curriculum).
What is a ―music producer‖? There are many
acceptable definitions, depending on the musi-
cal genre in question. To produce a quality re-
cording, however, one must have strong musical
skills and instincts, and be proficient as a re-
cording engineer to exploit the full capabilities
of the production studio. Training in the studio
is approached in much the same fashion as the
process of learning an instrument. To play an
instrument, one must spend a great deal of time
practicing in order to make a connection be-
tween the written music, or music heard in
one’s head, and where to place one’s hands and
fingers. Eventually a level of proficiency is
reached at which that connection is made sub-
consciously—it is at that level that one truly be-
comes a musician. Students in the Music
Production and Technology program are trained
to view the studio as an instrument through
which they will create music, both their own
and the collaborative product of working with
other artists. Reaching that level means dedica-
tion to learning and practicing the craft.
Students follow a course of study that com-
bines a traditional music conservatory curricu-
lum (including study of an instrument or voice
in classical or jazz) with courses in recording
engineering, music production, electronic mu-
sic, acoustics, and music business. Included are
both a practicum (working in Hartt’s profes-
sional recording studio) and an internship at a
production facility off campus. In the final se-
mester of the senior year, students work in small
teams to engineer and produce a full-length re-
cording. These senior projects become a valua-
ble part of the student’s portfolio.
Please refer to curriculum on pages 414–15.
Music Management The arts industry, a multibillion-dollar, highly
globalized enterprise, ranks among the 10
largest industries in the United States. It is a
diverse, challenging, fiercely competitive field,
constantly affected by changes in technology,
legislative issues, and the economic environ-
ment. Students interested in careers in this in-
dustry must be well prepared in budgeting,
accounting, economics, marketing, and man-
agement theory.
This major provides performing musicians
with a broad background in the business of
the arts. Students receive weekly private
lessons, play in ensembles, and study music
theory, history, ear training, and keyboard.
Business courses include accounting, econom-
ics, marketing, computers, and finance. A core
curriculum of 12 specialized music and arts
management courses provides a synthesis of
music and business studies. Students apply their
knowledge using case studies, small-group
discussions, and projects. In addition, students
complete at least one 180-hour internship.
All management students are required to com-
plete the internship sequence MUM 420 and
MUM 421.
Management students have completed in-
ternships with SONY Music, Epic Records, the
Litchfield Jazz Festival, ASCAP, Aspen Music
Festival, Hartford Symphony Orchestra, The
Kennedy Center, New York Theatre Workshop,
the Bushnell Center for the Performing Arts in
Hartford, and many other arts organizations.
Graduates hold positions in recording compa-
nies, artist management, symphony and opera
administration, development and fundraising,
marketing, and public relations.
Please refer to curriculum on pages 416–17.
Five-Year Double Majors Students who meet admission requirements for
the Bachelor of Music degree in two fields may
elect an integrated program in which the student
390 / The Hartt School
fulfills the requirements of two majors. Such
programs require a minimum of five years,
often including summer study, and may result
in overload charges. A fee may be assessed
for private music instruction in the fifth year.
Participation in a performing organization is
required for a minimum of eight semesters. The
most popular of these programs combines
Music Education or Music Management with a
program in Performance. A complete list of
five-year, double majors may be found in the
Hartt School Supplemental Application.
Bachelor of Fine Arts
The Hartt School offers a Bachelor of Fine Arts
with majors in dance, music theatre, and actor
training.
Dance The Bachelor of Fine Arts in Dance was estab-
lished to provide rigorous preparation for pro-
fessional performance and teaching careers
along with a meaningful liberal arts education.
Both the performance and pedagogy majors
emphasize serious technical training in classical
ballet and classical modern dance techniques, as
well as contemporary dance forms, ballet peda-
gogy, composition, dance history, kinesiology,
music, technology for dance, and other dance
studies. Entering students in both programs
must have at least an intermediate technical
foundation in ballet or contemporary dance.
The primary focus of the performance em-
phasis is preparation for a professional perfor-
mance career. Performance opportunities
abound with the Hartt Dance Ensemble, main-
stage performances, black-box performances,
studio workshops, and apprentice positions in
professional companies.
The focus of the teaching emphasis is to pre-
pare professional dance educators to teach in
conservatories, schools of dance, and private
studios. Teaching majors work daily with the
ballet school’s master teachers and get hands-on
experience observing, assisting with, and teach-
ing children’s classes at the Hartt Community
Division’s ballet program. They are also in-
volved in the school’s public-service teaching in
Hartford public schools.
A minor degree in dance is also available.
See page 392 for more information.
Please refer to curricula on pages 418–423.
Music Theatre The Bachelor of Fine Arts in Music Theatre
provides professional educational development
and experience to individuals who have chosen
to enter the field of music theatre by bringing
together as a core the disciplines of music,
dance, and acting. The program addresses the
ever-changing aspects and character of theatre
and performance. Embracing and at times sur-
passing contemporary standards in educational
approaches, the program develops in students
the skills and techniques necessary for the
transition to the professional, competitive field
of music theatre.
Please refer to curriculum on page 424.
Actor Training The Bachelor of Fine Arts in Actor Training is
designed to provide students with the appropri-
ate training to prepare them for careers as actors
in the professional theatre. The program com-
bines a challenging and stimulating combination
of classes and performance.
Acting and scene study classes form the nu-
cleus of the training, which involves all tech-
nical aspects of voice and speech, movement,
and text analysis. Each semester offers the stu-
dent a different focus on the literature available
to the actor. Students then must apply this
knowledge and experience in rehearsals. In ad-
dition, there are workshops and seminars deal-
ing with special skills and career preparation.
Studio performances begin in the second
year of training. Plays are chosen for the train-
ing opportunities that they present to the stu-
dents. In the third year, students continue to
perform in works of increasing technical com-
plexity. In the spring of the third year, student
actors attend Hartt’s English Theatre Centre in
Birmingham, England.
Please refer to curriculum on page 425.
Bachelor of Arts
Students who wish to enroll in a liberal arts
program with special emphasis on music may
elect the Bachelor of Arts with a major in mu-
sic. Students who wish to have an intense focus
on the business of the performng arts, without a
performance requirement, may elect the Bache-
lor of Arts with a major in performing arts man-
agement.
Performing Arts Management
The performing arts industry, a multibillion-
dollar enterprise, is among the largest industries
in the United States. It is a diverse, challenging,
highly competitive field, constantly affected by
changes in technology, legislative issues, and
the economic environment. Students interested
in careers in this industry must be well prepared
Degree Programs / 389
in business, including budgeting, accounting,
economics, marketing, and management.
The Bachelor of Arts in Performing Arts
Management provides training for a background
or interest in music, theatre, dance, or other per-
forming arts. The diverse curriculum includes
courses in liberal arts, humanities, music/arts
management, and business. Twelve specialized
courses in managing music and performing arts
form the core of this curriculum. All majors
complete a minimum of one 180-hour intern-
ship in either a for-profit or a not-for-profit or-
ganization. Management students are required
to complete the internship sequence MUM 420
and MUM 421 before graduation.
Management students have completed in- ternships with Goodspeed Musicals, BMG
Entertainment, WCCC Radio, Clear Channel
Entertainment, the Bushnell Center for the
Performing Arts in Hartford; in record labels
both major and independent; and in venues such
as the 9:30 Club (Washington, D.C.), Toad’s
Place (New Haven, Conn.) and the Black Rock
Center (Maryland). Graduates hold positions in
the industries of recording, artist management,
symphony and opera administration, develop-
ment and fundraising, marketing, and public
relations.
Please refer to curriculum on pages 426–27.
Music The Bachelor of Arts in Music is a rigorous ac-
ademic program that prepares the student for
graduate study in music or other disciplines.
Students in this program receive a broad over-
view of musical study with a heavy concentra-
tion on music history and theory.
Students in this program take the same core
courses as other Hartt School students, such as
harmony, ear training, form and analysis, piano
keyboard class, and music history. They also
take advanced courses in theory and history
and must complete a senior project, generally an
essay.
In addition, B.A. music majors take courses
from a variety of non-music disciplines, includ-
ing the physical sciences, social sciences, lan-
guage arts, communication skills, mathematics,
philosophy, history, and computer science as
part of their general education.
There are no performance requirements for
the B.A. in music. Students who wish their pro-
grams to include musical performance may take
private lessons through either the school (by au-
dition) or the Community Division.
Music courses and other required courses
may not be taken on a Pass/No Pass basis. An
average of C or better in all required music
courses is necessary for completion of the
major.
Please refer to curriculum on page 428.
Bachelor of Science in Engineering
Acoustical Engineering and Music
Combined options in acoustics and music are
available within the Interdisciplinary Engineer-
ing Studies program at the College of Engi-
neering, Technology, and Architecture. This
rigorous curriculum leads to the Bachelor of
Science in Engineering and includes a basic
engineering core as well as a major concentra-
tion of courses offered by The Hartt School.
The program is designed for those students
who have the aptitude and desire for a career
involved with modern technology and the field
of music. To be accepted into this focused cur-
riculum, applicants must have the math and
science background required of all engineering
students and must successfully pass the entrance
requirements of The Hartt School, including au-
dition. See page 319 of the College of Engineer-
ing, Technology, and Architecture section of
this Bulletin.
Although the curriculum is scheduled to be
completed in four years, it is certainly one of
the most challenging undergraduate programs at
the University, requiring 141–144 credit hours
for completion. Close counseling is required by
engineering and music advisors.
Course Requirements Engineering and Arts and Sciences courses to-
taling 84 credit hours, including 71 credit hours
of core courses required of all engineering
students, and 55–59 credit hours in music are
needed for the completion of the degree.
Please refer to curriculum on pages 320–22.
Related Programs
Honors Program For an overview of the University-wide Honors
program and specific program requirements for
Hartt School students, see Special Academic
Opportunities, page 19. Hartt students interested
in the Honors program should contact the direc-
tor of undergraduate studies for additional de-
tails and Hartt-specific requirements.
392 / The Hartt School
Minors
Minor in Music The Minor in Music program is open to all non-
Hartt students who wish to broaden their expe-
rience in music in a formal program. Applicants
must have a rudimentary understanding of
music and an area of performance experience
(instrument or voice).
To complete the minor in music, the student
must register for a letter grade for all music
courses and must receive a grade no lower than
a C in each course. Hartt will notify the stu-
dent’s home college when requirements for the
minor have been completed.
Admission Process
Students should consult with and secure the ap-
proval of their home college academic advisor,
then proceed with the following:
1. Interview with The Hartt School evaluator to
determine course, examination, and audition
requirements.
2. Take the placement examination in harmony
and ear training, as required.
3. Take the audition for placement in a per-
forming organization (choir, band, orches-
tra), if such course electives are chosen.
4. Take the audition for acceptance and place-
ment in private music instruction, if such
elective lessons are chosen. An additional fee
is assessed for non-Hartt students electing to
register for private lessons.
To complete the admissions process, fill out
and process the University’s Change of Curricu-
lum Status form to add the minor. This form re-
quires the signatures of the major school
advisor and dean, as well as the Hartt director of
undergraduate studies. For additional infor-
mation on the minor in music, contact the Hartt
School evaluator in room 204–7 in the Fuller
Music Center.
Courses (18 credits minimum) Credits
Theory (choose from, depending on
placement exam): 4
TH 110 Music Theory Fundamentals
TH 111 Diatonic Harmony
TH 112 Chromatic Harmony
Ear Training: 4
TH 120-121 Elementary Ear Training I-II
Music History (choose from): 6
HLM 200 World Music Survey
HLM 212 Perspectives on Music History
HLM 213 Classicism to the Present
AFR 131 African American Music, 1890–1945
AFR 132 African American Music,
1945–Present
Credits
Performance Electives (choose from): 4
Performing organization
Private instrumental/vocal study
(not included in tuition charges)
Minor in Music Education*
Hartt Students The Minor in Music Education program is open
to all Hartt students who wish to broaden their
experience in music education. This program
does not qualify a student for state certification
in music education. To complete the minor in
music education, the student must register for a
letter grade for all music education courses and
must not receive more than one C+ or lower.
Admission Process
Secure approval from the director of the music
education division.
1. Complete the music education audition/
interview.
2. To complete the admissions process, a stu-
dent must fill out and process the University
Change of Major form to add the minor.
This form requires the signatures of the ma-
jor advisor and the music education advisor
and division director.
Courses (18 credits minimum) Credits
Required:
MED 110 Foundations of Music Ed. 2
Electives (choose from): 17
MEA 100 Classroom Instruments
MEA 102 Woodwinds I: Clarinet and Sax
MEA 103 Wind Instrument Class
MEA 104 Technology for Music Educators
MEA 200 Percussion Class
MEA 201 Brass Class
MEA 300 Woodwinds II: Flute, Oboe,
and Bassoon
MEA 303 String Class I
MEA 307 Vocal Development: K–12
MED 340 Elementary Vocal Methods: N–2
MED 341 Elementary Vocal Methods: 3–6
MED 310 School Choral Program
MED 413 Improvisation for Music Education
Minor in Music Education* Non-Hartt Students The Minor in Music Education program is open
to all non-Hartt students who wish to broaden
their experience in music education. Applicants
must have a rudimentary understanding of
music and an area of performance experience
(instrument or voice). This program does not
*This minor does not result in state certification.
Minor Programs / 391
qualify a student for state certification in music
education. To complete the minor in music edu-
cation, the student must register for a letter
grade for all courses and must not receive more
than one C+ or lower. Hartt will notify the col-
lege of the student’s major upon completion of
the program.
Admission Process Secure approval from major school advisor.
1. Interview with the Hartt academic advisor/
evaluator (Fuller Music Center, room 204) to
determine course, examination, and audition
requirements.
2. Complete the music education audition/
interview.
3. Take placement examination in harmony and
ear training as required.
4. Take audition for placement in a performing
organization (choir, band, orchestra).
To complete the admissions process, a stu-
dent must fill out and process the University
Change of Major form to add the minor. This
form requires the signatures of the major school
advisor and dean as well as the Hartt academic
advisor/evaluator and division director.
Courses (19 credits minimum) Credits
Theory: 2
TH 110 Music Theory Fundamentals
Ear Training: 4
TH 120-121 Elem. Ear Training I-II
Music History: 3
HLM 112 Intro to Music History
Performance Organization (choose from): 2
CPO 420-421 Hartt Chorale Ensemble
IPO 400-401 Orchestra
IPO 404-405 Symphony Band
Music Education Required Course:
MED 110 Foundations of Music Ed. 2
Electives (choose from): 7
MEA 100 Classroom Instruments
MEA 103 Wind Instrument Class
MEA 200 Percussion Class
MEA 303 String Class I
MED 340 Elem. Vocal Methods: N–2
MED 341 Elem. Vocal Methods: 3–6
Minor in Dance The minor in dance is open by audition to all
non-dance majors who wish to broaden their
experience in dance in a formal program. Ap-
plicants must have previous training to at
least an intermediate level of ballet or con-
temporary dance.
To complete the minor in dance, students
must register for a letter grade for all courses,
receive a grade no lower than C in each course,
and maintain a cumulative University GPA of
2.67.
Admission Process
1. Consult with and secure approval from aca-
demic advisor in the home college.
2. Interview with the Dance Division coordina-
tor. To arrange for an interview or to get ad-
ditional information, contact the Dance
Division coordinator at 860.768.2478 or in
the Handel Performing Arts Center, room
S141.
3. Audition for, and be approved by, the Dance
Division director.
4. Fill out the University’s Change of Curric-
ulum Status form (requires signatures of
the major school advisor and dean, as well
as those of the Dance Division director
and Hartt School director of undergraduate
studies).
Courses Credits
DFA 120, 121, 220, 221 Classical Ballet
Technique 6
The 6 credits of ballet technique must
be completed in three consecutive semesters.
DFA 124 Martha Graham Technique: Fall 1
DFA 127 Contemporary Dance Forms:
Spring 1
DFA 150 Improvisation: Spring 1
DFA 250 Elements of Composition: Spring 2
Select one:
DFA 125 Martha Graham Technique: Spring 1
DFA 224 Martha Graham Technique: Fall 1
DFA 226 Contemporary Dance Forms: Fall 1
Select a minimum of 6 credits:
DFA 170 Dance History I: Spring 3
DFA 171 Dance History II: Fall 3
DFA 270 Kinesiology I: Spring 3
DFA 140 Movement Fundamentals I: Fall 3
DFA 130 Ballet Pedagogy I: Fall 2
DFA 240 Dance Pedagogy I: Fall 2
Total credits 18
Minor in Performing Arts Management The minor in performing arts management is
open to non-Hartt students who wish to gain a
basic understanding of management in the arts.
To complete the minor in performing arts
management, the student must register for a let-
ter grade for all required Hartt courses and must
receive a grade no lower than a C in each
course. Hartt will notify the college of the stu-
394 / The Hartt School
dent’s major when requirements for the minor
have been completed.
Admission Process
Students should consult with and secure the ap-
proval of their home college academic advisor,
then proceed with the following:
1. Interview with The Hartt School evaluator
to determine course requirements and to de-
velop a plan for completing the minor. The
Hartt School evaluator is in the Fuller Music
Center, room 204–7.
2. Interview with the chair of the Performing
Arts Management Department.
To complete the admissions process, fill out
and process the University’s Change of Curricu-
lum Status form to add the minor. This form re-
quires the signatures of the home college
academic advisor and dean, as well as the Hartt
evaluator and the Hartt director of undergradu-
ate studies.
Courses (18 credits minimum) Credits
Required:
MUM 120 Intro to Music and Perf. Mgmt. 3
Choose one of the following:
MUM 220 Arts Mgmt.: Not for Profit 3
MUM 221 Music Mgmt.: For Profit 3
Choose one of the following:
HLM 100 Intro to Music 3
HLM 200 World Music 3
Choose one of the following:
ART 100 Aspects of Art 3
DRA 160 Intro to Theatre 3
DFA 170, 171 Dance History 3
Choose two of the following:
MPT 450 Sound Technology I 3
MUM 330 Entertainment Law 3
MUM 340 Survey of the Record Industry 3
MUM 350 Computers in the Arts 3
MUM 440 Fundraising 3
NONDEGREE PROGRAMS
Diploma program are not eligible for scholar-
ship or financial aid.
International students must have a minimum
TOEFL score of 550 for the written exam or
173 for the computer-based exam. Tuition for
the program is based on the University’s three-
fourths tuition rate, which includes programs of
9–11.5 credit hours per semester. Hartt perform-
ing arts scholarships are not available to diplo-
ma students.
Please refer to curriculum on page 429.
Requirements for Graduation
Requirements in addition to those on page 75
are as follows:
Performance and B.F.A. Majors Performance majors take juries to establish pro-
ficiency level. A critical point in a student’s
progress is the achievement of junior standing,
a level determined by the jury taken in the
sophomore year.
In the Theatre Division, the two sophomore
evaluations, described in full in the Theatre Di-
vision Handbook, take the place of the jury to
confer junior standing.
In the Dance Division, majors are evaluated
twice a year. Details may be found in the Dance
Division Handbook.
Jazz students take juries and are evaluated on
an ongoing basis.
Composition Majors Students with a major in composition must have
the equivalent of one evening’s performance of
their music before graduation.
Programs of performances must be submitted
at least four months before the anticipated grad-
uation date.
Music Education Majors
Review Process
The Music Education Division conducts re-
At the undergraduate level, the nondegree
option is the Undergraduate Diploma in Music.
Undergraduate Diploma
The Undergraduate Diploma is a three-year
program open to all instrumental and vocal per-
formance majors, composers, and jazz studies
students. Students completing this program may
continue formal training at The Hartt School in
an undergraduate degree program or in the
graduate professional degree program, if they
desire. Students enrolled in the Undergraduate
views of all majors in the department each
semester. Students who fail to maintain a mini-
mum cumulative GPA of at least 2.67, who fail
to obtain a grade of B– or better in a music edu-
cation or education course, or who show a lack
of progress toward completion of the degree are
placed on departmental probation and receive
counseling and academic advice from the de-
partment. Students who are unable to maintain
the standards of the department are removed
from the music education major.
Students are required to submit an essay
concerning their educational objectives to the
Minor Programs / Nondegree Programs / 393
chairperson by December 1 of their first year. In
addition, all first-semester sophomores are re-
quired to pass a Sophomore Skills Evaluation
Exam, which assesses piano and solfège skill
development. The content of the exam may
be obtained from the chairperson. The essay and
the results of the skills exam will be used as
acceptance criterion to admit a student to the
final phase of the music education program.
Performing Organization Requirements To fulfill requirements for undergraduate de-
grees, most students at The Hartt School are re-
quired to participate in performing organi-
zations. In some cases students may be placed
in more than one organization.
Major choral performing organizations:
Camerata, Hartt Chorale, Hartt Choir
Major instrumental performing organizations:
Orchestra, Wind Ensemble, Symphony Band.
String instrumentalists, regardless of major,
are auditioned and placed in the orchestra.
Woodwind, brass, and percussion instrumen-
talists, regardless of major, are placed by audi-
tion in the orchestra, Symphony Band, or Wind
Ensemble.
Composition majors may participate in the
Composers’ Ensemble to fulfill the performance
organization requirement.
Jazz instrumentalists and vocalists are placed
in jazz ensembles, based on audition results and
on the needs of the individual ensembles.
Specific performing organization require-
ments for each curriculum may be found in
the individual degree program curricula.
All-University Curriculum All Hartt students are required to complete four
of the five AUCs, as follows:
1. Living in a Cultural Context: Western Herit-
age (AUCW)
2. Living in a Cultural Context: Other Cultures
(AUCC)
3. Living in a Scientific and Technological
World (AUCT)
Note: The AUCT is a 3- or 4-credit course.
The 4-credit AUCT includes a lab.
4. Living in a Social Context (AUCS)
Hartt students are not required to take Living
Responsively to the Arts (AUCA). However,
they may take this AUC as an academic elec-
tive.
Transfer and intercollege transfer students
are evaluated on an individual basis for AUC
requirements. The Hartt evaluator should be
consulted about the process of transferring
courses as AUC substitutions.
All students entering Hartt as first-year stu-
dents, as well as students who transfer from an-
other college or school (except Hillyer College)
within the University of Hartford, must take
a minimum of one course from each of the
four All-University Curriculum areas specified
above (totaling a minimum of 12 credit hours).
Students who transfer to Hartt from another
institution or Hillyer College must consult
with the Hartt School evaluator for an assess-
ment of their AUC topic requirements.
Information Literacy in the Performing Arts Information Literacy in the Performing Arts
(HLM 020) is an online course required for
all Hartt first-year and transfer students.
HLM 020 is an introduction to library resources
in the performing arts and in searching tech-
niques. The course may also include some class
meetings. Successful completion of HLM 020 is
required for graduation from The Hartt School.
Hartt Undergraduate Handbook The Hartt Undergraduate Handbook provides
students with details of the policies and
procedures particular to The Hartt School’s
academic programs (e.g., lessons, performing
organizations, juries, recitals, facilities, per-
forming arts scholarships). Students are respon-
sible for knowing, and expected to adhere to,
the policies and procedures set forth in the
handbook as an addendum to this Undergradu-
ate Bulletin. The handbook is available online
at www.hartford.edu/hartt.
396 / The Hartt School
DEGREE PROGRAM CURRICULA
Bachelor of Music
Major in Guitar (125 credits) First Year
Credits Sem. 1
Credits Sem. 2
Instrumental study 4 4
APC 122-123 Piano Keyboard Class1
2 2
TH 111-112 Diatonic2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENS 422, 423 Guitar Ensemble 1 1
17.5 17.5 Second Year
Instrumental study 4 4
APC 222-223 Piano Keyboard Class1
2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 ENS 422, 423 Guitar Ensemble 1 1
17.5 17.5 Third Year
Instrumental study3
4 4 CON 314 Conducting Fundamentals – 2 ENS 422, 423 Guitar Ensemble 1 1 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3 HLM 314 Lute Tablature 1 – HLM 315 Guitar Tablature – 1 TPR 320 Teaching Principles 2 – TPR 321 Applied Teaching Principles – 2 ART 210/211/212 History of Western Art 3 –
14 13 Fourth Year
Instrumental study3
4 4 APC 414-415 Electric Guitar Styles I-II 1 1 APC 420 Communicating with an Audience 1 – ENS 422, 423 Guitar Ensemble 1 1 HLM 312-313 Guitar Literature 1 1
Academic electives 3 3 History elective 3 – Mathematics elective – 3
APC 423 Building a Music Career 1 – REC 440 Recital – 0
15 13 1If this requirement is waived, alternate course work must be chosen in consultation with assigned advisor to make up
equivalent credits.
2Enrollment dependent on placement exam.
3Baroque lute or baroque guitar may be included with approval of guitar faculty chair.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
Guitar / 395
Major in Orchestral Instrument (127 credits) Credits Credits
First Year Sem. 1 Sem. 2 Instrumental study 4 4
TH 111-112 Diatonic1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 IPO Instrumental performing organization 1 1
15.5 15.5 Second Year
Instrumental study 4 4
APC 122-123 Piano Keyboard Class2
2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1
15.5 15.5 Third Year
Instrumental study 4 4
APC 222-223 Piano Keyboard Class2
2 2 APC 450-451 Orchestra Repertory Class 1 1 CON 314 Conducting Fundamentals 2 – TPR 420-421 Advanced Major Instrument Teaching 1 1 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3
Academic electives 3 3 ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1
18 16 Fourth Year
Instrumental study 4 4 APC 452-453 Orchestra Repertory Class 1 1 APC 420 Communicating with an Audience – 1 REC 440 Recital – 0
Academic electives 3 3 Mathematics elective 3 –
APC 423 Building a Music Career 1 – ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1 AUC All-University Curriculum 3 3
17 14 1Enrollment dependent on placement exam. 2 Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits
with equivalent credits approved by assigned advisor.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
Organ / 397
Major in Organ (135.5 credits)
Credits Credits First Year Sem. 1 Sem. 2 AOR 499 Instrumental Study 4 4 Piano
1 2 2 CHU 112, 113 Organ Performance Class .5 .5 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18 18 Second Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 101 Voice Class 1 – TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 GER 110-111 Elementary German I-II
3 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 16 Third Year AOR 499 Instrumental Study 4 4 APC 420 Communicating with an Audience – 1 CHU 112, 113 Organ Performance Class .5 .5 CON 314 Conducting Fundamentals – 2 HLM 316 Music History: Medieval through Baroque 3 – Music history elective – 3 COM 340 Orchestration 3 – TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 CHU Liturgical music courses 2 2 AUC All-University Curriculum – 3 APC 423 Building a Music Career 1 – CPO Choral performing organization 1 1 16.5 18 Fourth Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 TH 333 Score Reading 2 – CHU Liturgical music courses 2 2 Academic electives (including philosophy or religion course) 6 3 AUC All-University Curriculum – 3 Mathematics elective – 3 CPO Choral performing organization 1 1 REC 440 Recital – 0 15.5 16.5
1A piano proficiency exam is taken at the end of the first year. Further required study is taken with additional charge. Harpsichord
may be substituted for piano with approval of the department chair. 2Enrollment dependent on placement exam.
3Further study in German or a second foreign language is encouraged.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
398 / The Hartt School
Major in Piano (129 credits) Credits Credits
First Year Sem. 1 Sem. 2 API 499 Instrumental Study 4 4 ACC 110-111 Art of Accompanying I-II .5 .5 TH 111-112 Diatonic
1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization
2 1 1 16 16
Second Year API 499 Instrumental Study 4 4 ACC 220-221 Piano Ensemble I-II 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization
2 1 1 16.5 16.5
Third Year API 499 Instrumental Study 4 4 ACC 330-331 Vocal Repertory for Singers and Pianists 1 1
Music electives 3 3 ART 210/211/212 History of Western Art 3 –
Academic electives 3 3 Mathematics elective – 3
TH 330 Keyboard Harmony 2 – TPR 310-311 Piano Teaching Principles 1 1
17 15 Fourth Year API 499 Instrumental Study 4 4 ACC 440-441 Instrumental Accompanying I-II 1.5 1.5 APC 420 Communicating with an Audience – 1 HLM 430-431 Keyboard Literature 3 3
Music elective 3 – Academic electives 3 3
APC 423 Building a Music Career 1 – TPR 410-411 Student Applied Teaching 1 1 TPR 420-421 Advanced Major Instrument Teaching 1 1 REC 440 Recital – 0
17.5 14.5 1Enrollment dependent on placement examination.
2Major choral or instrumental performing organization or accompanying laboratory, four semesters.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
AVO 499 Vocal Study1 4 4
APC 122-123 Piano Keyboard Class 2 2 DIC 110 English Diction .5 – DIC 111 Italian Diction – .5 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 OPR 160-161 Opera Stagecraft I-II 1 1 CPO Choral performing organization 1 1 APC 114-115 Vocal Seminar for Freshmen .5 .5 16.5 16.5 Second Year AVO 499
Vocal Study1
4
4 APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 Language
3 3 3 CPO Choral performing organization 1 1 OPR 260-261 Acting and Movement for Singers I-II 1 1 APC 214-215 Vocal Seminar for Sophomores .5 .5 18.5 18.5 Third Year AVO 499
Vocal Study1
4
4 ACO 488 Vocal Coaching .5 .5 DIC 210 French Diction .5 – DIC 310 German Diction – .5 TH 320-321 Advanced Ear Training I-II 2 2 Language
3 3 3 Mathematics elective 3 – AUC All-University Curriculum 3 3 CPO Choral performing organization 1 1 OPR 360 Opera Blackbox I 1 – Music history elective
4 – 3 APC 314-315 Vocal Performance Seminar .5 .5 18.5 17.5
Voice / 399
Major in Voice (139 credits)
Credits Credits First Year Sem. 1 Sem. 2
400 / The Hartt School
AVO 499 Vocal Study1 4 4
ACO 488 Vocal Coaching .5 .5 Language
3 3 3 HLM 322-323 Vocal Literature I-II
6 2 2 APC 410 Voice Pedagogy 2 – AUC All-University Curriculum 3 3 CPO Choral performing organization 1 1 OPR 460 Opera Blackbox II 1 – OPR 461 Opera Mainstage Performance – 1 MUS 110-111 Paranov Performance Hour .5 .5 APC 314-315 Vocal Performance Seminar .5 .5 REC 440 Recital
5 – 0 17.5 15.5
Credits Credits Fourth Year Sem. 1 Sem. 2
1 A total of 32 credits of applied voice lessons is required for a bachelor’s degree in voice. 2Enrollment dependent on placement exam. If TH 110 is taken in the first year, the math elective is taken in the second semester,
fourth year. 3Students must take 6 credits each of French, Italian, and German. Permission to substitute another language may be granted only
by the voice department chair or vocal division director.
4Students may choose HLM 200 or HLM 316.
5Must be taken concurrently with private vocal study.
6HLM 323 is offered every other year. In the years it is not offered, students take a second-semester AUC.
Note: Voice majors are required to earn a B– or higher in all applied lessons.
Pre-Cantorial Studies / 401
Major in Pre-Cantorial Studies (133.5 credits)
Credits Credits First Year Sem. 1 Sem. 2 AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching – .5 APC 122-123 Piano Keyboard Class
1 2 2 DIC 110 English Diction .5 – DRM 120-121 Acting for Singers I-II 1 1 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II2 2 2
RPW 110-111 Rhetoric and Writing I-II 3 3 HBR 113-114 Elementary Hebrew Conversation I-II 3 3 HLM 020 Information Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 17 Second Year AVO 488 Vocal Study 2 2 ACO Voice coaching .5 .5 APC 222-223 Piano Keyboard Class
1 2 2 DIC 111 Italian Diction – .5 AUC All-University Curriculum 3 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II
2 2 2 HBR 115-116 Intermediate Hebrew Conversation I-II 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 16 16.5 Third Year AVO 488 Vocal Study 2 2 ACO Voice coaching (cantorial) .5 .5 APC 322-323 Piano Keyboard Class
1 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 320-321 Advanced Ear Training I-II 2 2 HBR 118-119 Advanced Hebrew Conversation I-II 3 3 HIS/JS/REL Judaic studies electives 3 3 CPO Choral performing organization 1 1 16.5 16.5
402 / The Hartt School
Fourth Year
Credits Sem. 1
Credits Sem. 2
AVO 488 Vocal Study 2 2 ACO Voice coaching (cantorial) .5 .5 CON 314 Conducting Fundamentals 2 – CON 315 Choral Conducting – 2 COM 340 Orchestration 3 – TH 333 Score Reading 2 – TE 410 Senior Project – 2 AUC All-University Curriculum 3 3 HIS/JS/REL Judaic studies electives 3 3 M Mathematics elective – 3 CPO Choral performing organization 1 1 16.5 16.5
1If this requirement is waived, course work must be chosen in consultation with an advisor to make up equivalent credits. 2Enrollment dependent on placement exam.
Note: Pre-cantorial studies majors must earn a B– or higher in all voice lessons.
Jazz Studies / 403
Major in Jazz Studies (128 credits)
Credits Credits First Year Sem. 1 Sem. 2
Instrumental study 4 4 AFR 131 African American Music, 1890–1945 3 – AFR 132 African American Music, 1945 to Present – 3 AFR 242, 243 Repertory Building 1 1
APC 122-123 Piano Keyboard Class1
2 2 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1
18.5 18.5 Second Year
Instrumental study 4 4
AFR 220-221 Jazz Keyboard Class1
2 2 AFR 222-223 Jazz Transcription I-II 1 1 AFR 242, 243 Repertory Building 1 1 AFR 342-343 Arranging (Jazz Styles) 2 2 HLM 212 Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1
17.5 17.5 Third Year
Instrumental study 4 4 AFR 242, 243 Repertory Building 1 1 AFR 110-111 Jazz Improvisational Devices 1 1
Academic electives 3 3 AUC All-University Curriculum 3 3 ES 262 Acoustics for Musicians
3 3 –
ENS 402, 403 Jazz Combo Ensemble 1 1 16 13
Fourth Year
Instrumental study 4 4 AFR 321 Core course – 3 AFR 242, 243 Repertory Building 1 1 AFT 410 Senior Project 3 – MPT 450 Sound Technology I 3 –
Academic elective – 3 Mathematics elective 3 –
ENS 402, 403 Jazz Combo Ensemble 1 1 REC 440 Recital – 0
15 12 1If these requirements are waived, students must choose alternate course work, with the help of an advisor, to make up equivalent credits.
2Enrollment dependent on placement exam.
3Requires strong algebra background; CS 110 may be substituted.
Note: Students are required to demonstrate continued improvement in their performance and improvisation skills. Student
progress is evaluated through annual juries. Failure to demonstrate progress for two consecutive semesters may result in removal
from the major.
404 / The Hartt School
Major in Composition (137–141 credits) Credits Credits
First Year Sem. 1 Sem. 2 APC 122-123 Piano Keyboard Class
1 2 2
COM 110-111 First Course Composition 3 3 COM 461 Music Technology I 3 – COM 470, 471 Composers’ Seminar 0 0 RPW 110-111 Rhetoric and Writing I-II 3 3 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 AUC All-University Curriculum – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization3
– – 15.5 15.5
Second Year APC 222-223 Piano Keyboard Class
1 2 2
COM 210-211 Second Course Composition 3 3 COM 340 Orchestration 3 – COM 470, 471 Composers’ Seminar 0 0 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 3 M Mathematics elective – 3
Performing organization3
– – 18.5 18.5
Third Year
Instrumental/vocal study or elective 2–3 2–3 COM 310-311 Third Course Composition 3 3 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3
Foreign language 3 3 COM 470, 471 Composers’ Seminar 0 0
Theory or composition electives 6 6 COM 472, 473 Composers’ Ensemble .5 .5
17.5–18.5 17.5–18.5
Composition / 405
Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study or elective 2–3 2–3 COM 410-411 Fourth Course Composition 3 3 COM 470, 471 Composers’ Seminar 0 0 TH 441 Music since 1950 – 3 ES 262 Acoustics for Musicians 3 – Theory or composition electives 6 3 Academic elective – 3 AUC All-University Curriculum 3 – CON 314 Fundamentals of Conducting – 2 COM 472, 473 Composers’ Ensemble .5 .5 17.5–18.5 16.5–17.5
1Exempted students take private instrumental/vocal study.
2Enrollment dependent on placement exam.
3Major choral or instrumental performing organization, four semesters. Composers’ ensemble, four semesters. Other approved
performing organizations may be substituted.
Note: Students with a major in composition must have the equivalent of one evening’s performance of their music before
graduation. Programs of performances must be submitted at least four months before the anticipated date of graduation.
Note: Composition majors should refer to the Hartt Undergraduate Handbook for departmental grade requirements.
Note: Students wishing to specialize in composition for electronic and digital instruments should include the following courses in
their elective choices: COM 462 Music Technology II; COM 463 Music Technology III; COM 466 Introduction to Computer
Music; COM 468 Scoring for Film, TV, and Video; MPT 450, 451 Sound Technology I and II; courses in Electro-Acoustic
Instrumentation (MIDI); Electronic Performance Techniques; and Seminar in Techniques of Experimental Music.
Students wishing to specialize in composition using more traditional musical materials should include the following courses
in their elective choices: TH 330 Keyboard Harmony, TH 333 Score Reading, TH 420 Modal Counterpoint, TH 421 Tonal
Counterpoint, and CON 314 Conducting Fundamentals.
406 / The Hartt School
Major in Music Education (four-year)—Vocal Emphasis (139 credits) First Year
Credits Sem. 1
Credits Sem. 2
AVO 488 Vocal Study 2 2 APC 122-123 Piano Keyboard Class 2 2 TH 111-112 Harmony I
1-II 2 2
TH 120-121 Ear Training I-II 2 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – RPW 110-111 Rhetoric and Writing I-II 3 3 DIC 110 IPA/English Diction – .5 MUS 110-111 Paranov Performance Hour .5 .5 General academic* 3 3 EDR 335 Language and Literacy Development for All Learners – 2 CPO Choral performing organization 1 1 HLM 020 Info Literacy in the Performing Arts
2 0 0 18.5 18 Winterterm MED 150 Freshman Partnership 0 – Second Year AVO 488 Vocal Study 2 2 APC 222-223 Piano Keyboard Class 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 CON 314 Conducting Fundamentals 2 – CON 315 Choral Conducting – 2 MEA 100 Classroom Instruments 1 – MEA 202 Percussion Class – 1 General academic* 3 3 MUS 110-111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year AVO 488 Vocal Study 2 2 APC 322-323 Piano Keyboard Class 2 2 TH 320-321 Ear Training V-VI 2 2 MEA 307 Vocal Development K–12 2 – MEA 103 Wind Instrument Class – 1 MEA 308 String Class/Vocal – 1 MED 310 School Choral Program and Lab – 3 MED 340-341 Elementary Vocal Methods 3 3 MED 413 Improvisation in Music Education 2 – DIC 111 or 210 Italian, German, or French Diction .5 –
or 310 HLM 316 Music History: Medieval through Baroque 3 – HLM 200 Music History: World Music Survey – 3 CPO Choral performing organization 1 1 17.5 18
408 / The Hartt School
Fourth Year (Semesters may be reversed.)
Credits Credits
Sem. 1 Sem. 2
AVO 488 Vocal Study – 2
MED 410 Student Internship (Practice Teaching)3
9 –
General academic* 3 3
General academic – 3
General academic – 3
General academic – 3
General academic – 4
CPO Choral performing organization4
– 1
12 18
General Academics
AUCC All-University Curriculum 3
AUCS All-University Curriculum 3
AUCT All-University Curriculum 3
AUCW All-University Curriculum 3
EDR 335 Language and Literacy Development for All Learners 2
EDH 120 Psychology of Exceptionalities 3
EDP 230 Educational Psychology (EDP 132 may substitute) 3
Mathematics elective (M 116 recommended) 3
Science elective (CH 116 recommended) 4
Academic elective 3
HE 112 Modern Health Concepts 3
*Required general academics:
• May be taken in any order.
• No more than one AUC course should be taken per semester.
• EDH, EDP, and EDR courses should be taken before the senior year.
1Enrollment dependent on placement exam. 2Must be successfully completed before sophomore year.
3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.
4Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.
Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.
Music Education / 407
Major in Music Education (four-year)—Instrumental Emphasis (140 credits) Fourth Year
Credits Sem. 1
Credits Sem. 2
Instrumental study 2 2 APC 122-123 Piano Keyboard Class 2 2 MEA 101 Voice Class – 1 MEA 201 Brass Class – 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – TH 111-112 Harmony I
1-II 2 2
TH 120-121 Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 General academic* 3 – EDR 335 Language and Literacy Development for All Learners – 2 MUS 110-111 Paronov Peformance Hour .5 .5 IPO Instrumental Performing Organization 1 1 HLM 020 Info Literacy for the Performing Arts
2 0 0
18.5 17.5 Winterterm MED 150 Freshman Partnership – 0 Second Year Instrumental study 2 2 APC 222-223 Piano Keyboard Class 2 2 CON 314 Conducting Fundamentals 2 – CON 316 Instrumental Conducting – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 102 Woodwind Class: Clarinet, Saxophone 2 – MEA 300 Woodwind Class: Flute, Oboe, Bassoon – 2 MEA 303-304 String Class 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 MUS 110-111 Performance Hour .5 .5 IPO Instrumental performing organization 1 1 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year Instrumental study 2 2 MEA 200 Percussion Class 2 – MED 303 Elementary Instrumental Methods 3 – MED 304 Secondary Instrumental Methods – 3 MED 350 Jazz Ensemble for Music Educators – 1 MED 340 Elementary Vocal Methods (N–2) 3 – MED 413 Improvisation in Music Education 2 – HLM 316 Music History: Medieval through Baroque 3 – TH 320 Ear Training V 2 – HLM 200 Music History: World Music Survey – 3 General academic* – 3 General academic* – 3 IPO Instrumental performing organization 1 1 19 17
410 / The Hartt School
Fourth Year (Semesters may be reversed.)
Credits Credits
Sem. 1 Sem. 2
Instrumental Study – 2
MED 410 Student Internship (Apprentice Teaching)3
9 –
General academic* 3 –
General academic 3 3 General academic – 3
General academic – 3
General academic – 3
General academic – 3
IPO Instrumental performing organization4
– 1
15 18 General Academics
AUCC All-University Curriculum 3
AUCS All-University Curriculum 3
AUCT All-University Curriculum 3
AUCW All-University Curriculum 3
EDR 335 Language and Literacy Development for All Learners 2
EDH 120 Psychology of Exceptionalities 3
EDP 230 Educational Psychology (EDP 132 may substitute) 3
Mathematics elective (M 116 recommended) 3
Science elective (CH 116 recommended) 4
Academic elective 3
HE 112 Modern Health Concepts 3
*Required general academics:
• May be taken in any order.
• No more than one AUC course should be taken per semester. • EDH, EDP, and EDR courses should be taken before the senior year.
1Enrollment dependent on placement exam.
2Must be successfully completed before sophomore year. 3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.
4 Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.
Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the
sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.
Music Education / 409
TH 111-112 Diatonic1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 122-123 Piano Keyboard Class
2 2 2 COM 110-111 First Course Composition 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization
3 1 1 AUC All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 16.5 16.5 Second Year TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 222-223 Piano Keyboard Class
2 2 2 CON 314 Conducting Fundamentals – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization
3 1 1 AUC All-University Curriculum 3 3 GER 110-111 Elementary German I-II 3 3 16.5 18.5 Third Year TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 TH 400 Music Theory Pedagogy – 3 TH 410 Advanced Form and Analysis – 3 TH 475, 476 Music Theory Colloquium 0 0 COM 340 Orchestration 3 – COM 461 Music Technology I 3 – HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3 Performing organization
3 1 1 Instrumental/vocal study 2 2 Music theory/comp./history elective – 2 Music elective – 3 Mathematics elective 3 – 17 18.5
Major in Music Theory (137.5 credits) Credits Credits
First Year Sem. 1 Sem. 2
Music Theory / 411
Fourth Year
Credits Credits
Sem. 1 Sem. 2
TH 333 Score Reading 2 – TH 420 Modal Counterpoint 3 – TH 421 Tonal Counterpoint – 3 TH 405 Ear Training Pedagogy – 3 TH 475, 476 Music Theory Colloquium 0 0 TH 485 Senior Essay – 2
Performing organization3
1 1 ES 262 Acoustics for Musicians 3 –
Instrumental/vocal study 2 2 Music electives 6 3 Academic elective – 3
17 17
1Enrollment dependent on placement exam. 2Exempted students take private instrumental/vocal study.
3Major choral or instrumental performing organization, eight semesters.
Note: Undergraduate music theory majors must maintain an overall grade point average of B– (2.67) or higher in order to remain
in the music theory program. Refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
412 / The Hartt School
Credits Credits First Year Sem. 1 Sem. 2 Instrumental/vocal study 4 4 APC 122-123 Piano Keyboard Class
1 2 2 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 Foreign language
3 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Collegium Musicum, Early Music Ensemble,
Major in Music History—Performance Practices Emphasis (137.5 credits)
Second Year
or other performing organization 1 1 17.5 17.5
Instrumental/vocal study 4 4
APC 222-223 Piano Keyboard Class1
2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3
Foreign language3
3 3 MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
17.5 17.5 Third Year
Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –
Music literature course – 3 HLM Advanced music history course 3 – TH 420 or 421 Counterpoint 3 – TH 332 Continuo Realization – 1.5 HIS European history 3 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 3
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
18 16.5 Fourth Year
Instrumental/vocal study 2 2 Secondary instrumental/vocal study 2 2
CON 314 Conducting Fundamentals 2 – HLM 473 Seminar in Performance Practice – 3 HLM Advanced music history courses 3 3
Academic elective – 3 Mathematics elective 3 –
AUC All-University Curriculum 3 3 Collegium Musicum, Early Music Ensemble,
or other performing organization 1 1 REC 440 Recital
4 – 0 16 17
1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits
with equivalent credits approved by assigned advisor.
2Enrollment dependent on placement exam.
3Language should include two years of college-level German or equivalent. French is recommended as a second language.
4The minimum accomplishment of major 6 is required.
Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.
Music History / 413
Major in Music History—Scholarship and Research Emphasis (129.5 credits) Credits Credits
First Year Sem. 1 Sem. 2
APC 122-123 Piano Keyboard Class1
2 2 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3
Foreign language3
3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
16.5 16.5 Second Year APC 222-223 Piano Keyboard Class
1 2 2
TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 HIS European history 3 3
Foreign language3
3 3 MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
16.5 16.5 Third Year
Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –
Music literature course – 3 HLM Advanced music history courses 3 3 TH 332 Continuo Realization – 1.5 TH 420 Modal Counterpoint 3 – TH 421 Tonal Counterpoint – 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 –
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
15 16.5 Fourth Year
Instrumental/vocal study 2 2 TE 410 Senior Essay – 2 HLM Advanced music history courses 6 6 PHI 110 Introduction to Philosophy 3 – ENG 140 English Literature 3 – M Mathematics elective – 3 AUC All-University Curriculum – 3
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
15 17
1Exempted students take private instrumental/vocal study.
2Enrollment dependent on placement exam.
3Language should include two years of college-level German or equivalent. French is recommended as a second language.
Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.
414 / The Hartt School
Major in Music Production and Technology (135 credits) Credits Credits
First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2
TH 111-112 Diatonic1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 MTH 112-122 Math for Technologists I-II 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MPT 110 Fundamentals of Music Production 2 – MPT 210 Practicum in Music Production – 2 MUM 120 Introduction to Arts Management 3 – MUM 221 Arts Management: For Profit – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization 1 1 18.5 18.5
Second Year
Instrumental/vocal study 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 122-123 Piano Keyboard Class
2 2 2
ECT 111 Introduction to Electricity and Electronics 4 – ECT 121 DC and AC Electrical Fundamentals – 4 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization 1 1 16.5 16.5
Third Year MPT 300-310 Music Production Technology I-II (lab) 4 4 ES 262 Acoustics for Musicians 3 – COM 462 Music Technology II – 3 MPT 305 Electronics for Music Systems I 3 – MPT 315 Electronics for Music Systems II – 3
Performing organization 1 1 Academic electives 3 3
AUC All-University Curriculum 3 3 17 17
416 / The Hartt School
Fourth Year
Credits Credits
Sem. 1 Sem. 2
MPT 400-410 Music Production Techniques I-II (lab) 4 4 MPT 420 Music Production Special Project/Internship – 3 HLM Music history elective – 3 COM 470, 471 Composition Seminar 0 0
Academic elective 3 – Professional elective 3 3 Performing organization 1 1
AUC All-University Curriculum 3 3 14 17
Professional Elective Options Electronic music: COM 466, 467 Business: AC 210, 211; MKT 310 Media/broadcast: CMM 110, 150, 240, 242, 244, 281 Audio technology/electronics: AUD 361; ECT 122, 231, 241, 352 Student’s performance area: repertory, improvisation (jazz), diction Other: conducting, orchestration, art history
1Enrollment dependent on placement exam.
2If this requirement is waived, alternate course work must be chosen in consultation with an advisor to make up
equivalent credits.
Note: Music production and technology majors should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
Music Production and Technology / 415
Bachelor of Music
Major in Elective Studies in Business (Music Management) (140 credits) Credits Credits
First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2
APC 122-123 Piano Keyboard Class1
2 2 M 110 or M 116 Precalculus or Contemporary Math 3 – TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 CS 110 Introduction to Computers – 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 MUM 120 Introduction to Arts Management 3 – AUC All-University Curriculum – 3
Performing organization3
1 1 18.5 18.5
Second Year
Instrumental/vocal study 2 2
APC 222-223 Piano Keyboard Class1
2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUM 220 Arts Management: Not for Profit 3 – MUM 221 Arts Management: For Profit – 3 EC 110 Principles of Macroeconomics 3 – EC 211 Principles of Microeconomics – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization3
1 1 18.5 18.5
Third Year
Instrumental/vocal study 2 2 MPT 450 Sound Technology I 3 – MUM 321 Arts Management Practicum – 3 MUM Music management electives
4 3 3
AUC All-University Curriculum 3 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 MKT 310 Principles of Marketing 3 – RLC 211W Advanced Composition/Business – 3
Performing organization3
1 1 18 18
418 / The Hartt School
Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study 2 – HLM Music history electives 3 3 MUM 340 Survey of the Recording Industry 3 – MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM Music management elective
4 – 3 CMM Communication elective – 3 AUC All-University Curriculum – 3 Performing organization
3 1 – 15 15
1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits
with equivalent credits approved by assigned advisor.
2Enrollment dependent on placement exam.
3Major choral or instrumental performing organization, seven semesters.
4Choose from MUM 330 Entertainment Law, MUM 350 Computers in the Arts, MUM 440 Fundraising, or
MUM 480 Independent Study (MUM 480 by instructor permission only).
Note: Music management majors may earn no more than one grade below B– in MUM courses.
Music Management / 417
Bachelor of Fine Arts
Major in Dance—Ballet Pedagogy Emphasis (132 credits) Credits Credits
First Year Sem. 1 Sem. 2
DFA 120-121 Classical Ballet I1
2 2
DFA 124-125 Martha Graham Technique I1
1 1 DFA 126-127 Contemporary Dance Forms I
1 1 1
DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I
1 1 1
DFA 150 Improvisation I – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3
17 18 Second Year DFA 134 Pilates I – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1 DFA 226 Contemporary Dance Forms II
1 1 –
DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II
1 1 1
DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance II – 1 DFA 267 Production Practicum II – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 HLM 100 Introduction to Music I 3 – MUS 110, 111 Paranov Performance Hour .5 .5 M Mathematics elective – 3
18.5 18 Third Year DFA 162-163 Variations/Pas de Deux I-II .5 .5 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III
1 – 1
DFA 266 Production Practicum II – .5
DFA 320-321 Classical Ballet III1
2 2
DFA 324-325 Martha Graham Technique III1
1 – DFA 332-333 Pointe III
1 1 1
DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384-385 Student Internship 1 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – DFA 470 Dance Administration – 1 AUC All-University Curriculum 3 3
17.5 13
Ballet Pedagogy / 419
Credits
Credits
Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 261, 360 Repertory/Performance II/III 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 420-421 Classical Ballet IV
1 2 2 DFA 432-433 Pointe IV
1 1 1 DFA 440 Issues in Dance Pedagogy – 1 DFA 450,451 Problems in Composition 1 1 DFA 484, 485 Student Internship 2 2 DFA Dance electives 1 2 DFA 474 Dance Production 2 – AUC All-University Curriculum 3 3 16.5 13.5
1Class-level placement based on audition or juries. Entrance by audition only.
Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
420 / The Hartt School
Major in Dance—Children’s Dance Emphasis (137 credits) Credits Credits
First Year Sem. 1 Sem. 2
DFA 120-121 Classical Ballet I1
2 2
DFA 124-125 Martha Graham Technique I1
1 1
DFA 126-127 Contemporary Dance Forms I1
1 1 DFA 130-131 Ballet Pedagogy I-II 2 2 DFA 132-133 Pointe I
1 1 1
DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 –
17 18 Second Year DFA 134 Pilates – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1
DFA 226 Contemporary Dance Forms II1
1 – DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II
1 1 1
DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance – 1 DFA 267 Production Practicum – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – M Mathematics elective – 3
18.5 18 Third Year DFA 151 Improvisation II – 1 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III
1 – 1
DFA 261 Repertory/Performance II – 1 DFA 266 Production Practicum II – .5
DFA 322-323 Intermediate Ballet1
2 2
DFA 324-325 Martha Graham Technique III1
1 1 DFA 331 Methods for Pre-Ballet 2 – DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384, 385 Student Internship 1 1 DFA 470 Dance Administration – 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum 3 3
18 14.5
Children’s Dance / 421
Credits
Credits
Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 326-327 Contemporary Dance Forms IV
1 1 1 DFA 360 Repertory/Performance III 1 – DFA 422-423 Advanced Ballet
1 2 2 DFA 424-425 Martha Graham Technique IV
1 1 1 DFA 440 Issues in Pedagogy – 1 DFA 450 Problems in Composition 2 – DFA 474 Dance Production 2 – DFA 484, 485 Student Internship 2 2 DFA Dance elective 1 2 MED 501 Teaching Music in Early Childhood – 3 AUC All-University Curriculum 3 3 18 15
1Class-level placement based on audition or juries. Entrance by audition only.
Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
422 / The Hartt School
Major in Dance—Performance Emphasis (130 credits) Credits Credits
First Year Sem. 1 Sem. 2 DFA 134 Pilates – 1
DFA 120-121 Classical Ballet I1
2 2
DFA 124-125 Martha Graham Technique I1
1 1 DFA 126-127 Contemporary Dance Forms I
1 1 1
DFA 130 Ballet Pedagogy I 2 – DFA 132-133 Pointe I
1 1 1
DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 162-163 Variations/Pas de Deux I .5 .5 DFA 166-167 Production Practicum I .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – M Mathematics elective 3 –
17.5 17.5 Second Year DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1
DFA 226-227 Contemporary Dance Forms II1
1 1
DFA 232-233 Pointe II1
1 1 DFA 250 Elements of Composition – 2 DFA 260-261 Repertory/Performance II 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 266-267 Production Practicum II .5 .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 DFA Pedagogy elective 2 – MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – AUC All-University Curriculum – 3
18.5 14.5 Third Year DFA 170 Dance History I – 3
DFA 320-321 Classical Ballet III1
2 2
DFA 324-325 Martha Graham Technique III1
1 1
DFA 326-327 Contemporary Dance Forms III1
1 1 DFA 332-333 Pointe III
1 1 1
DFA 350 Process of Composition 2 – DFA 360-361 Repertory/Performance III 1 1 DFA 362-363 Variations/Pas de Deux III .5 .5 DFA 371 Technology in Dance 3 – DFA Dance elective – 2 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum – 3
Academic elective 3 – 17.5 14.5
Dance Performance / 423
Credits Credits Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 420-421 Classical Ballet IV
1 2 2 DFA 424-425 Martha Graham Technique IV
1 1 1 DFA 426-427 Contemporary Dance Forms IV
1 1 1 DFA 432-433 Pointe IV
1 1 1 DFA 450 Problems in Composition 2 – DFA 460-461 Repertory/Performance IV 1 1 DFA 462-463 Variations/Pas de Deux IV .5 .5 DFA 474 Dance Production 2 – DFA Dance elective – 1 AUC All-University Curriculum 3 3 Academic elective – 3 16.5 13.5
1Class-level placement based on audition or juries. Entrance by audition only.
Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
424 / The Hartt School
AVO 488 Vocal Study 2 2 HTD 110-111 Ballet I 1 1 HTA 110-111 Voice I-II 3 3 HTS 140-141 Stagecraft 1 1 HTA 130-131 Acting I-II 3 3 TH 110 Music Theory Fundamentals 2 – TH 111 Diatonic Harmony – 2 TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 18.5 18.5 Second Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTD 210-211 Ballet II 1 1 APC 122-123 Piano Keyboard Class
1 2 2 HTA 230-231 Acting III-IV 3 3 DRA 362 Development of Theatre – 3 HTA 210-211 Voice III-IV 3 3 TH 220 Intermediate Ear Training I 2 – ENG 140 Introduction to Literature 3 – MUS 111 Paranov Performance Hour – .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 112-113 Tap I .5 .5 HTD 114-115 Jazz I .5 .5 18.5 17 Third Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 330-331 Acting V-VI 3 3 AUC All-University Curriculum 3 3 HLM 111 History of Music Theatre 3 – ENG 348/349 Modern Drama: 1870–1920/1920–Present – 3 HTA 325 Movement for the Music Theatre Actor – 3 Academic elective
2 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 212-213 Tap II .5 .5 HTD 214-215 Jazz II .5 .5 MUS 110 Paranov Performance Hour .5 – 17 16.5 Fourth Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 430 Acting VII 3 – HTA 451 Career Preparation – 3 ENG 361/362 Shakespeare: Plays to 1600/Plays after 1600 – 3 AUC All-University Curriculum 3 3 Academic elective 3 – M Precalculus or statistics or contemporary mathematics – 3 Academic elective 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 REC 440 Recital (or Cabaret) – 0 15.5 15.5
Major in Music Theatre (137 credits) Credits Credits
First Year Sem. 1 Sem. 2
1If these requirements are waived, alternate course work must be chosen in consultation with an advisor to make up
the equivalent credits. 2Academic electives must be liberal arts courses approved by the advisor.
Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
426 / The Hartt School
Major in Actor Training (134 credits) Credits Credits
First Year Sem. 1 Sem. 2 HTA 110-111 Voice I-II 3 3 HTA 120-121 Movement I-II 3 3 HTA 130-131 Acting I-II 3 3 HTA 140-141 Rehearsal/Performance I-II 1 1 AUCC, AUCS All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus Laboratory 1 1 HTS 140-141 Stagecraft 1 1 18.5 18.5 Second Year HTA 210-211 Voice III-IV 3 3 HTA 220-221 Movement III-IV 3 3 HTA 230-231 Acting III-IV 3 3 HTA 240-241 Rehearsal/Performance III-IV 1 1 AUCT, AUCW All-University Curriculum 3 3 M 110, 114, or 11 6 Precalculus/Statistics/Contemporary Mathematics 3 – MUS 110, 111 Paranov Performance Hour .5 .5 HTA 200-201 Text Analysis I-II 2 2 DRA 362 Development of Theatre – 3 18.5 18.5 Third Year HTA 305 Study in England – 6 HTA 310 Voice V 3 – HTA 320-321 Movement V-VI 3 3 HTA 330 Acting V 3 – HTA 360-361 Projects I-II 3 3 Academic elective
1 3 – HTA 300 The Shakespearean Context 3 – 18 12 Fourth Year HTA 410-411 Voice VII, VIII 2 2 HTA 331 Acting VI 3 – HTA 440-441 Rehearsal/Performance V-VI
2 6 3 HTA 451 Career Preparation – 3 HTA 461 Projects III – 1 Academic elective – 3 HTA 400 Shakespeare in Text and Performance 3 – HTA 412 Acting for the Camera – 4 14 16
1Academic electives must be liberal arts courses approved by the advisor. 2Students are expected to arrange schedules so that all other class obligations are completed before the beginning of this class.
Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
Actor Training / 425
Bachelor of Arts
Major in Performing Arts Management (131 credits) Credits Credits
First Year Sem. 1 Sem. 2 MUM 120 Introduction to Arts Management 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 EC 110 Macroeconomics 3 – EC 211 Microeconomics – 3 AUC All-University Curriculum – 3 HLM Music history elective 3 – HLM Music history elective – 3
Academic elective 3 – M 110
or M 116 Precalculus or Contemporary Math – 3 CS 110 Introduction to Computers – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
15.5 18.5 Second Year MUM 220 Arts Management: Not for Profit 3 – MUM 221 Music Management: For Profit – 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 ART 100 Aspects of Art 3 –
Concentration elective1
– 3 AUC All-University Curriculum 3 3 CMM 240 Introduction to Mass Communication 3 – CMM 260 Communication and Advertising – 3 RLC 211W Advanced Composition/Business 3 –
Academic elective – 3 MUS 110, 111 Paranov Performance Hour .5 .5
18.5 18.5 Third Year MUM 321 Arts Management Practicum – 3 MUM 330 Entertainment Law 3 – MUM 340 Survey of Record Industry 3 – MUM 350 Computers and the Arts – 3
Concentration elective1
– 3 MPT 450 Sound Technology I 3 – ENG 140 Introduction to Literature 3 – FIN 310 Business Finance – 3 MGT 310 Managing Organizational Behavior 3 – MKT 310 Introduction to Marketing – 3
15 15
Performing Arts Management / 427
Credits
Credits
Fourth Year Sem. 1 Sem. 2 MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM 440 Fundraising 3 – Concentration electives
1 3 3 AUC All-University Curriculum – 3 Business elective – 3 DRA 160 Introduction to Theatre 3 – ENG English elective – 3 15 15
1Students will construct a 12-credit concentration of liberal arts and/or business courses focusing on a core topic that
complements the MUM courses. Examples for the concentrations include, but are not limited to, theatre management,
public relations, fundraising, multiculturalism in management, and events management. Choice of appropriate courses
will be made in consultation with an advisor.
Note: Performing arts management students may earn no more than one grade below B– in MUM courses.
428 / The Hartt School
Major in Music (120 credits) Credits Credits
First Year Sem. 1 Sem. 2 TH 111-112 Diatonic-Chromatic Harmony
1 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RLC 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 – HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENG 140 Intro to Literature – 3 M 110/116 Math elective – 3 PHI 110 Intro to Philosophy 3 – APC 122-123 Piano Keyboard Class
2 2 2 15.5 15.5
Second Year APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 – HIS 100/101 World History – 3 Foreign language Two semesters of a foreign language
or CMM 115, CS 110 Communications and a computer course 3 3
15.5 15.5 Third Year HLM Music history elective 3 – AUCT All-University Curriculum with lab 4 – EC, PSY, SOC Elective – 3 Lab science Biology or chemistry – 4
Writing-intensive course above 200 level with a W designation 3 3 Academic electives
5 6 6 16 16
Fourth Year HLM Music history elective 3 – TE 410/REC 440 Senior Project (Essay
3 or Recital
4) – 2
POL 100 American Government – 3 AUC All-University Curriculum 3 –
Academic electives5
6 6 12 14
1A placement exam is used for assignment into music theory courses. 2Required unless principal instrument is piano. If this requirement is waived, the credits must be made up with music electives
approved by the assigned advisor.
3Students who choose an essay as their senior project submit the title and outline of the essay to the division director for approval.
A faculty advisor will then be appointed. 4Students who choose a recital as their senior project are expected to have studied privately for five semesters at The Hartt School.
These students must register for private music study at the college level and pass an audition at the end of the first semester of their
junior year, followed by a recital of 30 minutes or more. 5These are classes taken in the College of Arts and Sciences, Barney School of Business, and the College of Engineering,
Technology, and Architecture. Students should consult with their advisors.
Instrumental/vocal/composition study1 4 4
TH 111-112 Diatonic2-Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training 2 2 MUS 110-111 Paranov Performance Hour .5 .5 APC 122-123 Piano Keyboard Class
3 2 2 ENS/CPO Instrumental or Choral Ensemble 1 1 11.5 11.5 Second Year Instrumental/vocal/composition study
1 4 4 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 222-223 Piano Keyboard Class
3 2 2 ENS Ensemble 1 1 11 11 Third Year
Instrumental/vocal/composition study1 4 4
MUS 110-111 Paranov Performance Hour .5 .5 HLM 212 Music History: Perspectives on Music History 3 HLM 213 Music History: Romanticism to the Present 3
Music electives4 3 3
ENS Ensemble 1 1 REC 440 Recital 0 11.5 11.5
Composition / 429
Undergraduate Diploma Program
(68 credits; 65–68 credits for composition majors)
Credits Credits
First Year Sem. 1 Sem. 2
1Total 24 credits; 18 credits for composition majors. (Note: composition study is 3 credits per semester.) 2Enrollment dependent on placement examination.
3Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits with music electives approved by assigned advisor.
4Total of 6 credits; a minimum of 9 credits for composition majors.
430 / The Hartt School
Bachelor of Science in Engineering
Major in Acoustical Engineering
and Music
(141–144 credits)
Credits in the Major: 46 plus at least
42 in Music
For a complete listing of courses, see pages
320–22 in the Engineering section.
Private Lessons
ACC 115, 116 Accompanying Laboratory
(Choral) [1, 1] Assigned accompanying for
Hartt Chorale or Hartt Chorus. May be repeated
for additional credit.
ACC 220-221 Piano Ensemble I-II [1-1]
Study and performance of the literature for duo
piano and piano duet from the baroque to the
20th century. One and one-half hours weekly.
Prerequisites: ACC 110-111.
ACC 330-331 Vocal Repertory for Singers
and Pianists [1-1] Detailed analysis and per-
Following are the course codes for private
lessons. Music entrance requirements may be
found on page 378; performance requirements
for graduation are specified on page 393.
The specific credits for private lessons in the
various curricula are indicated in the degree
programs.
A lab fee, which partially covers the cost of
a lesson accompanist, is charged for all voice
instruction.
Course Codes
AAN Ancient instrument AOB Oboe
ABH Baritone horn AOR Organ
ABN Bassoon API Piano
ACL Clarinet APR Percussion
CON Conducting ARC Recorder
ACO Vocal coaching ASX Saxophone
ADB Double bass ATB Trombone
AEU Euphonium ATP Trumpet
AFH French horn ATU Tuba
AFL Flute AVA Viola
AGT Guitar AVC Violoncello
AHD Harpsichord AVN Violin
AHP Harp AVO Voice
ALU Lute
Course Descriptions
Not all courses listed in this Bulletin are offered
each year. Offerings for each semester and for
Winterterm and Summerterm are listed in the
class schedules available during each registra-
tion period. The University reserves the right to
make changes in academic programs.
Accompanying
For Undergraduate Students
ACC 110-111 The Art of Accompanying
I-II [.5-.5] Practical approaches to accompany-
ing—sight reading, instant recognition of
rhythms, chords, and basic keyboard patterns.
Material drawn from the standard vocal and
instrumental literature. One hour weekly.
formance of the standard vocal repertory, in-
cluding songs, arias from operas, and oratorios.
Emphasis on accompanying problems, includ-
ing transpositions and language considerations.
One hour weekly. Prerequisites: ACC 110-111
(for pianists).
ACC 345, 346 Accompanying Laboratory—
Vocal [1, 1] Accompanying in studios of vocal
faculty and for student recitals. Two hours
weekly.
ACC 410, 411 Accompanying Recital [1, 1]
Assigned accompanying for a public vocal re-
cital and a public instrumental recital.
ACC 430, 431 Accompanying Laboratory—
Instrumental [1, 1] Accompanying in studios
of instrumental faculty and for student recitals.
Two hours weekly.
ACC 440-441 Instrumental Accompanying
I-II [1.5-1.5] Study of the standard string and
wind repertory with piano, including concerto
reductions. Emphasis on the varied technical
skills needed for collaborating with different
instruments. One hour weekly. Prerequisites:
ACC 110-111.
For Undergraduate and Graduate Students
ACC 540, 541 Special Studies in Accompany-
ing [1, 3] Special accompanying assigned on an
individual basis. May be repeated for additional
credit. Credits determined by department chair
based on number of hours of accompanying as-
signed.
African American Music (Jazz Studies)
For Undergraduate Students
AFR 110-111 Jazz Improvisational Devices
[1-1] A course in improvisational devices and
the application of these techniques in perfor-
mance and arranging. Two hours weekly.
AFR 131 African American Music, 1890– 1945 [3] Starting with an introductory back-
ground on the African empires, the slave trade,
and colonial American music, the course
focuses on social and stylistic developments
African American Music / Music Performance / 431
from ragtime to the Big Band era. Three hours
weekly.
AFR 132 African American Music, 1945 to
the Present [3] Contemporary African Ameri-
can music, the be-bop revolution, hard bop, free
and modal developments of the 1960s, and var-
ious artists and trends to the present. Three
hours weekly. Prerequisite: AFR 131.
AFR 220-221 Jazz Keyboard Class [2-2] This
two-semester course develops facility with har-
monic voicing systems, covering seventh
chords, extensions, harmonization of melodies,
block chord technique, and memorization of
standard chord progressions. Two hours weekly.
Prerequisites: APC 122-123.
AFR 222 Jazz Transcription I [1] Introduction
to solfège, rhythmic and melodic dictation,
melodic transcription from recordings. Two
hours weekly. Prerequisite: TH 121.
AFR 223 Jazz Transcription II [1] Melodic,
rhythmic and harmonic dictation, solo transcrip-
tions with harmonic progressions. Two hours
weekly. Prerequisite: AFR 222.
AFR 242, 243 Repertory Building [1, 1] In-
depth study of harmony and theory in the jazz
idiom. Analysis of standard African American
composition. Two hours weekly. Prerequisite:
Permission of instructor.
AFR 321 Jazz Studies Core Course [3] Lec-
ture seminar on a variety of music topics. Con-
tracts, copyright law, union issues, and other
aspects of the music business are discussed.
Students will be expected to prepare presenta-
tions and papers on related topics. Three hours
weekly.
AFR 342-343 Arranging (Jazz) [2-2] Writing
for small and large ensembles, starting with
rhythm section and combination of horns;
two-part writing, three-part writing, four-part
writing, and sectional writing for jazz orchestra;
and other criteria germane to jazz ensembles.
Two hours weekly. Prerequisite: Permission of
instructor.
AFR 480, 481 Independent Study in African
American Music [1–3, 1–3] An independent
study project conducted under the direction of
an assigned faculty member. Credit determined
by scope and nature of project.
AFR 490, 491 Special Topics in African
American Music [1–3, 1–3] Selected topics in
African American music, varying yearly with
needs of curriculum and availability of particu-
lar faculty. Credit determined by scope and
nature of work required.
AFT 410 Jazz Studies Senior Project [3] For
graduating seniors. Independent study on a
planned project. Includes one of the following:
lecture-demonstration, public performance, or
original large-scale composition or arrange-
ment, recording, video-sound tape.
Music Performance, Class Study
For Undergraduate Students
APC 110-111 Basic Guitar I-II [1-1]
APC 114-115 Vocal Seminar for Freshmen
[.5-.5] Students develop basic skills in memori-
zation, art-song analysis, musicianship shills,
use of the piano, and finding linguistic re-
sources. One hour weekly. Prerequisite: Voice
major.
APC 122-123 Piano Keyboard Class [2-2] A
first-level piano course that places equal empha-
sis on the tactile, visual, and harmonic aspects
of keyboard playing. Two hours weekly. Music
majors only.
APC 214-215 Vocal Seminar for Sophomores
[.5-.5] Students continue to develop skills in
score preparation, with the goal of fostering
independent musicianship on the level of the
vocal repertoire being prepared for the sopho-
more evaluation. One hour weekly. Prerequi-
sites: APC 114-115.
APC 222-223 Piano Keyboard Class [2-2]
Emphasis on the functional aspects of keyboard
playing. Technical, harmonic, and sight-reading
skills are integrated. Two hours weekly. Music
majors only. Prerequisites: APC 122-123 or
permission of instructor.
APC 310 Organ Class [2] For non–organ
majors. Fundamentals of organ playing tech-
niques in terms of the pedals, keyboard touch,
and registration; basic repertory, hymns,
anthems, and accompaniments. Essential skills
for church-service playing. Two hours weekly.
May be repeated for additional credit.
APC 314-315 Vocal Performance Seminar
[.5-.5] Vocal Seminar includes informal per-
formances, master classes, and lectures on top-
ics specifically related to vocal performance.
One hour weekly. Prerequisites: APC 214-215.
APC 311 Harpsichord Class [2] Fundamentals
of harpsichord playing techniques in terms of
keyboard touch, registration, and basic solo and
ensemble repertory. Two hours weekly. May be
repeated for additional credit.
APC 322-323 Piano Keyboard Class [2-2] A
two-semester skills course for students whose
repertoire placement is beyond APC 223. Sight
432 / The Hartt School
reading, transposition, melody harmonization,
improvisation, and score reading will be ex-
plored. Required of music education piano
majors; others by placement tests. Two hours
weekly. Prerequisite: APC 223 or permission of
instructor.
APC 410 Vocal Pedagogy [2] This course is an
introduction to voice pedagogy. Students learn
the anatomy and physiology of the voice, the
mechanics of breath management, as well as
the nature of sound. The scientific principles
of resonance and acoustics, and how these relate
to singing and the teaching of singing, are ex-
plored thoroughly. Students are required to cre-
ate a ―Resources in Voice Pedagogy Notebook,‖
in which they include assignments designed to
promote awareness of the rich array of voice
pedagogy publications available, a log of their
own voice lessons, and observations of voice
lessons from other studios. These assignments
prepare the students for the discussion and
comparison of teaching styles. Prerequisite:
Voice performance major or five-year voice
performance/music education major.
APC 414-415 Electric Guitar Styles I-II [1-1]
Introduction to electric guitar technique. Em-
phasis in Styles I on developing plectrum tech-
nique, harmonic concept, jazz scales, and gen-
eral methodology. Emphasis in Styles II on
basic improvisational skills, rhythm section, and
ensemble work. One hour weekly.
APC 420 Communicating with an Audience
[1] A course designed to give students infor-
mation, skill, and practical application in pro-
gramming and presenting themselves in a
variety of concert venues. Topics include pro-
gramming, presentational and performance
skills, repertoire selection, and educational pres-
entations.
APC 422 Piano Keyboard Class [2] Ad-
vanced-level course that encompasses score
reading, accompanying of choral scores, and
improvisation. Two hours weekly. Prerequi-
sites: APC 322-323.
APC 423 Building a Music Career [1] Career
preparation for instrumental and vocal per-
formance majors beyond the mastery of their
technical discipline. The course is in a modular
format with each module dealing with a specific
area of career development. Some of the topics
are résumé writing, auditions, producing a
demotape/CD, beginning a solo/chamber music
career, and beginning and developing a teaching
career.
APC 450, 451, 452, 453 Orchestra Repertory
Class [1, 1, 1, 1] A course designed to familiar-
ize students with the standard orchestral
repertory through actual rehearsal. Wind, brass,
and percussion students are grouped together.
String students are placed in separate sections
for violin, viola, violoncello, and double bass,
respectively. The course content covers the
major orchestral compositions from Haydn
through Stravinsky. One hour weekly.
APC 480, 481 Independent Study in Perfor-
mance Studies [1–4, 1–4] An independent
study project conducted under the direction of
an assigned faculty member. Credit determined
by scope and nature of project.
For Undergraduate and Graduate Students
APC 500-501 Free Improvisation [1–1]
This course is designed to explore the genre
of free improvisation. Concepts, techniques, ap-
proaches and attitudes to music and free
improvisation will be learned in a performance
situation. Discussions, written assignments,
readings, and listenings will figure prominently.
APC 566-567 Performance 20/20 [1–1]
Selected individual and group projects of an ad-
vanced level, covering areas such as concert
performance, recording, radio/TV broadcast,
composition, and career promotion. May be re-
peated for credit. Prerequisite: By audition only.
APC 594, 595 Special Topics in Performance
[1–4, 1–4] Selected topics in performance tech-
niques, varying yearly with needs of curriculum
and availability of particular faculty. Credit de-
termined by scope and nature of work
required.
ISC 500-501 Instrumental Studio Class [0–0]
An extension of and requisite to individual
studio lessons. A laboratory environment for
students to practice and demonstrate those skills
developed in lessons. Students perform for
each other, work in small groups, and engage
in common activities beneficial to a particular
homogeneous instrumental grouping.
Liturgical Music
For Undergraduate Students
CHU 112-113 Organ Performance Class
[.5-.5] Performance observation, critical analy-
sis, registration problems, performance practic-
es, and general musicianship. One hour weekly.
May be repeated for additional credit.
CHU 312 Church-Service Playing [2] The
standard service music of various churches and
its proper performance. Special emphasis given
Liturgical Music / Composition / 433
to hymns, their history, their suitability for wor-
ship and performance. Two hours weekly. Pre-
requisite: Permission of instructor.
CHU 313 Church-Service Playing [2]
Choral conducting from the console, rehearsal
procedure, interpretation of standard anthems
and oratorios. Research and study. Two hours
weekly. Prerequisite: CON 314 or permission of
instructor.
CHU 314 Liturgies [2] The historical devel-
opment of liturgies and a study of their music.
The function of music in worship; practical
analysis of the church musician. Two hours
weekly.
CHU 390, 391 Special Topics in Liturgical
Music [2–3, 2–3] Selected topics in liturgical
music, varying yearly with needs of curriculum
and availability of particular faculty.
CHU 415 Foundations of Organ Perfor-
mance [2] An introductory course to gain the
technical and musical skills of organ playing.
Pedal technique, registration, articulation, and
touch are emphasized. Two hours weekly. May
be repeated for credit once. Prerequisite: Major-
level (1) piano skills.
CHU 460 Organ Literature [2] A historic sur-
vey of organ literature with attention given to
works suitable for recital and church service.
Works for organ and instruments. Survey of
editions and publishers. Two hours weekly.
CHU 470 History and Design of the Organ
[2] An approach to contemporary organ design
based on the study of the great historical
schools of organ building. Emphasis given to
the function of the organ in relation to organ lit-
erature. Discussion of the proper registration of
the various schools of organ composition in re-
lation to contemporary organ design. Two hours
weekly.
Composition
For Undergraduate Students
COM 110-111 First Course Composition
[3-3]*
COM 210-211 Second Course Composition
[3-3]*
COM 310-311 Third Course Composition
[3-3]*
COM 410-411 Fourth Course Composition
[3-3]*
COM 320 Compositional Techniques [3] In-
depth study of compositional techniques, pri-
marily for composers and theorists. Emphasis
on writing and drill instead of analysis, giving
the student a foundation in most technical
aspects of composition. Course includes some
discussion of aesthetics issues and music’s
relation to the other arts. Three hours weekly.
Prerequisite: TH 211. Usually offered alternate
years.
COM 340 Orchestration [3] The study of
acoustic instruments, their techniques and roles
in the symphony orchestra. Exercises in arrang-
ing music for orchestra and study of works from
the standard orchestral repertoire. Prerequisite:
TH 112.
COM 390, 391 Special Topics in Composition
[1–3] Selected topics in composition, varying
yearly with needs of curriculum and availability
of particular faculty. Credits determined by
scope and nature of work required.
COM 420, 421 Directed Studies in Composi-
tion [3–3] Special projects assigned on an indi-
vidual basis. May be repeated for additional
credit.
COM 461 Music Technology I [3] Introduc-
tion to traditional and contemporary music no-
tation through the use of Finale. Course work
includes the clear notation and copying of ex-
cerpts from the published literature as well as
student-composed works. Simple, single-line
melodies; chamber, choral, percussion, full or-
chestral, or band scores; as well as the creation
of MIDI demonstration recordings and extrac-
tion and preparation of parts are covered in
depth. Extensive use of computer workstations
by students. Laboratory fee.
COM 462 Music Technology II [3] Introduc-
tion to MIDI theory, sequencing, and digital au-
dio through the use of Logic and a variety of
software synthesizers and signal-processor
plug-ins. Special emphasis on the composition
of a variety of pieces in varied styles through
the use of the available technology. Class lec-
tures, demonstrations, and extensive laboratory
work in the electronic music studio. Laboratory
fee.
COM 463 Music Technology III [3] Directed
independent composition or research projects
utilizing the facilities of the music technology
studios. Prerequisite: COM 462 or permission
of instructor. Laboratory fee.
*These courses develop the student’s ability and technique in
musical composition and explore concepts of musical lan-
guage and rhythm. For COM 210-411, a weekly individual
lesson is taken with a faculty composer. Courses are open to
non–music majors by permission of the department chair.
434 / The Hartt School
COM 466 Introduction to Computer Music
[3] Introduction to fundamentals of digital syn-
thesis, sound editing, sampling, and aesthetic is-
sues of electronic and computer-aided music
composition. Topics include construction of
timbres using sampling, editing, signal pro-
cessing, various kinds of synthesis, and interac-
tive composition. Includes introduction to
ProTools, Metasynth, Unity Session, and other
computer applications. Prerequisite: COM 461
or 462, or permission of instructor. Laboratory
fee.
COM 468 Scoring for Film, TV, and Video
[3] This course is for composers who are inter-
ested in writing music for film and video. Stu-
dents study the technical aspects of film
scoring, including synchronization, SMPTE
code, click tracks, stopwatch and free timing,
spotting procedures, orchestration, and music
software. The aesthetics of film music are stud-
ied, and major film scores, past and present, are
analyzed. In addition, there is an exploration of
the business aspects of film scoring. Prerequi-
site: COM 462 or permission of instructor.
COM 470, 471 Composers’ Seminar [0, 0] A
forum for students to discuss issues related to
their compositional activities. Topics include
new compositions and contemporary compos-
ers, the role of the composer in contemporary
society, issues of aesthetics and style, and the
workings of professional organizations that
support composers (e.g., universities, founda-
tions, performing organizations, licensing or-
ganizations, etc.). Students have the opportunity
to speak with professional composers who will
be guests. Composition majors (except doctoral
students) are required to enroll every semester.
For Undergraduate and Graduate Students
COM 472, 473 Composers’ Ensemble [.5, .5]
This ensemble is required for junior and senior
composition majors who are not enrolled in any
other ensemble. It is also open to other students
with permission of the instructor. Students re-
hearse existing repertoire as well as new pieces
composed by members of the ensemble. Stu-
dents plan, rehearse, and present one public
presentation per semester.
COM 510 Scoring for Wind Ensembles [3]
Students learn effective scoring techniques for
large ensembles of wind and percussion instru-
ments, known variously as wind ensembles,
wind symphonies, concert bands, and symphon-
ic bands. Essential to the course is intensive
score study of the wind band literature of the
past hundred years. Students gain experi-
ence and skill through directed scoring assign-
ments. Prerequisite: COM 340 or TH 245.
COM 580, 581 Independent Study in Compo-
sition [1–3] An independent study project con-
ducted under the direction of an assigned
faculty member. Credit determined by scope
and nature of project.
COM 590, 591 Special Topics in Composition
[1–3] Selected topics in composition, varying
yearly with needs of curriculum and availability
of particular faculty. Credit determined by
scope and nature of work required.
Conducting
For Undergraduate Students
CON 314 Conducting Fundamentals [2] Gen-
eral introduction to the history and art of con-
ducting. Consideration of fundamental factors
in the reading of choral and orchestral scores.
Basic patterns for different time signatures,
problems of agogics and dynamics, changes of
rhythm and tempo. Two hours weekly. Prereq-
uisite: TH 111.
CON 315 Choral Conducting [2] Choral
conducting techniques, score analysis and
interpretation, aural listening skills, rehearsal
techniques, and choral literature and materials.
Prerequisites: CON 314, TH 111-112, and
TH 210-211; or equivalent. Offered in spring
semester.
CON 316 Instrumental Conducting [2] In-
strumental conducting techniques, instrumenta-
tion, score analysis and interpretation, rehearsal
techniques, and instrumental literature and
materials. Prerequisites: CON 314, TH 111-112,
and TH 210-211; or equivalent. Offered in
spring semester.
CON 390, 391 Special Topics in Conducting
[1–3] Selected topics in conducting, varying
yearly with needs of curriculum and availability
of particular faculty. Credit determined by
scope and nature of work required.
CON 480, 481 Independent Study in Con-
ducting [1–3] Special projects assigned on an
individual basis. Credit determined by the scope
of the project. Prerequisites: CON 314, 315, and
316; or equivalent.
For Undergraduate and Graduate Students
CON 512, 513 Special Studies in Conducting
[1–3] Special projects assigned on an individual
basis. Credit determined by scope and nature of
work required. May be repeated for additional
credit. Prerequisites: CON 314, 315, and 316; or
equivalent.
436 / The Hartt School
Dance
For Music Theatre Majors
HTD 110-111 Ballet I [1-1] Basic ballet
movement, technique, vocabulary, musicality,
and style are developed through this course.
Class includes movement work at the barre,
center floor, traveling, and traveling combina-
tions, in adagio and allegro tempi. This course
also includes body conditioning with an empha-
sis on placement and posture. A studio format is
used. Prerequisites: Acceptance to the Hartt
School Theatre Division, Music Theatre pro-
gram.
HTD 112-113 Tap I [.5-.5] This course ex-
plores basic tap dance movement and vocabu-
lary with emphasis on technique, rhythm, style,
and musicality. Class consists of a warm-up,
center work, traveling movement, and move-
ment combinations. A studio format is used.
Prerequisites: Music theatre major and HTD
110-111, or permission of instructor.
HTD 114-115 Jazz I [.5-.5] This course
explores the fundamentals of jazz dance
movement on the beginning level, while incor-
porating ballet and contemporary dance tech-
niques. Various styles of character, social, and
ethnic dance are explored. Class consists of a
standing warm-up, floor warm-up, stretching,
center work, traveling, and traveling combina-
tions. Emphasis is on full-body conditioning.
A studio format is used. Prerequisites: Music
theatre major and HTD 110-111, or permission
of instructor.
HTD 210-211 Ballet II [1-1] Intermediate
ballet movement, technique, vocabulary, and
musicality are developed through this course.
Class includes movement work at the barre,
stretching, center floor, traveling, and traveling
combinations. Work is explored in different
tempos and styles. This course includes body
conditioning with an emphasis on placement
and the basic fundamentals of ballet technique.
A studio format is used. Prerequisites: Music
theatre major and HTD 110-111, or permission
of instructor.
HTD 212-213 Tap II [.5-.5] This course ex-
plores movement, style, and vocabulary of tap
dance on the intermediate level. Technique is
studied, emphasizing rhythm, style, and musi-
cality. Class consists of a warm-up, center
work, traveling movement, and movement
combinations. A studio format is used. Prereq-
uisites: Music theatre major and HTD 112-113,
or permission of instructor.
HTD 214-215 Jazz II [.5-.5] This course ex-
plores contemporary dance styles with an em-
phasis on musical-theatre, social, and ethnic
dance forms on the intermediate level, using
ballet and other movement techniques. Class
consists of a standing warm-up, floor warm-up,
stretching, center work, traveling, and traveling
combinations. There is also an emphasis on full-
body conditioning. A studio format is used. Pre-
requisites: Music theatre major and HTD 114-
115, or permission of instructor.
HTD 310-311 Ballet III [1-1] The study of
classical ballet taught at the high-intermediate
level. Movement vocabulary includes complete
barre and center exercises with emphasis on re-
fining coordination, building technical strength,
and improving artistic presentation. Prerequi-
sites: HTD 210-211 and audition, or permission
of instructor.
HTD 312-313 Tap III [.5-.5] This course
explores movement, style, and vocabulary of
tap dance on the advanced level. Technique is
studied, emphasizing rhythm, musicality, style,
and performance quality. Class consists of a
warm-up, center work, traveling, and traveling
combination. A studio format is used. Prerequi-
sites: Music theatre major and HTD 212-213, or
permission of instructor.
HTD 314-315 Jazz III [.5-.5] This course
explores musical-theatre jazz on the advanced
level, with an emphasis on musical-theatre, so-
cial, and ethnic dance forms, using contempo-
rary dance techniques. Class consists of a
standing warm-up, floor warm-up, stretching,
center work, traveling, and traveling combina-
tions. There is also emphasis on full-body con-
ditioning and advanced coordination skills. A
studio format is used. Prerequisites: Music thea-
tre major and HTD 214-215, or permission of
instructor.
Diction
For Undergraduate Students
DIC 110 IPA/English Diction [.5] An intro-
duction to the International Phonetic Alphabet
(IPA) and its application in pronunciation, as
well as conversion of the letters of a word into
the proper vocal sounds, with emphasis on sing-
ing in English. Two hours weekly.
DIC 111 Italian Diction [.5] Application of the
International Phonetic Alphabet in pronuncia-
tion, as well as conversion of the letters of a
word into proper vocal sounds, with emphasis
on singing in Italian. Prerequisite: DIC 110 or
permission of instructor. Two hours weekly.
Dance / Diction / 435
DIC 210 German Diction I [.5] Application of
the International Phonetic Alphabet in pronun-
ciation, as well as conversion of the letters of a
word into the proper vocal sounds, with empha-
sis on singing in German. Two hours weekly.
DIC 310 French Diction I [.5] Application of
the International Phonetic Alphabet in pronun-
ciation, as well as conversion of the letters of a
word into proper vocal sounds, with emphasis
on singing in French. Two hours weekly.
DIC 410 Comparative Diction for Singers [1]
Through the use of the International Phonetic
Alphabet, students will compare and contrast
the phonetic systems of the most frequently
sung languages, including, but not limited to,
English, Italian, German, and French. Two
hours weekly. Prerequisite: DIC 310.
Fine Arts in Dance
DFA 120-121 Classical Ballet I [2-2] The first
and second semester, at the beginning level, of
an eight-semester sequence of graded training in
classical ballet technique. Prerequisite for DFA
120: Audition or permission of instructor. Pre-
requisite for DFA 121: DFA 120 or permission
of instructor.
DFA 124-125 Martha Graham Technique I
[1-1] The first and second semester, at the
fundamental level, of an eight-semester se-
quence of graded training in the Martha Graham
technique. Prerequisite for DFA 124: Audition
or permission of instructor. Prerequisite for
DFA 125: DFA 124 or permission of instructor.
DFA 126-127 Contemporary Dance Forms I
[1-1] Introductory-level training in modern
dance forms in varying techniques (Cunning-
ham, jazz, limon, tap, and world dance forms).
Prerequisite for DFA 126: Audition or permis-
sion of instructor. Prerequisite for DFA 127:
DFA 126 or permission of instructor.
DFA 130 Ballet Pedagogy I [2] The study of
a syllabus for dance teaching. Structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Study of
Labanotation and ballet vocabulary in a connec-
tive manner. Covers materials in preparation for
preprofessional study.
DFA 131 Ballet Pedagogy II [2] The study of a
syllabus for dance teaching. Structuring the bal-
let lesson. Study of correct technical execution
of classical ballet vocabulary. Study of
Labanotation and ballet vocabulary in a connec-
tive manner. Continued development of exercis-
es and topics begun in Level I. Introduction of
more of the ballet vocabulary and its progres-
sion from previous material. Beginning of sepa-
rate work for male dancers and pointe work for
females. Prerequisite: DFA 130 or permission
of instructor.
DFA 132-133 Pointe I [1-1] The first and se-
cond semester, at the beginning level, of an
eight-semester sequence of graded training in
classical ballet pointe technique. Prerequisite for
DFA 132: Audition or permission of instructor.
Prerequisite for DFA 133: DFA 132 or permis-
sion of instructor.
DFA 134 Pilates I [1] This non-apparatus mat
course is an introduction to the Pilates method
of body conditioning utilizing the six principles
formulated by Polestar® Pilates Education.
These principles consist of breathing, core con-
trol, efficiency of movement, spine articulation,
alignment of the extremities, and movement in-
tegration techniques.
DFA 140 Movement Fundamentals I [3]
Introductory and continued movement obser-
vation and analysis as applied to dance teaching
and performing. Based on the work of Rudolph
Laban, course work includes relaxation skills,
warm-up techniques, body mechanics, introduc-
tion to and additional study of effort/ shape.
DFA 150 Improvisation I [1] Exploration of
the basic elements of dance to develop the stu-
dents’ awareness of their own creative potential
and their ability to relate to others through
movement. Problem solving through movement.
Introduction to contact improvisation. Prerequi-
site: Audition or permission of instructor.
DFA 160-161 Repertory/Performance I [1-1]
Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 160: Audition or permis-
sion of instructor. Prerequisite for DFA 161:
DFA 160 or permission of instructor.
DFA 162-163 Variations/Pas de Deux I [.5-.5]
Learning and performing solo works and pas de
deux from the classical, romantic, and neoclas-
sical ballet literature as well as from varying
modern forms. Study of style, content, and for-
mat of modern and classical roles and ballets,
Fine Arts in Dance / 437
and the historical context of their development.
Study and development of rehearsal skills and
techniques, including the roles of the ballet
master and others involved in the process of
preparing concert dance for the stage. The ex-
ploration and execution of partnering tech-
niques. Prerequisite for DFA 162: Audition or
permission of instructor. Prerequisite for DFA
163: DFA 162 or permission of instructor. DFA
166-167 Production Practicum I [.5-.5] DFA
266-267 Production Practicum II [.5-.5]
Practical experience in major areas of dance
production: administration, marketing and
publicity, costume and/or lighting design and
execution, stage management/crew, audition/
rehearsal assistant. Students select areas of con-
centration in support of department or profes-
sional productions. Four semesters are required
of dance majors.
DFA 168, 169 Dance Ensemble I [1, 1]
DFA 268, 269 Dance Ensemble II [1, 1]
DFA 368, 369 Dance Ensemble III [1, 1]
DFA 468, 469 Dance Ensemble IV [1, 1]
The concert dance company of the Dance de-
partment, open to all dance majors by audition
only. Prepares new and reconstructed ballet and
modern dance works for performance; tours en-
tertainment and educational programs to schools
and community organizations. Prerequisite for
all: Audition.
DFA 170 Dance History I [3] The study of
the development of dance from its earliest times
to the 19th century. Prerequisite: DFA 131 or
DFA 010, or permission of instructor.
DFA 171 Dance History II [3] The study of the
development of dance in the 20th century. Pre-
requisite: DFA 170 or DFA 010, or permission
of instructor.
DFA 220-221 Classic Ballet II [2-2] The third
and fourth semesters of an eight-semester se-
quence of graded training in classical ballet
technique. Syllabus is taught at the low-inter-
mediate level. Prerequisite for DFA 220:
DFA 121 or permission of instructor. Prerequi-
site for DFA 221: DFA 220 or permission of
instructor.
DFA 224-225 Martha Graham Technique II
[1-1] The third and fourth semesters of an eight-
semester sequence of graded training in the
Martha Graham technique. Students work at
the elementary level of proficiency. Prerequisite
for DFA 224: DFA 125 or permission of
instructor. Prerequisite for DFA 225: DFA 224
or permission of instructor.
DFA 226-227 Contemporary Dance Forms II
[1-1] Intermediate-level training in modern
dance forms in varying techniques (Cunning-
ham, jazz, limon, tap, and world dance forms).
Prerequisite for DFA 226: DFA 127 or permis-
sion of instructor. Prerequisite for DFA 227:
DFA 226 or permission of instructor.
DFA 230 Ballet Pedagogy III [2] The study of
a syllabus for dance teaching and structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Continued
development of exercises and topics presented
in Level II. Completion of the introduction of
the ballet vocabulary and its progression from
previous material through the low-intermediate
level. Expansion of men’s work and pointe
work. Prerequisite: DFA 131 or permission of
instructor.
DFA 231 Ballet Pedagogy IV [2] The study of
a syllabus for dance teaching and structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Continued
development of exercises and topics presented
in Level III. Completion of the ballet vocabu-
lary through the intermediate level. Emphasis is
on development of large or multiple movements
in leaps, jumps, and turns. Further development
of men’s work and pointe work. Prerequisite:
DFA 230 or permission of instructor.
DFA 232-233 Pointe II [1-1] The third and
fourth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the low-
intermediate level. Prerequisite for DFA 232:
DFA 133 or permission of instructor. Prerequi-
site for DFA 233: DFA 232 or permission of
instructor.
DFA 240 Dance Pedagogy I [2] A study of the
teaching/learning process as it applies to dance.
This is where students begin to develop funda-
mental teaching skills. Prerequisite: DFA 130 or
permission of instructor.
DFA 250 Elements of Composition [2] A
study of the basic elements of composition and
choreographic process. Problem solving to gain
skill with creating movement phrases and stud-
ies. Development of a working vocabulary with
which to create and analyze dance. Prerequisite:
DFA 150 or permission of instructor.
438 / The Hartt School
DFA 260-261 Repertory/Performance II [1-1]
Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 260: DFA 161 or permis-
sion of instructor. Prerequisite for DFA 261:
DFA 260 or permission of instructor.
DFA 262-263 Variations/Pas de Deux II [.5-
.5] Learning and performing solo works and pas
de deux from the classical, romantic, and neo-
classical ballet literature as well as from varying
modern forms. Study of style, content, and for-
mat of modern and classical roles and ballets,
and the historical context of their development.
Study and development of rehearsal skills and
techniques, including the roles of the ballet
master and others involved in the process
of preparing concert dance for the stage. The
exploration and execution of partnering tech-
niques. Prerequisite for DFA 262: DFA 163
or permission of instructor. Prerequisite for
DFA 263: DFA 262 or permission of instructor.
DFA 270-271 Dance Kinesiology I-II [3-3]
The study of the dancer’s instrument—
the human body. Structural, biomechanical,
and neuromuscular analysis of body systems.
Understanding the physical variables involved
in dance in order to allow more efficient and
effective training, performance, and injury
prevention. Prerequisite for DFA 271: DFA 270
or permission of instructor.
DFA 272 Musicianship for Dancers [2] Ex-
ploration of the relationship of music and dance.
The elements of music reinforced from a dance
perspective. The elements of dance examined in
the context of music theory. Communication
and collaboration of musicians and dancers. Ex-
panded consideration of musicality in the work
of the dancer and dance teacher. Prerequisite:
Permission of instructor.
DFA 320-321 Classical Ballet III [2-2] The
fifth and sixth semesters of an eight-semester
sequence of graded training in classical ballet
technique. Syllabus is taught at the high-
intermediate level. Prerequisite for DFA 320:
DFA 221 or permission of instructor. Prerequi-
site for DFA 321: DFA 320 or permission of
instructor.
DFA 322-323 Intermediate Ballet [2-2] The
study of classical ballet technique at the inter-
mediate level for majors in children’s dance.
Prerequisite for DFA 322: DFA 223 or permis-
sion of instructor. Prerequisite for DFA 323:
DFA 322 or permission of instructor.
DFA 324-325 Martha Graham Technique III
[1-1] The fifth and sixth semesters of an eight-
semester sequence of graded training in the
Martha Graham technique. Students will work
at the intermediate level of proficiency. Prereq-
uisite for DFA 324: DFA 225 or permission of
instructor. Prerequisite for DFA 325: DFA 324
or permission of instructor.
DFA 326-327 Contemporary Dance Forms II
[1-1] Advanced-level training in modern dance
forms in varying techniques (Cunningham,
jazz, limon, tap, and world dance forms).
Prerequisite for DFA 326: DFA 227 or permis-
sion of instructor. Prerequisite for DFA 327:
DFA 326 or permission of instructor.
DFA 331 Methods for Pre-ballet [2] Methods
and materials for teaching dance to the pre-
ballet student, ages 3 to 7. Creative approaches,
incorporating Labanotation motif writing, to in-
troduce appropriate movement activities. Pre-
requisite: DFA 231 or permission of instructor.
DFA 332-333 Pointe III [1-1] The fifth and
sixth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the high-
intermediate level. Prerequisite for DFA 332:
DFA 233 or permission of instructor. Prerequi-
site for DFA 333: DFA 332 or permission of
instructor.
DFA 340 Dance Pedagogy II [2] A laboratory
course providing practical experience working
with students of various ages. Material present-
ed in DFA 240 and EDP 132 is integrated into
the dance classroom. Prerequisites: DFA 240
and EDP 132, or permission of instructor.
DFA 350 Process of Composition [2] The ex-
ploration of a variety of processes and further
development of the basic tools of composition
with the goal of completing finished, rehearsed
products. A study of the spatial and dynamic
characteristics of solos and ensemble pieces.
Development of personal style. Prerequisite:
DFA 250 or permission of instructor.
Fine Arts in Dance / 439
DFA 360-361 Repertory/Performance III [1-
1] Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 360: DFA 261 or permis-
sion of instructor. Prerequisite for DFA 361:
DFA 360 or permission of instructor.
DFA 362-363 Variations in Pas de Deux III
[.5-.5] Learning and performing solo works and
pas de deux from the classical, romantic, and
neoclassical ballet literature as well as from
varying modern forms. Study of style, content,
and format of modern and classical roles
and ballets, and the historical context of their
development. Study and development of re-
hearsal skills and techniques, including the roles
of the ballet master and others involved
in the process of preparing concert dance for
the stage. The exploration and execution
of partnering techniques. Prerequisite for
DFA 362: DFA 263 or permission of instructor.
Prerequisite for DFA 363: DFA 362 or permis-
sion of instructor.
DFA 371 Technology in Dance [3] A laborato-
ry course providing practical experience for stu-
dents to gain an understanding of technological
applications for dance, through acquired com-
puter skills designed to enhance their education-
al experience, video-audio recording and
editing, graphics, and Web design. Students use
the same skills to enhance their knowledge of
dance, dance education, and technologies in the
dance profession. Laboratory fee.
DFA 372 Music in the Ballet Studio [1]
Course instruction includes exploration of the
relationship between movement and music in
the ballet class. Musicians and dance teaching
students have opportunities to improve their
ability to communicate and work together
through a series of practical exercises. Prerequi-
sites: TH 130 and HLM 100, or permission of
instructor.
DFA 384, 385 Student Internship [1, 1] Prac-
tice teaching in various community programs.
Prerequisites for DFA 384: DFA 340 and DFA
231, or permission of internship supervisor. Pre-
requisite for DFA 385: DFA 384 or permission
of internship supervisor.
DFA 420-421 Classical Ballet IV [2-2] The
seventh and eighth semester of an eight-
semester sequence of graded training in classi-
cal ballet technique. Syllabus is taught at the
high-intermediate level. Prerequisite for DFA
420: DFA 321 or permission of instructor. Pre-
requisite for DFA 421: DFA 420 or permission
of instructor.
DFA 424-425 Martha Graham Technique III
[1-1] The seventh and eighth semesters of an
eight-semester sequence of graded training in
the Martha Graham technique. Students work at
the advanced level of proficiency. Prerequisite
for DFA 424: DFA 325 or permission of
instructor. Prerequisite for DFA 425: DFA 424
or permission of instructor.
DFA 426-427 Contemporary Dance Forms
IV [1-1] Continued study of various modern
dance forms at the advanced and preprofession-
al levels. Prerequisite for DFA 426: DFA 327 or
permission of instructor. Prerequisite for DFA
427: DFA 426 or permission of instructor.
DFA 432-433 Pointe IV [1-1] The seventh and
eighth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the advanced
level. Prerequisite for DFA 432: DFA 333 or
permission of instructor. Prerequisite for
DFA 433: DFA 432 or permission of instructor.
DFA 440 Issues in Pedagogy [1] Dance teach-
ing majors learn skills and strategies for
improving students’ abilities to learn, watch,
and perform dance. Techniques such as mental
imagery and coaching are used to address emo-
tional issues, performance issues, and learning
styles. Prerequisites: DFA 240, DFA 340, and
EDP 132; or permission of instructor.
DFA 450 Problems in Composition [2] An in-
dependent choreography project supervised by
faculty and culminating in a finished perfor-
mance piece. Emphasis on the orchestration of
all elements of a concert dance, including mu-
sic, costumes, and lighting. Strategies for doc-
umenting movement and organizing performers
and rehearsals. Prerequisite: DFA 350 or per-
mission of instructor.
DFA 460-461 Repertory/Performance IV [1-
1] Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
440 / The Hartt School
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 460: DFA 361 or permis-
sion of instructor. Prerequisite for DFA 461:
DFA 460 or permission of instructor.
DFA 462-463 Variations/Pas de Deux IV [.5-
.5] Learning and performing solo works and pas
de deux from the classical, romantic, and neo-
classical ballet literature as well as from varying
modern forms. Study of style, content, and
format of modern and classical roles and
ballets, and the historical context of their devel-
opment. Study and development of rehearsal
skills and techniques, including the roles of the
ballet master and others involved in the process
of preparing concert dance for the stage. The
exploration and execution of partnering tech-
niques. Prerequisite for DFA 462: DFA 363
or permission of instructor. Prerequisite for
DFA 463: DFA 462 or permission of instructor.
DFA 470 Dance Administration [1] Overview
of the non-dance aspects of management of
the private dance studio or school. Seminar
topics include financial planning, marketing,
public relations, community involvement,
recruitment, and admissions. Prerequisite: Per-
mission of instructor.
DFA 474 Dance Production [2] An introduc-
tion to the major areas of technical production
for dance: costume and set construction, materi-
als, lighting, and stage design. Basic technical
literacy and communication skills to enable
effective production communication. Prerequi-
site: Permission of instructor.
DFA 480, 481 Independent Study in Dance
[1–3, 1–3] An independent study project con-
ducted under the direction of an assigned facul-
ty member. Credit determined by scope and
nature of project. Prerequisite: Permission of
chair and faculty.
DFA 484, 485 Student Internship [2, 2] Prac-
tice teaching in various community programs.
Student intern is assigned his/her own class
for the semester to plan, develop, and teach un-
der the supervision of the intern’s assigned
mentor/teacher. Additional responsibility is
assumed for determining the direction of the
development of class material. Prerequisite for
DFA 484: DFA 385 or permission of instructor.
Prerequisite for DFA 485: DFA 484 or permis-
sion of instructor.
DFA 190, 191, 290, 291, 390, 391, 490, 491
[1–3] Selected topics in dance, varying yearly
with the needs of the curriculum and availability
of particular faculty. Credit is determined by the
scope and nature of the topic. Prerequisite:
Permission of instructor.
Vocal Performance
For Undergraduate Students
DRM 120-121 Acting for Singers I [1-1] This
is a yearlong course that examines beginning
acting techniques through the exploration of
Meisner- and Stanislavski-based exercises and
readings. There is an emphasis on movement
training, which encompasses some techniques
of Balinese dance, and an introduction to Anne
Bogart’s Viewpoints. The lessons are then ap-
plied to contemporary American scene work.
Two hours weekly.
DRM 220-221 Acting for Singers II-III [1-1]
This is a yearlong course that builds on and con-
tinues to examine the acting techniques of
Meisner and Stanislavsky. Exercises move to
encompass formal, nonrealistic approaches to
performance. There is a strong emphasis on
Anne Bogart’s Viewpoints and the theatre of
Robert Wilson. Lessons in text analysis begin
and are applied to contemporary scene work.
Two hours weekly. Voice majors only. Prereq-
uisites: DRM 120-121.
DRM 320-321 Acting for Singers IV-V [1-1]
This is a yearlong course that builds on the
work of DRM 220-221, with an emphasis on
period movement and proper text analysis. The
lessons are applied to classical scene work and
monologues (e.g., restoration comedies, Shake-
speare, Molière, Ibsen, Chekov, Strindberg).
Two hours weekly. Voice majors only. Prereq-
uisites: DRM 120-121 and 220-221.
OPR 160 Opera Stagecraft I [1] In this begin-
ning course, students develop a basic under-
standing of stagecraft, theatrical makeup,
costume application, and stage terminology.
Students function as crew and other support
staff for both the junior/senior and graduate
blackbox performances. Various skills that are
taught in successive semesters, such as theatre
games, body movement, character research, and
audition techniques, are introduced at this time.
Laboratory format.
OPR 161 Opera Stagecraft II [1] This course
expands upon the content of APR 160. Students
function as crew for the mainstage production.
The practical application of skills such as thea-
ter games, body movement, character research,
442 / The Hartt School
and audition techniques is continued. Laborato-
ry format. Prerequisite: OPR 160 or permission
of instructor.
OPR 260 Acting/Movement for Singers I [1]
This course expands upon the objectives of
OPR 160 and OPR 161 with the addition of
body movement and specific dance forms used
in opera. Monologue and scene work are intro-
duced in preparation for work in subsequent
semesters. Two and one-half hours weekly. Pre-
requisites: OPR 160 and OPR 161, or permis-
sion of the instructor.
OPR 261 Acting/Movement for Singers II [1]
This course expands upon the objectives of the
previous semester of OPR 260 with the addition
of singing while dancing, monologue, and scene
work, coupled with musical scene and aria per-
formances. Two and one-half hours weekly.
Prerequisites: OPR 160, OPR 161, and OPR
260.
OPR 360 Opera Blackbox I [1] In this inter-
mediate-level course, students use skills learned
in the OPR sequence to rehearse and present a
blackbox performance consisting of scenes cho-
sen from vocally appropriate repertoire. The
class is conducted in a laboratory format, and
the scenes are performed for students and facul-
ty of The Hartt School. Prerequisites: OPR 260-
261, or permission of the instructor.
OPR 420-421 Opera Scenes [2-2] The culimi-
nation of three years of acting, the Opera Scenes
class provides students with additional skills to
prepare a role for performance and to take stage
direction in performing scenes with others. Two
hours per week in class; individual and group
coachings as required. Prerequisites: DRM 120-
121, DRM 220-221, and DRM 320-321.
OPR 460 Opera Blackbox II [1] Students use
the skills learned in the OPR sequence to re-
hearse and present a blackbox performance
consisting of scenes chosen from vocally ap-
propriate repertoire. The class is conducted in a
laboratory format, and the final performance is
open to the public. Prerequisite: OPR 360 or
permission of instructor.
OPR 461 Opera Mainstage Performance [1]
Students use stagecraft, voca, and musical skills
to rehearse in laboratory format and present a
mainstage production with orchestra, costumes,
makeup, sets, and lighting. The piece to be per-
formed is chosen from vocally appropriate rep-
ertoire. Performances are open to the public.
The class is open to sophomores, juniors, and
seniors by audition and voice teacher approval.
This class may be repeated for credit. Prerequi-
sites: OPR 160 and OPR 161, or permission of
audition committee.
OPR 480, 481 Special Studies in Opera* [1–3,
1–3] Special projects assigned on an individual
basis. May be repeated for additional credit.
Credits determined by department chair based
on scope and depth of project.
For Undergraduate and Graduate Students
OPR 580, 581 Special Studies in Opera* [1–2,
1–2] Special projects assigned on an individual
basis. May be repeated for additional credit.
Chamber Ensembles and
Performing Organizations
All ENS, CPO, and IPO courses may be repeat-
ed for additional credit. For more complete de-
scriptions, see the section on Student
Performing Organizations.
For Undergraduate Students
ENS 400, 401 Mixed Ensemble [0–1]
ENS 402, 403 Jazz Combo Ensemble [0–1]
ENS 404, 405 Concert Jazz Ensemble [0–1]
This organization prepares music in the jazz
style, with both functional and artistic objec-
tives. Three hours weekly.
ENS 408, 409 String Ensemble [0–1]
ENS 410, 411 Woodwind Ensemble [0–1]
ENS 412, 413 Brass Ensemble [0–1]
ENS 414, 415 Percussion Ensemble [0–1]
ENS 420, 421 Collegium Musicum [0–1]
Three hours weekly.
ENS 422, 423 Guitar Ensemble [0–1]
ENS 426, 427 Contemporary Players [0–1]
Four hours weekly.
For Undergraduate and Graduate Students
ENS 518, 519 Baroque Ensemble [0–1]
ENS 530, 531 Special Studies in Ensemble [1,
3] Special ensembles assigned on an individual
basis. Credits determined by department chair
based on number of hours of ensemble playing
assigned.
ENS 540 Contemporary Music Performance
Practices [2] Study and performance of music
composed since circa 1950. Repertory, forms,
styles, notation; new instrumental techniques,
including multiphonics, range extension, new
timbral effects; improvisation.
*Students electing OPR 480-481 or 580-581 for credit in productions must be available for all rehearsals and performances.
Vocal Performance / Chamber Ensembles and Performing Organizations / 441
historical approach to the understanding of listservs, current search engines, library cata-
CPO 404, 405 Music Theatre Chorus Lab
[1, 1] Training in choral ensemble for music
theatre. Over a four-year period, choral music
from a variety of theatre composers, periods,
and styles will be covered. Principles learned in
Ear Training I and II will be developed into
practical techniques. Prerequisite: Open only to
music theatre and actor training majors.
CPO 420, 421 Choral Ensembles [0–1] Audi-
tions for placement in choral ensembles take
place during the first week of classes in the fall.
The audition consists of singing a prepared
piece, sight reading, and some musicianship
testing. Based on the audition, the educational
needs of the students, and the artistic needs of
the department, students are assigned to four
hours per week in appropriate choral ensembles.
Choral ensembles are open to all University of
Hartford students as well. The two main choral
ensembles are the Hartt Chorale and the Hartt
Choir.
IPO 400, 401 Orchestra [0–1.5] Six hours
weekly.
IPO 404, 405 Symphony Band [0–1] Three
hours weekly.
IPO 406, 407 Flute Choir [0–1] Three hours
weekly.
IPO 410, 411 Capitol Winds [0–1] 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 standard band literature written
by such composers as Holst, Grainger, Shosta-
kovich, and Milhaud and has premiered works
by Hartt composers. The band presents on-
campus concerts as well as special concerts in
the Hartford area. Two hours weekly.
IPO 412-413 Trombone Ensemble [0–1] An
ensemble of homogeneous instruments that
performs music composed for trombones as
well as appropriate transcriptions. Repertoire
from different periods and styles for four to
12 trombones is investigated. Students have the
opportunity to play lead, bottom, and inner
parts as well as alto and bass trombone. By
permission of instructor only.
History and Literature of Music
HLM 020 Information Literacy in the
Performing Arts [0] Introduction to searching
and evaluative techniques necessary for infor-
mation literacy. Knowledge of general reference
materials; subject-specific and primary sources;
Internet resources, including FirstSearch,
logs, and data bases. Successful completion of
course required for all undergraduate students.
HLM 100 Introduction to Music [3] Designed
primarily for students with no previous formal
training in music, to provide a foundation for in-
telligent and appreciative listening. Elements of
musical form and style, with relevant historical
background, are presented.
HLM 110/MUB 110 Music Perspectives [3]
This course provides an approach to perceptive
listening and an introduction to musical ele-
ments, form, style periods, composers’ styles,
and representative works drawn from the whole
world of music making. The goal is to stimulate
curiosity in and enrich the appreciation of what
we call a ―musical experience.‖ Laboratory fee.
HLM 111 History of Music Theatre [3]
This course is an in-depth study of the evolution
of the American musical from the late 19th
century to the present. With special focus on the
contributions of major theatre composers, lyri-
cists, and librettists, topics include European
operetta, revue, musical comedy, musical dra-
ma, political satire, the director-choreographer
―progressive‖ musical theatre, and the ―theatri-
cal pop event.‖ Prerequisite: Open to music the-
atre majors or by permission of instructor.
HLM 200/MUB 200 World Music Survey [3]
This is an introductory course to world musics
and some of the basic issues important for an
understanding of music in culture and music as
culture, including discussion of major musical
cultures throughout the world, with various lis-
tening, reading, and writing assignments. Three
hours weekly.
HLM 212 Perspectives on Music History [3]
An introductory course designed to help stu-
dents develop the skills necessary for studying
music in a variety of historical and cultural con-
texts. The course begins with the study of films
in which music figures prominently, followed
by a general overview of music of the Medieval,
Renaissance, and Baroque periods. Prerequisite:
TH 111.
HLM 213 Classicism to the Present [3] A
historical survey of Western music from the
Classical period to the present. Prerequisites:
TH 112 and HLM 212.
HLM 216 History of Popular Music in the
United States [3] This course examines the
sociological, technological, business, and musi-
cal trends of the growth and development of
popular music in the United States. It takes a
444 / The Hartt School
the composers, performers, technological inno-
vations, and sociological changes that have
affected popular music in the United States.
HLM 312 Guitar Literature I [1] Introduction
to the guitar, lute, and vihuela music of the Re-
naissance and Baroque periods. This course also
explores the stylistic problems inherent in per-
forming music from these periods. One hour
weekly.
HLM 313 Guitar Literature II [1] Overview
of the guitar literature written during the Classi-
cal, Romantic, and 20th-century periods; stylis-
tic problems inherent in performing music from
these periods. One hour weekly.
HLM 315 Guitar Tablature [1] This is an
introductory course designed to acquaint the
student with the performance, history, and nota-
tional aspects of Baroque guitar music. This is
accomplished through the transcription and
arranging of Baroque guitar music for the clas-
sical guitar. One hour weekly.
HLM 316 Medieval through Baroque [3] A
historical survey of Western music from the
Middle Ages through the 17th century. Prereq-
uisite: HLM 213 or permission of instructor.
HLM 322 Vocal Literature I [2] This course
involves a careful examination of German Lied-
er in the 19th and early 20th centuries. In sur-
veying representative works of the major Lied
composers, emphases are on the styles, forms,
and poetry that characterize this body of music.
Prerequisite: HLM 213.
HLM 323 Vocal Literature II [2] This course
involves a careful examination of French Art
Song in the 19th and early 20th centuries. In
surveying representative works of the major
French Art Song composers, emphases are on
the styles, forms, and poetry that characterize
this body of music. Prerequisite: HLM 213.
HLM 324 The Symphony [3] Historical and
analytical study of selected symphonies from
the 18th, 19th, and 20th centuries. Prerequisites:
HLM 212 and HLM 213, or equivalent.
HLM 325 Chamber Music Literature [3]
A survey of the chamber music literature in
its social context from the 18th through the
20th century. Three hours weekly. Prerequisite:
HLM 213.
HLM 430-431 Keyboard Literature [3-3] A
survey of keyboard music from the 14th century
to the present, tracing forms and styles as well
as the development of principal keyboard in-
struments and performance techniques. Some
attention is given to less common literature,
such as one- and two-piano duets. Prerequisites:
HLM 212 and HLM 213.
HLM 445/545 Tone Poem and Concert Over-
ture [3] An in-depth study of programmatic or-
chestral music of the 19th and 20th centuries.
Emphasis is placed on the genres of tone poem
and concert overture, with additional repertory
taken from related genres. Prerequisites: HLM
212 and 213, or permission of instructor.
HLM 460-461 History of Opera [3-3] A study
of the form from its forerunners to the 20th cen-
tury. Representative works are studied for musi-
cal style in the context of sociological
influences. Three hours weekly. Offered alter-
nate years.
HLM 462 History of Music in America [3]
The sacred and secular music activity in the
United States from the early colonists to 1920.
Both the cultivated and vernacular traditions.
Three hours weekly.
HLM 463 Music Literature of the 20th
Century [3] An in-depth study of 20th-century
music literature and its connection with socio-
logical and political events, aesthetic and
philosophical movements, and key works of
the related arts. Analysis of key works of music.
Three hours weekly.
HLM 466, 467 Advanced Music Literature
[1.5–3, 1.5–3] An in-depth study of the opus
and bio-bibliographic materials of a selected
major composer, such as Josquin, Bach, Mozart,
Beethoven, Wagner, or Stravinsky. May be
repeated.
HLM 468, 469 Advanced Music Literature
[3, 3] An extension of HLM 466, 467. May be
repeated. Offered alternate years.
HLM 470, 471 Seminar in Music History [3,
3] Undergraduate seminars in selected phases of
music history. Normally assigned in the third
and fourth years of the music history curricu-
lum. Maximum credits: 9.
HLM 473 Seminar in Performance Practices
[3] The investigation of unwritten performance
traditions from the Renaissance to the 20th
century. Areas of study include ornamentation,
improvisation, tempo, pitch, Besetzung, and
tone production. Grade is determined by two
research papers and class participation. Students
are encouraged to choose topics related to their
fields of specialization. Prerequisites: HLM 212
and HLM 213, or equivalent.
HLM 474 String Quartet Literature [3] This
course helps string players to develop and syn-
thesize their historical, analytical, and rehearsal
444 / The Hartt School
aural sensitivity and an appreciation of the
skills through guided sight reading of the quar-
tet literature. Stylistic problems encountered
while reading the course repertory initiate class
discussion of topics such as historical context,
notational practice, phrase structure, and articu-
lation. Individual practicing of repertoire is not
required. Open to undergraduates majoring in
violin, viola, or violoncello.
HLM 480, 481 Independent Study in Music
History [1–3] An independent study project
conducted under the direction of an assigned
faculty member. Credit determined by scope
and nature of project.
HLM 490, 491 Special Topics in Music
History [2–3, 2–3] Selected topics in music his-
tory, varying yearly with needs of curriculum
and availability of particular faculty.
For Undergraduate and Graduate Students
Theatre
HTA 110 Voice I [3] The beginning-level voice
class establishes a technique and vocabulary for
breathing, vocal placement, and the articulation
of sounds in standard American speech. Stu-
dents learn using a studio format with individual
tutorials as needed. Prerequisite: Acceptance to
Hartt School Theatre Division.
HTA 111 Voice II [3] This course is a continu-
ation of HTA 110, focusing on the expressive
use of the vocal instrument. Prerequisites: Act-
ing training major: HTA 110, 120, and 130;
music theatre major: HTA 110 and 130.
HTA 120 Movement I [3] Beginning stage
movement for the actor, including physical
awareness, flexibility, spatial awareness, body
composition, and physical characterization.
Study of the Alexander technique is introduced.
Prerequisite: Acceptance to the B.F.A. Actor
Training program.
HTA 121 Movement II [3] This course is a
continuation of the objectives of HTA 120. Pre-
requisites: HTA 110, 120, and 130.
HTA 130 Acting I [3] This beginning acting
class establishes a basic approach toward under-
standing and creating human behavior. Students
learn how to motivate action, pursue objectives,
confront obstacles, and create subtext. Through
exercises and play readings, students study
dramatic form and learn the basics of script
analysis. A studio format is used. Prerequisite:
Acceptance to Hartt School Theatre Division.
HTA 131 Acting II [3] This class continues the
objectives of HTA 130, with a shift of emphasis
placed on application of principles and tech-
niques acquired in the first semester. Particular
attention is focused on techniques of partnering
and scene study. Students are expected to
present scenes from contemporary material. A
studio format is used. Prerequisites: Actor train-
ing major: HTA 110, 120, and 130; music thea-
tre major: HTA 110 and 130.
HTA 140 Rehearsal and Performance I [1] In
this beginning course, students develop a basic
appreciation of the technical aspects surround-
ing a performance. Students in the first year of
training function as crew and other support staff
for the productions of the fourth-year students.
This includes the building of sets, locating
properties, and other duties related to the front
of the house and promotion of the productions.
Students learn to use tools and equipment as re-
quired. Students hold technical responsibilities
for at least one Hartt School presentation or
production during the semester. A laboratory
format is used.
HTA 141 Rehearsal and Performance II [1]
This course expands on the objectives of
HTA 140, with an emphasis on developing
skills in a different area of technical theatre
from HTA 140. Such areas include lighting de-
sign, property management, set design, set
building, etc. A laboratory format is used. Pre-
requisite: HTA 140.
HTA 200-201/ENG 201-202 Text Analysis I
and II [2-2] This yearlong class explores in
depth the key playwrights and plays that have
shaped the theatrical genre today. Prerequisite
for music theatre majors: Permission of
instructor.
HTA 210 Voice III [3] The goal of the course
is a free voice in a free body. The voice and
speech training begun in the first year is rein-
forced, extended, and deepened, with continued
attention to the free release of sound and the de-
velopment of power, stamina, accuracy of artic-
ulation, and sensitivity to impulse. The course
seeks to integrate the elements of vocal tech-
nique for the actor with an exploration of lan-
guage. A studio format is used. Prerequisites:
Actor training major: HTA 111, 121, and 131;
music theatre major: HTA 111 and 131.
HTA 211 Voice IV [3] This course is a contin-
uation of the objectives of HTA 210. A concen-
trated review of the essential techniques of
voice production and the International Phonetic
Alphabet (IPA) serves as a ridge to the student
into exercises that develop a deeply visceral ap-
proach to the speaking of text while expanding
Theatre / 445
structure of language. Prerequisites: Actor train-
ing major: HTA 210, 220, and 230; music thea-
tre major: HTA 210 and 230.
HTA 220 Movement III [3] Specialized activi-
ties in character types and T’ai Chi, exposure
to major trends in movement as diagnostic and
performance material, additional study of the
Alexander technique. Prerequisites: HTA 111,
121, and 131.
HTA 221 Movement IV [3] This class is a con-
tinuation of the objectives of HTA 220, with
advanced study of character types and T’ai Chi,
further exposure to major trends in movement
as diagnostic and performance material, and ad-
ditional study of the Alexander technique. Pre-
requisites: HTA 210, 220, and 230.
HTA 230 Acting III [3] Students work on
truthful moment-to-moment work, playing ob-
jectives, listening and responding, and working
from impulse. Students develop skills for text
analysis. A studio format is used. Prerequisites:
Actor training major: HTA 111, 121, and 131;
Music theatre major: HTA 111 and 131.
HTA 231 Acting IV [3] This class continues
the objectives of HTA 230 while applying the
work to character development and scenes from
contemporary material. A studio format is used.
Prerequisites: Actor training major: HTA 210,
220, and 230; music theatre major: HTA 210
and 230.
HTA 240 Rehearsal and Performance III [1]
Students use the skills learned during the first
year to rehearse and present at least two plays
chosen from the repertoire of 20th-century
American realism. The class is conducted in a
studio format, and plays are performed for
students and faculty of The Hartt School. Open
only to second-year B.F.A. in Theatre students.
Prerequisites: HTA 140 and 141.
HTA 241 Rehearsal and Performance IV [1]
Students use the skills learned during the first
year to rehearse and present a play chosen from
the repertoire of early modern drama. The class
is conducted in a studio format, and plays are
performed for students and faculty of The Hartt
School. Prerequisite: HTA 240.
HTA 300/ENG 301 The Shakespearean Con-
text [3] The course provides an overview of the
language, poetics, and cultural context of 16th-
and 17th-century English literature, with special
emphasis on theatre, particularly Shakespeare.
Prerequisite: Actor training major.
HTA 305 Study in England [6] Prerequisites:
HTA 310, 320, and 330.
HTA 310 Voice V [3] Concentration is on the
delivery of classical material, with a focus on
heightened language. The works of William
Shakespeare are included. The course includes
the study of American Southern, Brooklynese
and various European accents. A studio format
is used. Prerequisites: HTA 211, 221, and 231.
HTA 320 Movement V [3] Training in period
movement styles: manners, mores, dance forms
in movement; training in stage violence/combat.
Prerequisites: HTA 211, 221, and 231.
HTA 321 Movement VI [3] This class is a con-
tinuation of the objectives of HTA 320, with
more advanced training in period movement
styles: manners, mores, dance forms in move-
ment; and stage violence/combat. Prerequisites:
HTA 310, 320, and 330.
HTA 325 Movement for the Music Theatre
Actor [3] This course focuses on the study of
period styles, stage combat, and Alexander
technique; and the development of personal
physical awareness. Prerequisite: Successful
completion of the second year in music theatre
program.
HTA 330 Acting V [3] This advanced acting
class introduces the student to an exploration of
the works of Shakespeare and his contemporar-
ies. The course uses the methods explored in the
preceding four acting courses as a springboard
to acting in verse and period language. A studio
format is used. Prerequisites: Actor training
major: HTA 211, 221, and 231; music theatre
major: HTA 211 and 231.
HTA 331 Acting VI [3] Students concentrate
on acting problems presented by the genre of
comedy of manners. The material covers both
high and low comedy and spans various centu-
ries in theatre history. Students work on scene
study and presentation of material from the
leading playwrights in this style, typically Mo-
lière, Sheridan, Wilde, and Shaw. A studio for-
mat is used. Prerequisites: Actor training major:
HTA 305, 310, 320, and 330; music theatre ma-
jor: HTA 330.
HTA 360 Projects I [3] This class teaches stu-
dents how to coordinate a presentation showing
work done in all major acting areas: voice,
movement, and acting. Instruction includes the
selection of scenes, the selection and consisten-
cy of a theme, and a determination of the best
scenes, given each student’s strengths and
weaknesses as an actor. Students are required to
present their work in class. Open only to third-
year B.F.A. in theatre students.
446 / The Hartt School
HTA 361 Projects II [3] This course helps stu-
dents develop a sensitivity to a playwright’s in-
tentions through interaction with playwrights.
This interaction helps students become aware of
the creative process of writing a play. Students
perform a new play under the guidance of the
author and a director of the author’s choice.
Open only to third-year B.F.A. in theatre stu-
dents. Prerequisite: HTA 360.
HTA 400/ENG 401 Shakespeare in Text and
Performance [3] The course focuses on a de-
tailed reading of one or two of Shakespeare’s
plays, normally those to be presented by the
senior actor training students during the spring
semester. Additional readings in Shakespeare
and in the work of other writers of the age
will set these plays in context. Emphasis falls
on moving Shakespeare’s text from writing to
speaking and on exploring how the written text
relates to dramatic performance. Prerequisite
for actor training major: HTA 300. Prerequisite
for music theatre major: Permission of instruc-
tor.
HTA 410-411 Voice VII-VIII [2-2] These
courses take the student into an extensive study
of the accents and dialects most often used on
the English-speaking stage. The course begins
with a review of the International Phonetic
Alphabet (IPA), introduces different options for
achieving accents, introduces accent analysis
systems, and culminates with a comprehensive
study of the accents of the British Isles (typical-
ly, Standard British, Irish, Cockney, and West
Country). During the spring semester students
continue the work of Voice VII. In addition, the
course explores Scottish and Welsh and intro-
duces a variety of international accents (typical-
ly, Italian, French, German, and Russian).
Prerequisites: HTA 305, 310, and 321.
HTA 412 Acting for the Camera [4] Instruc-
tion and practical experience in performing for
the camera. Class stresses process and terms
used in television and film production from the
standpoint of the performer. Regular on-camera
experience enables students to study themselves
and others on the monitor in order to observe
their progress. Differences between film and
stage work are emphasized, giving the acting
student an overview of the two forms from a
production standpoint. Prerequisite: HTA 331.
HTA 430 Acting VII [3] Students work on
scenes leading into song from four or five dif-
ferent periods in musical theatre history, typi-
cally operetta, early musicals (pre-Oklahoma!),
mid-century musicals, Bernstein and Sondheim,
and currently playing musicals. A studio format
is used. Prerequisites: Music theatre major, sen-
ior standing, and HTA 331.
HTA 440 Rehearsal and Performance V [6]
The advanced class in rehearsal and perfor-
mance provides students with the opportunity to
rehearse and perform under professional cir-
cumstances following union guidelines. Teach-
ing occurs within the rehearsal context, and
special skills and problems are dealt with in
one-on-one situations with faculty coaches.
Fourth-year students have a variety of experi-
ences in blackbox and main-stage settings. A
studio format is used, and students present a
repertoire of four fully mounted plays through-
out the fall and spring semesters. These plays
are presented to the public. Open only to fourth-
year B.F.A. in theatre students.
HTA 441 Rehearsal and Performance VI [3]
The advanced class in rehearsal and perfor-
mance provides students with the opportunity to
rehearse and perform under professional cir-
cumstances following union guidelines. Teach-
ing occurs within the rehearsal context, and
special skills and problems are dealt with in
one-on-one situations with faculty coaches.
Fourth-year students have a variety of experi-
ences in blackbox and main-stage settings. A
studio format is used, and students present a
repertoire of four fully mounted plays through-
out the fall and spring semesters. These
plays are presented to the public. Prerequisite:
HTA 440.
HTA 451 Career Preparation I [3] This
course provides students with the tools needed
to market themselves as actors and manage their
careers. Specific instruction is provided in such
areas as the preparation of a résumé, the im-
portance of photographs, and audition tech-
niques, as well as the functions of managers,
agents, and casting directors. Prerequisites: Ac-
tor training major: HTA 331 and 410; music
theatre major: HTA 430.
HTA 461 Projects IV [1] The advanced Pro-
jects course focuses on the development of the
student’s ―showcase‖ for presentation during
the senior year in New York City. The show-
case is presented to an invited audience of
agents, managers, casting directors, and artistic
directors, and is developed to demonstrate the
student’s versatility of acting in a wide range of
dramatic literature. Prerequisites: Actor training
major and senior standing.
448 / The Hartt School
Music Theatre
For Undergraduate Students
HTA 490, 491 Independent Study in Theatre
[.5–3, .5–3] Advanced independent research
and/or learning in areas not covered by con-
ventional HTA, DAN, or DRM offerings. May
not be used in lieu of a conventional course.
Usually taken after having successfully com-
pleted a substantial number of courses in the
department. Requires submission of a proposal
and prior arrangement with the prospective
instructor. Prerequisite: Permission of division
director.
HTC 104-105 Music Theatre Chorus [1-1] In
this course first-year music theatre majors put
ear-training skills into practical use in the exe-
cution of musical theatre literature. Emphasis is
placed on the development of a strong work eth-
ic and of proper deportment in a professional
rehearsal environment. Repertoire is introduced
chronologically to help promote an understand-
ing and appreciation of the development of
American musical theatre. Composers and lyri-
cists whose works are studied may include John
Gay, Gilbert and Sullivan, Cohan, Herbert,
Kern, Gershwin, Porter, Rodgers and Hart,
Rodgers and Hammerstein, and Bernstein. Pre-
requisite: Acceptance to Theatre Division.
HTC 204-205 Music Theatre Chorus [1-1]
This course for second-year music theatre ma-
jors is a continuation of HTC 104-105, with
more challenging repertoire introduced and a
focus on developing skills that make for strong
ensemble singing in the musical theatre genre,
including vocal blend, balance, intonation, and
diction. Repertoire is introduced chronological-
ly to help promote an understanding and appre-
ciation for the development of American
musical theatre. Composers and lyricists whose
works are studied may include Loesser, Weill,
Adler and Ross, Willson, Lerner and Leowe,
Bernstein, Bock and Harnick, Herman, Kander
and Ebb, and Coleman. Prerequisite: Successful
completion of HTC 104-105.
HTC 304-305 Music Theatre Chorus [1-1]
This course for third-year music theatre majors
is a continuation of HTC 204-205, with the in-
troduction of increasingly challenging literature
from the musical theatre genre and a focus on
the development of character while singing by
incorporating principles covered in Acting I and
II (motivating action, creating subtext, etc.).
Repertoire is introduced chronologically to help
promote an understanding of and appreciation
for the development of American musical thea-
tre. Composers and lyricists whose works are
studied may include MacDermot/Rado/Ragni,
Sondheim, Schwartz, Hamlisch, Kander and
Ebb, Lloyd Webber, Menken and Ashman,
Boublil and Schonberg, Ahrens and Flaherty,
and Finn. Prerequisite: Successful completion
of HTC 204-205.
HTC 404-405 Music Theatre Chorus [1- 1]
This course for fourth-year music theatre majors
is a continuation of HTC 304-05, with emphasis
on readying repertoire for public performance
situations, including participation in staged
readings as part of the Goodspeed New Artists
Festival and at the spring showcase for theatre
industry professionals in New York and Los
Angeles. Performances may include guest ap-
pearances in concert with the Hartford Sympho-
ny Orchestra and the annual Hartt School
Collage Concert, among others. Prerequisite:
Successful completion of HTC 304-305.
HTS 140-141 Stagecraft [1-1] One semester
each: stage makeup techniques. Overview of
technical aspects of stagecraft, including sets,
lights, and costumes for stage productions.
Practical application of techniques. Laboratory
fee.
Music Education
For Undergraduate Students
MEA 100 Classroom Instruments [1] Instruc-
tion in guitar and recorder. Teaching principles,
class procedures, repertoire. Two hours weekly.
Fall semester only.
MEA 101 Voice Class [1] Instruction in vocal
technique. Teaching principles, repertory, and
class procedures. One hour weekly. Fall semes-
ter only.
MEA 102 Woodwinds I: Clarinet and Saxo-
phone [2] Instruction in playing the clarinet and
saxophone. Teaching principles, class proce-
dures, and repertoire. Three hours weekly. Fall
semester only.
MEA 103 Wind Instrument Class [1] For
music education vocal emphasis majors. Theo-
retical in all wind orchestra instruments. Prac-
tice experience on the instrument of their
choice. Pedagogical procedure, performance, ar-
ranging, and observation. One hour weekly.
Spring semester only.
448 / The Hartt School
MEA 104 Technology for Music Education
[1] Participants develop an understanding of
technology (e.g., computers, keyboards, hard-
ware, software, and MIDI (Musical Instrument
Digital Interface) and its practical application.
Topics include computer hardware, software
(notating, sequencing, digital audio, recording,
educational), keyboard controller modules,
samplers, CD-ROM, Internet, Web, multitrack
recording, mixing, CAI, and other applications.
Laboratory fee.
MEA 200 Percussion Class [2] Instruction in
percussion instruments. Teaching principles,
repertory, and class procedures. Two hours
weekly. Laboratory fee.
MEA 201 Brass Class [2] Instruction in brass
instruments. Teaching principles, repertory, and
class procedures. Three hours weekly. Labora-
tory fee. Spring semester only.
MEA 204 Percussion Class/Vocal [1] Instruc-
tion in percussion instruments as it pertains to
vocal majors. Teaching principles, repertory,
and class procedures. One hour weekly.
MEA 300 Woodwinds II: Flute, Oboe, and
Bassoon [2] Instruction in playing the flute,
oboe, and bassoon. Teaching principles, class
procedures, and repertoire. Two hours weekly.
Spring semester only.
MEA 303 High-Strings Techniques [1] This
course is designed for instrumental music edu-
cation majors preparing to enter the music edu-
cation profession in K–12 schools. Students
develop basic performances and teaching skills
on both higher orchestral string instruments (vi-
olin and viola). Additional topics include teach-
ing principles, repertory, and teaching
procedures. Laboratory fee.
MEA 304 Low-Strings Techniques [1] This
course is designed for instrumental music edu-
cation majors preparing to enter the music edu-
cation profession in K–12 schools. Students
develop basic performances skills on both lower
orchestral string instruments (cello and bass).
Additional topics include teaching principles,
repertory, and teaching procedures. Laboratory
fee.
MEA 307 Vocal Development K–12 [2] A
course in pedagogy and rehearsal techniques
applying the student’s knowledge of vocal tech-
nique to K–12 vocal development. For vocal
emphasis students only. Fall semester only.
MEA 308 String Class/Vocal [1] Instruction in
string instruments as it pertains to vocalists.
Teaching principles, repertory, and class proce-
dures. Three hours weekly. Laboratory fee.
MED 110 Foundations of Music Education
[2] This course introduces students to terms and
concepts used in an analytical examination of
public school education in the United States.
Students examine the practical and philosophi-
cal issues that characterize the discipline of
music education. Laboratory fee.
MED 150 Freshman School Partnership [0]
Students spend two weeks during Winterterm
(January break) in an elementary school assist-
ing a music teacher. This experience enables
students, early in their four-year program, to
develop an understanding of what is involved
in the many aspects of a career in elementary
music teaching. Prerequisite: MED 110. Labor-
atory fee.
MED 250 Sophomore School Partnership [0]
Students spend two weeks during Winterterm
(January break) in a high school assisting a mu-
sic teacher. This experience enables students,
early in their four-year program, to develop an
understanding of what is involved in the many
aspects of a career in middle school or high
school music teaching. Prerequisite: MED 150.
Laboratory fee.
MED 303 Elementary Instrumental Methods
[3] This course provides music education
majors with pedagogical skills necessary to
teach beginning band and strings. Topics in-
clude philosophy, objectives, recruiting, instru-
ment selection, communication with parents,
evaluation, motivation, administration, schedul-
ing, acoustics, sequential instruction, teaching
with modeling/singing and rehearsing. In addi-
tion to regular, on-campus sessions, the class
participates in the Hartt Band and String Pro-
jects at the University of Hartford Magnet
School on Mondays and Wednesdays from
3:45 p.m. to 5:45 p.m. Students are required
to demonstrate proficiency on secondary in-
struments appropriate for teaching band and
strings in an elementary school. Prerequisites:
MEA 102, MEA 200, MEA 201, MEA 300,
MEA 303, MEA 304, and CON 316. Corequi-
site: MED 303 Lab. Laboratory fee.
450 / The Hartt School
MED 304 Secondary Instrumental Methods
[3] This course provides music education ma-
jors with pedagogical skills necessary to teach
band and strings in secondary schools. Topics
include philosophy, objectives, evaluation, mo-
tivation, administration, lesson plans, sequential
instruction, marching band, professional devel-
opment, jazz band, alternative string ensembles,
score study, teaching with modeling/singing,
hiring staff, traveling, and rehearsing. In addi-
tion to regular, on-campus sessions, the class
spends time observing and teaching instrumen-
tal classes at public schools. Instructors arrange
these off-campus session, but students are re-
sponsible for their own transportation. The class
also participates in the Hartt Band and String
Projects at the University of Hartford Magnet
School. Prerequisite: MED 303. Corequisite:
MED 304 Lab. Laboratory fee.
MED 310 School Choral Program [3] A
course in the musical skills and methods needed
to develop a sequential elective choral program
from the middle school through the high school.
Rehearsal techniques, laboratory experience in
choral conducting, repertoire, piano accompa-
niment skills, school observations, leadership,
planning, and administrative needs are among
the topics covered. Four hours weekly. Prereq-
uisite: Successful completion of sophomore
evaluation. Spring semester only.
MED 340 Elementary Vocal Methods N–2 [3]
Presents psychological principles, techniques,
and materials designed to develop teaching
skills appropriate to the developmental musical
abilities of children in grades N–2. Three hours
weekly. Prerequisites: MED 110 and successful
completion of sophomore evaluation. Labora-
tory fee. Spring semester.
MED 341 Elementary Vocal Method 3–6 [3]
The investigation of methods, techniques, and
materials appropriate for the teaching of general
music in grades 3–6. Three hours weekly.
Prerequisite: MED 340. Laboratory fee. Fall
semester.
MED 350 Jazz Ensemble for Music
Educators [1] Introduction to jazz ensemble
literature and performance. Emphasis on learn-
ing jazz performance style and jazz ensemble
repertoire. Additional topics include rehearsal
methods and teaching the fundamentals of jazz
improvisation.
MED 410 Student Internship [9] Student
teaching of music in the elementary and sec-
ondary schools of Greater Hartford and other
communities. Weekly conferences and seminars
with cooperating teachers and University super-
visors. Minimum 180 hours. Prerequisites:
MED 310, MED 311, and cumulative grade
point average of 2.67. No more than one C in a
music education or education course. Fall and
spring semesters.
MED 413 Improvisation for Music Education
[2] This class teaches future music educators
improvisatory skills and techniques and the
pedagogy of improvisation. Course format in-
cludes lecture, live performance, hands-on prac-
tical application, and analysis. Students gain
skill and confidence in improvisation as well as
develop strategies for future use in their school
music programs. Prerequisite: Successful com-
pletion of the Music Education sophomore
evaluation.
MED 490, 491 Topics in Music Education [1–
3] Special projects assigned on an individual
basis. May be repeated for additional credit.
Credit determined by department chair based on
the scope and breadth of the project.
For Undergraduate and Graduate Students
MED 501 Teaching Music in Early Child-
hood [3] To introduce teaching principles, tech-
niques, and materials suitable for teaching
children from birth to age 7. To develop teach-
ing skills and musical skills suitable for present-
ing musical activities. Three hours weekly. (For
non–music education majors)
MED 502 Teaching Music in the Elementary
Grades [3] To introduce teaching principles,
techniques, and materials suitable for children
in the elementary grades. To develop teaching
skills and musical skills suitable for presenting
musical activities. Three hours weekly. (For non–
music education majors)
MED 510 Measurement and Evaluation [3]
The study of ideas and strategies to achieve ac-
curacy and consistency in the measurement of
music creating, performing, and responding to
music. Students examine the development and
use of assessments of music performances,
types of knowledge, attitudes, and test devel-
opment. The creation of appropriate criterion
measures, empirical methods for demonstrating
test reliability and validity, descriptive statistics,
and test item analysis are also considered Pre-
requisite: Graduate standing.
MED 511 Psychology of Music [3] A survey
of various psychological theories with support-
ive research pertaining to perception, learning,
aptitude, achievement, and affective responses
to music. Two and one-half hours weekly.
Offered in alternate years.
450 / The Hartt School
MED 513 Improvisation for Music Education
[2] This class teaches future music educators
improvisatory skills and techniques and the
pedagogy of improvisation. Course format
includes lecture, live performance, hands-on
practical application, and analysis. Students
gain skill and confidence in improvisation as
well as develop strategies for future use in their
school music programs. Prerequisite: Successful
completion of the Music Education sophomore
evaluation.
MED 550, 551 Independent Study in Music
Education [1–3] Independent study project un-
der the direction of an assigned faculty member.
Credit determined by the scope and breadth of
the project.
MED 590, 591 Special Topics in Music Edu-
cation [1–3] Selected topics in music education,
varying with needs of curriculum and availabil-
ity of particular faculty. Credit determined by
the scope and nature of the work required.
Music Production and Technology
MPT 110 Fundamentals of Music Production
[2] This is an introductory course in the basics
of producing and engineering music for music
production and technology majors. Beginning
with an exploration of basic tools and techniques
used in the recording studio and standard proce-
dures common to professional facilities, the
course connects students’ musicianship with
making technical decisions for the use of tech-
nology in capturing a musical performance.
This course is available to MPT majors only.
MPT 210 Practicum in Music Production [2]
The MPT practicum is a requirement for all stu-
dents pursuing the music production and tech-
nology degree. Students assist more advanced
students, Hartt recording studio staff, and music
production and technology faculty with record-
ing sessions, concert/recital recordings, studio
maintenance and repair, and general studio op-
erations. Students who show exceptional ability
may be given chief recording engineer status
and responsibility on particular projects at the
discretion of the instructor and/or studio man-
ager. Prerequisite: MPT 110. This course is
available to MPT majors only.
MPT 300 Music Production Technology I [4]
In this course, students begin to learn the lan-
guage and the tools of the production studio.
Topics include the physical aspects of sound,
psychoacoustics, stereophonic and surround
sound, microphone theory and application,
loudspeaker/amplifier theory and application,
basic audio control systems, analog and digital
recording systems, basic studio and control-
room architecture and acoustical considerations,
and appropriate use of signal processing. Criti-
cal listening is explored through the analysis of
recordings listened to and critiqued in class. In
the lab, students work in small teams and indi-
vidually to execute exercises and solve prob-
lems facing the beginning engineer/producer.
Prerequisite: MPT 210. This course is available
to MPT majors only. Laboratory fee.
MPT 305 Electronics for Music Systems I [3]
This course is an introduction to audio electron-
ics common to music systems. The course re-
views the basics of sound and its properties and
the fundamentals of electricity. It requires stu-
dents to build simple audio circuits on bread-
boards. Students learn the basic underlying
design principles of equipment in the music
production studio necessary for everyday
troubleshooting and communicating effectively
with manufacturers and service technicians.
Corequisite: ECT 121. This course is available
to MPT majors only.
MPT 310 Music Production Technology II
[4] Students expand their knowledge of the pro-
duction studio. Topics include advanced audio
control systems, analog and digital signal pro-
cessing, timecode, automation, multitrack theo-
ry and practice, mixing, MIDI, synthesis, and
sampling. In the lab, students work individually
and in small teams executing specific assigned
projects and gaining practical experience in the
studio environment. Prerequisite: MPT 300.
Laboratory fee.
MPT 315 Electronics for Music Systems II
[3] This is a continuation of Electronics for Mu-
sic Systems I. Topics include power supplies,
operational amplifiers, analog signal transmis-
sion, balancing, how to perform audio meas-
urements, and the design of many pieces of
studio gear. Labs continue the use of bread-
boards to build circuits, oscilloscopes for ob-
serving electronic signals, and multimeters to
perform measurements. Prerequisite: MPT 305.
MPT 400 Music Production Techniques I [4]
Training with a focus on production values and
techniques. Topics include music production
styles related to recording techniques, critical
listening and analysis of production values, au-
ral perception of performance environments, the
use of multiple (artificial) performing environ-
ments, applications in effects processing ad-
vanced stereophonic techniques, surround-
sound theory and practice, location-recording
theory and techniques, professional organiza-
452 / The Hartt School
tion techniques. The lab is designed to develop
further the student’s ear and sense of production
values. Individual (small-scale) projects are
assigned and executed as full productions. Stu-
dents are able to sharpen their skills in their mu-
sical area of choice but are also encouraged to
explore music beyond their normal area of in-
terest. Prerequisite: MPT 310. Laboratory fee.
MPT 410 Music Production Techniques II
[4] The integration of all the student’s prior
knowledge into the development of the ―music
producer.‖ Students are responsible for all crea-
tive and technical aspects of the production, in-
cluding choice of composer, musicians,
performance context, and identifying the target
market. Selected student producers may also
function as composers, arrangers, or orchestra-
tors. Students are expected to refine their skills
in their area of musical interest. The lab focuses
on solving specific problems that arise out of
the production assignments in class. Production
situations and problems are discussed, and po-
tential solutions are presented. Students present
rough drafts of work as available. Prerequisite:
MPT 400. Laboratory fee.
MPT 420 Music Production Special Project
or Internship [3] This project represents
the culmination of all the theory and practical
course work. Students are asked to complete a
CD-quality project in their specific area of in-
terest. Students may also choose an internship
in the Department of Performing Arts Technol-
ogy or at an approved professional audio pro-
duction facility. Prerequisite: MPT 310. Labora-
tory fee.
MPT 450 Sound Technology I [3] This course,
intended primarily for students pursuing degrees
in music management or jazz studies, is an in-
troduction to the professional recording industry
and the basics of the recording process. Topics
include acoustics, psychoacoustics, microphone
theory and techniques, analog and digital theory
and equipment, recording studio procedures,
critical listening in a recording session; produc-
tion chain from recording, mixing, and editing
to premastering, mastering, and replication. The
course concludes with a recording project en-
compassing recording, mixing, editing, and
mastering. Three hours weekly. Laboratory fee.
MPT 451 Sound Technology II [3] This
course is an extension of the introductory sound
technology class (MPT 450 Sound Technology
I). The objective is to develop skills necessary
to work in the recording studio. Topics include
multitrack recording, microphone application,
recording session organization, and ear training
for sound mixing. Students have the opportunity
to experiment in the recording studio, applying
the concepts and techniques in practical record-
ing situations. Projects and/or written papers are
assigned. Three hours weekly. Prerequisite:
MPT 450 or AUD 161. Laboratory fee.
MPT 190, 290, 390, 490 Special Topics in
Music Production and Technology [1–3] Spe-
cial topics courses in music production and
technology (MPT) give students enrolled as
MPT majors the opportunity to explore a topic
that may be covered already in an MPT core
course but in great detail. It also opens up ex-
ploration of music production and technology
for students of other majors who have the inter-
est and necessary qualifications. Prerequisite:
Dependent on content of the course.
Music Management
For Undergraduate Students
MUM 120 Introduction to Arts Management
[3] An introductory survey of the music man-
agement/ entertainment industry. Introduction to
the general principles of for-profit (recording,
retail, artist management) and not-for-profit
(symphony orchestra, dance, theatre, etc.) sec-
tors. Investigation of career opportunities in arts
management. Three hours weekly.
MUM 220 Arts Management: Not for Profit
[3] This intermediate course focuses on the
application of business skills to the fields of
music and the performing arts in areas such
as arts administration, fundraising, concert
production, media relations, and not-for-profit
governance. Three hours weekly. Prerequisite:
MUM 120.
MUM 221 Music Management: For Profit [3]
This intermediate course focuses on the applica-
tion of business skills to the fields of music and
the performing arts in areas such as the produc-
tion and distribution of recordings, concert pro-
duction, tour management, music publishing,
copyright law, royalties distribution, and artist
management. Three hours weekly. Prerequisite:
MUM 120.
MUM 321 Arts Management Practicum [3]
This course gives students hands-on experience
in arts-related work. Students use their skills
and abilities in marketing, programming, budg-
eting, media relations, and planning, while
working on projects in a variety of settings. The
class also focuses on workplace issues, net-
working, and the development of leadership
skills. Prerequisite: Junior standing or permis-
sion of the instructor.
452 / The Hartt School
MUM 330 Entertainment Law [3] An over-
view of the legal issues facing arts managers.
Topics include copyright, contracts, First
Amendment issues, intellectual property, and
ethics. Prerequisites: MUM 220-221.
MUM 340 Survey of Record Industry [3] An
advanced study of the recorded music industry.
Topics include copyright, performance rights/
mechanicals, record company administration,
record production, and new technology. Three
hours weekly. Prerequisites: MUM 220-221.
MUM 350 Computers and the Arts [3] A
study of the various hardware and software
applications used by arts organizations. Topics
include computerized ticketing, fundraising,
mailing lists, market research, and Web-page
development. Prerequisite: CS 110 or MIS 110.
MUM 410 Case Studies in Music/Arts Man-
agement [3] An advanced study of music and
arts management, this course is designed to ap-
ply the skills and knowledge students have ac-
quired in previous courses to make decisions
when confronted by actual management situa-
tions in both the for-profit and not-for-profit
sectors of the industry. A variety of cases are
analyzed and related to current events and
trends in the field. Prerequisites: MUM 220 and
221, or permission of the instuctor.
MUM 420 Internship [3] Supervised field
work in a business or arts organization in
the private or public sector. Prerequisites:
MUM 220-221 or permission of instructor.
MUM 421 Internship Seminar [3] Following
the completion of the Internship (MUM 420),
students produce a capstone internship study
that analyzes components of the arts organiza-
tion in which the student interned. This study
is presented in written form and may be fol-
lowed by a formal oral presentation. Prerequi-
site: MUM 420 or permission of instructor.
MUM 440 Fundraising [3] A study of the var-
ious skills and techniques necessary for success-
ful fundraising. Topics include research, making
the approach, grant writing, evaluation. Prereq-
uisite: MUM 220.
MUM 480, 481 Independent Study in Music
Management [1–3, 1–3] An independent study
project conducted under the direction of an as-
signed faculty member. Credit determined by
scope and nature of project. Prerequisite: Per-
mission of instructor.
Musicianship
MUS 110, 111 Paranov Performance Hour
[.5, .5] Performance observation and general
musicianship. One hour weekly.
MUS 490, 491 Special Topics in Music [1–3,
1–3] Selected topics in music, varying yearly
with needs of curriculum and availability of par-
ticular faculty. Credit determined by scope and
nature of work required.
For Undergraduate and Graduate students.
MUS 590, 591 Special Topics in Music [1–3,
1–3] Selected topics in music, varying yearly
with needs of curriculum and availability of
particular faculty. Credit determined by scope
and nature of work required.
Recitals and Committee Programs
For Undergraduate Students
REC 440 Recital [0–2]
REC 441 Committee Program [2]
Thesis, Essay Dissertation
For Undergraduate Students
TE 410 Senior Project/Essay [1–3]
Music Theory
For Undergraduate Students
TH 110 Music Theory Fundamentals [2] The
first course in music theory for music and non-
music students. Topics include scales, intervals,
keys, triads, and seventh chords. Study of
examples from the classic and popular music
literatures. Three hours weekly. Prerequisite:
Placement exam. Laboratory fee.
TH 111 Diatonic Harmony [2] The first course
in tonal harmony, covering the principles of dia-
tonic harmony. Topics include diatonic voice
leading, chord progression, melody harmoniza-
tion, and figured bass. Study of examples from
the classic and popular music literatures. Three
hours weekly. Prerequisite: TH 110 or place-
ment exam. Laboratory fee.
TH 112 Chromatic Harmony [2] The second
course in tonal harmony, covering the principles
of chromatic harmony. Topics include chro-
matic voice leading, chord progression, melody
harmonization, and figured bass. Study of ex-
amples from the classic and popular music
literatures. Three hours weekly. Prerequisite:
TH 111 or placement exam. Laboratory fee.
TH 120 Elementary Ear Training I [2] The
first course in musicianship skills using Kodály
materials. Presentation and practice of tonal and
rhythmic elements for sight singing, aural
recognition, and dictation skills based on rela-
454 / The Hartt School
tive solmization. Pentatonic and diatonic mate-
rials from folk melodies and Kodály’s two-part
singing exercises. Three hours weekly.
TH 121 Elementary Ear Training II [2] The
second course in musicianship skills using Ko-
dály materials. Practice in pentatonic and dia-
tonic systems, introduction of triadic practice in
singing and recognition of harmonic functions.
Further emphasis on vocal intonation and part
singing including chromaticism. Melodic and
harmonic dictation using all of the foregoing el-
ements. Three hours weekly. Prerequisite: TH
120 or placement exam.
TH 130 Music Theory and Ear Training for
Dancers I [2] The first course in music theory
and ear training for students in B.F.A. in dance.
Instruction in the fundamentals of music theory
and sight singing. Notation of rhythm and pitch.
Construction and identification of intervals,
scales, and triads. Emphasis on rhythmic-metric
patterns used in dance. Three hours weekly.
TH 131 Music Theory and Ear Training for
Dancers II [2] The second course in music
theory and ear training for students in B.F.A.
in dance. Continuation of instruction in the fun-
damentals of music theory and sight singing.
Notation of rhythm and pitch. Construction
and identification of intervals, scales, and
triads. Emphasis on rhythmic-metric patterns
used in dance. Three hours weekly. Prerequisite:
TH 130 or equivalent.
TH 210 Tonal Form and Analysis [2] The first
course in form and analysis, covering the forms
of tonal music. Topics include phrase, binary,
ternary, sonata, rondo forms, variation, and
fugue. Study of examples from the classic and
popular music literatures. Three hours weekly.
Prerequisite: TH 112 or placement exam. Labo-
ratory fee.
TH 211 Post-Tonal Form and Analysis [2]
The second course in form and analysis, cover-
ing the materials and procedures of 20th-century
music. Topics include tonal, modal, and 12-tone
procedures; rhythmic, metric, textural, timbral,
and formal innovations. Analysis of music from
the classic and popular music literatures. Three
hours weekly. Prerequisite: TH 210 or place-
ment exam. Laboratory fee.
TH 220 Intermediate Ear Training I [2] The
third course in musicianship skills using Kodály
materials. Practice in singing three and four
parts and dictation of four-voice chorales. Intro-
duction of C clefs, transposition, and aural iden-
tification of diatonic harmonic functions. Three
hours weekly. Prerequisite: TH 121 or place-
ment exam.
TH 221 Intermediate Ear Training II [2] The
fourth course in musicianship skills using Kodá-
ly materials. Sight singing and dictation in
modal and classical styles using four parts,
changing meters, and modulations. Harmonic
identification and dictation using secondary
dominants. Open-score chorales in original
notation. Three hours weekly. Prerequisite:
TH 220 or placement exam.
TH 320 Advanced Ear Training I [2] The
fifth course in musicianship skills using Kodály
materials. Advanced work in sight singing, dic-
tation, and harmonic identification using both
relative solmization and traditional solfège.
Emphasis on 16th-century polyphony and 20th-
century compositions. Open-score reading in all
clefs of Bach chorales. Chromatic vocal canons
of Haydn and Mozart. Further use of two- and
three-part vocal works of Kodály. Three hours
weekly. Prerequisite: TH 221 or placement
exam.
TH 321 Advanced Ear Training II [2] The
sixth course in musicianship skills using Kodály
materials. Harmonic and structural analysis of
modal and functional harmonies using both tra-
ditional solfège and relative solmization. Vocal
works of Palestrina, Bach, Bartók, Stravinsky,
and representative pieces of Haydn, Mozart, and
Brahms. Melodic, harmonic, and polyphonic
dictation in all styles. Three hours weekly. Pre-
requisite: TH 320 or placement exam.
TH 330 Keyboard Harmony [2] Applied
harmony at the keyboard, specializing in the
traditional techniques of figured bass realiza-
tion, melody harmonization, diatonic and chro-
matic modulation in four-part playing. Two
hours weekly. Prerequisites: TH 211 and suffi-
cient piano skills.
TH 331 Keyboard Improvisation [1.5] Basic
improvisation skills are developed, beginning
with the elaboration of simple harmonic pro-
gressions and incorporating melodic and rhyth-
mic conventions. Emphasis is to prepare the
student for more specialized stylistic improvisa-
tion. One and one-half hours weekly. Prerequi-
site: TH 330.
TH 332 Continuo Realization [1.5] The study
of figured bass realization. Emphasis is placed
on working from scores and the development of
stylistic realizations suitable for performance.
One and one-half hours weekly. Prerequisite:
TH 112.
454 / The Hartt School
TH 333 Score Reading [2] Intended to prepare
students to read and play choral and instrumen-
tal scores at the piano. Two hours weekly. Pre-
requisite: Two years of piano or equivalent.
TH 400 Music Theory Pedagogy [3] Princi-
ples of teaching theoretical subjects. Study of
text materials and instructional methods, obser-
vation of classroom teaching, preparation of les-
son plans, and practice teaching. Three hours
weekly. Usually offered alternate years. Prereq-
uisite: TH 211 or permission of instructor.
TH 405 Ear Training Pedagogy [3] Principles
and skills of teaching ear-training subjects.
Study of instructional methods and materials,
observation of classroom teaching, preparation
of lesson plans, and practice teaching. Three
hours weekly. Usually offered in alternate years.
Prerequisite: TH 221 or equivalent.
TH 410 Advanced Form and Analysis [3] An
advanced course in the analysis of music from
the Baroque, Classical, Romantic, and 20th-
century literatures. In contrast to TH 210 and
TH 211, diverse works of greater scope and
musical complexity are studied, concentrating
on the structural and stylistic features of each
composition. Works include examples from the
chamber, orchestral, choral, and operatic genres.
Three hours weekly. Usually offered in alter-
nate years. Prerequisite: TH 211 or permission
of instructor.
TH 415 Analysis of Popular Music [3] A
course in the analysis of popular music. Empha-
sis is placed on standard American songs from
the early to mid-20th century. Examples from
other styles, including music theatre, rock, jazz,
and ragtime. Examination of the art and struc-
ture of individual songs, including harmony,
voice leading, melody, text, and form. Other
topics include the analysis of particular
performances and analysis without a score.
Three hours weekly. Usually offered in alternate
years. Prerequisite: TH 112 or permission of in-
structor.
TH 420 Modal Counterpoint [3] An introduc-
tory course in modal counterpoint. Writing and
analysis of music in two, three, and
four voices using the techniques of melodic de-
velopment, imitation, and invertible counter-
point. Emphasis on the mass and motet of the
16th century. Three hours weekly. Usually of-
fered in alternate years. Prerequisite: TH 211 or
equivalent.
TH 421 Tonal Counterpoint [3] An introduc-
tory course in tonal counterpoint. Writing and
analysis of music in two, three, and four voices
using the techniques of melodic development,
imitation, and invertible counterpoint. Emphasis
on the invention and fugue of the 18th century.
Three hours weekly. Usually offered in alternate
years. Prerequisite: TH 211 or equivalent.
TH 422 Advanced Counterpoint [3] An ad-
vanced course in the writing and analysis pri-
marily of tonal counterpoint. Topics include
techniques of canon (diminution, augmentation,
retrograde, inversion, three voices, double can-
on), invertible counterpoint (two voices, three
voices), and the multiple fugue (double fugue,
triple fugue). Three hours weekly. Usually of-
fered in alternate years. Prerequisite: TH 421.
TH 435 Film Music [3] A survey of music in
the American narrative film from the silent pe-
riod to the present. Films representing examples
from various genres (drama, comedy, musical,
science fiction, etc.) are shown. Each film is
studied with regard to how music is integrated
into the narrative structure along with other cin-
ematic elements (camera technique, editing,
sound, etc.). Consideration is given to technical
and stylistic developments in film music and
procedures used in assembling a music score
with a motion picture. Three hours weekly.
Usually offered in alternate years. Film fee.
TH 440 Music 1900 to 1950 [3] Analysis of
music of the first half of the 20th century using
contextual, modal, and 12-tone techniques.
Music includes works by Debussy, Bartók,
Stravinsky, and Schoenberg. Three hours week-
ly. Prerequisite: TH 211 or permission of in-
structor. Laboratory fee.
TH 441 Music since 1950 [3] The new musical
thought dating from 1950 to the present. Post-
serialism, the extension of instrumental re-
sources, evolution of notation, multimedia,
improvisation, and indeterminacy. The views of
selected contemporary thinkers and their recip-
rocal relation to the arts of this period. Three
hours weekly. Prerequisite: TH 211 or permis-
sion of instructor.
TH 452 Schenkerian Analysis [3] Study of
selected writings and analyses by Heinrich
Schenker. Preparation of graphic analyses of
selected compositions using Schenkerian har-
monic voice-leading techniques. Three hours
weekly. Usually offered in alternate years. Pre-
requisite: TH 211 or equivalent. Laboratory fee.
456 / The Hartt School
TH 453 Analysis for Performance [3] Analyt-
ical examination of works from all periods to
show the relevance of analysis in interpretive
decisions in performance. Performance, discus-
sion by class members, guest perform-
ers/lecturers and study of multiple recordings.
Works to be analyzed in part determined by
class. Three hours weekly. Usually offered in
alternate years. Prerequisite: TH 211 or permis-
sion of instructor.
TH 455 Advanced Analysis of Tonal Music
[3] In-depth examination (using advanced ana-
lytic techniques to study pitch relations, rhythm,
texture, and form) of selected compositions
(complete works, extended excerpts) from the
18th- and 19th-century instrumental and vocal
literatures. Three hours weekly. Usually offered
in alternate years. Prerequisite: TH 211 or
equivalent. Laboratory fee.
TH 460 Advanced Analysis of Contemporary
Music [3] In-depth analysis of contemporary
music from the standpoint of musical trends,
notation, performance strategies, and media/
technology. Consideration of the musical ele-
ments of a work as well as its social/aesthetic
contexts. Three hours weekly. Usually offered
in alternate years. Prerequisite: TH 440 or
TH 441, or equivalent.
TH 470 Music Theory Seminar [3] A detailed
approach to the theoretical study and analysis of
music. The seminar concentrates on works of a
particular repertoire or a specific analytic ap-
proach. The topic of the seminar will be an-
nounced when the seminar is offered. May be
repeated for credit. Three hours weekly. Usually
offered in alternate years. Prerequisite: TH 211
or equivalent.
TH 475, 476 Music Theory Colloquium [0, 0]
A colloquium for undergraduate music theory
majors to discuss issues related to their analyti-
cal activities. Topics include new analytical
techniques and procedures, the role of music
theory within the musical community, issues of
aesthetics and style, and the importance of pro-
fessional organizations that influence and sup-
port music theorists. Students have the
opportunity not only to present and discuss their
analytical projects but also to hear, meet, and
speak with guest musicians. Undergraduate mu-
sic theory majors are required to enroll every
semester. Three meetings per semester.
TH 480, 481 Independent Study in Music
Theory [1–3, 1–3] An individual study on a
special topic supervised by a music theory fac-
ulty member. The study should not be a class-
room course in the music theory curriculum.
Independent studies are dependent on faculty
availability. Credit is determined by the content
of the study. All independent studies must be
approved by the music theory department chair.
TH 485 Senior Essay [2] Formulating and writ-
ing of a theory project. Students have the oppor-
tunity to work with a faculty member of the
Theory department as well as interacting with
other theory majors in a classroom setting. Two
hours weekly. Prerequisite: TH 211.
TH 490, 491, 492, 493 Special Topics in Mu-
sic Theory [all 1–3] Selected topics in music
theory, varying yearly with needs of curriculum
and availability of particular faculty. Credit
determined by scope and nature of topic.
For undergraduate and graduate students.
Teaching Principles
For Undergraduate Students
Principles and problems of teaching applied and
theoretical subjects. Teaching materials. As-
signed observation and teaching required to the
extent indicated by individual instructors.
TPR 310-311 Piano Teaching Principles [1–1]
This course presents techniques for teaching be-
ginning piano students through the study of
available teaching materials. Emphasis is placed
on teaching first-year students in various age
groups, from preschool to adult.
TPR 312-313 Voice Teaching [1–1]
TPR 320 Teaching Principles [2] An introduc-
tory course designed to explore the problems
found and solutions used in teaching the begin-
ning, intermediate, and advanced classic guitar
student of all ages. Particular emphasis is placed
on a thorough understanding of the principles of
guitar technique, methodology, and materials.
TPR 321 Studio Teaching Principles [2] This
is a combination laboratory and practice teach-
ing course that develops the necessary skills to
teach college-level music students. Prerequisite:
TPR 320.
TPR 410-411 Student Private Teaching [1–1]
Student practice teaching of individual lessons.
Assigned observation and teaching.
456 / The Hartt School
TPR 420-421 Advanced Major Instrument
Teaching [1-1] Principles and problems of
teaching studio and theoretical subjects.
Teaching materials. Assigned observation and
teaching required to the extent indicated by
individual instructors.
TPR 422-423 Advanced Voice Teaching [1–1]
For undergraduate and graduate students.
TPR 510-511 Studio Teaching Principles [1–
1] Pedagogic and psychological factors related
to studio (private) music teaching. Practical
problems and procedures, both general and spe-
cific. Teacher, pupil, and parent relationship.
One hour weekly.
TPR 520, 521 Student Private Teaching [1–4,
1–4] Selected topics in teaching principles vary-
ing yearly with needs of curriculum and availa-
bility of particular faculty. Credit determined by
scope and nature of work required.