School o Music
–
Series 120 Number 8 July 25, 2024
Series 120 Number 8 July 25, 2024 ( -)
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Editor: Steve Aitken
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Series 120 Number 8 July 25, 2024
School o Music
–
Contents
Calendar
The President and Fellows o Yale University
The Ocers o Yale University
School o Music Board o Advisors
School o Music Faculty and Administration
Music at Yale
The School o Music
Norolk Chamber Music Festival/Yale Summer School o Music
Morris Steinert Collection o Musical Instruments
The Department o Music
Yale Institute o Sacred Music
History and Mission o the School o Music
Facilities
Libraries
Degrees
Master o Music
Master o Musical Arts
Doctor o Musical Arts
Artist Diploma
Certificate in Perormance
B.A./M.M. Program
Program Planning
Program Requirements
General Requirements
Requirements or Perormance Majors
Requirements or Composition Majors
Areas o Instruction
Perormance
Strings
Woodwind and Brass
Percussion
Guitar
Harp
Piano
Chamber Music
Harpsichord
Organ
Voice
Orchestral Conducting
Choral Conducting
Composition
Additional Instructional Resources
School of Music 2024–2025
Courses o Instruction
Musicianship and Theory
Composition
History and Analysis
Special Studies
Perormance
Voice and Opera
Yale Institute o Sacred Music
Department o Music
Perormance Activities
School o Music Organizations
Yale College Organizations
Institute o Sacred Music Organizations
Concerts and Recitals
General Inormation
Academic Regulations
Credit rom Other Institutions
Registration
Financial Aid
Veterans Administration Benefits
Satisactory Academic Progress (SAP)
Student Accounts and Billing
Interruption or Temporary Suspension o University Services or Programs
Absence rom Classes
Leaves o Absence
Dossier/Transcript Service
Student Responsibilities
Regulations Governing Student Recitals
Recordings, Images, and Livestreams
Standards o Behavior
Freedom o Expression
Policy on Academic Integrity and Honesty
Emergency Suspension
Student Grievances
Yale University Resources and Services
A Global University
University Resources
Health Services
Graduate Housing
Identification Cards
Oce o International Students and Scholars
Student Accessibility Services
Resources to Address Discrimination, Harassment, and Sexual Misconduct
Admission Procedures
Instructions or Application
Auditions/Interviews
Matriculation Deerrals
Named Scholarships
The Work o Yale University
Campus Map
Contents
Calendar
The ollowing dates are subject to change as the university makes decisions regarding
the – academic year. Changes will be posted on the School o Music’s website.
July Fall-term online course registration opens (Part ) or
YSM required courses and non-YSM courses, a.m.
Aug. Yale College all-term classes begin, : a.m.
Aug. –Sept. – Orientation or new students (attendance mandatory)
Sept. Labor Day; classes do not meet
Sept. Opening week meeting or all students
Sept. – – Orientation or returning students (attendance
mandatory)
Sept. – – Opening week events and ensemble auditions
Sept. , , Fall-term academic advising
Sept. Convocation and Reception (attendance mandatory)
Sept.
Fall-term classes begin, 1 p.m. (morning classes do not meet)
Fall-term online course registration (Part ) or YSM
elective courses. Opens a.m.; closes p.m.
Fall-term course schedules due, p.m.
Sept. Fall-term add/drop period begins
Sept. Fall-term add/drop ends, p.m.
Oct. Yale College recess begins aer last scheduled class
YSM classes still meet this week
Oct. Yale College classes resume, : a.m.
Oct. Midterm
Nov. Fall-term pass/ail deadline, p.m.
Nov. November recess begins aer last scheduled class
Dec. Deadline or all admissions applications
Dec. Classes resume, a.m.
Dec.
Spring-term online course registration opens (Part ) or
YSM required courses and non-YSM courses, a.m.
Fall-term course withdrawal deadline, p.m.
Dec. – – Spring-term academic advising
Dec.
Fall-term classes end, 5 p.m.
Spring-term online course registration (Part ) or YSM
elective courses. Opens p.m., closes p.m.
Spring-term course schedules due, p.m.
Deadline to request an Incomplete or a all course, p.m.
Dec. – – Exams
Dec. Winter recess begins
Jan. Spring-term classes begin (YSM a.m.,
Yale College : a.m.)
Jan. – – Spring-term add/drop period
Jan. Spring-term add/drop deadline, p.m.
Jan. Martin Luther King Jr. Day; classes do not meet
Feb. – – YSM auditions
Feb. – – YSM classes do not meet, with the exception o Yale
Philharmonia
Mar. Midterm
Spring recess begins aer last scheduled class
Mar. Classes resume, YSM a.m., Yale College : a.m.
Apr. Spring-term pass/ail deadline, p.m.
Apr. Spring-term course withdrawal deadline, p.m.
May
Spring-term classes end
Deadline to request an Incomplete or a spring course,
p.m.
May – – Exams
May Commencement Concert
May University Commencement and YSM Diploma Ceremony
Calendar
The President and Fellows o Yale University
President
Maurie McInnis, B.A., M.A., Ph.D.
Fellows
Joshua Bekenstein, B.A., M.B.A., Wayland, Massachusetts ( June 2025)
Gina Rosselli Boswell, B.S., M.B.A., Vero Beach, Florida (June 2029)
Michael James Cavanagh, B.A., J.D., Philadelphia, Pennsylvania (June 2026)
Maryana Iskander, B.A., M.Sc., J.D., Round Rock, Texas ( June 2029)
William Earl Kennard, B.A., J.D., Charleston, South Carolina ( June 2026)
Frederic David Krupp, B.S., J.D., Norwalk, Connecticut ( June 2028)
Reiko Ann Miura-Ko, B.S., Ph.D., Menlo Park, Caliornia ( June 2025)
Carlos Roberto Moreno, B.A., J.D., Los Angeles, Caliornia (June 2026)
Felicia Norwood, B.A., M.A, J.D., Indianapolis, Indiana (June 2030)
Joshua Linder Steiner, B.A., M.St., New York, New York ( June 2030)
David Li Ming Sze, B.A., M.B.A., Hillsborough, Caliornia ( June 2030)
Marta Lourdes Tellado, B.A., Ph.D., New York, New York ( June 2028)
David Anthony Thomas, B.A., M.A., M.A., Ph.D., Atlanta, Georgia (June 2027)
Neal Steven Wolin, B.A., M.Sc., J.D., Washington, D.C. (June 2029)
His Excellency the Governor o Connecticut, ex ocio
Her Honor the Lieutenant Governor o Connecticut, ex ocio
The Ocers o Yale University
President
Maurie McInnis, B.A., M.A., Ph.D.
Provost
Scott Allan Strobel, B.A., Ph.D.
Secretary and Vice President for University Life
Kimberly Midori Go-Crews, B.A., J.D.
Senior Vice President for Operations
Jack Francis Callahan, Jr., B.A., M.B.A.
Senior Vice President for Institutional Aairs and General Counsel
Alexander Edward Dreier, A.B., M.A., J.D.
Vice President for Finance and Chief Financial Ocer
Stephen Charles Murphy, B.A.
Vice President for Alumni Aairs and Development
Joan Elizabeth O’Neill, B.A.
Vice President for Human Resources
John Whelan, B.A., J.D.
Vice President for Facilities, Campus Development, and Sustainability
Jack Michael Bellamy, B.S., M.S.
Vice President for Information Technology and Campus Services
John Barden, B.A., M.B.A.
Vice President for Communications
Renee Kopkowski, B.A.
School o Music Board o Advisors
Kent R. Adams, A.B., M.B.A., Wayzata, Minnesota
Halina D. Avery, B.M., M.M., M.B.A., Los Angeles, Caliornia
Frederick W. Beinecke, B.A., J.D., New York, New York
Nancy Marx Better, B.A., Greenwich, Connecticut
Mary Beth Buck, B.A., New York, New York
Walter H. Buck, B.A., M.B.A., New York, New York
Helen Chung-Halpern, B.A., M.B.A., London, England
Jamie Brooke Forseth, B.M., B.A., M.A., M.B.A., New York, New York
Daniel T. Gien, B.S., M.M., M.B.A., J.D., Bethesda, Maryland
Alexander Glantz, B.A., M.B.A., New York, New York
Carol Colburn Grigor, C.B.E., B.M., M.M.A., Edinburgh, Scotland
Abel G. Halpern, B.A., M.B.A., London, England
Stephen Hendel, B.A., J.D., Larchmont, New York
John A. Herrmann, Jr., B.A., M.B.A., New York, New York
Elinor L. Hoover, B.A., M.B.A., New York, New York
Leung Wai Keung (Benjamin), B.A., Hong Kong, China
Eric J. Kim, B.A., M.B.A., Hillsborough, Caliornia
David M. Kurtz, B.A., M.M., New York, New York/Los Angeles, Caliornia
Seunghee Lee, B.M., M.M., A.D., New York, New York
Stephanie Yu Lim, B.A., J.D., Guilord, Connecticut
Joanne Lipman, B.A., New York, New York
David Low, A.B., M.P.P.M., Greenwich, Connecticut
Sylvia P. Marx, B.A., M.Ed., Greenwich, Connecticut
Eugene A. Pinover, B.A., J.D., New York, New York
Anne-Marie Soullière, B.A., M.B.A., Chestnut Hill, Massachusetts
Timothy A. Steinert, B.A., J.D., Boston, Massachusetts
Alexa Davidson Suskin, B.A., M.A., Brooklyn, New York
Marc R. Suskin, B.A., J.D., DESS, Brooklyn, New York
Chuhan Zhang, B.A., M.M., Ph.D., Hong Kong, China
Honorary
Denise Adams, B.A., M.F.A., Roxbury, Connecticut
Lester S. Morse, Jr., B.A., M.B.A., New York, New York
School o Music Faculty and Administration
Ocers of Administration
Maurie McInnis, Ph.D., President o the University
Scott Strobel, Ph.D., Provost o the University
José García-León, D.M.A., Henry and Lucy Moses Dean o Music
Martin D. Jean, A.Mus.D., Director, Yale Institute o Sacred Music
Emeriti
Marguerite L. Brooks, M.M., Associate Proessor Adjunct Emerita o Music
Simon Carrington, M.A., Proessor Emeritus o Music
Allan Dean, M.M.Ed., Proessor Adjunct Emeritus o Music
Syoko Aki Erle, M.M., Proessor Emerita o Music
Peter Frankl, Proessor Adjunct Emeritus o Music
Michael Friedmann, Ph.D., Proessor Adjunct Emeritus o Music
Paul Hawkshaw, Ph.D., Proessor Emeritus o Music
David Hill, M.A., Proessor Adjunct Emeritus o Choral Conducting and Principal
Conductor, Yale Schola Cantorum
Hyo Kang, Proessor Emeritus o Music
Thomas Murray, A.B., Proessor Emeritus o Music
Joan Clarice Panetti, D.M.A., Proessor Emerita
Doris Yarick-Cross, M.M., Proessor Emerita o Music
Faculty
Ole Akahoshi, M.M., Assistant Proessor Adjunct o Cello
Misha Amory, M.M., Artist in Residence, Brentano String Quartet
Katherine Balch, D.M.A., Assistant Proessor Adjunct o Composition
Felicia Barber, Ph.D., Associate Proessor Adjunct o Choral Conducting and
Conductor, Yale Camerata (joint appointment with Yale Institute o Sacred Music)
Janna Baty, M.M., Associate Proessor Adjunct o Voice
Astrid Baumgardner, J.D., Lecturer Adjunct in Music
Boris Berman, M.A., Sylvia and Leonard Marx Proessor in the Practice o Piano and
Artistic Director, Horowitz Piano Series
Paul Berry, Ph.D., Deputy Dean, Associate Proessor Adjunct o Music History and
Coordinator o Academic Studies
Robert Blocker, D.M.A., William Edward Gilbert Proessor o Piano
Serena Blocker, M.A., Lecturer in English
William Boughton, Mg.A., Associate Proessor Adjunct o Music and Director, Yale
Symphony Orchestra
Lynette Bowring, Ph.D., Associate Proessor Adjunct o Music History
Martin Bresnick, D.M.A., Charles T. Wilson Proessor in the Practice o Composition
and Director o the New Music Workshop, Norolk Chamber Music Festival/Yale
Summer School o Music
Jerey Brillhart, M.M., Lecturer in Organ Improvisation (joint appointment with Yale
Institute o Sacred Music)
School of Music 2024–2025
Serena Canin, M.M., Artist in Residence, Brentano String Quartet
Ettore Causa, M.M., Associate Proessor Adjunct o Viola
Melvin Chen, Ph.D., Proessor in the Practice o Piano and Director, Norolk Chamber
Music Festival/Yale Summer School o Music
Kevin Cobb, M.M., Associate Proessor Adjunct o Trumpet
José García-León, D.M.A., Henry and Lucy Moses Dean o Music
John De Los Santos, B.F.A, Lecturer
Jerey Douma, D.M.A., Marshall Bartholomew Proessor in the Practice o Choral
Music and Director, Yale Glee Club
Thomas C. Duy, D.M.A., Proessor Adjunct o Music; Artistic Director, Ellington
Jazz Series; and Director o University Bands, Yale University
Wayne Escoery, M.M., Lecturer in Jazz and Director, Yale Jazz Ensembles
Jerey Grossman, M.M., Lecturer in Music (joint appointment with Yale Institute o
Sacred Music)
Arthur Haas, M.A., Lecturer in Harpsichord
Augustin Hadelich, A.D., Proessor in the Practice o Violin
June Han, D.M.A., Lecturer in Harp
Scott Hartman, M.M., Lecturer in Trombone
Robert Holzer, Ph.D., Associate Proessor Adjunct o Music History
Carol Jantsch, B.M., Lecturer in Tuba
Martin D. Jean, A.Mus.D., Proessor o Organ and Director, Yale Institute o Sacred
Music (joint appointment with Yale Institute o Sacred Music)
Ani Kavafian, M.S., Proessor in the Practice o Violin
Aaron Jay Kernis, B.M., Proessor Adjunct o Composition and Artistic Director, New
Music New Haven
Soovin Kim, B.M., Visiting Proessor in the Practice o Violin
David Lang, D.M.A., Proessor Adjunct o Composition
Albert R. Lee, D.M.A., Associate Proessor Adjunct and Associate Dean or Student
Lie and Community Engagement
Daniel S. Lee, D.M.A., Lecturer in Early Music, Violin
Nina Lee, M.M., Artist in Residence, Brentano String Quartet
Seth Monahan, Ph.D., Associate Proessor Adjunct o Music Analysis and
Musicianship
Gerald Martin Moore, Proessor in the Practice o Voice and Director, Yale Opera
Walden Moore, M.M., Lecturer Adjunct in Organ (joint appointment with Yale
Institute o Sacred Music)
Frank A. Morelli, Jr., D.M.A., Associate Proessor Adjunct o Music
Tai Murray, A.D., Associate Proessor Adjunct o Violin
Tara Helen O’Connor, D.M.A., Visiting Associate Proessor Adjunct o Flute
James O’Donnell, M.A., Proessor in the Practice o Organ (joint appointment with
Yale Institute o Sacred Music)
Peter Oundjian, Proessor Adjunct o Music and Orchestral Conducting and Principal
Conductor, Yale Philharmonia
Donald Palma, B.M., Assistant Proessor Adjunct o Double Bass
Elizabeth Parisot, D.M.A., Associate Proessor Adjunct o Piano
Stean Parkman, M.M., Visiting Proessor o Choral Conducting and Interim Director
o Yale Schola Cantorum
J.J. Penna, D.M.A., Lecturer in Voice and Opera
William Purvis, B.A., Proessor in the Practice o Horn
Markus Rathey, Ph.D., Robert S. Tangeman Proessor in the Practice o Music History
(joint appointment with Yale Institute o Sacred Music)
Alejandro Roca, M.A., Lecturer in Voice and Opera
Sebastian Ruth, B.A., Visiting Lecturer in Community Engagement
Wendy Sharp, M.M., Assistant Proessor Adjunct o Violin and Director o Chamber
Music
David Shirin, B.M., Proessor in the Practice o Clarinet and Artistic Director, Oneppo
Chamber Music Series and Yale in New York Series
Boris Slutsky, M.M., Visiting Proessor in the Practice o Piano
Anna Smigelskaya, M.M., Lecturer in Opera
Mark Steinberg, M.M., Artist in Residence, Brentano String Quartet
James Taylor, M.Dipl., Proessor in the Practice o Voice (joint appointment with Yale
Institute o Sacred Music)
Stephen Taylor, Dipl., Lecturer in Oboe
Christopher Theoanidis, D.M.A., Proessor in the Practice o Composition
Robert van Sice, M.M., Lecturer in Percussion
Stephanie Venturino, Ph.D., Assistant Proessor Adjunct o Music Analysis and
Musicianship
Benjamin Verdery, B.F.A., Associate Proessor Adjunct o Guitar
Paul Watkins, Dipl., Proessor in the Practice o Cello
Wei-Yi Yang, D.M.A., Proessor in the Practice o Piano
Kyung Yu, M.M., Lecturer in Violin
Adriana Zabala, M.M., Associate Proessor Adjunct o Voice
Sta
Laura Adam, M.S., Director o Operations
Marika Basagoitia, M.M., Production Coordinator and Librarian
Samuel Bobinski, M.M., Concert Oce Coordinator
David A. Brensilver, M.M., Communications Ocer
Regina Carson, B.A., Operations Assistant
Jenny J. Chen, M.A., Director o Communications
Cara Cheung, A.D., Assistant Director o Development and Alumni Aairs
Deanne Chin, B.A., Associate Manager, Norolk Chamber Music Festival/Yale
Summer School o Music
Robert Crowson, Piano Technician
Brian L. Daley, A.A., Piano Technician
Katherine P. Darr, M.S.W., Director o Development and Alumni Aairs
Erik Diehl, B.A., Chie Piano Technician
Megan Doran, M.S., Senior Executive Assistant, Oce o the Dean
Timothy Feil, M.M.A., Financial Assistant
Kenisha Gamble, Client Technologies Administrator
Faculty and Administration
School of Music 2024–2025
Sara Gardner, M.A., Design Manager
Alexandra Green, M.Div., Coordinator, Music in Schools Initiative, New Haven
Eveline-Adele Halpert, B.A., Senior Administrative Assistant, Deputy Dean’s Oce
Dionne James, Operations Assistant
Krista Johnson, B.A., Director o Student Services, Health and Saety Leader
Matthew LeFevre, B.M., Director o Technology
Julian Liby, M.A., Video Producer
Christina Linsenmeyer, Ph.D., Associate Curator, Morris Steinert Collection o Musical
Instruments
Katherine Ludington, M.S., Manager, Concert Oce
Steanos Melas, Ph.D., Admissions Coordinator
Christopher Melillo, Operations Coordinator
Jerey Mistri, M.M., General Manager, Yale Philharmonia and New Music New
Haven
Erika Niemi Heltzel, M.A., Manager, Yale Opera
Rubén Rodríguez, M.M., Director, Music in Schools Initiative, New Haven
Benjamin Schaeer, B.M., Associate Administrator, Norolk Chamber Music Festival/
Yale Summer School o Music
Benjamin Schwartz, B.S., Live Recording Engineer
Charles Stupakevich, C.P.A., Director, Finance and Administration
Justina Sullivan, B.M., Director, Strategies and Special Projects
Susan E. Thompson, M.M., Curator, Morris Steinert Collection o Musical
Instruments
Patricia Torello, Business Operations Manager
Robert Whipple, B.A., General Manager, Norolk Chamber Music Festival/Yale
Summer School o Music
Kellie Wood, B.S., Senior Administrative Assistant, Student Services Oce
Ray Zhou, A.D., Director o Admissions
Fellows
Audrey Chen, M.M., String Quartet Fellow
Chih-Ta Chen, M.M., String Quartet Fellow
Amelia Dietrich, M.M., String Quartet Fellow
Umi Garrett, B.M., Collaborative Piano Fellow
Michelle Kim, M.M., Collaborative Piano Coordinator
Harriet Langley, M.M., String Quartet Fellow
Jiarong Li, M.M., Collaborative Piano Fellow
Lucas Mourao Nogara, M.M. Collaborative Piano Fellow
Yale University Library: Irving S. Gilmore Music Library Sta
Mark Bailey, M.M., Head, Historical Sound Recordings Collection
David Floyd, M.M., M.L.I.S., Music Librarian or Metadata and Acquisitions
Brendan Galvin, M.L.I.S., Circulation supervisor
Zachary Haas, M.M., Evening/Weekends Circulation Supervisor
Eva M. Heater, M.M., Catalog Assistant
Michelle Koth, M.L.S., Catalog Librarian
Suzanne Eggleston Lovejoy, M.S.L.S., Music Librarian or Access and Research
Services
Ruthann B. McTyre, M.M., M.L.I.S., Processing Archivist
Jane Meditz, B.M., M.A.R., Archives Assistant
Anne Rhodes, M.L.I.S., M.A., Processing Archivist
Eric Sonnenberg, M.L.I.S., Digital Archivist
Libby Van Cleve, D.M.A., Director, Oral History o American Music
Faculty and Administration
Music at Yale
Music at Yale enjoys a level o participation and excellence that is unrivaled among
American universities. The School o Music stands at the center o this activity, with stu-
dents and aculty presenting more than two hundred public concerts and recitals every
year. Although there are numerous extracurricular music groups o all types throughout
the campus, the curricular study and perormance o music is centered at the School o
Music, the Department o Music, and the Institute o Sacred Music.
The Yale School o Music is a graduate-proessional school or students o exceptional
ability who, by reason o their musical and intellectual aptitude, are qualified to do
graduate work at this university. At Yale, students selected rom all parts o the world are
brought together to study with a distinguished aculty. In addition to receiving proes-
sional training in music, students are encouraged to participate in the rich intellectual
lie o the entire university and to develop and pursue interests in areas outside o their
majors. While these intellectual pursuits are not, and should not be, ormulated as a
program o prescribed courses, the expansion o one’s comprehension and perception
beyond mechanical cra is a basic premise o the school’s educational philosophy. School
o Music programs are designed to develop students’ potentials in their special field to
the highest levels o excellence while extending their intellectual horizons beyond that
area o specialization.
One o the most important training activities at the school is chamber music, which
is closely supervised by aculty coaches. There are also requent opportunities or solo,
small ensemble, orchestral, choral, and other types o perormances. Because o this
unique training, many graduates o the Yale School o Music hold positions on university
aculties, in major symphony orchestras, and in leading opera companies. Others are
now perorming as concert artists or have ound careers in various aspects o commercial
music and music administration.
The school limits its enrollment to two hundred graduate students and maintains a
student-aculty ratio o approximately three-to-one, providing a distinctive educational
environment or gied artists.
/
Nestled in northwest Connecticut’s pastoral Litchfield Hills, the Ellen Battell Stoeckel
Estate in the village o Norolk has hosted the Norolk Chamber Music Festival/Yale
Summer School o Music since . The estival’s three renowned programs are the
Chamber Music Session, the New Music Workshop, and the Chamber Choir and Choral
Conducting Workshop. The admissions process is highly competitive, as these programs
are among the most selective summer music oerings in the world. Accepted ellows
(instrumentalists, composers, and singers) receive a scholarship covering the ull cost o
tuition, housing, and meals. At Norolk, ellows participate in an intensive program o
coachings, master classes, and perormances.
Summertime school and estival concerts are presented rom June through August
in the Music Shed, which was built in . The Music Shed’s stunning acoustics have
complemented the artistry o such renowned musicians as Fritz Kreisler, Sergei Rach-
manino, Jean Sibelius, and, more recently, the Brentano, Dover, Emerson, Guarneri,
and Tokyo string quartets.
Chamber Music Session ellows have ample opportunity to perorm on the weekly
Emerging Artist Showcase series and alongside their aculty mentors and estival guest
artists on the Friday and Saturday series. The Emerging Artist Showcase has developed
a strong ollowing, attracting area residents as well as people who travel many miles to
hear concerts.
All school and estival perormances are proessionally recorded, and ellows rom
each session may obtain video and audio downloads o their work. Festival concerts are
livestreamed and requently broadcast nationally on public radio.
Alumni o the Norolk program who have enjoyed successul careers in music include
Alan Gilbert, Richard Stoltzman, Frederica von Stade, Pamela Frank, the Claremont
and Eroica trios, So¯ Percussion, Eighth Blackbird, and the Alexander, Calder, Cassatt,
Cavani, Jasper, Miró, St. Lawrence, Shanghai, and Ying string quartets, among many
others. Recent Norolk alumni have also won many o the most prestigious chamber
music prizes including the Young Artists, Naumburg, Fischo, M-Prize, and Ban
competitions.
Applications or the New Music Workshop and the Chamber Music Session are due
by Thursday, January , . Applications or the Chamber Choir and Choral Conduct-
ing Workshop are due by Thursday, March , . Admission is extremely competitive
and is based on an audition video and, most important, a subsequent live audition.
Applications and urther inormation may be obtained at https://norolk.yale.edu or by
email, nor[email protected].
The Morris Steinert Collection o Musical Instruments, ormerly known as The Yale
Collection o Musical Instruments, is committed to ostering an understanding and
appreciation o musical instruments rom all cultures and all periods. One o the ore-
most institutions o its kind, it acquires, preserves, and exhibits musical instruments
rom antiquity to the present, eaturing restored examples in demonstrations and live
perormances.
The collection also serves as a laboratory or historical, artistic, and innovative explo-
ration and education in the arts and sciences. It is a renowned study and research col-
lection or scholars, musicians, and instrument makers, and a world-class museum that
engages the public in the ascinating history o musical instruments through exhibits,
publications, concerts, and outreach initiatives.
Established in , when local piano dealer Morris Steinert presented a portion
o his personal instrument collection to the university, the collection has since steadily
grown in quality and reputation through the acquisition o individual instrument
donations and notable private collections belonging to Belle Skinner, Emil Herrmann,
Robyna Neilson Ketchum, Jacques Français, Ivan Herman, Lawrence S. Wilkinson,
Music at Yale
School of Music 2024–2025
Albert Steinert, Andrew Petryn, Craig Kridel, and Adolph “Bud” Herseth. Today, it
comprises more than instruments, the majority o which document the history o
the western art music tradition.
At present, the Richardsonian Romanesque building that houses the collection at
Hillhouse Avenue is undergoing a major renovation with a scheduled re-open date o the
all o in celebration o the collection’s th anniversary. For urther inormation
about the museum and its holdings, please visit http://music.yale.edu/collection.
The Department o Music works as a partner with the School o Music to provide a
basic education in music to Yale students. Whereas the School o Music is primarily
concerned with graduate students who wish to become perormers, conductors, and
composers, the Department o Music teaches undergraduates in Yale College, providing
instruction in music theory, music history, and music appreciation or music majors and
nonmajors alike. At the same time, the department oers graduate programs in music
theory, ethnomusicology, and musicology leading to the Ph.D. degree. There is also a
joint Ph.D. with Arican American Studies. Students interested in these programs may
apply directly to the Yale Graduate School o Arts and Sciences, https://gsas.yale.edu/
admission. Graduate courses, all conducted as seminars, are taught by a distinguished
aculty. With the consent o their advisers and the instructor o the course, students in
the School o Music are welcome to enroll in both undergraduate and graduate courses
oered by the department. Similarly, students enrolled in the department will oen be
ound at the school taking lessons, playing chamber music, or taking courses in con-
ducting, music history, or composition. The department sponsors the Yale Collegium
Musicum, the Yale Baroque Opera Project, the Yale Bach Society, and the Yale Symphony
Orchestra, as extracurricular musical activities. The Friends o Music at Yale supports
undergraduate musical activities including the Cynthia W. Dixon Memorial Fund, which
provides scholarships or undergraduate music lessons. Further inormation may be
obtained at https://yalemusic.yale.edu.
The Yale Institute o Sacred Music, an interdisciplinary graduate center, educates lead-
ers who oster, explore, and engage with the sacred through music, worship, and the
arts in Christian communities, diverse religious traditions, and public lie. Partnering
with the Yale School o Music and Yale Divinity School, as well as other academic and
proessional units at Yale, the institute prepares its students or careers in church music
and other sacred music, pastoral ministry, perormance, and scholarship. The institute’s
curriculum integrates the study and practice o music and the arts with religion. With a
core ocus on Christian sacred music, the institute builds bridges among disciplines and
vocations and makes creative space or scholarship, perormance, and practice.
Music students who wish to pursue graduate work in programs in choral conduct-
ing, organ, composition, or voice (early music, oratorio, and chamber ensemble vocal
track) must apply or and be accepted into one o the degree programs o the School
o Music: M.M., M.M.A., or D.M.A. Institute students must be admitted to either the
Yale School o Music or Yale Divinity School (or both), rom which they receive their
degrees. Students pursuing music degrees receive rigorous conservatory training and
will typically go on to careers in church music, public perormance, or teaching.
The Institute o Sacred Music was established in by a gi rom the Irwin-Sweeney-
Miller Foundation o Columbus, Indiana. The chairman o the board o the ounda-
tion, Mrs. Robert S. Tangeman, described the institute as a place where “the unction o
music and the arts in Christianity will receive new strength through the preparation and
training o individual musicians, ministers, and teachers who understand their calling in
broad Christian terms and not exclusively within the limits o their disciplines.”
At the heart o the institute’s program is the weekly Colloquium, a lively interdisciplin-
ary course attended by all ISM aculty and students. Faculty and guest speakers lecture
on topics pertinent to the primary fields represented in the ISM: worship, music, and the
arts. In their final year, students present a project that is the culmination o work done
with another ISM student outside their own discipline. In Colloquium, students and
aculty explore the ways in which music and the arts unction within diverse Christian
liturgical practices as well as the place o the sacred arts within the worship practices o
other religious traditions. The institute serves to promote the understanding o biblical
texts as proclaimed in community and the unique sense o identity the arts provide or
worshipers in a variety o aith traditions.
More inormation regarding the institute may be ound online at https://ism.yale.
edu; or its bulletin may be obtained online at https://bulletin.yale.edu or by phoning
.. or by emailing [email protected].
Music at Yale
History and Mission o the School o Music
The origin o the Yale School o Music can be traced to the s when members o
the Battell amily o Norolk, Connecticut, became interested in the musical lie o the
university. Irene Battell Larned, an accomplished musician, moved to New Haven in
with her husband, Yale proessor William Larned. Sensing a need or proessional
music instruction at the university, she was urther motivated by the arrival in New
Haven o the German musician Gustave Jacob Stoeckel in . Larned persuaded her
brother, Joseph Battell, to und an endowment or musical studies with Stoeckel as the
teacher. In Battell presented , to Yale College “or the support, as ar as it
may go, o a teacher o the science o music to such students as may avail themselves
o the opportunity.” The Yale Corporation approved the appointment o Stoeckel as an
instructor in church music and singing and as director o the Chapel Choir and other
musical activities at Yale College in . Continued support by members o the Battell
amily resulted in an endowment or a proessorship o music. In Mr. Stoeckel was
appointed Battell Proessor o Music, and Yale oered its first credit courses in music.
The Yale School o Music traces its beginning to the conerral o the first Bachelor o
Music degrees to a class o our in . The Yale Corporation then voted to separate the
music program rom Yale College in November o that year, and two cochairs succeeded
Gustave Stoeckel. Samuel Simons Sanord, a pianist, was appointed proessor o applied
music, and Horatio Parker, an outstanding composer and church musician, was named
Battell Proessor o the Theory o Music. Parker was appointed the first dean o the
school in .
Also in , musical instrument dealer Morris Steinert organized the New Haven
Symphony Orchestra. With Parker as the music director, the orchestra was inextricably
linked to the school. In Steinert donated eighty-three historical instruments to Yale,
providing the core o the uture Morris Steinert Collection o Musical Instruments.
The steady growth o the school’s enrollment and programs was hampered by the lack
o suitable acilities. The situation was alleviated by the construction o Albert Arnold
Sprague Memorial Hall in , given by Mrs. Sprague and her daughter, Elizabeth
Sprague Coolidge, “to advance the best interests o music and to widen the useulness o
Yale University.” The only building on campus designed specifically or musical instruc-
tion, Sprague Memorial Hall housed the entire school, including oces, studios, practice
rooms, the music library, and a recital hall.
Upon Horatio Parker’s death in , the deanship and the post o conductor o the
New Haven Symphony Orchestra passed to David Stanley Smith. A composer, Smith
served until , and under his leadership academic programs were strengthened and
the library was developed into one o the finest in the country. The development o
a strong program o proessional studies resulted in the establishment o a graduate
division. The first Master o Music degree was conerred in .
In Yale designated a separate Department o Music or undergraduate studies,
with Bruce Simonds as chair. Richard Donovan served a one-year term as acting dean
o the School o Music, and the ollowing year Simonds continued to serve as both chair
o the department and dean o the School o Music. Music history classes were now
oered through the department, though some music theory courses continued to be
held through the school. From to , the presence o composer Paul Hindemith
brought a special distinction to the history o the school, and his leadership o the Yale
Collegium Musicum helped ignite the early music movement.
Also during this period, an annual estival and summer school or music were estab-
lished through the benevolence o Ellen Battell Stoeckel, who le her Norolk estate in a
private trust with instructions that the acilities be used or this purpose. The year
brought the first students to her estate in northwest Connecticut to attend the Norolk
Chamber Music Festival/Yale Summer School o Music. Like the School o Music, the
Norolk summer school admitted women rom its earliest days, although Yale College
did not become coeducational until .
Luther Noss, proessor o organ and university organist, became dean in . That
year, Sprague Memorial Hall was reconfigured to accommodate the school’s rapidly
growing library, and the acquisition o York Hall, which was renovated and renamed
Stoeckel Hall, helped meet the need or expanded studio acilities and administrative
oces. Under Noss’s guidance, the School o Music became exclusively a graduate pro-
essional school in , requiring an undergraduate degree or admission and conerring
only the Master o Music degree. Undergraduate and Ph.D. programs remained with
Yale College and the Department o Music in the Graduate School o Arts and Sciences,
respectively. Additional programs o graduate proessional studies, leading to the degrees
o Master o Musical Arts and Doctor o Musical Arts, were introduced in .
In the s, the School o Music developed acilities or both historic preservation
and new technology. The Morris Steinert Collection o Musical Instruments moved to
its current location, a ormer raternity building on Hillhouse Avenue, in . This new
climate-controlled acility, renovated specifically or the collection, enabled growth and
expansion o the collection’s holdings. With urther acquisitions in and , it
became one o the world’s oremost collections o its kind. During the tenure o Richard
Rephann, who served as director rom to , the collection tripled in size and
became a globally renowned laboratory or research, teaching, and conservation tech-
niques. Rephann also established a program o annual early music concerts that is now
the longest-running series o its kind in the country.
Yale opened its first electronic music studio in under the guidance o aculty
member Mel Powell. The Center or Studies in Music Technology, known colloquially
as CSMT (pronounced “kismet”), was only the third such acility to be built in the
United States and continues to be an invaluable resource or students at the school and
the university.
From to , musicologist Philip Nelson served as dean o the School o Music.
In Yale established the Institute o Sacred Music as an interdisciplinary graduate
center or the study o music, liturgy, and the arts. The same year, the Yale Philharmonia
took on its role as the premier graduate ensemble.
Frank Tirro, a musicologist and early music specialist, was appointed dean in .
In the s, the school acquired and renovated the ormer health center building at
College Street, the Yale Philharmonia perormed annually in Lincoln Center or the
Perorming Arts in New York and embarked on its first European tours, and Proessor
Aldo Parisot established the Yale Cellos. American composer Ezra Laderman assumed
the deanship in July , and the Artist Diploma was added to the school’s programs in
.
History and Mission of the School of Music
School of Music 2024–2025
In pianist Robert Blocker was appointed the first Henry and Lucy Moses Dean
o Music and served until . He established the Board o Visitors, later renamed the
Board o Advisors, in . Two o its members, Denise and Stephen (B.A. ) Adams,
pledged a transormational gi o million in that enabled the School o Music
to become tuition-ree and to expand its academic and artistic programming. With this
gi, Dean Blocker has increased the school’s endowment tenold over the past twenty
years.
The Yale School o Music adopted its first strategic plan, “Beyond Boundaries,” in
, and with it armed its mission to prepare a new generation o international artists
and cultural leaders. With subsequent revisions to all o its degree programs, the School
o Music’s curriculum strives to address the role o classically trained musicians in a
digital age.
Programmatically, the School o Music has orged and maintained strong relation-
ships with local, national, and international educational institutions and proessional
organizations. Since the s, orty percent o the school’s student body has been
comprised o international students, and its aculty and ensembles have perormed
worldwide. To urther strengthen its international commitment, eight partnership
agreements have been signed with institutions worldwide since the early s. In
the school led ten institutions in an ambitious international collaboration by cohosting
Musicathlon: The Conservatory Music Festival with Beijing’s Central Conservatory o
Music.
Since its early beginnings, the School o Music has been active in the New Haven com-
munity and has worked to promote music education in public schools locally and across
the country rom the s onward. In the Yale College Class o , committed to
ensuring the birthright o music or all children, created an endowment to establish and
sustain the Music in Schools Initiative. This ongoing partnership between the School o
Music and the New Haven Public Schools grew into a year-round commitment with the
creation o the Morse Summer Music Academy in . This venture is a national model
or partnerships between public schools and proessional music organizations.
While preserving a steady level o enrollment, Dean Blocker guided the school in
pursuing an ambitious acilities renovation program as part o a quest to enhance its
programs and expand its global reach. The Gilmore Music Library opened its doors
in , giving the music library a prestigious home inside Sterling Memorial Library.
Sprague Memorial Hall reopened in , aer two years o extensive renovations, with
a reurbished and technologically state-o-the-art Morse Recital Hall. In , the build-
ing at College Street was renovated and ocially reopened as Abby and Mitch Leigh
Hall.
This program o work culminated in January with the opening o the new
Adams Center or Musical Arts, which is named or Stephen ’ B.A. and Denise Adams
in recognition o their continued generosity and support o the Yale School o Music. The
complex, which was made possible primarily through gis rom Yale alumni, connects
a newly renovated Hendrie Hall to the previously renovated Leigh Hall by way o a
new structure that is anchored by a dedicated orchestra rehearsal hall and an atrium in
which students rom the School o Music and Yale College can gather. In addition to
careully engineered acoustics incorporated throughout the complex, the Adams Center
is equipped with advanced audio- and video-recording systems and distance-learning
technology.
The vibrant artistic and academic environment at the Yale School o Music has
launched some o the world’s oremost artists, educators, and leaders. YSM alumni
are presidents, deans, and CEOs o renowned institutions worldwide and ounders o
innovative ensembles and collectives. The school’s global influence is seen through its
stellar perorming alumni in the world’s leading orchestras and opera companies and the
extraordinary number o Pulitzer Prizes won by its celebrated composers.
In , José García-León was appointed to be the ninth dean o the Yale School o
Music.
– Horatio Parker
– David Stanley Smith
– Bruce Simonds
– Luther Noss
– Philip Nelson
– Frank Tirro
– Ezra Laderman
– Robert Blocker
– José García-León
The Yale School o Music educates and inspires students with exceptional artistic and
academic talent or service to the proession and to society. The school osters a vibrant
musical environment where graduate-level perormers and composers realize their high-
est artistic potential with an internationally distinguished aculty. To prepare students
or roles as cultural leaders, the school engages ully with the university’s extraordinary
intellectual and technological resources while collaborating with artistic centers through-
out the world.
History and Mission of the School of Music
Facilities
Most o the Yale School o Music campus is located in the block bounded by College,
Wall, Temple, and Elm streets. Abby and Mitch Leigh Hall, at College St., reopened
in aer a year o renovations. This beautiul building was built in in the Gothic
style as the university’s health center and has been thoroughly updated and modernized.
It houses numerous aculty studios, the deputy dean’s oce, and two classrooms.
Albert Arnold Sprague Memorial Hall, at the corner o College and Wall streets,
reopened in the all o aer two years o extensive renovations. The first floor
houses the admissions, business, concert, and registrar’s oces and the Plaut-Kimball
Recording Studio, a ully equipped proessional digital recording acility. Morse Recital
Hall, located on the second and third floors, has a seating capacity o , and its stage
accommodates eighty musicians. It is the School o Music’s primary perormance venue.
The Adams Center or Musical Arts, which opened in January , connects Leigh
Hall and the newly renovated Hendrie Hall by way o a new structure that includes
a student commons with a our-story atrium. For the first time, musicians rom the
School o Music and Yale College were able to come together in a state-o-the-art acility
with enhanced acoustics and the latest instructional technology in all spaces. The Adams
Center’s three-story soundstage-like orchestra rehearsal hall is the first home that the
Yale Philharmonia and Yale Symphony Orchestra have had at Yale. In addition to entirely
new acilities, the Adams Center boasts magnificently reimagined spaces in Hendrie
Hall, including those that are home to Yale’s undergraduate ensembles—the Yale Glee
Club and Yale Bands—and, rom YSM, the Yale Opera and Yale Percussion Group. The
large ensemble rooms are utilized or classes and various rehearsals. The Adams Center
also houses an ensemble library or all resident ensembles and the dean’s oce. Twenty-
six new practice studios and six classrooms provide space in which YSM and Yale College
students can meet, study, practice, and rehearse chamber music. Combining the space
in Leigh Hall, the preexisting space in Hendrie Hall, and the space in the new structure,
the Adams Center totals , gross square eet.
Gustave Stoeckel Hall, directly across College Street rom Sprague Hall, was named
aer Yale’s first proessor o music in and is home to the Yale Department o Music.
The only Venetian Gothic structure on campus, Stoeckel Hall was completely renovated
and expanded in and reopened in January o .
The Louis Sudler Recital Hall in William L. Harkness Hall, adjacent to Sprague Hall,
seating audiences o two hundred, is available or recitals, chamber music concerts, and
lectures.
The building at Elm St. houses academic aculty oces and the oces o Develop-
ment and Alumni Aairs, Student Lie, and the Music in Schools Initiative.
The Morris Steinert Collection o Musical Instruments, located in its own building
at Hillhouse Ave., was constructed in in the Romanesque revival style out o
reddish-brown Connecticut sandstone. The collection contains more than one thousand
instruments, o which the majority document the Western European art music tradition,
especially the period rom to . The instruments are on display in three galler-
ies and in additional exhibit space in the oyer and hall areas. Permanent exhibits are
maintained in the first-floor-east gallery and in the second-floor gallery, which is also
used as a concert room noted or its fine acoustics. An exterior renovation project was
completed in . A renovation project begun in and slated or completion in all
will reimagine the collection as a teaching museum. Preparations or the project,
which will include the installation o a new climate-control system, necessitated the
relocation o objects rom the collection to the university’s West Campus.
Woolsey Hall is used by the School o Music and other musical organizations or
concerts by large instrumental ensembles and choruses. This impressive Beaux Arts
structure, built in to celebrate the university’s bicentennial, is home to the Yale
Philharmonia, the Yale Symphony Orchestra, the Yale Concert Band, and the Yale
Glee Club. The hall has an auditorium with a seating capacity o , and houses the
Newberry Memorial Organ. The building provides additional organ practice rooms in
the basement.
The Institute o Sacred Music has oces, classrooms, and practice rooms in Miller
Hall at Prospect Street and in Sterling Divinity Quadrangle at Prospect Street.
At the heart o the SDQ complex is Marquand Chapel, the center o daily worship or
the community. It is home to an E.M. Skinner organ as well as a Baroque-style meantone
Krigbaum Organ by Taylor & Boody. These instruments, the acoustics, and the flexible
seating arrangements make Marquand Chapel a unique perormance space at Yale.
Since , the grounds o the Ellen Battell Stoeckel Estate in Norolk, Connecticut,
have hosted the Norolk Chamber Music Festival/Yale Summer School o Music. The
Music Shed, an acoustical marvel constructed in o cedar and redwood that seats
seven hundred, is the site o the estival’s concerts. Behind the stage is a choir lo that
can accommodate a two-hundred-voice chorus. The Music Shed underwent a three-year
renovation ending in . Renovations to the Music Shed in included the addition
o an air-conditioning system, a new green room, upgraded recording capabilities, and
the relocation o restrooms. Throughout each improvement project, the Music Shed has
retained the critical elements that make it a beloved perormance space. Whitehouse,
originally the home o the Battell amily, began as an eight-room house in and was
enlarged periodically over the next hundred years, eventually becoming a thirty-five-
room mansion. It was completely redone in the Victorian style during the early twentieth
century and underwent structural renovations in . Battell House, at the entrance to
the estate, contains a recital hall, administrative oces, box oce, and dining hall. Other
buildings on the estate provide housing and practice and rehearsal rooms or students
and aculty. Transormative improvements to these housing and rehearsal acilities were
completed in summer , including the creation o an eleven-room dormitory building
or students and the addition o a fieen-room annex to the Music Shed, which houses
state-o-the-art rehearsal studios.
The Irving S. Gilmore Music Library’s general collection contains approximately
, items, including scores and parts or musical perormance and study; books
about music; compact discs and LP recordings; DVDs and videotapes; sheet music;
photographs; music periodicals; and numerous online databases o books, scores, audio,
and video. The Music Library’s collection is designed or scholarly study and reerence,
and to serve the needs o perorming musicians. Fundamental to both purposes are the
Facilities
School of Music 2024–2025
great historical sets and collected editions o composers’ works, o which the library
possesses all significant publications.
The library also holds more than , linear eet o archival material, including
original music manuscripts, photographs, sound and video recordings, correspondence,
and more. Notable collections include:
• Works o noted composers ormerly associated with Yale University as teachers or
students, including the complete manuscript collection o Charles Ives and a collec-
tion o documents concerning Paul Hindemith’s career in the United States;
• The Yale Collection o Historical Sound Recordings—comprising approximately
, recordings rom the birth o recorded sound to the present, including unique
private recordings and test pressings;
• The Oral History o American Music, which includes a collection o more than ,
in-depth interviews with major musical figures o our time;
• Manuscripts and/or papers o Leroy Anderson, Daniel Asia, Paul Bekker, Howard
Boatwright, Richard Donovan, Lehman Engel, Henry Gilbert, Benny Goodman,
John Hammond, Thomas de Hartmann, Paul Hindemith, Vladimir Horowitz,
J. Rosamond Johnson, Hershy Kay, John Kirkpatrick, Ralph Kirkpatrick, David
Kraehenbuehl, Ezra Laderman, Benjamin Lees, Goddard Lieberson, Ted Lewis, Leo
Ornstein, Red Norvo, Horatio Parker, Quincy Porter, Mel Powell, Harold Rome, Carl
Ruggles, E. Robert Schmitz, Franz Schreker, Robert Shaw, David Stanley Smith, Kay
Swi, Deems Taylor, Alec Templeton, Virgil Thomson, and Kurt Weill.
The library also houses the extensive Lowell Mason Library o Church Music, noted
or its collection o early American hymn and tune books. Individual manuscript hold-
ings include autograph manuscripts o J.S. Bach, Johannes Brahms, Frederic Chopin,
Duke Ellington, Franz Liszt, Robert Schumann, Igor Stravinsky, and Fats Waller.
Access to the Music Library’s holdings is available through Quicksearch, a single
search interace that returns results rom multiple library data sources, including Yale
Library’s online catalog, Orbis. Quicksearch also pulls in results rom the various online
databases the Music Library subscribes to as well as its digital collections.
Collections in the Beinecke Rare Book and Manuscript Library at Yale, particularly
the Frederick R. Koch Collection, the Speck Collection o Goethiana, the Yale Collection
o American Literature, and the Osborn Collection, also hold valuable music materials.
Students in the School o Music may also use the acilities o any o the other University
libraries, which have a total collection o more than fieen million print and electronic
volumes in diverse media ranging rom ancient papyri to early printed books and a grow-
ing body o born-digital materials.
Degrees
Yale University awards three graduate proessional degrees through the School o Music:
Master o Music (M.M.), Master o Musical Arts (M.M.A.), and Doctor o Musical Arts
(D.M.A.). There is a Certificate in Perormance (CERT) program and an Artist Diploma
(A.D.) program or perormers holding a minimum o a high school diploma, and a
combined Bachelor o Arts/Master o Music (B.A./M.M.) program oered in conjunc-
tion with Yale College.
Graduate study in music history and theory, leading to the Doctor o Philosophy
degree, is oered through the Department o Music in the Graduate School o Arts and
Sciences.
Degree requirements:
• Two years o residency are required.
• Candidates must complete at least credits with an average grade o B. credits per
term are recommended; all candidates must complete at least credits per term.
• All programs in the School o Music require that students earn a grade o B or better
each term in both Individual Instruction in the Major and Seminar in the Major. Stu-
dents who receive a grade lower than a B in either course will be placed on academic
probation.
• Candidates or the M.M. degree must present a juried degree recital or its equivalent
in the second year o study.
• All proficiencies and required courses must be completed satisactorily beore the
Master o Music can be conerred.
• Candidates must complete at least one nonperormance course each term.
• Residence in Greater New Haven is required.
Admission requirements:
• Students must hold a baccalaureate degree or its equivalent.
• Admission to the program is through personal audition or the relevant area aculty.
• Proo o English language proficiency is required or applicants whose first language
is not English; a TOEFL score o or IELTS Academic score o . or higher is
required.
The program provides intensive training in the student’s major field—perormance,
conducting, or composition—supported by studies in theoretical and historical subjects.
Individual courses o study will be assembled as recommended by the individual depart-
ment and the academic adviser.
School of Music 2024–2025
Degree requirements:
• Candidates who hold an M.M. degree rom the School o Music are expected to
complete the program in one year. External candidates are required to complete two
years o study.
• Internal candidates must complete at least credits; external candidates must com-
plete at least credits. credits per term are recommended; all candidates must
complete at least credits per term.
• All programs in the School o Music require that students earn a grade o B or better
each term in both Individual Instruction in the Major and Seminar in the Major. Stu-
dents who receive a grade lower than a B in either course will be placed on academic
probation.
• Degree requirements include public presentation o recitals and/or compositions
during each year o the student’s residence. Internal candidates must perorm one
recital accompanied by a pre-concert lecture. External candidates must perorm two
recitals, one o which must be accompanied by a pre-concert lecture. The substance
o pre-concert lectures will be prepared with and guided by a aculty member.
• M.M.A. students participate in School o Music ensembles including chamber music,
Yale Philharmonia, New Music New Haven, and Yale Opera.
• Enrollment in any courses designed or the M.M.A. is required.
• Candidates must complete at least one nonperormance course each term.
• M.M.A. candidates hold M.M. degrees, so a undamental knowledge o musicianship
and the history o Western music is presumed, and students are tested in these areas
when they enter the program. I deficiencies in musicianship and/or music history
are evident, students are required to pass appropriate courses rom the Analysis and
Musicianship sequence and/or the Music History survey.
• Residence in Greater New Haven is required.
Admission requirements:
• Applicants must hold a Master o Music degree or its equivalent in the field in which
they are planning to apply.
• Individuals who hold a D.M.A. degree are not eligible to apply or the M.M.A.
program.
• Admission to the program is through personal audition or the relevant area aculty.
• Proo o English language proficiency is required or applicants whose first language
is not English; a TOEFL score o or IELTS Academic score o . or higher is
required.
The Doctor o Musical Arts degree at Yale is a distinctive program comprised o a two-
year residential component on campus ollowed by a three-year dissertation period
during which candidates develop and demonstrate proessional and artistic excellence.
The degree provides intensive training in the student’s major field—perormance, con-
ducting, or composition—augmented by studies in theoretical and historical subjects.
Degrees
Yale University coners the Doctor o Musical Arts degree on those candidates who have
successully completed our terms o residential requirements, demonstrated expertise
in the major field through artistic excellence and distinguished achievements in the dis-
sertation period, and concluded the program requirements by passing the final D.M.A.
recital and oral examination.
“Distinguished achievements” will be determined by the quality and extent o proes-
sional accomplishments reflecting the candidate’s own initiative and ability, including,
but not restricted to, any proessional position the candidate might hold. The level o
achievement should be substantially higher and broader than the existing high standard
o proessional activity at the time o matriculation into the program. Innovative and
creative contributions to the proession will be considered particularly significant.
The candidate’s attention is drawn to the act that the school’s doctoral degree is
earned in Musical Arts. The school interprets this degree in a most comprehensive man-
ner and expects that all candidates will possess both great depth and breadth within the
field o music. The candidate or Yale’s D.M.A. degree should demonstrate:
• exceptional competence as a perormer, conductor, or composer;
• intellectual curiosity about music and an ability to discuss in depth its history, theory,
styles, sources, and relationship to the other arts and to society;
• and extensive knowledge about many aspects o music making and real experience
in these closely allied fields. For example, an instrumentalist should be amiliar with
the elements o compositional techniques. By the same token, every composer should
display considerable skill as a perormer.
Admission requirements:
• Applicants must have completed a Master o Music degree or equivalent in the field
in which they are planning to apply prior to matriculating in the program.
• Those who hold a D.M.A. degree are not eligible to apply or the Yale D.M.A.
program.
• Applicants must come to New Haven or an audition and examinations. Applicants
are required to audition beore a aculty committee; pass examinations in music
history, analysis, and musicianship; and submit a term paper or other sample o
scholarly writing.
• Proo o English language proficiency is required or applicants whose first language
is not English; a TOEFL score o or IELTS Academic score o . or higher is
required.
Structure of the D.M.A. Program
• Proficiency assessment in keyboard will be administered at the start o the program.
Candidates are required to pass proficiency beore the completion o the two-year
residential period.
• Degree requirements include public presentation o recitals and/or compositions
during each year o the student’s residency.
School of Music 2024–2025
• A D.M.A. thesis, as well as a lecture based on the thesis, is required o all candidates.
A thesis prospectus must be submitted at the start o the second D.M.A. seminar.
• Candidates are required to pass comprehensive written and oral examinations in
order to qualiy or the dissertation period.
• Candidates must complete at least one nonperormance course each term.
• Residence in Greater New Haven is required during the residential component o the
degree program.
• During the three-year dissertation period, D.M.A. candidates will be ocused ull-
time on compiling a dossier o distinguished artistic and proessional achievements.
• All D.M.A. candidates must engage in proessional experiences throughout their
candidacy to meet the dossier requirement.
• Throughout this phase o the degree, candidates must annually submit updated
summaries o their proessional activities to the D.M.A. committee by March .
Applying to Return for the Final D.M.A. Recital and
Oral Examination
All candidates must apply to return or the final D.M.A. recital and oral examination
by January o the third year (sixth term) ollowing the completion o their D.M.A.
residential component. As part o this application, candidates must submit dossiers o
their proessional activities, accomplishments, and credentials. Letters rom recognized
individuals who are proessionally qualified to evaluate the candidate’s work are required.
These are requested directly by the School o Music. The names and addresses o at least
five individual reerences, together with a brie description o the proessional relation-
ship to the candidate, are to be provided by the candidates. Reerences rom current
members o the Yale aculty and rom alumni who graduated within the past ten years
may not be included.
The final application must be completed—including orms, dossier, reerences, and
supporting evidence such as programs, compositions, reviews, articles, publications,
recordings, and any other materials that may be pertinent—by March ollowing
submission o the application to return. Permission to apply to return aer the third
year will be granted only under exceptional circumstances. In cases where the initial
applications to return are not approved by the D.M.A. committee, candidates may, at the
D.M.A. committee’s discretion, reapply one additional time only.
Standards of Review and Evaluation
The D.M.A. committee monitors the progress o each enrolled doctoral student. D.M.A.
students will be evaluated on the level o achievement in required doctoral courses,
recitals, thesis and lecture presentation, comprehensive written and oral examinations,
keyboard proficiency, and overall compliance with program deadlines, attendance poli-
cies, and all other requirements. Students whose work does not meet the Yale School
o Music’s doctoral program standards may, at the school’s discretion, be subject to
dismissal. The School o Music’s leave o absence policy applies to D.M.A. students,
both in the residential and dissertation periods.
Degrees
Recital and Oral Examination
Candidates whose dossiers have been approved by the D.M.A. committee will be invited
to return or the final D.M.A. recital and oral examination during the subsequent aca-
demic year.
The perormance is to be an appropriate demonstration o the candidate’s proessional
expertise in the major field. It is expected that candidates will consult with the major pro-
essors and the D.M.A. committee chair regarding recital planning and programming.
Candidates are responsible or all aspects o the D.M.A. recital, including arrangements
or equipment and perormers.
Candidates must pass a comprehensive oral examination. Candidates are expected to
demonstrate thorough knowledge in all acets o their musical specialty and in other
dimensions o music.
A jury consisting o members o the Yale aculty, possibly augmented with proes-
sional musicians rom outside the university, judges the perormance and participates in
the oral examination. I approved, the candidate is then recommended or the degree o
Doctor o Musical Arts, which is conerred at the close o said academic year.
The Artist Diploma curriculum is a highly selective program or exceptionally gied
instrumentalists and singers on the cusp o a major international solo career. The course
o study or A.D. candidates is flexible and designed or the individual needs o advanced
students. All courses in the School o Music and Yale University are open to A.D. candi-
dates with permission o the instructor. Students accepted must be exclusively enrolled
in the School o Music.
Degree requirements:
• Students who hold another School o Music degree are expected to complete the A.D.
program in one year. External candidates are required to complete two years o study.
• Internal candidates must complete at least credits; external candidates must
complete at least credits. All candidates must complete at least credits per term.
• Minimum perormance requirements during the two years o residence include
two solo recitals (one or internal candidates), one chamber music recital, and one
concerto perormance. Candidates may apply or up to our weeks per year away rom
campus or proessional engagements. Funding will be provided or one international
perormance presented by a partner institution or presenter.
• Perormers participate in School o Music ensembles including chamber music, Yale
Philharmonia, New Music New Haven, and Yale Opera.
• Candidates must complete at least one nonperormance course each term.
School of Music 2024–2025
• A undamental knowledge o musicianship and the history o Western music is
presumed. A.D. candidates are tested in these areas when they enter the program. I
deficiencies in musicianship and/or music history are evident, students are required
to pass appropriate courses rom the Analysis and Musicianship sequence and/or the
Music History survey.
• Residence in Greater New Haven is required.
Admission requirements:
• Applicants must hold at least a high school diploma.
• Those who hold a D.M.A. degree are not eligible to apply or the A.D.
• Admission to the program is through personal preliminary audition or the relevant
area aculty and, in a final round, or a distinguished external committee.
• Proo o English language proficiency is required or applicants whose first language
is not English; a TOEFL score o or IELTS Academic score o . or higher is
required.
The Certificate in Perormance is designed or a ew excellent perormers who have not
completed a bachelor’s degree. Students enroll ull-time in a program o perormance
and academic studies and participate in Yale Philharmonia, chamber music, New Music
New Haven, or other ensembles as appropriate.
Degree requirements:
• Three years o study are required.
• Candidates must complete at least credits (minimum per term).
• Candidates must maintain an average grade o B.
• All programs in the School o Music require that students earn a grade o B or better
in both Individual Instruction in the Major and Seminar in the Major. Students who
receive a grade lower than a B in either course will be placed on academic probation.
• Certificate candidates are required to take all three sections o the Music History
survey and two terms o Analysis and Musicianship unless exempt on the basis o the
placement exam.
• Candidates must complete at least one nonperormance course each term.
• Residence in Greater New Haven is required.
Admission requirements:
• Applicants must hold at least a high school diploma.
• Admission to the program is through personal audition or the relevant area aculty.
• Proo o English language proficiency is required or applicants whose first language
is not English; a TOEFL score o or IELTS Academic score o . or higher is
required.
Degrees
It is hoped that, aer receiving the Certificate in Perormance, a student will complete
a baccalaureate degree at Yale or elsewhere. On completion o a bachelor’s degree—and
providing that perormance, course, examination, and proficiency requirements or
the M.M. degree were met during the Certificate studies—the student may petition
the registrar to convert the Certificate to a Master o Music degree. The credits in
perormance and academic studies required or the Master o Music degree may not be
applied toward completion o an undergraduate degree. Perormance credits required
or the certificate may not be used toward completion o the undergraduate degree. The
ee or conversion o the Certificate in Perormance to a Master o Music degree is ,
payable to Yale University.
../..
The Bachelor o Arts/Master o Music program is designed or instrumentalists with
outstanding abilities in perormance who are also interested in a liberal arts education.
Admission to the B.A./M.M. program is through acceptance into Yale College as well as
a separate, successul audition through the School o Music, either beore matriculation
into Yale College or during the third year o the B.A. program.
• B.A./M.M. students usually complete requirements or the Bachelor o Arts degree in
their first our years and or the Master o Music degree aer one year o the Master
o Music program in the School o Music (year five).
• By the end o the fih year, all students participating in the B.A./M.M. program
must have met the School o Music’s standard in Analysis and Musicianship and in
Music History either through testing or through course work; they must also have
completed the School o Music’s keyboard proficiency requirement and nonperor-
mance course distribution requirement. To ensure this, candidates admitted to the
B.A./M.M. program are required to sit or placement examinations in the School o
Music at the beginning o their senior year (year our); they must also meet with
both the deputy dean or academics and the coordinator or academic studies at the
beginning o each term in the program or advising regarding perormance activities
and academic course work.
Students accepted to the B.A./M.M. program before matriculation into Yale College
must:
• enroll in Individual Instruction in their instrument during every term in the program
(six terms o MUSI ollowed by our terms o MUS ),
• enroll, during their first our years, in two terms each o MUS , Chamber Music;
MUS , Seminar in the Major; and, where applicable, MUS , Yale Philharmo-
nia (guitarists and keyboard players should consult with their major teacher about
requisites beyond lessons and Seminar in the Major), and
• enroll, during their first our years, in at least our academic music courses at the
intermediate or advanced level in the Department o Music or, with permission,
equivalent courses at the School o Music (given the School o Music’s ocus on
notated music in the Western European tradition, optimal courses in the Depart-
ment o Music include MUSI , MUSI , MUSI , MUSI , MUSI , and
advanced courses in Groups II and III).
School of Music 2024–2025
Students accepted to the B.A./M.M. program during the third year of the B.A. must:
• enroll in Individual Instruction in their instrument during every term in the program
(our terms o MUS ),
• enroll, during their ourth year, in two terms each o MUS , Chamber Music, and
MUS , Seminar in the Major,
• enroll, where applicable, in MUS , Yale Philharmonia, or play in the Yale Sym-
phony Orchestra throughout both terms o their ourth year (guitarists and keyboard
players should consult with their major teacher about requisites in the senior year
beyond lessons and Seminar in the Major), and,
• by the end o their ourth year, enroll in at least our academic music courses at the
intermediate or advanced level in the Department o Music or, with permission,
equivalent courses at the School o Music (given the School o Music’s ocus on
notated music in the Western European tradition, optimal courses in the Depart-
ment o Music include MUSI , MUSI , MUSI , MUSI , MUSI , and
advanced courses in Groups II and III).
Program Planning
The student receives aculty advice and guidance in creating a program o study best
suited to achieve interrelated objectives:
. the command o certain basic skills that are universally recognized as attributes o the
musician
. the development o individual musical and intellectual interests
. a curriculum relevant to long-term personal and proessional goals
In planning an individual program the student must address the ollowing:
. All students will devote a major portion o their eorts to the development o their
potential as perormers or composers. At the same time, all students are expected to
participate in many other dimensions o music making.
. The need to develop and acquire the ollowing basic skills must be kept in mind.
Ear: The cultivation o aural discrimination and aural memory.
Voice: The ability to use the voice to illustrate pitch and temporal relationships inde-
pendent o an instrument.
Hands: For all perormers, technical mastery o their chosen instrument; or nonkey-
board players, at least the minimal capability to decipher the musical sense o a score;
or singers, the ability to decipher, at the piano, the sense o an accompaniment. For
all, the rudiments o conducting and related body movement.
Eye: The ability to read fluently in all cles and to comprehend with ease the average
keyboard score, our-part vocal music, and standard instrumental scores.
. It is understood that educated individuals should be able to express themselves clearly
in their own language, both in speech and in writing. Those who cannot communicate
eectively will be handicapped in expressing ideas to others and in developing, defin-
ing, and understanding those ideas. Students should take several courses that will
require them to write papers demanding evidence o critical investigation, analytical
thought, and clarity o organization.
. Music is an international art, and the languages in which it is rehearsed, perormed,
criticized, discussed, and analyzed are numerous. For singers, the necessity o a basic
command o several modern languages is obvious. A student should maintain and
develop language acility already acquired and, i desired, undertake the study o
additional languages.
. Composers should be aware o previous or unamiliar musical styles as a possible
source o stimulation to creative activity or as a contrasting context to their own musi-
cal individuality. Perormers likewise should develop amiliarity with their musical
heritage and should use this knowledge to illuminate their interpretations. For all
musicians, contact with less-amiliar music and means o music making can lead
to a heightening o consciousness o the idiosyncrasies o the music that normally
engages their interests.
. The extent o intellectual interests outside the domain o music must necessarily
vary with the temperament and background o the individual. For those musicians
School of Music 2024–2025
who are verbally and visually sensitive, the broadest possible exposure to literature
and the visual arts cannot ail to be o special benefit, and the cross-ertilization o
their discipline through contact with parallel problems can be extremely ruitul. The
useulness o those arts directly connected with music, such as poetry, drama, and
dance, is sel-evident.
Program Requirements
Master of Music candidates
• A normal load is credit hours per term; a total o credit hours is required or
graduation.
• credit hours per term is the minimum enrollment load required or ull-time M.M.
candidates in residence.
Master of Musical Arts candidates
• A normal load is credit hours per term; a total o credit hours is required or
graduation.
• credit hours is the minimum enrollment load required or ull-time M.M.A.
candidates.
• Those who were admitted to the M.M.A. program in their last term o M.M. studies
at Yale complete credits or the M.M.A. and must do so in one year.
Doctor of Musical Arts candidates
• A normal load is credit hours per term; a total o credit hours is required or
graduation.
• credit hours per term is the minimum enrollment load required or ull-time
D.M.A. candidates in residence.
Certificate students
• Certificate students must register or credit hours or each o six terms or a total
o credits.
• credit hours per term is the minimum enrollment load required or ull-time
Certificate candidates in residence.
Artist Diploma students
• credit hours are required per term, with a total o credit hours required or
graduation.
• Students who already hold an M.M. degree rom Yale complete credits or the A.D.
and must do so in one year.
The work o all students is given periodic review, and appropriate suggestions or
improvement or changes are made.
School of Music 2024–2025
Proficiencies and Required Courses
/
• All students entering the School o Music take placement examinations in musician-
ship/analysis and music history. On the basis o these examinations, each student
plans a program o studies in consultation with an academic adviser.
• Students may be required to enroll in sections o Analysis and Musicianship (MUS
, , ) during their first year.
• Students may also be required to enroll in sections o the Music History survey (MUS
, , ) or an appropriate elective as determined by the placement examination.
• Certificate candidates are required to take all three sections o the Music History
survey and two terms o Analysis and Musicianship unless exempt on the basis o the
placement exam.
Students may also be required, on the basis o the above placement examinations or their
admission materials, to enroll in MUS , English Language Skills.
()
• All students must complete at least one nonperormance (NP) course per term.
• Master o Music and Certificate students must complete at least one nonperormance
class rom each o distribution groups A, B, and C.
• Although some courses are cross-listed in multiple distribution groups, each course
can only be used to satisy the requirements o one group.
• Most Yale University courses outside the School o Music and the Department o
Music qualiy or nonperormance credit hours per term under group C.
• All students must pass the keyboard proficiency.
• Keyboard proficiency or orchestral and choral conducting, harpsichord, and organ
is reviewed by the department.
• MUS , , , Colloquium, is required each term o all ISM students.
• Individual departments may also require students to take specific courses as outlined
below.
The degree program in perormance is designed or the student seeking a proessional
career as an instrumentalist, vocalist, or conductor. The curriculum has been designed
to provide training in areas essential to the broadening and strengthening o students’
skills required to meet the exacting standards o today’s proession. Perormance majors
are oered in piano, organ, harpsichord, violin, viola, violoncello, double bass, flute,
oboe, clarinet, bassoon, horn, trumpet, trombone, tuba, percussion, harp, guitar, and
Program Requirements
voice, as well as in orchestral and choral conducting. Admission is dependent upon the
applicant’s perormance abilities, and candidates are admitted on the basis o screening
recordings and a live audition.
• Each student is assigned a principal teacher in the student’s area o specialization,
receives individual instruction in the major, and participates in required seminars
and master classes given by the major department. Seminars may also encompass
o-campus field trips and fieldwork as assigned by the instructors.
• All students except orchestral conductors present a juried public degree recital in
the final year o study; certain departments require an additional recital during the
first year o residence. Orchestral conductors participate in the Conducting Fellows’
Recital each year.
• Participation in chamber music is required o instrumental majors (except organ)
in each term o enrollment. In addition to continuous participation in chamber
ensembles, students are assigned to New Music New Haven. String, wind, harp, and
percussion students perorm in the Yale Philharmonia, as assigned.
• All singers participate in Opera Workshop or Schola Cantorum and take classes in
Vocal Repertoire, Opera Workshop, Body Movement, Acting, Perormance Practice,
and Diction as indicated below.
• At the beginning o the program, organ students are assessed or skills in keyboard
harmony, service playing, conducting, and voice and may be required to take classes
or urther development in these areas.
Accompanying Requirement for Piano Majors
All piano majors, including M.M.A. students, are required to play or at least one instru-
mental or vocal recital per academic year without pay as part o the departmental major.
Priority will be given to degree recitals. Pianists must play all pieces that require piano
accompaniment in a recital to ulfill this requirement.
• Pianists who are accompanying a recital or departmental major credit will play all
rehearsals (including dress rehearsal), lessons, master classes, and studio lessons
without pay. In extenuating circumstances that require more than fieen hours o
rehearsal, hours worked above fieen hours can be paid with approval rom the
deputy dean.
• Fieen hours o general accompaniment cannot be substituted or accompanying a
recital.
• To ulfill this requirement and receive credit, the student must notiy the senior col-
laborative piano ellow in advance and provide a program aer the recital is complete.
Master of Music
• All students present a public degree recital in the final year o study; certain depart-
ments require a recital in each year o residence.
• All students must complete our nonperormance electives at the rate o one per term.
School of Music 2024–2025
Orchestral Instruments
Yale Philharmonia/New Music New Haven
Chamber Music
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Piano
Chamber Music
Collaborative Piano: Instrumental
Collaborative Piano: Vocal
Seminar
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Choral Conducting
Camerata
Repertory Chorus
Recital Chorus
Secondary Voice
Seminar in the Major
Individual Instruction
*Colloquium (ISM only)
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Program Requirements
Guitar
Chamber Music/New Music New Haven
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Orchestral Conducting
Score Reading/Analysis
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Voice (Opera)
Vocal Repertoire
Acting or Singers
Lyric Diction
Opera Workshop
Art Song Coaching
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
School of Music 2024–2025
Voice (Early Music, Oratorio, and
Chamber Ensemble)
Acting and Movement or Singers
Lyric Diction
Early Music Coaching
Art Song Coaching
Perormance Practice or Singers
Schola Cantorum
Vocal Chamber Music
*Colloquium (ISM students only)
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Organ†
Seminar in the Major
Individual Instruction
*Colloquium (ISM students only)
Liturgical Keyboard Skills
Liturgical Music Skills
Keyboard Harmony or Organists
Elements o Choral Technique
Secondary Conducting Lessons
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
*School o Music students replace the colloquium with an elective.
†At the beginning o the program, organ students are assessed or skills in keyboard harmony, service
playing, conducting, and voice and may be required to take classes or urther development in these
areas. Organ students are also assessed on conducting and vocal skills and may be required to take
classes or urther development in these areas.
Master of Musical Arts
• All students present a public degree recital during each year o residence in the
program, one o which must include a lecture component.
• The number o electives varies according to the requirements o the departments.
• Some M.M.A. students may be required by their departments to enroll in specific
classes.
Program Requirements
• One-year internal candidates must complete two nonperormance electives at the rate
o at least one per term.
• Two-year external candidates must complete our nonperormance electives at the
rate o at least one per term.
...
internal candidates external candidates
Individual Instruction
Chamber Music (where applicable)
Yale Philharmonia (where applicable)
Instrumental Seminar (where applicable) —
Electives
____ ____
Total
Piano
internal candidates external candidates
Chamber Music
Collaborative Piano: Instrumental —
Collaborative Piano: Vocal —
Seminar —
Individual Instruction
Electives
____ ____
Total
Voice (Early Music, Oratorio, and
Chamber Ensemble)
internal candidates external candidates
Acting and Movement or Singers —
Lyric Diction —
Early Music Coaching —
Art Song Coaching
Perormance Practice or Singers —
Schola Cantorum
Vocal Chamber Music
*Colloquium (ISM students only)
Seminar in the Major
Individual Instruction
Electives
____ ____
Total
School of Music 2024–2025
Voice (Opera)
internal candidates external candidates
Vocal Repertoire —
Acting and Movement or Singers
Lyric Diction —
Opera Workshop
Art Song Coaching
Seminar in the Major
Individual Instruction
Electives
____ ____
Total
Doctor of Musical Arts
Following completion o the two-year residential period, all students pursue a proes-
sional career giving evidence o distinguished proessional achievement in the candi-
date’s field and confirm that evidence by a proessional recital and comprehensive oral
examination at Yale.
Residential component
• Two years o residence with a minimum o credits is required.
• Candidates must take the assessment in keyboard at the onset o the program; the
keyboard proficiency requirement must be ulfilled beore the completion o the
D.M.A. residential period.
• All students present a public degree recital or contribute new compositions to New
Music New Haven during each o the two years, pass written comprehensive exami-
nations during their third term, complete a thesis and give an oral presentation, and
pass oral examinations during their final term.
• Registration and participation in D.M.A. Seminar I, D.M.A. Seminar II, and Col-
loquium are required.
• A thesis prospectus is due at the start o the second D.M.A. Seminar II.
• Electives are chosen in conjunction with D.M.A. advisers.
• Courses may be required on the basis o the D.M.A. admission examination; indi-
vidual departments may also require students to enroll in specific classes.
Dissertation component
• During the three-year dissertation period, D.M.A. candidates will be ocused ull-
time on compiling a dossier o distinguished artistic and proessional achievements.
• Following the required annual submission o proessional activities updates to the
D.M.A. committee, candidates must apply to return or a final D.M.A. recital and oral
examination in the third January by filing an application and submitting a dossier.
• Candidates whose dossiers have been approved by the D.M.A. committee will be
invited to return or the final D.M.A. recital and oral examination during the subse-
quent academic year.
Program Requirements
Individual Instruction
D.M.A. Seminar I
D.M.A. Seminar II
D.M.A. Colloquium
Chamber Music (where applicable)
Yale Philharmonia (where applicable)
Departmental Seminar (where applicable)
Electives
D.M.A. Dissertation ( terms) —
____
Total
Artist Diploma
• All students present a public degree recital and one major ensemble perormance.
• One-year internal candidates must complete two nonperormance electives at the rate
o at least one per term.
• Two-year external candidates must complete our nonperormance electives at the
rate o at least one per term.
1-year
internal candidates
2-year
candidates
Orchestral Instruments
Yale Philharmonia/New Music New Haven
Chamber Music
Seminar in the Major
Individual Instruction
Electives
____ ____
Total
Piano
Chamber Music
Collaborative Piano: Instrumental —
Collaborative Piano: Vocal —
Seminar —
Individual Instruction
Electives
____ ____
Total
School of Music 2024–2025
Guitar
Chamber Music/New Music New Haven
Seminar in the Major
Individual Instruction
Electives
____ ____
Total
Voice (Opera)
Vocal Repertoire —
Acting and Movement or Singers
Lyric Diction —
Opera Workshop
Art Song Coaching
Seminar in the Major
Individual Instruction
Electives
____ ____
Total
Organ†
*Colloquium (ISM students only)
Seminar in the Major
Liturgical Keyboard Skills —
Liturgical Music Skills —
Keyboard Harmony or Organists —
Elements o Choral Technique —
Secondary Conducting Lessons —
Individual Instruction
Electives
____ ____
Total
*School o Music students replace the colloquium with an elective.
†At the beginning o the program, organ students are assessed or skills in keyboard harmony, service
playing, conducting, and voice and may be required to take classes or urther development in these
areas. Organ students are also assessed on conducting and vocal skills and may be required to take
classes or urther development in these areas.
Certificate in Performance
• All students present a public degree recital in the final year o study; certain depart-
ments require a recital in each year o residence.
• All students must complete our nonperormance electives.
• All students must take the all placement examinations in analysis/musicianship and
music history (see M.M. degree) or placement in Analysis and Musicianship (MUS
, , ).
• Music History (MUS , , ) is required o all students unless exempt.
• Required courses rom which a candidate is exempt on the basis o placement exami-
nations must be replaced with electives.
• Students who wish to retain the option to convert to an M.M. degree upon comple-
tion o a bachelor’s degree must complete all the requirements or the M.M. degree,
including all proficiencies, while in residence.
Orchestral Instruments
Yale Philharmonia/New Music New Haven
Chamber Music
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Piano
Chamber Music
Collaborative Piano: Instrumental
Collaborative Piano: Vocal
Seminar
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Guitar
Chamber Music/New Music New Haven
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Program Requirements
School of Music 2024–2025
Voice
Vocal Repertoire
Acting and Movement or Singers
Lyric Diction
Opera Workshop
Art Song Coaching
Seminar in the Major
Individual Instruction
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
The degree program in composition is designed as preparation or proessional work in
composition and such related fields as teaching, arranging, scoring, music technology,
and similar activities that require a high degree o proessional competence in working
with the materials o music.
Admission requirements
• Admission to this major is dependent primarily on demonstrated ability in
composition.
• Applicants should submit scores and recordings o at least three recent works, each
written or a dierent group o instruments, voices, and/or electronic media.
• Applicants should also be prepared or aural and written tests dealing with the
essentials o comprehensive musicianship and the history o music.
Master of Music
• Over the course o two years, each candidate must present, in public perormances o
the candidate’s music, the equivalent o a ull recital program.
• All students must complete our nonperormance electives at the rate o one per term.
Tonal Analysis elective
Nontonal Analysis elective
Individual Instruction
Seminar in the Major
Group A minimum
Group B minimum
Group C minimum
Electives
____
Total
Master of Musical Arts
• Over the course o two years, each candidate must present, in public perormances o
the candidate’s music, the equivalent o a ull recital program.
• The number o electives varies according to the requirements o the departments.
• Some M.M.A. students may be required by their departments to enroll in specific
classes.
• All students must complete at least one nonperormance elective per term.
internal candidates external candidates
Tonal Analysis elective —
Nontonal Analysis elective —
Individual Instruction
Seminar in the Major
Electives
____ ____
Total
Doctor of Musical Arts
Following completion o the two-year residential period, all students pursue a proes-
sional career giving evidence o distinguished proessional achievement in the candi-
date’s field and confirm that evidence by a proessional recital and comprehensive oral
examination at Yale.
Residential component
• Two years o residence with a minimum o credits is required.
• All students present a public degree recital or contribute new compositions to New
Music New Haven during each o the two years, pass written comprehensive exami-
nations during their third term, complete a thesis and give an oral presentation, and
pass oral examinations during their final term.
• Registration and participation in D.M.A. Seminar I, D.M.A. Seminar II, and Col-
loquium are required.
• A thesis prospectus is due at the start o the second D.M.A. Seminar II.
• Electives are chosen in conjunction with D.M.A. advisers.
• Courses may be required on the basis o the D.M.A. admission examination; indi-
vidual departments may also require students to enroll in specific classes.
Dissertation component
• During the three-year dissertation period, D.M.A. candidates will be ocused ull-
time on compiling a dossier o distinguished artistic and proessional achievements.
• Following the required annual submission o proessional activities updates to the
D.M.A. committee, candidates must apply to return or a final D.M.A. recital and oral
examination in the third January by filing an application and submitting a dossier.
Program Requirements
School of Music 2024–2025
• Candidates whose dossiers have been approved by the D.M.A. committee will be
invited to return or the final D.M.A. recital and oral examination during the subse-
quent academic year.
Individual Instruction
D.M.A. Seminar I
D.M.A. Seminar II
D.M.A. Colloquium
Chamber Music (where applicable)
Yale Philharmonia (where applicable)
Departmental Seminar (where applicable)
Electives
D.M.A. Dissertation ( terms) —
____
Total
Areas o Instruction
The members o the perormance aculty o the Yale School o Music are internationally
recognized artists and teachers. At Yale they work with students rom many countries
in programs that are broadly based and intensely proessional. Work in both solo and
ensemble perormance is supplemented by a comprehensive program o study in musical
analysis and history. Students participate in the Yale Philharmonia, New Music New
Haven, Yale Opera, and the extensive chamber music program. Master classes, special
seminars, and residencies o distinguished guest artists are sponsored each year by the
school. Students are urged to explore courses in music literature, analysis, and bibli-
ography as an important component o their course o study, and to take advantage o
courses and activities in other areas o the university. In this extraordinarily rich musical
environment, Yale provides a unique opportunity or the cultivation o each individual
student’s potential or artistic growth.
Strings
Augustin Hadelich, Ani Kavafian (area coordinator), Soovin Kim, Tai Murray, Wendy
Sharp, and Kyung Yu, violin; Ettore Causa, viola; Paul Watkins and Ole Akahoshi, cello;
Donald Palma, double bass
The violin aculty encourages students to become their own best teacher, first through
explanation and demonstration, and eventually through critical sel-awareness. No single
method is stressed; rather, an approach is designed or each individual student. Along
with the input o their proessors, students are encouraged to plan their repertoire or the
period o time they are at Yale. The importance o playing with utmost musicianship, a
strong sense o rhythm, and knowledge o the musical score are all stressed as they are
paramount to becoming a successul violinist and musician.
The approach to viola instruction stresses the overriding importance o musical
language as well as technical mastery o the instrument. The search or beauty in peror-
mance is the ultimate goal; the production o an expressive sound and an acute awareness
o phrasing in interpretation are also constantly kept in mind. An independent and broad
exploration o viola literature, including new compositions written or the instrument,
is encouraged.
The method o cello instruction is based upon the belie that even the most imagina-
tive musician is prevented rom achieving the highest potential i limited by technical
deficiencies. The student, thereore, concentrates first on the removal o tension, then
learns to involve the entire body in cello playing and to experience the physical sensations
associated with acility on the instrument. When the player and the instrument unction
as an ecient unit, the student begins to explore the vast subtleties o sound, phrasing,
and interpretation available to those who have thoroughly mastered the cello.
The Yale School o Music oers the double bassist an opportunity to refine technique
and musicianship while gaining a truer understanding o the physical aspects o playing
the double bass. Preparation or orchestra auditions, solo perormances, and all aspects
o twentieth-century writing or the double bass is emphasized in degrees corresponding
to the students’ goals.
School of Music 2024–2025
Woodwind and Brass
Kevin Cobb, trumpet; Scott Hartman, trombone; Carol Jantsch, tuba; Frank Morelli,
bassoon; Tara O’Connor, flute; William Purvis (area coordinator), horn; David Shirin,
clarinet; Stephen Taylor, oboe
Woodwind and brass players receive private lessons and participate in weekly
seminars. They are encouraged to acquaint themselves with as broad a repertoire as
possible in all fields, including the perormance o Baroque and contemporary music. In
addition to solo playing, students are required to play in chamber groups, New Music
New Haven, and the Yale Philharmonia.
Percussion
Robert van Sice, percussion
The percussion program oers three primary areas o study: solo marimba/percus-
sion, orchestral percussion, and contemporary chamber music. Students receive a weekly
private lesson and attend an orchestral repertoire seminar. Required ensembles include
Yale Philharmonia, New Music New Haven, and the Yale Percussion Group.
Guitar
Benjamin Verdery, guitar
The weekly guitar seminar includes perormances o newly learned solo repertoire
and chamber music. In addition, Proessor Verdery lectures on a variety o topics,
including interpretation, arranging, technique, pedagogy, master-class teaching,
programming, memorization, competitions, recording, and career development. Each
year in the course, students are required to write an étude and an arrangement, and to
present a lecture. The seminar also requires that, prior to graduation, students perorm
a twenty-minute outreach concert in the New Haven public schools.
A guest master class takes place each term. Recent artists have included Leo Brouwer,
Odair Assad, Eliot Fisk, David Russell, SoloDuo, Los Angeles Guitar Quartet, Raphaella
Smits, Roland Dyens, David Leisner, Anthony Newman, and Hopkinson Smith. A
biennial Guitar Extravaganza eatures perormances, master classes, and pedagogical
discussions with luminaries in the field. In the two-year guitar program each student is
strongly encouraged to prepare two solo recital programs, a concerto, and our chamber
works. The final degree recital should be perormed rom memory.
Harp
June Han, harp
Harpists have the opportunity to perorm with a wide range o ensembles including
chamber groups, the Yale Philharmonia, and New Music New Haven. Harp students
oen compete in the school’s annual Woolsey Hall Concerto Competition, which oers
the winners the opportunity to perorm with the Yale Philharmonia.
Piano
Boris Berman (area coordinator), Robert Blocker, Melvin Chen, Elizabeth Parisot, Boris
Slutsky, and Wei-Yi Yang, piano; and guests
The close collaboration o piano aculty members working with one another is one o
the unique eatures o Yale’s piano department. Piano students have regular opportuni-
ties to play in master classes and receive additional individual lessons as well as chamber
music coaching by aculty other than their major studio teachers. Moreover, many
internationally acclaimed pianists visit the school each year to give recitals, lectures, and
master classes.
The main emphasis o the piano program is on solo perormance; however, ensemble
playing, accompanying, and teaching play an important role in the piano major’s studies
at Yale. This all-encompassing training is given so that graduates are superbly equipped
to make their way in the highly competitive world o music today. Each year, every
piano student is expected to give at least one solo recital, to perorm with instrumental-
ists and/or singers, and to play chamber and contemporary music. There are myriad
perorming opportunities on campus and beyond. Many piano students compete in
the school’s annual Woolsey Hall Concerto Competition, which oers the winners the
opportunity to perorm with the Yale Philharmonia. The piano department regularly
presents outstanding current and ormer students in concerts in New York City. An
all-Steinway school, the Yale School o Music maintains good grand pianos in all concert
halls, studios, and practice rooms; the excellent practice acilities include access to aculty
studios or practice.
In addition to the ull-tuition scholarship and a living stipend given to all students at
the Yale School o Music, pianists have ample opportunities to earn extra money at Yale
through teaching and accompanying. Each year, top students are given monetary awards
and named scholarships. Yale pianists have been participants and top prizewinners in
numerous important international competitions worldwide.
Chamber Music
Brentano String Quartet, members o the perormance aculty, and guest artists per-
orming in the Oneppo Chamber Music Series
Developing musicianship is the goal o every aspiring musician. The surest path to
this goal is the study and perormance o the masterworks o chamber music literature.
Under the guidance o the aculty and visiting artists, chamber music is studied in depth,
and traditions and stylistic dierences are explored. Concerts by visiting ensembles are
open to students.
Chamber music holds a place o great importance in the curriculum at Yale. An
eort is made to provide each student with an opportunity to play in various ensembles.
Students also have the opportunity to rehearse and perorm in chamber music concerts
with their aculty coaches.
Student chamber music perormances take place not only at the School o Music
but also in various residential colleges on the Yale campus and in the surrounding
communities.
Areas of Instruction
School of Music 2024–2025
Harpsichord
Arthur Haas, harpsichord
A perormance major is oered at the graduate level. Students in the School o Music
may elect to study harpsichord as a secondary instrument; an audition and permission
o the instructor are required.
Candidates or graduate study in harpsichord should show great potential in both
solo and collaborative perormance. Goals or the degree include a command o solo lit-
erature rom the late Renaissance through the pre-Classic period and extensive Baroque
ensemble experience leading to fluent and tasteul continuo realization with both sing-
ers and instrumentalists. In addition, students will acquire knowledge about Baroque
perormance practice, organology, and tuning/maintenance issues. While in residence,
candidates will have the possibility o studying and playing on keyboard instruments at
the Morris Steinert Collection o Musical Instruments.
Organ
Martin Jean, Walden Moore, James O’Donnell, organ; Jerey Brillhart, improvisation
The major in organ prepares students or careers as soloists, inormed teachers, and
church musicians, and or doctoral-level studies. The departmental seminar is devoted
to a comprehensive survey o organ literature rom all musical periods. In addition to
individual coaching rom the resident aculty, majors receive individual lessons rom
renowned visiting artists who come to Yale or one week each year. In recent years
the visiting artists have included Marie-Claire Alain, Martin Baker, Michel Bouvard,
Sophie-Véronique Caucheer-Choplin, David Craighead, Vincent Dubois, Hans-Ola
Ericsson, Michael Gaillit, Jon Gillock, Naji Hakim, Martin Haselböck, Susan Landale,
Olivier Latry, Jon Laukvik, Rachel Laurin, Ludger Lohmann, Renée Anne Louprette,
Christophe Mantoux, Karel Paukert, Peter Planyavsky, Simon Preston, Daniel Roth, Erik
Wm. Suter, Thomas Trotter, and Dame Gillian Weir. Organ students are also assessed on
conducting and vocal skills and may be required to take classes or urther development
in these areas.
Students have the opportunity or practice and perormance on an extensive col-
lection o fine instruments at the university: the H. Frank Bozyan Memorial Organ in
Dwight Memorial Chapel (von Beckerath, three manuals, ); the organ in Battell
Chapel (Walter Holtkamp, Sr., three manuals, ); the organs in Marquand Chapel
at the Divinity School (E.M. Skinner, three manuals, ; Krigbaum Organ, Taylor
& Boody, three manuals, meantone temperament, ); and the Newberry Memorial
Organ in Woolsey Hall (E.M. Skinner, our manuals, ), one o the most renowned
Romantic organs in the world. The organ studio at the Institute o Sacred Music houses
a two-manual organ by Martin Pasi (). Two-manual practice instruments by Flen-
trop, Holtkamp, Casavant, and other builders are located both in Woolsey Hall and at
the Institute, which also has five Steinway grand pianos, a C.B. Fisk positive, a Dowd
harpsichord, and a two-manual Richard Kingston harpsichord.
The Institute also oers an employment placement service or organ students at Yale.
Voice
Students majoring in vocal perormance at Yale are enrolled in one o two separate and
distinct tracks: the opera track and the early music track. The early music, oratorio, and
chamber ensemble track is sponsored jointly by the School o Music and the Institute o
Sacred Music. Both tracks are designed to enhance and nurture the artistry o singers by
developing in them a secure technique, consummate musicianship, stylistic versatility,
perormance skills, and comprehensive perormance experience. In both tracks there is
a strong emphasis on oratorio and the art song repertoire, and each student is expected
to sing a recital each year.
The Yale community and the New Haven area oer ample opportunities or solo
experience with various Yale choral and orchestral ensembles, as well as through church
positions and proessional orchestras. Close proximity to New York and Boston makes
attendance at perormances and auditions in those cities convenient. Additionally,
students have the opportunity to teach voice to undergraduates in Yale College and to
nonmajors in the Yale School o Music.
John De Los Santos, Gerald Martin Moore (area coordinator), J.J. Penna, Alejandro
Roca, Anna Smigelskaya, Adriana Zabala, opera
Singers in the opera program are prepared or rigorous careers by practical studies
in the art o opera perormance. The program encompasses thorough musical training
including languages, style, acting, body movement, recitals, and general stage skills.
Full productions with orchestra, as well as perormances o excerpts, are presented
throughout the year to give students varied perormance experience. Recent productions
have included Florencia en el Amazonas, The Rake’s Progress, Eugene Onegin, A Midsummer
Night’s Dream, Don Quichotte, Le nozze di Figaro, Gianni Schicchi, Bon Appétit!, Riders to
the Sea, La Bohème, La Cenerentola, I Capuleti e i Montecchi, Iolanta, Così fan tutte, The Rape
of Lucretia, Don Giovanni, The Scarf, Dido and Aeneas, La tragédie de Carmen, Le Rossignol,
Die Zauberflöte, La Navarraise, The Bear, Die Fledermaus, L’heure espagnole, Bluebeard’s
Castle, Orphée aux Enfers, Trouble in Tahiti, and Suor Angelica. Repertoire is chosen with
students’ individual voices in mind, and to accommodate the widest casting possibilities
and maximum experience or all.
Private voice lessons are supplemented by intensive coaching in both operatic and
song literature. Weekly seminars and voice classes stress diction, interpretation, and
eective communication. Master classes by eminent artists give musicians contact with
and insight into the real world o music. Such guests have included Lawrence Brownlee,
Dame Sarah Connolly, Renée Fleming, Marilyn Horne, Sherrill Milnes, Erin Morley,
Matthew Polenzani, and Renata Scotto.
Areas of Instruction
School of Music 2024–2025
, ,
James Taylor, program adviser and voice
This vocal track, leading to the M.M. degree, is designed or the singer whose interests
lie principally in the fields o early music, oratorio, art song, contemporary music, and
choral chamber ensembles. Private voice lessons are supplemented by intensive coaching
in art song and oratorio literature and by concentrated study o ensemble techniques in
the chamber ensemble, Yale Schola Cantorum, directed by David Hill. Schola perorms
major works eaturing these voice students in the various solo roles, and Schola’s touring
and recording schedules provide invaluable proessional experiences. Weekly seminars
and voice classes provide in-depth instruction in perormance practices, diction, and
interpretation, and singers have the opportunity to participate in master classes by such
internationally renowned artists as Russell Braun, David Daniels, Christian Gerhaher,
Emma Kirkby, Donald Sulzen, and Lawrence Zazzo. Classes in diction, movement, and
vocal repertoire are shared with students on the opera track. Students are encouraged to
avail themselves o the oerings o the university, particularly courses in the Department
o Music. All students enrolled in the Early Music, Oratorio, and Chamber Ensemble
voice track also participate in ISM’s Colloquium on Wednesday aernoons and choose
two electives rom the academic courses oered by the Institute aculty. For more precise
inormation about the courses and requirements in this track, contact the Institute’s
admissions oce at ...
Orchestral Conducting
William Boughton, Peter Oundjian, and guests
The orchestral conducting program oers intensive training to a highly gied group
o conductors. During the two-year curriculum students train with Yale Philharmonia
Principal Conductor Peter Oundjian and also work with a group o distinguished guest
mentors. Students have the opportunity to travel to observe eminent conductors in
rehearsals.
Conductors requently have the opportunity to conduct the Yale Philharmonia and
other ensembles in rehearsal and perormance.
Although there is an emphasis on orchestral repertoire, students develop their tech-
nique and general musicianship. Score-reading skills and analysis classes are required.
In addition, students in the program are strongly encouraged to take advantage o the
diverse course oerings o the School o Music, the Department o Music, and the other
divisions o the university.
Choral Conducting
Felicia Barber, Jerey Douma, and Stean Parkman
The program prepares students or careers as proessional conductors in a variety o
contexts, including educational, civic, and church. A primary emphasis o the master’s
degree is laying the oundation or continued work in a doctoral program. Students
are expected to expand their musicianship skills and develop the broad knowledge o
repertoire required o conductors.
The program or choral conductors includes individual lessons with the choral
conducting aculty and lessons during regularly supervised sessions with the Repertory
and Recital choruses. Attendance at a weekly seminar, Repertory Chorus rehearsals,
and membership in the Yale Camerata are required each term, as is participation as a
singer in either the Yale Schola Cantorum or the Repertory Chorus. First-year students
conduct Repertory Chorus in two shared perormances. Second- and third-year students
present a degree recital with the Recital Chorus. Choral conducting students are required
to study voice as a secondary instrument or two terms and are encouraged to pursue
other secondary instrumental studies. Students who are enrolled in the School o Music
and the Institute o Sacred Music will have additional requirements as specified by the
Institute. All students are expected to avail themselves o the oerings o the university,
particularly courses in the Department o Music.
Choral conductors are advised to observe rehearsals o each o the various vocal and
instrumental ensembles. Further conducting experience is gained by serving as assistant
conductor or one o the aculty-led choirs. Visiting guest conductors have included
Simon Carrington, Harold Decker, George Guest, Simon Halsey, David Hill, Paul
Hillier, Stephen Layton, Sir Neville Marriner, Nicholas McGegan, Erwin Ortner, Stean
Parkman, Krzyszto Penderecki, Helmuth Rilling, Robert Shaw, Dale Warland, and Sir
David Willcocks.
Katherine Balch, Martin Bresnick, Aaron Jay Kernis, David Lang, Christopher
Theoanidis (area coordinator), composition
The program ocuses on studies in composition, including computer music and
recording techniques. In addition, composers are urged to continue to develop their
competency as both instrumentalists and conductors. Students are also encouraged to
take as many courses as possible in music history and literature and are required to
successully complete courses in studio techniques and the analysis o tonal and nontonal
music.
Composers are expected to produce enough new work in two years to fill one com-
plete concert o their music. To achieve this end, student compositions are interspersed
throughout the six to eight concerts given each year in the New Music New Haven series.
One o the most eective eatures o the composition program is regular visits rom
distinguished composers. Guests who have recently addressed the composers’ seminar
include John Adams, Louis Andriessen, Margaret Brouwer, Donnacha Dennehy, Bryce
Dessner, Andrew Ford, Annie Gosfield, Georg Haas, Daron Hagen, Stephen Hartke,
Vijay Iyer, Amy Beth Kirsten, Phil Kline, Paul Lansky, Missy Mazzoli, Marc Mellits,
Thomas Newman, Mark Pollard, Steve Reich, Kurt Rohde, Kaija Saariaho, Carlos
Sanchez-Gutierrez, Caroline Shaw, Arlene Sierra, Sarah Kirkland Snider, Kate Soper,
Augusta Read Thomas, Joan Tower, Dan Trueman, Jacob Ter Veldhuis, Melinda Wagner,
Amy Williams, and Du Yun.
Areas of Instruction
School of Music 2024–2025
Center for Studies in Music Technology
The Center or Studies in Music Technology (CSMT) oers courses and supports
projects in all aspects o computer applications in music composition, perormance, and
research. CSMT currently has acilities or sound synthesis and analysis, digital record-
ing and processing, and multimedia perormance. Aside rom composition projects,
CSMT supports research in interactive perormance systems, surround sound audio,
machine learning or music, and creative coding.
Music in Schools Initiative
Albert Lee, Sebastian Ruth, Rubén Rodríguez, Alexandra Green
At its core, the Music in Schools Initiative is a partnership with the New Haven Public
Schools through which students rom the School o Music support and enhance the work
o certified music educators.
The initiative, established through a gi rom the Yale College Class o , collabo-
rates with the New Haven Public Schools to provide paraproessional support in music
classrooms, All-City Ensemble opportunities, and the annual Morse Summer Music
Academy. Each program osters relationships between instructors and students while
acilitating students’ musical development through active music-making, perorming,
and responding to music. These programs cultivate a dynamic community between
New Haven students, music educators, and Yale School o Music students, providing
paraproessional support as teaching artists.
The initiative also includes a biennial Symposium on Music in Schools, which osters
dialogue on contemporary topics in music education, and a visiting proessor whose
curricular ocus urthers the program’s aims and ideals.
Courses o Instruction
Please visit Yale Course Search (http://courses.yale.edu) or the most up-to-date
course inormation, including hours and locations o classes, or each term.
Key to course list
Courses designated “a” meet in the all term only. Courses designated “b” meet in the
spring term only. Courses designated “a,b” are oered in both the all and spring terms.
Courses designated “a–b” are yearlong courses.
Courses designated NP are nonperormance courses.
Courses designated P/F will be graded on a Pass/Fail basis.
Courses designated Group A, B, or C qualiy as distribution requirements in these
groups.
MUS 500a, Fundamentals of Analysis and Musicianship credits. NP. Intensive
review o the undamental elements o musical literacy, analysis, and musicianship in
tonal and post-tonal contexts. To be ollowed by MUS . Enrollment by placement
exam. Students in MUS may not enroll concurrently in any course designated as a
Group A. Does not ulfill the Group A requirement. Stephanie Venturino
MUS 501a, Analysis and Musicianship I credits. NP. Introduction to analysis and
musicianship in tonal and post-tonal contexts. To be ollowed by MUS . Enrollment
by placement exam. Does not ulfill the Group A requirement. Seth Monahan
MUS 502b, Analysis and Musicianship II credits. NP. Intermediate analysis and
musicianship in tonal and post-tonal contexts. Enrollment by placement exam. Does
not ulfill the Group A requirement. Stephanie Venturino, Seth Monahan
[MUS 603, Advanced Musicianship, Score Reading and Analysis credits. NP. Group
A. Looking to improve your musical memory, sharpen your aural processing, and hone
your critical listening skills? Designed or students who have completed or have passed
out o the Analysis and Musicianship core courses (MUS , , ), this hands-
on lab oers a space or students to develop comprehensive musicianship through
individual and collaborative music-making. We ocus on subjects rarely addressed in
the musicianship classroom, including memorization, attentional ocus, audiation,
intonation, playing by ear, improvisation, timbre, blend, pulse, and aural analysis. Class
sessions are highly interactive and centered on singing, playing, and creating music.
Students are expected to engage in class activities using their voices and primary/second-
ary instruments—no keyboard experience necessary. Outside o class, students work on
practice-based activities, which are perormed live in class and during individual sessions
with the instructor. Prerequisite: Students must have completed or have passed out o
MUS . Not oered in –]
MUS 610a, Introduction to Score Reading and Analysis credits. NP. Group A. The
basics o score reading, understanding o orchestral instruments, and analysis o orm,
style, and harmony rom the Baroque and Classical periods. Developing cle, transposing,
School of Music 2024–2025
and score-reading skills at the keyboard. Permission o the instructor required. Prerequi-
sites: some keyboard skills, regular daily access to a keyboard outside o Yale, ability to
read both treble and bass cles. William Boughton
MUS 648a, Approaches to Fin-de-siècle Song credits. NP. Group A. This course uses
the art song as a lens or exploring the seismic changes to musical style and expression
that occurred in Europe between and . Its concerns are, above all, analytical:
through close engagement with dozens o individual songs (or voice and piano, orches-
tra, or chamber ensemble), we’ll chart the many new approaches to harmony, melody,
orm and text-setting that emerged in this critical period. But we’ll also take a keen
interest in questions o method, asking o each new piece which analytical tools—among
many—are the most illuminating and appropriate. In so doing, we’ll find that the rich-
est approach demands a toolkit as creative and eclectic as the repertoire itsel, along
with analytical flexibility and a thoughtul ear. Our principal corpus will be songs set
in German (Mahler, Wol, Strauss, Berg, Schoenberg) and French (Fauré, Debussy,
Ravel). But depending on student interest, we may branch into other repertories as
well, including works by contemporary Russian, British, and/or Nordic composers
(e.g., Mussorgsky, Vaughan Williams, Grieg, or Sibelius). Course requirements include
weekly listening, reading, and analysis; occasional oral presentations; and a final analysis
project on repertoire chosen by the student. Seth Monahan
MUS 710b, Intermediate Score Reading and Analysis credits. NP. Group A. Develop-
ing score reading and analysis rom MUS o music rom the Romantic and modern
periods through playing, listening, historical perspective, and analysis. Continuing
development o score-reading skills at the keyboard. Permission o the instructor
required. Students must have access to a keyboard or practice and class participation.
William Boughton
[MUS 505, Orchestration Through Contemporary Score Study credits. NP. Group
A. The study o advanced concepts in orchestral writing through the study o music o
the past thirty years. Composers represented include: Henri Dutilleux, Jacob Druckman,
John Adams, Tan Dun, Magnus Lindberg, Thomas Adès, Helmut Lachenmann, and
Marc-Andre Dalbavie, among others. Not oered in –]
[MUS 555, Composition for Performers credits. NP. Group A. This class looks at
music composition rom various historical and philosophical perspectives, with an eye
toward discovering models and ideas that allow us to write music or ourselves. With a
special emphasis on the history o text setting, we write and play music or one another
and critique it ourselves. All are welcome. Not oered in –]
[MUS 620, Orchestration for Performers and Conductors NP. credits. Group A. This
course on the basics o orchestration is meant to introduce the perormer and conductor
to both the knowledge o instrumentation (the mechanics and use o individual orches-
tral instruments) and the general techniques o classical orchestration (through score
study). We use Samuel Adler’s The Study of Orchestration as a primary text or the study
o instrumentation, supplemented by having live players come in weekly to talk about
Courses of Instruction
the specifics o their instruments. In addition, we look at several traditional works rom
the repertory, including Mahler’s Symphony No. , Debussy’s La Mer, and Stravinsky’s
Rite of Spring. Not oered in –]
MUS 511b, Music before 1750 credits. NP. Group B. An analytic and cultural survey
o European music beore . Alongside detailed examination o notated repertoire
representing the major styles, genres, and composers o the period, the course explores
the roles o listeners and perormers, the social contexts o music making, and the
relationships among notated and vernacular music. Topics include the development o
the modern notational system, the transmission o music as a result o social and power
structures, vernacular traditions o music making, the place o music in relationship to
changing world views and cosmologies, the relationship between music and language,
the emergence o independent instrumental music, and the development o musical
orm. The course explores both music that was incorporated in the canon o Western
music but also composers and musical traditions that were marginalized. Enrollment by
placement exam. May be taken as an elective, space permitting. Markus Rathey
MUS 512a,b, Music from 1750 to 1900 credits. NP. Group B. An analytic and cultural
survey o music rom the European tradition between and . Alongside detailed
examination o notated repertoire representing the major styles, genres, and composers
o the period, the course explores the roles o listeners and perormers, the social contexts
o music making, and the relationships among notated and vernacular musics. Topics
include the development o dramatized unctional tonality and chromatic harmony, the
interplay o vocal and instrumental genres, the publishing marketplace and the evolution
o musical gender roles, the depiction o exotic otherness in musical works, the rise o
nationalism and its influence on the arts, and the origins o modern notions o classical
music. Enrollment by placement exam. May be taken as an elective, space permitting.
Paul Berry [F], Lynette Bowring [Sp]
MUS 513a,b, Music since 1900 credits. NP. Group B. An analytic and cultural survey
o European and American music since . Alongside detailed examination o notated
repertoire representing the major styles, genres, and composers o the period, the course
explores the roles o listeners and perormers, the social contexts o music making, and
the relationships among notated and vernacular musics. Topics include modernist
innovations around , serialism and neoclassicism in the interwar period, the avant-
gardes o the s and s, minimalism and other postmodern aesthetics o the s
and beyond, and consideration o relevant traditions o popular music throughout the
period. Enrollment by placement exam. May be taken as an elective, space permitting.
Lynette Bowring [F], Robert Holzer [Sp]
[MUS 523, Phrase, Form, and Aect in the Classical String Quartet credits. NP.
Group A or B. A study o expressive potential and interpretive implication in the string
quartets o Haydn, Mozart, and Beethoven. Through close historical and music-analytic
engagement, the course helps the student develop a flexible and nuanced approach to the
articulation o phrase groups, the interpretation o large-scale orm, and the exploration
School of Music 2024–2025
o aect, style, and musical values. The goal is a detailed reckoning with the repertoire
that, more than any other, has come to define the ideals o chamber music and the idea
o classical music itsel. Quartets are chosen in part according to students’ interests and
current perormance projects, and perormance in class is encouraged. Among works
addressed are Haydn’s Opus , , , and ; Mozart’s K. , , , and ; and
Beethoven’s Opuses , , , and . Not oered in –]
[MUS 547, Text, Form, and Narrative in Instrumental Music credits. NP. Group A or
B. This course surveys major instrumental genres in Western traditions, rom the early
seventeenth century to the present, in search o sensitive and flexible approaches to the
relationship between notated instrumental music and the programmatic titles, texts, and
implied narratives that accompanied it, both on the score and in the minds o receptive
listeners. Beginning with the earliest published sonatas and proceeding through detailed
score study o examples rom both small- and large-scale genres (sonata, suite, concerto,
symphony, string quartet, concert overture, keyboard miniature, and symphonic poem),
the course addresses a wide range o repertoire via historically grounded case studies and
occasional orays into contemporary narrative theory. The goal is a fluid and stylistically
sensitive approach to musical storytelling through harmony, aect, and orm. Compos-
ers addressed include Marini, Froberger, Biber, Kuhnau, Corelli, Vivaldi, Bach, Haydn,
Beethoven, Mendelssohn, Schumann, Berlioz, Liszt, Hensel, Brahms, Rimsky-Korsakov,
Strauss, Dukas, Dvorˇák, Debussy, Schoenberg, Still, Messiaen, Gubaidulina, Takemitsu,
and Léon. Course requirements include weekly listening and short readings, occasional
oral presentations (three to six minutes), a final project (a five to eight-page paper, a
curated perormance, or a model composition), and a final oral examination on topics
chosen by the student. Not oered in –]
MUS 560a, Research and Editions credits. NP. Group B. The goal o this course is
to discover and evaluate perorming editions and recordings o musical compositions
that, in the students’ opinions, best exempliy a composer’s intent by developing library
research skills in order to locate and critically evaluate library resources that will guide and
support the student’s needs. Students select a composition rom the standard repertoire
that is relevant to them, as well as a composition by a living composer rom an under-
represented population; identiy and evaluate perorming editions (three maximum)
and recordings (three maximum) o each that represent the most authoritative version
as well as the least; maintain a research journal by way o weekly course assignments
and essays; build an annotated bibliography o resources used; and provide documented
findings to support the evaluations and articulate the reasons or their selections clearly,
and to compare the amount and types o resources that are available or research or each
o the two compositions selected, both in writing and as a final presentation to the class.
Ruthann McTyre
MUS 566a, Studies in German Opera from Mozart to Zimmermann credits. NP.
Group A or B. The class examines the musical and dramatic structure o selected Sing-
spiele and operas in the German language. Works by Mozart, Weber, Wagner, Richard
Strauss, Berg, Schoenberg, Krenek, and Zimmermann are examined in detail. This is
not intended to be a history o German opera, but rather a detailed examination o the
Courses of Instruction
organizational eatures o specific monuments o the literature. Students are required
to make presentations in a seminar ormat throughout the term. There is a midterm, a
paper, and a final examination. Paul Hawkshaw
MUS 573b, Introduction to Jazz, Race, and Gender credits. NP. Group B. An intro-
duction to jazz rom its roots in Arican music, through its development in New Orleans
(–), to its evolutionary expansion throughout the United States. The course
includes a study o jazz’s artists/styles rom the s through the s; an examination
o the social, racial, gendered, and economic actors that gave rise to jazz styles; and how
jazz developmental patterns are represented in today’s popular music. This introductory
course may be redundant or students who have already had significant studies in jazz
history. Students with some knowledge o jazz history may want to take this course to
help them develop their own curriculum in preparation or teaching a similar course in
the uture. Course work is done through a combination o online work, short essays,
group discussion, and reading assignments. Thomas C. Duy
[MUS 574, The Music of Anton Bruckner credits. Group A or B. This course has
been designed to coincide with the Yale Philharmonia perormance o the Seventh Sym-
phony and the biennial meeting o the American Bruckner Society at YSM in April .
Participants will investigate the composer’s style and its precedents in both his sacred
and secular music. The influence o Wagner, Mendelssohn, Beethoven and especially
Schubert will be discussed in detail, as will the composer’s career-long preoccupation
with revising his own music. Course Requirements: midterm and final examination;
paper due second last class; listening and reading assignments each week. Not oered
in –]
[MUS 582, French Sounds: Music from Debussy to Dalbavie credits. NP. Group A or
B. What makes French music o the past century—despite its stylistic diversity—sound
distinctly French? This course, covering the evolution o music in France rom the fin
de siècle to the turn o the millennium, addresses this question rom analytical, theo-
retical, and historical angles. Course modules ocus on French approaches to tonality,
harmony, resonance, pitch organization, melody, ornament, rhythm, timbre, and sound
qualities. Students also explore connections between French music and other subject
areas, including visual art, dance, and philosophy. Repertoire covers a wide variety o
styles and instrumentations; composers include Claude Debussy, Maurice Ravel, Cécile
Chaminade, Lili Boulanger, Edgard Varèse, André Jolivet, Germaine Tailleerre, Darius
Milhaud, Maurice Ohana, Olivier Messiaen, Henri Dutilleux, Pierre Boulez, Gérard
Grisey, Éliane Radigue, Betsy Jolas, and Marc-André Dalbavie, among others. Brie
excerpts o scholarly prose help students relate score study to broader musical, historical,
cultural, and political trends. Authors o secondary readings include Gurminder Bhogal,
Katherine Bergeron, Alexandra Kieer, Damien Blättler, Arnold Whittall, Barbara Kelly,
Jane Fulcher, Deborah Mawer, Jonathan Bernard, Julian Johnson, Caroline Rae, Robert
Hasegawa, and Amy Bauer, among others. Course requirements include weekly listen-
ing, reading, and analytical work; occasional oral presentations and discussion board
assignments; and a final analysis project based on student-selected repertoire. Not
oered in –]
School of Music 2024–2025
MUS 583a, The Orchestra from Monteverdi to Haydn credits. NP. Group A or B.
Underpinning the modern symphony orchestra are amiliar expectations and traditions,
many o them dating back to the Romantic era. This course examines the period beore
the standardization o the orchestra: the seventeenth and eighteenth centuries, during
which time the orchestra evolved rom a loose and variable collection o instruments
through to an ensemble on the cusp o becoming the modern symphony orchestra.
Lynette Bowring
MUS 587b, Reframing Post-Tonality: Twentieth and Twenty-First Century Counter-
canons credits. NP. Group A. What might we discover by looking at contemporary rep-
ertoire through the lens o lesser-known composers and compositional processes? What
happens i we shi our ocus rom traditional tools or post-tonal analysis—pitch-class
set theory and twelve-tone theory—to embrace broader, more descriptive methods? This
course grapples with these questions head-on, oering a “countercanonical” approach
(Damrosch ) to the analysis o twentieth- and twenty-first-century art music. In
addition to considering problems o tonal-atonal boundaries and canonicity, students
develop tools and strategies or post-tonal analysis that can directly aid perormance
decisions. Topics include modes, scales, pitch organization, rhythm, repetition, timbre,
tuning, and gesture. Repertoire covers a wide variety o styles and instrumentations;
composers include Ruth Craword Seeger, Roque Cordero, Kaija Saariaho, Unsuk Chin,
Sky Macklay, Anna Thorvaldsdottir, Julius Eastman, George Lewis, Dai Fujikura, Pamela
Z, and Tanya Tagaq, among others. Brie excerpts o scholarly prose help students relate
score study to broader musical, historical, cultural, and political trends. Course require-
ments include weekly listening, reading, and analytical work; occasional discussion
board and VoiceThread posts; and a final project centered on student-selected repertoire.
Stephanie Venturino
MUS 588b, Soundwalks: A Practice Guide to Field Recording and Acoustic Ecology
credits. NP. Group A. This is a discussion, listening, and creative-practice-based class
exploring the diverse role o field recordings in the compositional process. We survey the
vast musical landscape o “ound sounds,” their aesthetics, politics, and musical contexts,
as well as gain a oundational fluency with some o the technological tools involved
in working with recorded sound. This class requires zero prior experience with music
technology. Listening, discussion, and some primary source reading will be alternated
with several “tech sessions” in which we explore tools and techniques used by composers
surveyed. The class is ramed by two creative projects presented in weeks eight and
ourteen. Collaborating on the final project is strongly encouraged. Katherine Balch
[MUS 589, Approaches to the Classical Style credits. NP. Group A or B. An examina-
tion o modern scholarship on eighteenth-century music, aimed at applying varying
approaches to works composed between approximately and . Among the think-
ers and topics to be considered are Charles Rosen and James Webster on periodization;
Daniel Heartz on the galant style; Leonard Ratner on rhetoric and topics; Eric Weimer
and Janet Levy on texture; James Hepokoski and Warren Darcy on orm; Leonard Meyer
and Robert Gjerdingen on schemata; Elisabeth Le Guin on perormance and the body;
Julia Doe on the impact o the French Revolution; and Malcom Cole on racism during
the Enlightenment. Not oered in –]
Courses of Instruction
[MUS 592, The Symphonies of Gustav Mahler credits. NP. Group A or B. This course
surveys the career-spanning creative output o Gustav Mahler (–), balancing
close analytical investigations o individual works with wide-ranging considerations o
their historical, philosophical, and critical contexts. Front and center is the music itsel:
its bold and idiosyncratic use o harmony and orchestral color; its daring, even radical
eclecticism; its spiraling contrapuntal sophistication; and above all its rich and multi-
dimensional narrative complexity. All reward close study. But around the music swirls
a constellation o long-contested issues: the relevance o Mahler’s own programs and
paratexts; the relation o art to lived experience; the capacity o instrumental music to tell
stories or “narrate”; and the symphonies’ stance toward tradition at the dawn o musical
modernism. So in grappling with each work, we also have to contend with reception
traditions that are varied, complex, and at times irreconcilable. And yet each illuminates
some vital aspect o a corpus that is as perplexing and sel-contradictory as the man
behind it, the absolute-music partisan whose symphonies were programmatic through
and through. Course requirements include weekly listening, reading, and analytical
work, three brie response papers (one to our pages), occasional oral presentations,
and a final oral examination on topics chosen by the student. Not oered in –]
MUS 598b, The Piano Trio: Texture, Form, Aect credits. NP. Group A or B. A study
o texture, orm, and aect in trios or violin, cello, and piano rom the origins o the
genre until the present day. Beginning with examples rom the late eighteenth century,
the course charts a path through some o the most important developments o the next
years: chromatic harmony, ormal and temporal experimentation, post-tonal idioms,
and narrative and programmatic content. A parallel concern is the composer’s response
to evolving instruments and changing perormance practices. Repertoire is chosen in
part according to students’ interests and current perormance projects. Among compos-
ers addressed are Mozart, Haydn, Beethoven, Schubert, Wieck, Schumann, Brahms,
Dvorˇák, Ravel, Clarke, Ives, Shostakovich, Maric, and Esmail. Course requirements
include weekly listening and short readings, occasional oral presentations (our to six
minutes), a final project (a five to eight-page paper, a curated perormance, or a model
composition), and a final oral examination on topics chosen by the student. Paul Berry
MUS 603b, The Sacred Concerto in the Seventeenth Century credits. NP. Group
B. When Ludovico da Viadana published his Cento concerti Ecclesiastici in , a “new”
musical style was born: the small-scaled sacred concerto. The course outlines the devel-
opment o this style in the seventeenth century among composers like Monteverdi and
Schütz, as well as its roots in the late sixteenth century in the compositions o Willaert
and G. Gabrieli. Markus Rathey
MUS 605b, Poetry and Meaning in Vocal Music credits. NP. Group A or B. This
course surveys major vocal genres in the Western tradition, rom the Middle Ages to the
present, in search o sensitive and flexible approaches to the relationship between music
and the poetry it sets. Among practicing musicians and scholars alike, vocal genres are
commonly understood as transparent vessels or verbal meaning, which, itsel, is oen
presented as straightorward and fixed. Yet any poem rewards a range o complemen-
tary, even contrasting interpretations, while composers in dierent genres and periods
have developed an array o musical procedures that enhance, inflect, deflect, or entirely
School of Music 2024–2025
redefine the meanings that a given text can convey to receptive audiences. Beginning
with the oundations o notated European music in chant and monophonic song, and
proceeding through detailed score study o examples rom essential vocal genres (motet,
cyclic mass, madrigal, opera, cantata, oratorio, song, song cycle, and popular song),
this course hones a variety o strategies or the analysis o texted music. Repertoire is
chosen partly in response to student interest and current perormance projects. Pos-
sibilities include chant and monophonic song by Hildegard von Bingen and Beatriz
de Dia; motets by Vitry, Willaert, Palestrina, Poulenc, and Pärt; masses by Duay and
Josquin; madrigals by Arcadelt, Rore, Marenzio, Monteverdi, and Hindemith; cantatas
by Bach and Stravinsky; songs by Franz Schubert, Benjamin Britten, Sam Cooke, Otis
Redding, and Aretha Franklin; chamber and electro-acoustic works by Schoenberg and
Babbitt; and opera and oratorio by Handel, Mozart, and Saariaho. Close readings o
poetic texts go hand-in-hand with score study; brie excerpts rom primary sources and
scholarly prose provide historical context and conceptual cognates, including rhetoric,
narrative, and the complex influences o gender, race, sexuality, and political identity on
the composition and interpretation o vocal music. Paul Berry
MUS 612a, The Music of Igor Stravinsky credits. NP. Group A or B. A survey o the
relationship between Igor Stravinsky and the United States, rom his first reactions to
American culture in the s to his visits here in the s and s to his immigration
in the s and his subsequent change in style in the s and s. Special attention
will be devoted to the reciprocal influences exerted by the composer and his adopted
country. Robert Holzer
[MUS 613, Baroque Aerlives credits. NP. Group A or B. Although the baroque
period ended in the mid-eighteenth century, its styles and idioms have since been a ertile
source o inspiration or many musicians. Composers have bridged past and present
with individuality and ingenuity, and sometimes with pastiche, parody, or humor, while
perormers have continued to reinterpret and adapt past repertoire. This course traces
the aerlives o the baroque style in the musical cultures o the late eighteenth century
through to the present day, engaging analytically with a range o repertoire including
baroque-inspired classical and romantic works, neoclassical and related modernist works,
and postmodern and non-classical reimaginings o the baroque style. It also considers
arrangements and adaptations, changing perormance styles, and some broader contexts
and debates surrounding engagement with historical idioms. Not oered in –]
[MUS 617, Music and Theology in the Sixteenth Century credits. NP. Group B. The
Protestant Reormation in the sixteenth century was a “media event.” The invention o
letterpress printing, the partisanship o amous artists like Dürer and Cranach, and—not
least—the support o many musicians and composers were responsible or the spreading
o the thoughts o Reormation. But while Luther gave an important place to music,
Zwingli and Calvin were much more skeptical. Music, especially sacred music, consti-
tuted a problem because it was tightly connected with Catholic liturgical and aesthetic
traditions. Reormers had to think about the place music could have in worship and
about the unction o music in secular lie. Not oered in –]
Courses of Instruction
[MUS 618, Intimacy, Love, and Devotion in Seventeenth-Century Music credits.
NP Group B. The musical developments in the early seventeenth century, the reer use
o the dissonance in Monteverdi’s “seconda prattica,” the liberation o the solo voice
through the introduction o the basso continuo, and finally the “invention” o opera
as one o the leading genres or musical innovation provided the composer with a vast
array o new possibilities to express human emotions in music. These developments in
music went along with a paradigm shi in theology and piety in the seventeenth century;
contemporary theologians emphasized the individual and their relationship with the
divine. We can see a revival o medieval mysticism and metaphors o love and emotion
are requently used in religious poetry and devotional prose. Especially the image o
bridegroom (=Christ) and bride (=believer) was popular and led numerous composers
to setting sacred dialogues between the two “lovers” to music. This also implied a specific
understanding o gender roles, which are directly reflected in both the poetry and in
the music. In the realm o philosophy, René Descartes outlined in his Les passions de
l’âme a modern concept o emotion and showed how artists could stir these emotions in
their works o art. The course will examine the theological, philosophical, and musical
developments in the seventeenth century and analyze the relationship between the musi-
cal, literary, philosophical and theological discourses during the Baroque. Not oered
in –]
MUS 626a,b, Performance Practice before 1750 credits. NP. Group B. How are we to
perorm music rom the Baroque era (ca. –)? The diverse styles o the instru-
mental and vocal music composed during this period elicit widely diering responses
rom instrumentalists and singers attuned to pre-Classical and Romantic perormance
practices. In this course, which is centered on both perormance and discussion, we take
in the many possibilities available to the perormer o music composed in this period.
The topics we explore include Baroque sound, rhetoric, ornamentation and improvisa-
tion, vibrato, text-music relationships, tempo and meter, rhythmic alteration, dynamics,
pitch, temperament, editions, and basso continuo. We compare period instruments to
their modern counterparts through live perormance and recordings as well as discuss
dierences in national styles throughout this period. Arthur Haas, Daniel Lee
[MUS 628, The Operas of Verdi credits. NP. Group A or B. A survey o the operas
o Giuseppe Verdi. Special attention is given to the interaction o music and drama, as
well as to the larger contexts o his works in nineteenth-century Italian history. Topics
o study include Verdi as Risorgimento icon, analytic approaches to individual musi-
cal numbers, depictions o gender roles, exoticism and alterity, and reception history.
Requirements include regular attendance and inormed participation in classroom
discussion, in-class presentations, short written assignments, and a final written project.
Not oered in –]
MUS 629b, History of Public Performance credits. NP. Group B. Behind today’s per-
ormance industry lie centuries o intersections between musicians and a music-loving
public. Perormers rom individual soloists to the members o proessional orchestras
engage in traditions and actions that reach back decades, or even centuries, and the
behaviors and tastes o today’s listening public have been shaped by past generations o
School of Music 2024–2025
perormers. This course traces the history o public perormances and the relationships
between audiences, musicians, and compositions across several centuries, contextual-
izing present-day traditions and attitudes, and revisiting those o the past. Topics
covered include the establishment o concert halls and opera theaters; the development
and behavior o proessional orchestras, chamber groups, and soloists; audience and
listener behavior throughout the ages; music journalism; the recording industry; and
the dissemination o music in today’s online world. Lynette Bowring
MUS 634a, The History and Repertoire of the Wind Band credits. NP. Group B. A
study o the history and repertoire o the wind orchestra—an ensemble that includes the
wind band, the wind ensemble, and the symphonic wind ensemble. The course begins
with a historical overview o wind consorts in the Middle Ages and progresses to the
wind band/ensembles o the twenty-first century. Repertoire studies include sections o
the Gran Partita (Mozart), Serenade for Winds (Dvorˇák), Serenade for Winds (Strauss),
Petite Symphonie (Gounod), First Suite (Holst), Lincolnshire Posy (Grainger), Symphony
in B-flat (Hindemith), Music for Prague 1968 (Husa), and other pieces rom the later
twentieth and twenty-first centuries. This course has an online component and a peda-
gogical unit—students have to prepare a teaching unit at the end o the course, ocusing
on a wind band topic o their choosing. Thomas Duy
[MUS 637, Pierrot Lunaire credits. NP. Group A or B. This course combines peror-
mance o the work under study with analysis and contextualization. Students include the
vocalist and five instrumentalists and three to five commentators who analyze Pierrot and
contextualize it through harmonic and contour analysis, text study—both o the Giraud
original and Hartleben translation—and its ormal musical consequences. The class gives
attention to recorded perormances, especially those by Schoenberg, Weisberg, Boulez
(two), Da Capo, etc. Close reading o articles by Schoenberg, Lewin, Sims, Shawn, and
others inorm the perormance. Underlying premises include theories o phrase structure
(Schoenberg, Caplin), contour (Friedmann), text setting (Schoenberg, Lewin), har-
mony, and pitch considerations (Forte, Lewin). Prerequisites or Yale College students:
MUSI , one more advanced theory/analysis class, and one course in the required
music history sequence. Prerequisites or Yale School o Music students: completion o
the Analysis and Musicianship requirement and one music history course. Permission o
the instructor required or all students. Not oered in –]
[MUS 639, Staging Race in Eighteenth-Century Opera credits. NP. Group B. Opera
has always been more than simply entertainment. As a mirror o the society in which it
was written, an opera can celebrate the undying love between two protagonists, postulate
the loy ideals o an enlightened brotherhood, or indulge in antasies about European
supremacy and the ineriority o people with a dierent skin color. This course explores
aspects o race and racism in eighteenth-century opera by exploring in detail two exem-
plary works: Jean-Philippe Rameau’s Les Indes Galantes (The Amorous Indies, ) and
Wolgang Amadeus Mozart’s Die Zauberflöte (The Magic Flute, ). The examination o
the musical settings, the libretti, as well as the cultural context shows how the composi-
tions encode contemporary understandings o race and o otherness in their works. As
perormers o these works, twenty-first-century musicians have to find ways to deal
with these understandings. Can the pieces still be perormed? Should they be perormed
Courses of Instruction
with disclaimers or rewritten? The course looks at several modern productions o the
operas by Rameau and Mozart that have tried to eliminate racist aspects or that have put
the eighteenth-century pieces into a dialogue with a modern understanding o race and
racial equality. Requirements include regular attendance and participation in classroom
discussion, in-class presentations, and a final written project. Not oered in –]
[MUS 649, The Passion in Eighteenth-Century Music credits. NP. Group B. The
Passion o Christ is not only a seminal text or the Christian aith but has also inspired
countless composers to set the words to music. Especially during the eighteenth century,
at a time when sacred music had adopted stylistic devices rom the operatic stage to
express human emotions, the tradition o passion composition reaches its dramatic peak.
The course surveys the multitude o ways in which eighteenth-century composers and
musicians have responded to the passion narrative. The topics range rom liturgical
chanting o the passion in dierent Christian traditions to Bach’s settings or the Lutheran
liturgy, and rom dramatic settings based on a text by opera librettist Metastasio to the
unction o music in Mexican passion plays in Nahuatl. Requirements include regular
attendance and participation in classroom discussion, in-class presentations, and a final
written project. Not oered in –]
MUS 650a, Silenced Voices: Music, Race, and Gender in Early Music credits. NP.
Group B. Periods in music history are oen classified with convenient labels such as
“common practice,” “early music,” etc., and it is quietly assumed that everybody shares
these labels. But i we ask more critically, it becomes apparent that the labels encode
a specific view o music history that is based on the establishment o certain musical
orms, the modern tonal system, and the concept o a musical work. The labels are not
neutral, but they provide categories in which we approach musical traditions, and works
or traditions that don’t fit into these categories are oen neglected or ignored. Our labels,
as well as the music they describe, do not exist independently but are embedded in a
societal context. Music grows out o specific unctions and reflects power relationships
within society. Music not only reflects the social stratifications and power structures o
the past but in some cases also perpetuates these ideas. This course challenges some o
the common narratives about the history o early music. Focusing on our distinct areas,
we explore early examples o music by Jewish composers, the role o women in the
creation and perormance o music, the history o Arican American music beore the
nineteenth century, and the amalgamation o Native American and western traditions.
Each section begins with a critical assessment o the representation o these marginal-
ized groups in western classical music and then shis the ocus to music written and
perormed by these groups. The goal o the course is not another Western appropriation
o music by marginalized groups but rather a critical evaluation o the Western canon in
dialogue with music that is commonly excluded rom this canon. The course provides an
overview o current scholarship and presents selected compositions. The final project or
each student is the development o a concert program (with program notes) that reflects
the issues raised in the course. Markus Rathey
[MUS 651, Women in Western Art Music credits. NP. Group A or B. Women’s
musical activities, creative voices, and varied methods o engaging with music orm
the ocus in this broad survey o women in Western art music. In addition to hearing
School of Music 2024–2025
and discussing music by composers rom Hildegard o Bingen through Caroline Shaw,
the course considers the various roles women have played in the wider cultural history
o Western art music: as proessional and amateur perormers, teachers and students,
music printers and collectors, listeners, curators, and patrons. These topics are illustrated
by case studies rom recent research; the course also includes discussion o how histories
o women in music have developed, alongside some influential studies rom eminist
musicology. Not oered in –]
MUS 652a, American Mavericks in Concert Music, 1900–1970 credits. NP. Group
A or B. This course looks at the arc o American experimentalism over the course o the
twentieth and twenty-first centuries and is oered over two terms (though each o the
two courses may be taken without the other as a prerequisite). John Cage wrote that
“an experimental action is one the outcome o which is not oreseen.” The musicolo-
gist David Nicholls distinguishes experimentalism rom the avant-garde thus: “...very
generally, avant-garde music can be viewed as occupying an extreme position within
the tradition, while experimental music lies outside it.” A vibrant strain o experimental
American thought, oen ree o the sense o a directional “lineage” ound in European
modernism, is ull o iconoclastic and passionate thinking, and worthy o study. This
first term o the course deals with experimental music in the United States rom
through roughly and includes a broad swath o composers and ideas. Christopher
Theoanidis
MUS 653b, American Mavericks in Concert Music, 1970–Present credits. NP. Group
A or B. This course looks at the arc o American experimentalism over the course o the
twentieth and twenty-first centuries and is oered over two terms (though each o the
two courses may be taken without the other as a prerequisite). John Cage wrote that “an
experimental action is one the outcome o which is not oreseen.” The musicologist David
Nicholls distinguishes experimentalism rom the avant-garde thus: “...very generally,
avant-garde music can be viewed as occupying an extreme position within the tradition,
while experimental music lies outside it.” A vibrant strain o experimental American
thought, oen ree o the sense o a directional “lineage” ound in European modernism,
is ull o iconoclastic and passionate thinking, and worthy o study. This second term o
the course ocuses on music rom the early s to the present. Christopher Theoanidis
[MUS 654, Radical Piano Miniatures 1800–2000 credits. NP. Group A or B. A study
o compositional innovation in single-movement works or solo piano. Beginning with
Beethoven’s bagatelles and Schubert’s impromptus, the course charts a path through
some o the most important developments o the nineteenth and twentieth centuries,
including chromatic harmony, serial and other post-tonal idioms, the emergence
o texture as a central compositional preoccupation, and the changing capabilities o
the piano itsel. Repertoire is chosen in part according to students’ interests and cur-
rent perormance projects. Examples include works o Beethoven, Schubert, Field,
Chopin, Liszt, Wieck, Schumann, Brahms, Scriabin, Debussy, Schoenberg, Stravinsky,
Gershwin, Cowell, Cage, Ligeti, Adams, Lachenmann, and Rihm. Course requirements
include weekly listening and short readings, three brie response papers (one to three
pages), occasional oral presentations, and a final oral examination on topics chosen by
the student. Not oered in –]
Courses of Instruction
[MUS 658, Music History through Yale’s Collections and Spaces credits. NP. Group
B. Yale’s museums, galleries, and libraries hold many ascinating objects that shed light
on music history. This course provides an opportunity to encounter these objects through
an in-person, oen hands-on experience. Approximately hal o the course’s meetings
are held in locations outside o the YSM classrooms—the Morris Steinert Collection o
Musical Instruments, the Beinecke Rare Book and Manuscript Library, Yale’s art galler-
ies—where students study items such as historic instruments, rare manuscripts, music
prints, archival materials rom amous musicians and composers, and visual art related
to music. There are also meetings in Yale’s perormance spaces to discuss the history o
music studies and perormance at Yale. The remaining class meetings at YSM lay the
groundwork or these visits, broaden the discussion to include objects in other collec-
tions around the world, and consider some wider intellectual contexts and conversations
within which these collections can be placed. Not oered in –]
[MUS 662, “Brother, Can You Spare a Dime?” Music in the Great Depression credits.
NP. Group B. The crash o the New York Stock Exchange in October ushered in
the worst economic depression in history. For the next decade, much o the world’s
population was unemployed. Yip Harburg summarized the plight o these people in
his popular song “Brother, Can You Spare a Dime?” Despite the hardships o the
depression, the popular music industry in act expanded exponentially during the s
due to AM radio and aordable movies, the panacea o the poor. Big band, ragtime,
jazz, the blues, country, gospel, olk songs, and a new type o olk protest music all
came to enjoy unprecedented popularity around the world. The depression era also saw
the completion o important masterpieces o the twentieth-century canon—Berg’s Lulu,
Stravinsky’s Symphony of Psalms, and Gershwin’s Porgy and Bess, or example. Composers
o western “art” music reacted to the popular styles in dierent ways. Some like Kurt
Weill absorbed and worked with them; others such as Henry Cowell pursued a more
modernist agenda. Composers on both sides o the coin oen had specific political or
social agendas. This class examines the impact o the Great Depression on a spectrum
o composers and perormers rom Russia, Europe, and North and South America. In
addition to those already mentioned, Louis Armstrong, Béla Bartók, Marc Blitzstein,
Benjamin Britten, Ruth Craword Seeger, Benny Goodman, Woody Guthrie, Roy
Harris, Lead Belly, Florence Price, Sergei Prokofiev, Bessie Smith, Erwin Stein, Heitor
Villa-Lobos, and Anton Webern are among those whom we discuss. There are reading
and listening assignments or each class and a midterm examination. An oral presenta-
tion and final paper are also required. Not oered in –]
[MUS 669, The Literary Voice of Langston Hughes in American Music credits. NP.
Group B or C. This course is designed to help each student contextualize the lineage,
lie, and legacy o Langston Hughes within the broader understanding o American
history and American musical culture rom the Civil War to present; identiy the variety
o social, cultural, racial, ethnic, gendered, and migratory contexts that inorm our col-
lective musical identity and our individual artistic aesthetics; identiy the broad swath
o composers inspired by Hughes’s writing and/or connected to Hughes directly and
evaluate representative compositions or how Hughes’s literary style takes on musical
orm; communicate in both written and verbal orm their unique perspective on the
School of Music 2024–2025
music, composers, and topics discussed; and integrate their knowledge/understanding/
perspective on the music inspired by Hughes’s literary contributions to create concert
programming reflective o humanity’s inherent diversity. Students complete weekly read-
ings, viewings, and/or listening on Hughes’s lie in preparation or class discussion, and
research major events in American history (e.g., the Civil War, Reconstruction, WWI,
the Great Migration, etc.) to situate class discussions in their historical context. Assign-
ments include five two-page responses to reflection questions based on the composers,
compositions, and historical events discussed in class; a ten-page research paper on a
topic inspired by the course content in consultation with the instructor (topics that con-
nect the course material to a student’s individual perormance, composition, or research
interests are encouraged); and a group presentation in the orm o a Concert Proposal.
The proposal will include the proposed program (including at least one composition
using Hughes’s words or inspired by Hughes’s writing), publicity materials, personnel,
venue, budget/unding, and a sample perormance o a work rom the program. Not
oered in –]
MUS 670a, A Parallel Canon: A Survey of Black Composers in the Western Classi-
cal Tradition from Joseph Bologne to Wynton Marsalis credits. NP. Group B or
C. This course is designed to broaden a student’s knowledge o music in the Western
classical tradition beyond what is commonly understood to be “the canon.” Students
examine the lives and works o Black composers beginning with Joseph Bologne, George
Bridgetower, and Samuel Coleridge-Taylor in Europe and the UK, as well as Florence
Price, William Grant Still, Margaret Bonds, George Walker, Adolphus Hailstork, Julius
Eastman, Wynton Marsalis, et al. in the United States or their connection to or diver-
gence rom the musical tradition/convention as well as the context that propelled their
creative journeys. Students complete weekly readings, viewings, and/or listening on
various composers and musical works or class discussion, and research major events in
history (e.g., French Revolution, Industrial Revolution, the American Revolution, the
Civil War, Reconstruction, WWI, the Great Migration, etc.) to situate class discussions
in their historical context. Assignments include our three-page papers on composers,
compositions, and historical events discussed in class (topics that connect the course
material to a student’s individual perormance, composition, or research interests are
encouraged) as well as the submission o a sample concert program integrating knowl-
edge o the standard canon with the course material. This concert program is the basis
o the oral final exam. Albert R. Lee
MUS 674a, Analysis of Western Music (1199–1939) from the Composer’s Perspective
credits. NP. Group A or B. This course is designed to provide composers (and others
interested in composition) with the opportunity to evaluate and analyze important musi-
cal compositions rom a creator’s point o view. Works o music have been analyzed by
theorists, musicologists, ethnomusicologists, perormers, and audiences or their own
purposes. The goal o this course is to explore the decisive musical choices that remain
aer accounting or the contexts and constraints o theory, history, and sociology. We
attempt to address the significance and character o what, given the histories and theories
o music, is finally “composed” by a composer. Selected compositions rom to
are discussed and analyzed. Martin Bresnick
Courses of Instruction
[MUS 675, Sacred to Socially Committed: A Survey of the Mass credits. NP. Group
B. As a musical ountain o devotion and worship, the mass has been an abiding source
o inspiration or composers over many centuries. The innumerable settings within the
Western Christian world attest to rich and varied practices, while oering glimpses into
the composer and the context in which sung masses were created. The course surveys
the mass rom the sixteenth through the twentieth century, as set in Europe, the United
States, and Latin America. Canonical works are explored in addition to those rom
theatrical, olkloric, and jazz traditions. Both Latin and vernacular masses allow us to
examine musical style, genre, composers, liturgical texts, historical and cultural contexts,
and perormance practices. Not oered in –]
[MUS 688, Dvorˇák’s Prophecy: The Origin, Evolution, and Legacy of Negro Spiri-
tuals in American Music credits NP. Group B or C. Framed by Antonin Dvorˇák’s
pronouncement about the import o “negro melodies” to the establishment o a
“great and noble school” o American classical music, students examine the lineage o
Negro Spirituals in the context o both American classical music and American popular
music. Students learn to identiy types o spirituals in their original orm; distinguish
spirituals rom other genres o American music that employ sacred/religious texts (ex:
hymns, gospel); explore the broad array o composers who set spiritual melodies in solo
vocal, choral, chamber, and orchestral music; develop and communicate in written and
verbal orm their unique perspective on the music, composers, and topics discussed;
and integrate their knowledge, understanding, and perspective on the music to prepare
perormance o representative works. Students complete weekly readings, viewings, and
listenings or class discussion, as well as contextualize spirituals within major events o
American history (e.g., the American Revolution, the U.S. Constitution, the Civil War,
Reconstruction, WWI, the Great Migration, etc.). Assignments include: our two-page
responses to reflection questions based on the composers, compositions, and histori-
cal events discussed in class; a seven to ten-page research paper on a topic inspired by
the course content in consultation with the instructor (topics that connect the course
material to a student’s individual perormance, composition, or research interests are
encouraged); and a group presentation in the orm o a class perormance o a work that
uses spirituals as its source material. Not oered in –]
MUS 691a, Yale Song Lab credits NP. Group A. Yale Song Lab is a one-semester
course designed to oster collaboration between composers and vocalists, co-presented
by aculty members Christopher Theoanidis and Adriana Zabala. It is open to all YSM
and ISM composers, vocalists, collaborative pianists, and to the greater student body by
permission. Through the study o contemporary song and music drama repertory, the
composing and workshopping o original works written during the semester, and the
rehearsal, interpretation, and ultimate perormance o those works, students participate
in the creative process rom the ground up: composers understanding the singers’ per-
spectives and the singers understanding the composers’ perspectives, each inorming
the other in vital dialogue. It is our hope that the process that unolds osters a dynamic
collaborative energy that is a powerul point o reerence or the students in their ongoing
relationship to the art. Adriana Zabala, Christopher Theoanidis
School of Music 2024–2025
MUS 693a, Bach Among the Theologians credits NP. Group B. Johann Sebastian Bach
has occasionally been called “The Fih Evangelist,” and his music is oen viewed as an
expression o deep theological insight and devotion. But what does that actually mean?
How does Bach’s music relate to the religious and devotional traditions o his time? Was
Bach indeed exceptional in that regard? The course explores the religious landscape o
Bach ‘s time and demonstrate how Bach’s music relates to the contemporary trends in
theology and private devotion. The basis or the course is a new Theological Bach Reader
(translated and edited by Markus Rathey), which makes accessible important theological
documents rom Bach’s religious environment. The first hal o the course provides a
broad overview o central theological topics and their representation in Bach’s music. In
the second hal, we explore selected cantatas and their relationship to the sermons and
devotional texts rom theologians who served with Bach in eighteenth-century Leipzig.
Markus Rathey
MUS 694b, “Baroque” Music and “Baroque Music”: The Baroque as Term, Concept,
and Historical Period credits NP. Group B. An exploration o the musical meanings
that have attached themselves to the word “Baroque,” rom its eighteenth-century use
as a term o opprobrium, to its adoption as an ever more neutral chronological marker a
century later, to its rejection by some contemporary scholars. Readings and musical rep-
ertory range widely, the latter to be chosen rom pieces composed between the fieenth
century and the present day. Emphasis is also placed on rethinking some amiliar music
rom –. Robert Holzer
MUS 852a, D.M.A. Seminar I credits. NP. Group B. Required o all D.M.A. candidates
during their first year in residence. The study o a specific topic or topics provides candi-
dates with expanded opportunities or research. Stephanie Venturino
MUS 853a, D.M.A. Seminar II credits. NP. Group B. Required o all D.M.A. candidates
during their second year in residence. An introduction to the problems and methodology
o musicology and theory. In consultation with individual advisers, candidates identiy
a thesis topic and begin writing. D.M.A. written comprehensive examinations take place
during this term. Robert Holzer
MUS 854b, D.M.A. Colloquium credits. NP. Group B. Required o all D.M.A. can-
didates during the spring term o their second year in residence. Class meetings and
sessions with advisers aimed at completing the thesis. These are normally due the last
Friday o March, and public presentations take place in April. D.M.A. qualiying oral
examinations take place at the end o this term. Seth Monahan
MUS 521a, English Language Skills credits. NP. Group C. This course is designed or
students who have basic or intermediate English skills and is intended to address writing
skills, grammar, vocabulary, reading comprehension, and spoken English. Classes are
composed o teacher/student discussions, writing exercises, reading comprehension
exercises, fluency exercises, student presentations, and vocabulary tests. Serena Blocker
Courses of Instruction
MUS 559a,b, Jazz Improvisation I credits. NP. Group C. In this course students study
basic, intermediate, and advanced concepts o jazz improvisation and learn the essentials
o the jazz language through solo transcription and analysis. Students learn how to use
vocabulary (or musical phrases) and a variety o improvisational devices and techniques
over common chords and chord progressions. Upon completion o the course students
have a deeper understanding o what it takes to become a great improviser, what to
practice and how to practice it, and how to go about expanding their jazz vocabulary
in order to naturally develop a unique improvisational voice. Students are required to
bring their instruments to class; additionally, a basic understanding o jazz nomenclature
and some experience improvising are advised. Grades are based on completion o two
to three solo transcription assignments (with one being committed to memory), two
melody composition assignments, several small projects and assignments, one to two
quizzes, class attendance, and each student’s personal development. Wayne Escoery
[MUS 562b, Music in Art credits. NP. Group C. This course addresses specific top-
ics in musical iconography, i.e., the manner in which artists and sculptors o dierent
periods have used music or symbolic purposes. An objective o the course is to consider
the degree to which the portrayal o music in the visual arts reflects a particular society’s
attitude toward music. From this, one can draw conclusions about the unction o music
within that society. Not oered in –]
MUS 578b, Music, Service, and Society credits. NP. Group C. What are the impacts
o music on the conditions o a society? How have music and musicians been present
and catalytic to important historical moments? How can we think about reinvigorating
the participation o musicians in the public sphere, the public square? How do we think
about the roles and activities o musicians in today’s world? What are the potentials or
artists and arts practices to positively influence the direction o our society? What are the
mechanisms or artistic voices to play a role in activating conversation and transorming
experience? How can we think about invigorating the participation o musicians in the
public sphere? Through texts and discussion, we reconceive the roles artists can play
in the communities in which they work. We explore the concept o the social imagina-
tion—the ability to imagine dierent scenarios, dierent utures or people in the world,
and in our communities. Sebastian Ruth
MUS 621a, Careers in Music: Collaborative Leadership to Advance Creativity, Innova-
tion, and New Opportunities in the Arts credits. NP. Group C. This course equips
students with the mindset and leadership capacities to take on the challenges acing
the arts in today’s world. Students work on collaborative semester-long projects that
advance creativity, innovation, and new opportunities in the arts. Students learn personal
leadership elements o values, strengths, and mission statements. They learn and imple-
ment the design-thinking ramework to create, pitch, and implement innovative artistic
projects in an environment that encourages taking risks and learning rom experience.
Students hear rom leaders in the field with dierent models or advancing creativity,
innovation, and new opportunities in classical music today. Students learn how to col-
laborate and build emotional intelligence within a diverse artistic team. The semester
culminates with group project presentations. Astrid Baumgardner
School of Music 2024–2025
[MUS 659, Jazz Improvisation II credits. NP. Group C. This class is not or beginners;
it is or the intermediate and advanced player with some experience improvising. The
goal is to build on each student’s existing improvisational abilities, and the course work
is somewhat tailored to the needs o the students enrolled. Students study intermediate
and advanced concepts or improvisation and learn the essentials o the jazz language
through solo transcription and analysis. There is ample time spent learning important
jazz compositions and a ocus on using improvisational devices and techniques learned
in class on these compositions. Much o class time is spent playing through exercises and
patterns, playing ideas in twelve keys, and implementing the learned class material into
solos over standard jazz compositions. Open to all students. Enrollment is limited to
twenty and is by assessment during the first class. Not oered in –]
MUS 673b, Leadership Strategies for Music Presenters credits. NP. Group C. The
course explores the conceptual, managerial, financial, and entrepreneurial elements o
presenting classical and popular music. Guest lecturers include artists, educators, and
executives rom the domestic and international proessional arts and business communi-
ties. Class sessions are supplemented with case studies, and each student prepares a
comprehensive proposal or a major venture. Enrollment is limited to ten students (five
each rom YSM and SOM). This cross-listed course is a School o Music course and
ollows the YSM academic calendar. Robert Blocker
MUS 689b, The Artist as Entrepreneur: Identifying and Developing Career Pathways
in a Multicultural, Multiethnic, Multiracial World credits NP. Group C. This course
is designed to build a conceptual bridge rom the lie o a student musician to that o
a proessional artist. In this course students develop an artist statement that identifies
the various ways they make music, the motivation and inspiration behind their music
making, their aspirational goals or how they might maintain and expand their pursuits
in the uture, and the related interests and passions already developing adjacent to their
musical abilities. Through a variety o readings and class discussion, students build a
oundational understanding o entrepreneurship and use that knowledge to establish
a ramework or identiying potential career paths. The artist statement serves as the
inspiration or the development o a career plan detailing how they wish to pursue an
entrepreneurial path in and/or adjacent to music. Students engage in sel-reflection and
analyze a series o case studies to urther support the development o both the artist
statement and career plan as a template or post graduate career pursuits. Albert Lee
MUS 690a,b, Independent Study Project credits per term. NP. Second- or third-year
students with the consent o the deputy dean may elect, or one term only, to pursue
individual study in specialized areas o interest, under the supervision o aculty mem-
bers. An outline or proposed individual study must be submitted in the term prior to
the term in which the project will take place, i.e., projects proposed or all term are to be
submitted in April and spring-term proposals are due in December. Forms are available
in the oce o the registrar. Limit one per term. Faculty
MUS 999a–b, D.M.A. Dissertation credit. Faculty
MUS 515a,b, Improvisation at the Organ I credits. This course in beginning organ
improvisation explores a variety o harmonization techniques, with a strong ocus on
ormal structure (binary and ternary orms, rondo, song orm). Classes typically are
made up o two students, or a one-hour lesson on Mondays. The term culminates with
an improvised recital, open to the public. In this recital, each student improvises or up
to seven minutes on a submitted theme. Prerequisite: Successul completion o Keyboard
Harmony or Organists or permission o the instructor. Jerey Brillhart
MUS 529a, Introduction to Conducting credits. Learning the basic beat patterns
through to mixed meter in repertoire ranging rom the Baroque to post-Classical. Devel-
oping expressive baton technique and aural and listening skills. Assignments include
preparation o scores, weekly practice in conducting exercises, and score-reading skills.
A playing ensemble is made up o participants in the class. Final examination in score
reading, analysis, and conducting. Permission o the instructor required; enrollment
limited. William Boughton
MUS 530b, Intermediate Conducting credits. Development o techniques covered
in MUS through the Romantic and modern periods. Developing score reading at
the keyboard. Building memory o scores. Developing knowledge o orchestral instru-
ments. A playing ensemble is made up o participants in the class. Prerequisite: MUS
. Permission o the instructor required; enrollment limited to ten, determined by
audition. William Boughton
MUS 531a–b, 631a–b, 731a–b, Repertory Chorus—Voice credits per term. A reading
chorus open by audition and conducted by graduate choral conducting students. The
chorus reads, studies, and sings a wide sampling o choral literature. Jerey Douma
MUS 532a–b, 632a–b, Repertory Chorus—Conducting credits per term. Students in
the graduate choral conducting program work with the Repertory Chorus, preparing
and conducting a portion o a public concert each term. Open only to choral conducting
majors.
MUS 533a–b, 633a–b, 733a–b, Seminar in Piano Literature and Interpretation
credits per term. Required o all piano majors. This course ocuses on the perormance
o, and research topics relevant to, keyboard repertory. On a rotational basis, students
perorm chosen repertoire determined by the department; additionally, students make
short oral presentations based on assigned topics that are closely linked to the repertoire.
Organized outlines and bibliographies are required components o the presentations.
Weekly attendance is required. Piano aculty and guests
MUS 534b, Collaborative Piano—Instrumental credits. A course or piano majors,
intended to broaden their experience and to provide them with the skills necessary to
prepare sonatas and accompaniments. A number o selected instrumental sonatas are
covered, as well as the problems involved in dealing with orchestral reductions and piano
parts to virtuoso pieces. Sight reading and diculties related to perorming with specific
instruments are also addressed. Students are encouraged to bring works to class that they
are preparing or recitals. Elizabeth Sawyer Parisot
Courses of Instruction
School of Music 2024–2025
MUS 535a–b, 635a–b, 735a–b, Recital Chorus—Voice credits per term. A chorus
open by audition and conducted by graduate choral conducting students. It serves as
the choral ensemble or our to five degree recitals per year. Jerey Douma
MUS 537b, Collaborative Piano—Voice credits. A course designed or pianists, ocus-
ing on the skills required or vocal accompanying and coaching. The standard song and
operatic repertoire is emphasized. Sight reading, techniques o transposition, figured
bass, and eective reduction o operatic materials or the recreation o orchestral sounds
at the piano are included in the curriculum. Faculty
MUS 538a–b, 638a–b, 738a–b, Cello Ensemble credits per term. An exploration o
the growing literature or cello ensemble emphasizing chamber music and orchestral
skills as well as stylistic dierences. Perormances planned during the year. Required o
all cello majors. Ole Akahoshi
MUS 540a,b, 640a,b, 740a,b, Individual Instruction in the Major credits per term.
Individual instruction o one hour per week throughout the academic year, or majors in
perormance, conducting, and composition. Faculty
MUS 541b, 641b, 741b, Secondary Instrumental, Compositional, Conducting, and
Vocal Study credits per term. P/F. All students enrolled in secondary lessons can
receive instruction in either voice or piano. In addition, YSM keyboard majors may take
secondary organ or harpsichord, and YSM violinists may take secondary viola. Any other
students who wish to take secondary lessons in any other instruments must petition the
director o secondary lessons, Kyung Yu, by email ([email protected]) no later than
Aug. , , or the all term and Jan. , , or the spring term. Students who are
not conducting majors may take only one secondary instrument per term. YSM students
who wish to take secondary lessons must register or the course and request a teacher
using the online orm or graduate students ound at http://music.yale.edu/study/
music-lessons; the availability o a secondary-lessons teacher is not guaranteed until the
orm is received and a teacher assigned by the director o lessons. Secondary instruction
in choral conducting and orchestral conducting is only available with permission o the
instructor and requires as prerequisites MUS or secondary instruction in choral
conducting, and both MUS and MUS or secondary instruction in orchestral
conducting. Students o the Yale Divinity School, David Geen School o Drama, and
School o Art may also register as above or secondary lessons and will be charged
per term or these lessons. Questions may be emailed to the director, Kyung Yu (kyung.
MUS 542a–b, 642a–b, 742a–b, The Yale Philharmonia and New Music New Haven
credits per term. Participation, as assigned by the aculty, is required o all orchestral
students. In addition to regular participation in Yale Philharmonia, students are assigned
to New Music New Haven, to groups perorming music by Yale composers, and to other
ensembles as required. Faculty
MUS 543a–b, 643a–b, 743a–b, Chamber Music credits per term. Required o instru-
mental majors (except organ) in each term o enrollment. Enrollment includes participa-
tion in an assigned chamber music ensemble as well as perormance and attendance in
chamber music concerts. Faculty and guests
MUS 544a–b, 644a–b, 744a–b, Seminar in the Major credits per term. An examina-
tion o a wide range o problems relating to the area o the major. Specific requirements
may dier by department. At the discretion o each department, seminar requirements
can be met partially through o-campus field trips and/or o-campus fieldwork, e.g.,
perormance or teaching. Required o all School o Music students except pianists who
take , , . Faculty
MUS 546a–b, 646a–b, 746a–b, Yale Camerata credits per term. Open to all members
o the university community by audition, the Yale Camerata presents several peror-
mances throughout the year that explore choral literature rom all musical periods.
Members o the ensemble should have previous choral experience and be willing to
devote time to the preparation o music commensurate with the camerata’s vigorous
rehearsal and concert schedule. Felicia Barber
MUS 556a, Liturgical Keyboard Skills I credits. In this course, students gain a deeper
understanding o and appreciation or musical genres, both those amiliar to them and
those dierent rom their own, and learn basic techniques or their application in church
service playing. Students learn to play hymns, congregational songs, service music, and
anthems rom a variety o sources, including music rom the liturgical and ree church
traditions, including the Black Church experience. Hymn playing, with an emphasis
on methods o encouraging congregational singing, is the principal ocus o the organ
instruction, but there is also instruction in chant and anthem accompaniment, including
adapting a piano reduction to the organ. In the gospel style, beginning with the piano,
students are encouraged to play by ear, using their aural skills in learning gospel music.
This training extends to the organ, in the orm o improvised introductions and varied
accompaniments to hymns o all types. We seek to accomplish these goals by active
participation and discussion in class. When not actually playing in class, students are
encouraged to sing to the accompaniment o the person at the keyboard, to urther their
experience o singing with accompaniment, and to give practical encouragement to the
person playing. Prerequisite: graduate-level organ and piano proficiency. Walden Moore
MUS 558b, Liturgical Keyboard Skills II credits. This course continues work begun
in Liturgical Keyboard Skills I and delves more deeply into the hymnic and liturgical
repertoire o American and European classical traditions. Students will jointly lead an
extended choral liturgy as a final project. Prerequisite: MUS . Richard Webster
MUS 571a–b, 671a–b, 771a–b, Yale Schola Cantorum credit per term. Specialist cham-
ber choir or the development o advanced ensemble skills and expertise in demanding
solo roles (in music beore and rom the last one hundred years). Enrollment
required or voice majors enrolled through the Institute o Sacred Music. David Hill
MUS 615a,b, Improvisation at the Organ II credits. This course explores modal
improvisation, ocusing on the composition techniques o Charles Tournemire and
Olivier Messiaen. Students learn to improvise five-movement chant-based suites
(Introit-Oertoire-Elevation-Communion-Pièce Terminale), versets, and a variety o
ree works using late-twentieth-century language. Classes typically are made up o two
students, or a one-hour lesson on Mondays. The term culminates with an improvised
recital, open to the public. In this recital, each student improvises or up to seven minutes
on a submitted theme. Prerequisite: MUS . Jerey Brillhart
Courses of Instruction
School of Music 2024–2025
MUS 677a, Continuo Realization and Performance credits. Acquisition o practi-
cal skills necessary or a competent and expressive perormance rom thorough-bass.
Learning o figures, honing o voice-leading skills, and investigation o various historical
and national styles o continuo playing as well as relevant perormance practice issues.
Class perormances with an instrumentalist or singer. Open to pianists, harpsichordists,
organists, and conductors. Arthur Haas
MUS 678b, Advanced Continuo Realization and Performance credits. Practical
and theoretical application o national and period styles rom the entire Baroque era,
–. Students prepare and perorm both unrealized and unfigured basses o vocal
and instrumental sacred and secular literature rom early Italian music through to the late
Baroque and the empfindsamer style. Musical examples are supplemented with primary
and secondary source readings. Prerequisite: MUS or permission o the instructor.
Arthur Haas
MUS 715a,b, Improvisation at the Organ III credits. This course explores the impro-
visation o ull organ symphony in our movements, Tryptique (Rondo-Aria-Theme/
variations), improvisation on visual images, text-based improvisation, and silent film.
Classes typically are made up o two students, or a one-hour lesson on Mondays. The
term culminates with an improvised recital, open to the public. In this recital, each
student improvises or up to ten minutes on a submitted theme. Prerequisite: MUS .
Jerey Brillhart
MUS 504a, 604a, 704a, Acting and Movement for Singers credits per term. Acting
and stage movement tailored specifically or singers. Studies include techniques in char-
acter analysis and role preparation. Emphasis is placed on stage presence and movement
problems as applied to specific roles, and on transerring the class experience to the stage.
Required. Faculty
MUS 506a–b, 606a–b, 706a–b, Lyric Diction for Singers credits per term. A language
course designed specifically or the needs o singers. Intensive work on pronunciation,
grammar, and literature throughout the term. French, German, English, Italian, Rus-
sian, and Latin are oered in alternating terms. Required. Faculty
MUS 507a–b, 607a–b, 707a–b, Vocal Repertoire for Singers credits per term. A
perormance-oriented course that in successive terms surveys the French mélodie, Ger-
man Lied, and Italian, American, and English art song. Elements o style, language, text,
and presentation are emphasized. Required. J.J. Penna
MUS 508a–b, 608a–b, 708a–b, Opera Workshop credits per term. Encompasses
musical preparation, coaching (musical and language), staging, and perormance
o selected scenes as well as complete roles rom a wide range o operatic repertoire.
Required. Gerald Martin Moore, coaching sta, and guest music and stage directors
MUS 509a–b, 609a–b, 709a–b, Art Song Coaching for Singers credit per term.
Individual private coaching in the art song repertoire, in preparation or required recit-
als. Students are coached on such elements o musical style as phrasing, rubato, and
articulation, and in English, French, Italian, German, and Spanish diction. Students are
expected to bring their recital accompaniments to coaching sessions as their recital times
approach. Faculty
MUS 594a,b, Vocal Chamber Music credit. This perormance-based class requires a
high level o individual participation each week. Grades are based on participation in
and preparation or class, and two perormances o the repertoire learned. Attendance is
mandatory. Occasional weekend sessions and extra rehearsals during production weeks
can be expected. Students are expected to learn quickly and must be prepared to tackle a
sizeable amount o repertoire. James Taylor
MUS 595a–b, 695a–b, Performance Practice for Singers credits per term. A our-term
course cycle exploring the major issues and repertoire o Western European historically
inormed perormance, including issues o notation, the use o modern and manuscript
editions, and national perormance styles. Includes a survey o solo and chamber vocal
repertoire (song, madrigal, cantata, opera, oratorio, motet) rom the seventeenth and
eighteenth centuries, with a ocus on ornamentation, practical perormance issues, and
recital planning. The sequence is designed to provide the oundation to a practical career
in historical perormance. Open to conductors and instrumentalists with permission o
the instructor. Jerey Grossman
MUS 622a–b, Acting for Singers credit per term. Designed to address the specialized
needs o the singing actor. Studies include technique in character analysis, together with
studies in poetry as it applies to art song literature. Class work is extended in regular pri-
vate coaching. ISM students are required to take two terms in their second year. Faculty
MUS 623a,b, Early Music Coaching for Singers credit. Individual private coaching in
early repertoire, ocusing on historically inormed perormance practice, in preparation
or required recitals and concerts. Students are coached on such elements o musical style
as ornamentation, phrasing, rubato, articulation, and rhetoric, and in English, French,
Italian, German, Latin, and Spanish diction. Students are expected to bring recital and
concert repertoire to coaching sessions as perormance times approach. Jerey Grossman
MUS 519a–b, 619a–b, 719a–b, ISM Colloquium credit per term. NP. P/F. Participation
in seminars led by aculty and guest lecturers on topics concerning theology, music,
worship, and related arts. Counts as one NP in the ourth term. Required o all Institute
o Sacred Music students. Martin Jean
YSM students are encouraged to explore appropriate intermediate and advanced under-
graduate courses and graduate courses oered by the Department o Music. Permission
o the instructor may be required or enrollment.
Courses of Instruction
Perormance Activities
Yale Philharmonia
The Yale Philharmonia, led by Principal Conductor Peter Oundjian, is one o America’s
oremost music school ensembles. The largest perorming group at the Yale School o
Music, the Yale Philharmonia oers superb training in orchestral playing and repertoire.
Perormances include an annual series o concerts in Woolsey Hall as well as Yale
Opera productions. The Yale Philharmonia has perormed on numerous occasions in
Carnegie Hall and Alice Tully Hall in New York City, Symphony Hall in Boston, and
at the John F. Kennedy Center or the Perorming Arts in Washington, D.C. Recent
appearances at Carnegie Hall as part o the Yale in New York series have been praised by
The New York Times as “sensational” and “tightly wrought, polished, and dramatic.” The
Yale Philharmonia has toured in France and Italy, and in undertook its first tour o
Asia, with acclaimed perormances in the Seoul Arts Center, the Forbidden City Concert
Hall and National Centre or the Perorming Arts (Beijing), and the Shanghai Grand
Theatre.
The beginnings o orchestral music at Yale can be traced to , when an orchestra
was organized under the leadership o the school’s first dean, Horatio Parker. Guest
conductors who have worked with the orchestra in recent years include John Adams,
Marin Alsop, William Christie, James Conlon, Valery Gergiev, Giancarlo Guerrero,
Carolyn Kuan, Jahja Ling, Krzyszto Penderecki, David Robertson, Leonard Slatkin,
Ignat Solzhenitsyn, and Jean-Marie Zeitouni.
New Music New Haven
New Music New Haven, under the direction o Aaron Jay Kernis, presents new and
recent compositions by aculty, students, and guest composers. Perormers are students
in the school and oen include guest artists as well. The programs oen eature music
by a member o the composition aculty or by a renowned guest composer. An important
part o the series is a program o new works or orchestra by Yale composers perormed
by the Yale Philharmonia in Woolsey Hall.
Yale Opera
Under the artistic direction o Gerald Martin Moore, Yale Opera students perorm in
ull-scale operas, chamber operas, concerts, and programs o scenes. Perormances in
recent years have been directed by Danilo Gambini, Candace Evans, Paul Curran, Chas
Rader-Shieber, Dustin Wills, and Ted Human, and conducted by Daniela Candillari,
Christopher Franklin, Speranza Scappucci, Giuseppe Grazioli, Perry So, and Dominique
Trottein. Recent productions, including The Rake’s Progress, Florencia en el Amazonas,
Eugene Onegin, The Magic Flute, and Così fan tutte were presented at New Haven’s historic
Shubert Theatre. Yale Opera has produced more intimate productions in Morse Recital
Hall, including Hansel and Gretel, Le Rossignol, Gianni Schicchi, La Cenerentola, and
Iolanta.
Recent guests brought to work with the Yale Opera students include Renée Fleming,
Erin Morley, Dame Sarah Connolly, Isabel Leonard, Lawrence Brownlee, and Matthew
Polenzani. Guest coaches brought or residencies include Howard Watkins rom the
Metropolitan Opera, Kevin Murphy rom Ravinia’s Steans Music Institute, and Carrie-
Ann Matheson rom Merola Opera.
Yale Symphony Orchestra
The Yale Symphony Orchestra is Yale’s premier undergraduate orchestra. The YSO per-
orms an average o seven concerts annually in Woolsey Hall and elsewhere. In addition
to providing the Yale community a stellar musical outlet, the YSO is notorious or its
annual Halloween Show, which has been an institution o the Yale College community
or more than thirty years.
Many o the Yale Symphony’s alumni have gone on to roles in major orchestras
around the world, rom the New York Philharmonic, Philadelphia Orchestra, and San
Francisco Symphony to the Israel Philharmonic and Orchestre National de France. The
orchestra has shared the stage with such internationally recognized artists as Yo-Yo Ma,
Frederica von Stade, David Shirin, Emanuel Ax, and Dawn Upshaw, and annually gives
undergraduates the opportunity to perorm major concerti through the William Waite
Concerto Competition. The Yale Symphony Orchestra has presented national and world
premieres o numerous works, including the European premiere o Leonard Bernstein’s
Mass in . The YSO has perormed at major concert halls in the United States and
around the world, and tours internationally and domestically.
More inormation is available at https://yso.yalecollege.yale.edu.
Yale Bands
Although the constituency o the Yale Bands is predominantly undergraduate, wind,
brass, and percussion instrument majors o the School o Music are eligible or member-
ship and oen have the opportunity to gain conducting experience by assisting the direc-
tor. The Yale Bands include a concert band o fiy-five select musicians, a jazz ensemble,
and a marching band o approximately fiy to one hundred students that perorms at
sports events throughout the year.
The Concert Band and its component ensembles perorm in Woolsey Hall and Morse
Recital Hall. Since , the Concert Band has produced twenty-seven international
concert tours, perorming in England, France, Ghana, South Arica, Japan, Austria,
Ireland, Italy, Spain, Finland, Russia, the Czech Republic, Brazil, and Mexico; it was the
first Yale ensemble to perorm on the continent o Arica (Ceuta). American tours have
eatured concerts in Washington, D.C., at the U.S. Marine Corps Band Hall, the John F.
Kennedy Center or the Perorming Arts, and the National Building Museum, in New
York City’s Symphony Space and Carnegie Hall, and at the Miami Ives Festival.
The Yale Jazz Ensemble has perormed in London’s finest jazz club, Ronnie Scott’s;
twice with the Mel Lewis Band in New York City’s Village Vanguard; and at the Iridium.
The Jazz Ensemble perorms classic big band and combo jazz, and premieres music by
Yale composers.
More inormation is available at https://bands.yalecollege.yale.edu.
Performance Activities
School of Music 2024–2025
Yale Glee Club
Yale’s oldest musical organization and principal undergraduate mixed chorus, the Glee
Club began as thirteen members o the class o and has evolved today into a chorus
o eighty singers rom across the university. The ensemble perorms a broad range o
choral repertoire rom the sixteenth century to the present, commissioning new choral
works and perorming major choral orchestral works every season, requently in col-
laboration with the university’s other major choral ensembles and orchestras. In recent
years the Glee Club has appeared under the baton o such distinguished guest artists as
Sir Neville Marriner, Helmuth Rilling, Sir David Willcocks, and Krzyszto Penderecki.
One o the world’s most traveled collegiate choruses, the Glee Club tours extensively each
year and has appeared on six continents in the world’s most prestigious concert halls.
Membership in the Glee Club is open to all Yale students by audition, primarily
to undergraduates. Members o the Glee Club may also audition or the Glee Club
Chamber Singers, a select ensemble o sixteen to twenty singers. Qualified students in
the School o Music and Institute o Sacred Music oen have the opportunity to serve as
assistant conductor to the Glee Club and director o the Glee Club Chamber Singers.
More inormation is available at https://gleeclub.yalecollege.yale.edu.
The primary choral ensembles sponsored by the Yale Institute o Sacred Music are the
Yale Camerata, ounded by Marguerite L. Brooks, and conducted by Felicia Barber; and
Yale Schola Cantorum, a chamber choir conducted by David Hill. For inormation on
these and other vocal ensembles supported by the Institute, please visit https://ism.
yale.edu.
Faculty Artist Series
Faculty members o the school, many o whom are internationally recognized concert
artists, share the point o view that part o their commitment to music and to teaching in
a university involves regular and requent perormance, on campus and elsewhere. These
concerts are ree and open to the public.
Oneppo Chamber Music Series
Formerly known as the Chamber Music Society at Yale, this concert series was renamed
in honor o its ormer director, Vincent Oneppo. Under the direction o David Shirin,
the series maintains a tradition o presenting the finest chamber music ensembles rom
around the world, many o which also work with School o Music students in coachings
and master classes.
Horowitz Piano Series
Directed by Boris Berman, this series o piano recitals was established in and is
dedicated to the great pianist Vladimir Horowitz, whose musical archive resides at Yale.
In addition to recitals by the Yale piano aculty, there are concerts and public master
classes by distinguished guests each year. In past seasons these guest artists have included
Tigran Alikhanov, Emanuel Ax, Malcolm Bilson, Idil Biret, Yefim Bronman, Ran Dank
and Soyeon Kate Lee, Misha Dichter, Leon Fleisher, Richard Goode, Helénè Grimaud,
Marc-André Hamelin, Angela Hewitt, Olga Kern, Anton Kuerti, Ruth Laredo, Paul
Lewis, Alexei Lubimov, Radu Lupu, Garrick Ohlsson, Roberto Prosseda, Pierre Réach,
Pascal Rogé, Peter Serkin, Fou Ts’ong, Dénes Várjon, and Severin von Eckardstein.
Yale in New York
Under the artistic direction o David Shirin, the series presents concerts eaturing
School o Music aculty, alumni, and student perormers in Yale’s Morse Recital Hall
and the Weill Recital Hall at Carnegie Hall in New York City. The series oen ocuses on
a creative theme, such as the tradition o the concertante repertoire or the classical legacy
o Benny Goodman. Several past programs have explored Yale’s own musical history,
including the music o Paul Hindemith (a aculty member rom –) and voices
recorded by the Oral History o American Music project.
Concerts at the Collection
A series o concerts eaturing internationally distinguished perormers is presented
annually by the Morris Steinert Collection o Musical Instruments, under the direction o
William Purvis. Recent perormers have included harpsichordist Wladyslaw Klosiewicz,
the Dark Horse Consort, the Boreas Quartett Bremen, Quicksilver Baroque, and cellist
Steven Isserlis and ortepianist Robert Levin, among others. The concerts requently
eature the use o restored instruments rom the collection.
Ellington Jazz Series
The Ellington Jazz Series, led by artistic director Thomas C. Duy, oers concerts by
prominent artists and jazz musicians each year. The series has eatured perormances by
Ignacio Berroa, Jane Ira Bloom, Dave Brubeck, Kenny Burrell, Don Byron, Ron Carter,
Bill Charlap, Ravi Coltrane, Eddie Daniels, Vince Giordano and the Nighthawks, tap-
dance legend Savion Glover, Louis Hayes, Roy Haynes, Bertha Hope, Javon Jackson,
Elvin Jones, Christian McBride, James Moody, Joshua Redman, the Renee Rosnes
Quartet, Catherine Russell, Cécile McLorin Salvant, Arturo Sandoval, Clark Terry, Frank
Wess, Randy Weston, and Bernie Williams; the Mingus Big Band; the Carnegie Hall
Jazz Band with Jon Faddis; the Wayne Escoery Quintet eaturing Jeremy Pelt; pianists
Toshiko Akiyoshi, Aaron Diehl, Barry Harris, and Dick Hyman; bass-baritone William
Warfield; drummers Albert “Tootie” Heath, Louis Hayes, Kenny Washington, and Wil-
lie Jones III; and the “Langston Hughes Project,” a multimedia presentation o Hughes’s
trailblazing poem Ask Your Mama: 12 Moods for Jazz, or which he wrote musical cues,
eaturing spoken-word artist Kenyon Adams, the Ron McCurdy Quartet, and imagery
rom the Harlem Renaissance.
Great Organ Music at Yale (Institute of Sacred Music)
Great Organ Music at Yale is a concert series sponsored by the Institute o Sacred Music.
The series includes programs by the aculty, visiting artists, and other noted perormers.
Performance Activities
School of Music 2024–2025
Chamber Music, Ensembles, and Vocal Concerts
School o Music perormers have ample opportunities to perorm publicly as members
o various ensembles and as soloists. Among the prominent departmental ensembles that
perorm regularly are the Yale Cellos, directed by Ole Akahoshi, and the Yale Percussion
Group, directed by Robert van Sice. In addition, a number o concert series are organized
through the school’s chamber music program, directed by Wendy Sharp. These include
the Lunchtime Chamber Music series, which takes place in Sprague Memorial Hall
and other venues around campus; Vista, a series eaturing chamber music groups that
include commentary; and concerts o chamber music or guitar in combination with
other instruments, under the direction o Benjamin Verdery. Yale Opera oers a Yale
Opera Studio Concert Series every other year, in which a dierent language (German,
Italian, French, or Russian) is eatured in each program. Concerts by singers in the early
music, oratorio, and chamber ensemble program eature thematic programs or vocal
ensembles and soloists. In addition to these on-campus perormances, School o Music
students have participated in the Conservatory Project at the John F. Kennedy Center or
the Perorming Arts’s Millennium Stage in Washington, D.C.
Other Local Performing Groups
The New Haven Symphony Orchestra, the nation’s ourth-oldest orchestra, oers a
series o concerts every year in Woolsey Hall and eatures leading artists as guest solo-
ists. Other groups active locally include Orchestra New England, the New Haven Civic
Orchestra, the New Haven Oratorio Chorus, and the New Haven Chorale. Organizations
at Yale include the Yale Russian Chorus, the Slavic Chorus, Yale Collegium Musicum,
and residential college orchestras.
General Inormation
Grading system The letter grades and the quality points or each term hour are
as ollows:
A+ = . B+ = . C+ = . F = .
A = . B = . C = .
A– = . B– = . C– = .
• All School o Music classes receive letter grades, with the exception o secondary
instruction (MUS , , ), which is graded as Pass/Fail (P/F), and MUS ,
which is graded as Credit/No Credit.
• School o Music students may exercise the Pass/Fail option, in lieu o a letter grade,
in any non-music course; the School o Music registrar will convert letter grades rom
other aculties to Pass or Fail, in accordance with the School o Music grading system.
In computing grade points, such courses will be neutral (that is, they will not aect
the grade point average).
• School o Music courses (with the exception o secondary instruction and MUS ),
Department o Music courses, and courses cross-listed with any department and the
School or Department o Music are not eligible or the Pass/Fail option.
• Audited courses will not appear on the student’s ocial transcript.
• A grade submitted by the instructor o a course to the registrar may not be changed
except with permission rom the deputy dean ollowing a petition in writing rom the
instructor, unless the grade is the result o a clerical error.
• Any grade o A+ must be accompanied by a letter rom the aculty instructor explain-
ing why this extraordinary grade has been awarded.
Full-time status and credit requirements All School o Music students must enroll in
enough credits each semester to maintain status as a ull-time student. Students who
all below the minimum credit requirement in any semester may be placed on academic
warning or may become ineligible or certain types o financial aid or loans. The credit
requirements or each course o study are summarized below:
School of Music 2024–2025
Degree candidates
Recommended
credits
per semester
Minimum
credits
per semester
for full-time
status
Average
credit pace
to maintain
SAP
Number
of
semesters
Total
credits to
graduate
M.M. candidates
M.M.A. internal
candidates
(admitted to the
M.M.A. program
in the last term of
their Yale M.M.
program)
M.M.A. external
candidates (do not
hold a Yale M.M.)
D.M.A. candidates
(in residence)
A.D. internal
candidates (already
hold a Yale M.M.)
A.D. external
candidates (do not
hold a Yale M.M.)
Certificate
candidates
Satisfactory Academic Progress School o Music students are expected to present work
o high quality both in perormance and in academic studies. Satisactory Academic
Progress (SAP) reers to students’ success in meeting minimum standards deemed
acceptable or their programs o study. All degree-seeking students are required to meet
the SAP standards o the School o Music. The School o Music evaluates SAP at the end
o each term, and students who are not meeting one or more o the requirements below
will be placed on academic warning or the subsequent term.
• All degree and diploma programs in the School o Music require that students earn
a grade o B or better in both Individual Instruction in the Major and Seminar in the
Major. Students who receive a grade lower than B in either course will be placed on
academic warning or the subsequent term.
• Students whose grade point average (GPA) alls below B (.) in any term will be
placed on academic warning or the subsequent term.
General Information
• Students must satisy a pace o completion o an average o credits per term in
the M.M. and D.M.A. programs, credits per term in the M.M.A. and Certificate
programs, and credits per term in the A.D. program. Students who have not
accumulated the appropriate number o academic credits required at that stage o
their program will be placed on academic warning or the subsequent term.
The duration o an academic warning is one term only; by the end o that term, a student
on academic warning must have ulfilled all o the requirements below. Failure to achieve
these requirements may result in dismissal rom the school. The student must have:
• earned a grade o B or better in both Individual Instruction in the Major and Seminar
in the Major,
• obtained a GPA o . or that term,
• and satisfied the pace o completion requirement by accumulating the appropriate
number o academic credits required at that stage o their program.
External M.M.A. candidates must complete two degree recitals: one in each year o study.
I the first recital has not been completed by the end o the second term, the student may
be placed on academic warning. Failure to complete the first recital by the end o the third
term may result in dismissal rom the school.
Satisactory Academic Progress also governs eligibility or institutional and financial aid.
For more inormation about SAP-related financial aid eligibility, see the Financial Aid
section below.
Course credit Any course taken in another division o the university is eligible or credit
toward a School o Music degree. Four credits per term is the maximum allowed or any
course, including intensive courses in language or science.
Course changes
• For all courses in their schedule, including any course taken in another division o the
university, Yale School o Music students are subject to the add/drop, pass/ail, and
withdrawal deadlines in the YSM calendar in this bulletin.
• Requests or course changes during the add/drop period must be submitted on the
course change orm (in ArtsVision) to the Oce o Student Services. No courses may
be added aer this period.
• A grade symbol o “W” (withdrawn) will appear on transcripts to indicate any courses
dropped aer the add/drop period. Students withdrawing rom a class during this
time will be assessed a ee o per course. To withdraw rom a class, students must
submit the course change orm (in ArtsVision) to the Oce o Student Services. No
one may withdraw rom a class aer the course-withdrawal deadline (see the Yale
School o Music calendar in this bulletin).
• Students who have not attended a class since the add/drop period and have neglected
to remove the course rom their schedule will be permitted to withdraw rom the
class; an additional ee will be assessed.
• School o Music students are permitted to withdraw rom electives.
• School o Music students are allowed to withdraw rom non-perormance courses
which are not required or their program o study (see Program Requirements);
however, they are not permitted to withdraw rom any required courses, including
School of Music 2024–2025
required music history courses (MUS , MUS , MUS ) and required analysis
and musicianship courses (MUS , MUS , MUS ). I a student does not pass
a required course, they must retake it.
• Students do not receive credit or any course rom which they have withdrawn. I a
student withdraws rom a course prior to the last deadline or the term, the dropped
units are not included as attempted units in the SAP calculation. I a student with-
draws rom a course aer the last deadline or the term, the units or the course will
be included as attempted units in the SAP calculation. Withdrawn courses are not
included in the GPA calculation.
Completion deadlines
• All coursework or the all term must be completed by the last day o classes in the all
term; coursework or the spring term must be completed by the last day o classes in
the spring term. Students who expect that work in a course will not be finished by
the final day o classes must petition the instructor and the registrar prior to the end
o term or permission to receive Incomplete status. A grade o F will be registered
or courses remaining incomplete six weeks aer the last day o classes.
• All secondary lessons must be completed and reported one week beore the end o
each term. A grade o F will be given to students whose work is incomplete by these
deadlines. A fine o per incident will be assessed should adjustments be made
outside the permitted add/drop periods.
• I or any reason a candidate is unable to complete requirements or the M.M.A.,
M.M., Certificate o Perormance, or A.D. degree within the specified time o the
respective program, the candidate may petition the deputy dean or a maximum one-
year extension to complete the requirements. All requirements must be completed
within days rom the last day o class o the candidate’s final term o residence.
Academic aairs The deputy dean’s oce deals with individual study projects, leave
requests, special petitions, and matters o academic standing. Forms or leaves, indepen-
dent studies, and withdrawals rom the school may be downloaded rom the School o
Music’s ArtsVision website. These orms and other special requests must be submitted
in writing to the deputy dean’s oce.
Students enrolled at the School o Music who wish to take a course outside o Yale
and apply credit received or this study toward the Yale degree must comply with the
ollowing procedures:
. Students must apply to the deputy dean or credit while they are registered at Yale
and prior to registering or a course.
. A course outside Yale must be endorsed by the department coordinator as an essential
or advantageous component o study in the major.
. For study pursued away rom Yale, students must demonstrate that the course is not
given at Yale.
. A transcript must be sent to the registrar o the School o Music showing a minimum
grade o B.
General Information
. Applications or credit or summer study must be submitted to the deputy dean
beore the end o the spring term.
. Any registered Yale School o Music student who attends the six-week summer ses-
sion at Norolk is eligible to receive two credits toward graduation. These credits will
be added to the transcript i requested.
Deposit
Upon notification o acceptance to the Yale School o Music, a nonreundable
intent to register deposit must be sent in order to reserve a place in the entering class.
For those who do enroll, the deposit will be credited to the student’s account with the
Oce o Student Financial Services but will not be reunded should the candidate ail
to matriculate.
Arrival Deadlines
• New students must arrive beore August , . New students are required to
participate in mandatory orientation activities rom August through September .
• Returning YSM students must arrive beore September , . Returning students
are required to participate in mandatory orientation activities rom September
through September .
• Students must be present or the beginning o the spring term on January , .
• Students who miss these deadlines risk their matriculation status at the school and
risk losing all excused short-term absences or the year unless permission has been
obtained in advance rom the deputy dean.
Course Registration
• Fall-term registration: Online course registration or all students at the School o
Music begins on July , . The deadline or registering online or all-term
courses is p.m. on Friday, September , .
• Spring-term registration: The deadline or registering online or spring-term courses
is p.m. on Friday, December , .
• Students who register aer these deadlines without written permission rom the
deputy dean will be assessed a late ee o per day until the schedule or the term
is submitted.
• There is a one-week add/drop period or course changes in the all term and in the
spring term.
Secondary Lessons
• Students who drop secondary instruction during the add/drop period, or who drop
during the withdrawal period and have had no lessons, may receive a ull rebate o
the registration ee.
• Students who drop secondary instruction during the withdrawal period and have had
lessons will receive no rebate o the registration ee.
School of Music 2024–2025
• I a student cannot register or lessons or credit, the lessons are noncredit and the
student will be charged or them.
• Students o the Yale Divinity School, David Geen School o Drama, and School o
Art may also register or secondary lessons (MUS , MUS , MUS ) and will
be charged per term or their secondary lessons.
• Questions may be sent to the director, Kyung Yu, by email ([email protected]).
Scholarships and Fellowships
A ull tuition scholarship o , will be made to all students who are admitted to
the Yale School o Music (including students at the Institute o Sacred Music) with the
exception o those receiving awards rom other agencies. Tuition covers all instruction.
It does not cover the Yale Health Hospitalization/Specialty Coverage ee, which may be
waived i a student demonstrates proo o alternate coverage.
Living expenses (excluding tuition) or students, whether single or married, are
estimated to be , or –. To assist with these expenses, the School o
Music provides the ollowing living ellowships or students:
• M.M., M.M.A., and Certificate students: , per year;
• D.M.A. students (during the two-year residency period only): , per year;
• A.D. students: , per year.
• Nonresident D.M.A. students will receive a special ellowship to cover their
tuition ees.
• Financial aid or YSM students is handled by the YSM Oce o Student Services.
Students enrolled in a YSM degree program through the Institute o Sacred Music
should consult the ISM’s bulletin (https://bulletin.yale.edu) regarding aid or living
expenses and financial aid.
• Music degree students may not receive more than our years (eight terms total,
consecutive or not) o scholarship and ellowship awards.
• Fellowship awards do not cover the Yale Health Hospitalization/Specialty Coverage
ee. The School o Music does not provide unds to cover health care expenses or
students’ amilies. For inormation on the coverage and options provided by Yale
Health, please see Health Services in the chapter Yale University Resources and
Services.
• All university and ederal unds are limited to expenses that individual students
incur or their educational program. These unds are not intended to supplement
the expenses o other amily members. The budget figures noted above or living
expenses are estimates and are meant to be used as a guide.
• Loans will be oered to cover childcare-related expenses or U.S. students, i docu-
mentation is provided.
• International students are not eligible to receive loans.
General Information
Federal Financial Aid for U.S. Citizens and Permanent Residents
The ollowing steps serve as a guide to obtaining loan unds should they be needed or
living expenses and ees. Contact the YSM Oce o Student Services with any questions.
• To apply or a ederal student loan, students must complete a FAFSA (Free Applica-
tion or Federal Student Aid) online at https://asa.ed.gov using Yale’s school code
to send the results electronically. Please do not orward paper copies o FAFSA
results (SAR) to the university or to the YSM Oce o Student Services; the Depart-
ment o Education orwards all inormation rom the report.
• Aer receiving this inormation, the Oce o Student Services is able to determine
how much a student is eligible to borrow and how to proceed.
Financial Aid for International Students
• A ederal tax may be assessed based on percent o the ellowship accepted in excess
o tuition. The ederal tax will be charged to the student account each term, and the
student will be responsible or payment in ull o the student account balance.
• Students coming rom countries that have currency restrictions should make neces-
sary arrangements beore arriving so that they will have access to unds to be used or
living expenses.
• Beore an I- will be issued, students must give appropriate evidence o support. I
you are being supported by a oreign government or agency, you must have a signed
statement attesting to the level and time period o your support.
• There are no loans available or international students.
Tuition Rebate and Refund Policy
Based on Federal regulations governing the return o Federal Student Aid (Title IV)
unds or withdrawn students, the rebate and reund o tuition is subject to the ollowing
policy:
. For purposes o determining the reund o Title IV unds, any student who withdraws
rom the School o Music or any reason during the first percent o the term will be
subject to a pro rata schedule which will be used to determine the amount o Title IV
unds a student has earned at the time o withdrawal. A student who withdraws aer
the percent point has earned percent o their Title IV unds. In –, the
last days or reunding Title IV unds will be November , , in the all term and
March , , in the spring term.
. For purposes o determining the reund o institutional aid unds and or students
who have not received financial aid:
a. percent o tuition will be rebated or withdrawals that occur on or beore the
end o the first percent o the term, September , , in the all term and
January , , in the spring term.
b. A rebate o one-hal ( percent) o tuition will be granted or withdrawals that
occur aer the first percent but on or beore the last day o the first quarter o
the term, September , , in the all term and February , , in the spring
term.
School of Music 2024–2025
c. A rebate o one-quarter ( percent) o tuition will be granted or withdrawals
which occur aer the first quarter o a term but on or beore the day o midterm,
October , , in the all term and March , , in the spring term.
d. Students who withdraw or any reason aer Midterm will not receive a rebate o
any portion o tuition.
. The death o a student shall cancel charges or tuition as o the date o death and the
Bursar will adjust the tuition on a pro rata basis.
. I the student has received student loans or other orms o financial aid, unds will be
returned in the order prescribed by Federal regulations; namely, first to Federal Direct
Unsubsidized Loans, i any; then to Federal Direct Graduate PLUS Loans; next to any
other Federal, State, private or institutional scholarships and loans; and finally, any
remaining balance to the student.
. Recipients o Federal and/or institutional loans who withdraw are required to have
an Exit Interview beore leaving Yale. Students leaving Yale receive instructions on
completing this requirement rom Yale Student Financial Services.
A student seeking general inormation about Veterans Administration benefits should
consult the Oce o Student Services at the Yale School o Music. See also the section
U.S. Military Leave Readmissions Policy.
()
Federal regulations require Yale to establish Satisactory Academic Progress (SAP)
policies to govern students’ eligibility or ederal financial aid. SAP reers to students’
success in meeting minimum standards deemed acceptable or their programs o study.
All degree-seeking students, regardless o financial aid status, are required to meet the
SAP standards o the School o Music. Failure to maintain SAP jeopardizes a student’s
ability to receive ederal financial assistance and institutional financial aid (collectively
reerred to as “financial aid”).
Students must achieve the ollowing SAP standards at the end o each term to remain
eligible or financial aid:
• Satisy a pace o completion o an average o credits per term in the M.M. and
D.M.A. programs, credits per term in the M.M.A. and Certificate programs, and
credits per term in the A.D. program (or percent, where pace is calculated by
dividing cumulative credits completed by cumulative credits attempted); and
• Achieve a minimum grade point average (GPA) o ..
The Yale School o Music evaluates SAP at the end o each term. I, at the end o a term,
a student’s GPA is below . or the student is not meeting the average credit per term
pace (or percent, where pace is calculated by dividing cumulative credits completed by
cumulative credits attempted), the student will be placed on academic warning status or
the ollowing term. The registrar or deputy dean will provide the financial aid oce with
a list o students who are ailing to meet SAP, and the financial aid oce will notiy such
students that they will be placed (simultaneously) on Academic Warning and Financial
General Information
Aid Warning or the next term. A student on Financial Aid Warning may continue to
receive financial aid or that term, despite the determination that the student is not mak-
ing SAP.
Aer one term on Financial Aid Warning, a student can regain eligibility or financial
aid by meeting SAP (both achieving a GPA o . and meeting the average credit per term
requirement or the percent pace calculation).
A student who is still ailing to meet SAP aer one term on academic warning and
Financial Aid Warning may continue to receive financial assistance or the next term only
i the student is placed on Financial Aid Probation. In order to be placed on Financial
Aid Probation, the student must appeal the determination that the student is not making
SAP. A student may appeal that determination by submitting a written petition identiy-
ing the basis o the appeal (e.g., death o a relative, an injury or illness o the student, or
other special circumstances), and the changed circumstances that will allow the student
to meet SAP at the end o the next term. The deputy dean will review the appeal and
notiy the student o the decision that either () the student should be able to meet
SAP by the end o the next payment period, or () the deputy dean will meet with the
student to create an Academic Plan or return to good academic standing. Once a student
is on Financial Aid Probation, the student must ollow the Academic Plan and meet its
benchmarks on time, or meet SAP by the end o the term, in order to regain eligibility
or financial aid. SAP also governs the academic warning process. For more inormation
about SAP-related academic warnings, see the Grades section above.
Withdrawn courses
• I a student withdraws rom a course prior to the last deadline or the term, the
dropped units are not included as attempted units in the SAP calculation.
• I a student withdraws rom a course aer the last deadline or the term, the units or
the course will be included as attempted units in the SAP calculation.
• Withdrawn courses are not included in the GPA calculation.
Incomplete courses
• Because incomplete course work does not receive a grade, it is not included in GPA.
• Incomplete work must be completed within six weeks rom the last day o classes or
a grade o F will be recorded.
• Incomplete units are included as attempted, but not completed, units in the pace
calculation.
Transfer units
• Credit hours accepted rom another institution count as both attempted and com-
pleted hours.
• Transer courses are not included in the GPA calculation
Repeated courses
• Repeated courses count as one course in the pace calculation.
• All grades rom repeated courses are included in the GPA calculation.
School of Music 2024–2025
Student accounts, billing, and related services are administered through the Oce
o Student Accounts, located at Church Street. The oce’s website is https://
student-accounts.yale.edu.
The Student Account is a record o all the direct charges or a student’s Yale educa-
tion such as tuition, room, board, ees, and other academically related items assessed by
oces throughout the university. It is also a record o all payments, financial aid, and
other credits applied toward these charges.
Students and student-designated proxies can view all activity posted to their Student
Account in real time through the university’s online billing and payment system, YalePay
(https://student-accounts.yale.edu/yalepay). At the beginning o each month, email
reminders to log in to YalePay to review the Student Account activity are sent to all
students at their ocial Yale email address and to all student-designated YalePay proxies.
Payment is due by p.m. Eastern Time on the last day o the month.
Yale does not mail paper bills or generate monthly statements. Students and their
authorized proxies can generate their own account statements in YalePay in pd orm to
print or save. The statements can be generated by term or or a date range and can be
submitted to employers, K plans, /College Savings Plans, scholarship agencies,
or other organizations or documentation o the charges.
Students can grant others proxy access to YalePay to view student account activity,
set up payment plans, and make online payments. For more inormation, see Proxy
Access and Authorization (https://student-accounts.yale.edu/understanding-your-bill/
your-student-account).
The Oce o Student Accounts will impose late ees o per month (up to a
total o per term) i any part o the term bill, less Yale-administered loans and
scholarships that have been applied or on a timely basis, is not paid when due. Students
who have not paid their student account term charges by the due date will also be placed
on Financial Hold. The hold will remain until the term charges have been paid in ull.
While on Financial Hold, the university will not provide diplomas and reserves the right
to withhold registration or withdraw the student or financial reasons.
Payment Options
There are a variety o options oered or making payments toward a student’s Student
Account. Please note:
• All bills must be paid in U.S. currency.
• Yale does not accept credit or debit cards or Student Account payments.
• Payments made to a Student Account in excess o the balance due (net o pending
financial aid credits) are not allowed on the Student Account. Yale reserves the right
to return any overpayments.
Yale’s recommended method o payment is online through YalePay (https://student-
accounts.yale.edu/yalepay). Online payments are easy and convenient and can be made
by anyone with a U.S. checking or savings account. There is no charge to use this service.
General Information
Bank inormation is password-protected and secure, and there is a printable confirma-
tion receipt. Payments are immediately posted to the Student Account, which allows
students to make payments at any time up to p.m. Eastern Time on the due date o the
bill, rom any location, and avoid late ees.
For those who choose to pay by check, a remittance advice and mailing instructions
are available on YalePay. Checks should be made payable to Yale University, in U.S.
dollars, and drawn on a U.S. bank. To avoid late ees, please allow or adequate mailing
time to ensure that payment is received by p.m. Eastern Time on the due date.
Cash and check payments are also accepted at the Oce o Student Accounts, located
at Church Street and open Monday through Friday rom : a.m. to : p.m.
Yale University partners with Flywire, a leading provider o international payment
solutions, to provide a ast and secure way to make international payments to a Student
Account within YalePay. Students and authorized proxies can initiate international pay-
ments rom the Make Payment tab in YalePay by selecting “International Payment via
Flywire” as the payment method, and then selecting the country rom which payment
will be made to see available payment methods. International payment via Flywire
allows students and authorized proxies to save on bank ees and exchange rates, track
the payment online rom start to finish, and have access to / multilingual customer
support. For more inormation on making international payments via Flywire, see Inter
-
national Payments Made Easy at https://student-accounts.yale.edu/paying-your-bill/
payment-options.
A processing charge o will be assessed or payments rejected or any reason by
the bank on which they were drawn. In addition, or every returned ACH payment due
to insucient unds made through YalePay, Flywire will charge a penalty ee o per
occurrence. Furthermore, the ollowing penalties may apply i a payment is rejected:
. I the payment was or a term bill, late ees o per month will be charged or the
period the bill was unpaid, as noted above.
. I the payment was or a term bill to permit registration, the student’s registration
may be revoked.
. I the payment was given to settle an unpaid balance in order to receive a diploma, the
university may reer the account to an attorney or collection.
Yale Payment Plan
A Yale Payment Plan provides parents and students with the option to pay education
expenses monthly. It is designed to relieve the pressure o lump-sum payments by allow-
ing amilies to spread payments over a period o months without incurring any interest
charges. Participation is optional and elected on a term basis. The cost to sign up is
per term.
Depending on the date o enrollment, students may be eligible or up to five install-
ments or the all and spring terms. Payment Plan installments will be automatically
deducted on the th o each month rom the bank account specified when enrolling in
the plan. For enrollment deadlines and additional details concerning the Yale Payment
Plan, see https://student-accounts.yale.edu/ypp.
School of Music 2024–2025
Bill Payment and Pending Military Benefits
Yale will not impose any penalty, including the assessment o late ees, the denial o
access to classes, libraries, or other acilities, or the requirement that a student borrow
additional unds, on any student because o the student’s inability to meet their financial
obligations to the institution, when the delay is due to the delayed disbursement o
unding rom VA under chapter or .
Yale will permit a student to attend or participate in their course o education during
the period beginning on the date on which the student provides to Yale a certificate o
eligibility or entitlement to educational assistance under chapter or and ending on
the earlier o the ollowing dates: () the date on which payment rom VA is made to
Yale; () ninety days aer the date Yale certifies tuition and ees ollowing the receipt o
the certificate o eligibility.
Certain events that are beyond the university’s control may cause or require the interrup-
tion or temporary suspension o some or all services and programs customarily urnished
by the university. These events include, but are not limited to, epidemics or other public
health emergencies; storms, floods, earthquakes, or other natural disasters; war, terror-
ism, rioting, or other acts o violence; loss o power, water, or other utility services; and
protest disruptions, strikes, work stoppages, or job actions. In the ace o such events, the
university may, at its sole discretion, provide substitute services and programs, suspend
services and programs, or issue appropriate reunds. Such decisions shall be made at the
sole discretion o the university.
Students are expected to attend classes, rehearsals, and all scheduled academic events.
However, the nature o the music proession makes it possible that extraordinary oppor-
tunities may arise in conflict with scheduled classes. Students who wish to petition to be
absent rom class must complete the short-term absence request orm available on the
School o Music’s ArtsVision website.
• Students should submit this orm as soon as they are aware o the conflict but no
ewer than thirty days beore the beginning o the proposed absence.
• When all required signatures have been obtained, the orm is to be submitted to the
deputy dean’s oce.
• Upon approval by the deputy dean, students will be notified o the decision.
• Students will be denied approval or absences that exceed a total o ten days per year.
• It is possible that instructors may not extend permission or students to miss class
and may not sign the required orm(s). In that case, students may petition directly to
the dean or deputy dean or a review o the situation.
General Information
Students are expected to ollow a continuous course o study at the School o Music.
However, a student who wishes or needs to interrupt study temporarily may request a
leave o absence. There are three types o leave—personal, medical, and parental—all
o which are described below. The general policies that apply to all types o leave are:
. Any student who is contemplating a leave o absence should see the deputy dean to
discuss the necessary application procedures.
. All leaves o absence must be approved by the deputy dean. Medical leaves also
require the written recommendation o a Yale Health physician, as described below.
. A student may be granted a leave o absence o no more than one year. Any leave
approved by the deputy dean will be or a specified period.
. International students who apply or a leave o absence must consult with OISS
regarding their visa status.
. A student on a leave o absence may complete outstanding work in any course or
which the student has been granted extensions. The student may not, however, ulfill
any other degree requirements during the time on leave.
. A student on a leave o absence is not eligible or financial aid, including loans; and
in most cases, student loans are not deerred during periods o non-enrollment.
. A student on a leave o absence is not eligible or the use o any university acilities
normally available to enrolled students.
. A student on a leave o absence may continue to be enrolled in Yale Health by pur-
chasing coverage through the Student Aliate Coverage plan. In order to secure
continuous coverage rom Yale Health, enrollment in this plan must be requested
prior to the beginning o the term in which the student will be on leave or, i the
leave commences during the term, within thirty days o the date the registrar was
inormed o the leave. Coverage is not automatic; enrollment orms are available rom
the Member Services department o Yale Health, ...
. A student on a leave o absence must notiy the registrar in writing o the intention
to return at least eight weeks prior to the end o the approved leave. In addition,
a returning student who wishes to be considered or financial aid must submit
appropriate financial aid applications to the school’s financial aid oce to determine
eligibility.
. A student on a leave who does not return at the end o the approved leave and does
not request and receive an extension rom the deputy dean is automatically dismissed
rom the school.
Personal Leave of Absence
A student who wishes or needs to interrupt study temporarily because o personal
exigencies may request a personal leave o absence. The general policies governing all
leaves o absence are described above. A student who is current with degree requirements
is eligible or a personal leave aer satisactory completion o at least one term o study.
Personal leaves cannot be granted retroactively and normally will not be approved aer
the tenth day o a term.
School of Music 2024–2025
To request a personal leave o absence, the student must apply in writing beore
the beginning o the term or which the leave is requested, explaining the reasons or
the proposed leave and stating both the proposed start and end dates o the leave and
the address at which the student can be reached during the period o the leave. This
orm is available on the School o Music’s ArtsVision website. I the deputy dean finds
the student to be eligible, the leave will be approved. In any case, the student will be
inormed in writing o the action taken. A student who does not apply or a personal
leave o absence, or whose application or a personal leave is denied, and who does not
register or any term, will be considered to have withdrawn rom the school.
Medical Leave of Absence
A student who must interrupt study temporarily because o illness or injury may be
granted a medical leave o absence with the approval o the deputy dean, on the writ-
ten recommendation o a physician on the sta o Yale Health. The general policies
governing all leaves o absence are described above. A student who is making satisac-
tory progress toward degree requirements is eligible or a medical leave any time aer
matriculation. The final decision concerning a request or a medical leave o absence will
be communicated in writing by the deputy dean.
The School o Music reserves the right to place a student on a mandatory medical
leave o absence when, on recommendation o the director o Yale Health or the chie
o the Mental Health and Counseling department, the dean o the school determines
that, because o a medical condition, the student is a danger to sel or others, the student
has seriously disrupted others in the student’s residential or academic communities, or
the student has reused to cooperate with eorts deemed necessary by Yale Health and
the dean to make such determinations. Each case will be assessed individually based
on all relevant actors, including, but not limited to, the level o risk presented and the
availability o reasonable modifications. Reasonable modifications do not include unda-
mental alterations to the student’s academic, residential, or other relevant communities
or programs; in addition, reasonable modifications do not include those that unduly
burden university resources.
An appeal o such a leave must be made in writing to the dean o the school no later
than seven days rom the eective date o the leave.
An incident that gives rise to voluntary or mandatory leave o absence may also result
in subsequent disciplinary action.
A student who is placed on medical leave during any term will have tuition adjusted
according to the same schedule used or withdrawals (see Tuition Rebate and Reund
Policy). Beore re-registering, a student on medical leave must secure written permission
to return rom a Yale Health physician.
Leave of Absence for Parental Responsibilities
A student who wishes or needs to interrupt study temporarily or reasons o pregnancy,
maternity care, or paternity care may be granted a leave o absence or parental respon-
sibilities. The general policies governing all leaves o absence are described above. A
student who is making satisactory progress toward degree requirements is eligible or
parental leave any time aer matriculation.
Any student planning to have or care or a child is encouraged to meet with the
deputy dean to discuss leaves and other short-term arrangements. For many students,
short-term arrangements rather than a leave o absence are possible. Students living
in university housing units are encouraged to review their housing contract and the
related policies o the Yale Housing Oce beore applying or a parental leave o absence.
Students granted a parental leave may continue to reside in university housing to the end
o the academic term or which the leave was first granted, but no longer.
Withdrawal and Readmission
Students who wish to terminate their program o study should coner with their major
instructor and the deputy dean regarding withdrawal; their signatures on an ocial
withdrawal orm are required or withdrawal in good standing. The deputy dean will
determine the eective date o the withdrawal, upon consultation with the department.
The university identification card must be submitted with the approved withdrawal orm
in order or withdrawal in good standing to be recorded. Withdrawal orms are available
on the School o Music’s ArtsVision website.
Students who ail to meet departmental or school requirements by the designated
deadlines will be barred rom urther registration and withdrawn, unless an extension
or exception has been granted by the deputy dean or degree committee. Students who
do not register or any all or spring term, and or whom a leave o absence has not been
approved by the deputy dean, are considered to have withdrawn rom the School o
Music.
Students who discontinue their program o study during the academic year without
submitting an approved withdrawal orm and the university identification card will be
liable or the tuition charge or the term in which the withdrawal occurs. Tuition charges
or students who withdraw in good standing will be adjusted as described in the section
Tuition Rebate and Reund Policy. Health service policies related to withdrawal and
readmission are described in the section Health Services. A student who has withdrawn
rom the School o Music in good standing and who wishes to resume study at a later
date must apply or readmission. Neither readmission nor financial aid is guaranteed to
students who withdraw. The deadline or making application or readmission is Decem-
ber o the year prior to which the student wishes to return to the School o Music. The
student’s application will be considered by the department, which will make a recom-
mendation or review by the deputy dean. The student’s remaining tuition obligation
will be determined at the time o readmission.
U.S. Military Leave Readmissions Policy
Students who wish or need to interrupt their studies to perorm U.S. military service
are subject to a separate U.S. military leave readmissions policy. In the event a student
withdraws or takes a leave o absence rom Yale School o Music to serve in the U.S.
military, the student will be entitled to guaranteed readmission under the ollowing
conditions:
. The student must have served in the U.S. Armed Forces or a period o more than
thirty consecutive days;
General Information
School of Music 2024–2025
. The student must give advance written or oral notice o such service to the deputy
dean. In providing the advance notice the student does not need to indicate an intent
to return. This advance notice need not come directly rom the student, but rather,
can be made by an appropriate ocer o the U.S. Armed Forces or ocial o the U.S.
Department o Deense. Notice is not required i precluded by military necessity.
In all cases, this notice requirement can be ulfilled at the time the student seeks
readmission, by submitting an attestation that the student perormed the service.
. The student must not be away rom the school to perorm U.S. military service or
a period exceeding five years (this includes all previous absences to perorm U.S.
military service but does not include any initial period o obligated service). I a
student’s time away rom the school to perorm U.S. military service exceeds five
years because the student is unable to obtain release orders through no ault o the
student or the student was ordered to or retained on active duty, the student should
contact the deputy dean to determine i the student remains eligible or guaranteed
readmission.
. The student must notiy the school within three years o the end o U.S. military
service o the intention to return. However, a student who is hospitalized or recover-
ing rom an illness or injury incurred in or aggravated during the military service has
up until two years aer recovering rom the illness or injury to notiy the school o
the intent to return.
. The student cannot have received a dishonorable or bad conduct discharge or have
been sentenced in a court-martial.
A student who meets all o these conditions will be readmitted or the next term,
unless the student requests a later date o readmission. Any student who ails to meet
one o these requirements may still be readmitted under the general readmission policy
but is not guaranteed readmission.
Upon returning to the school, students will resume their education without repeating
completed course work or courses interrupted by U.S. military service. The student will
have the same enrolled status last held and with the same academic standing. For the
first academic year in which the student returns, the student will be charged the tuition
and ees that would have been assessed or the academic year in which the student le
the institution. Yale may charge up to the amount o tuition and ees other students are
assessed, however, i veteran’s education benefits will cover the dierence between the
amounts currently charged other students and the amount charged or the academic year
in which the student le.
In the case o students who are not prepared to resume their studies with the same
academic status at the same point where they le o or who will not be able to complete
the program o study, the school will undertake reasonable eorts to help the student
become prepared. I aer reasonable eorts, the school determines that the student
remains unprepared or will be unable to complete the program, or aer the school
determines that there are no reasonable eorts it can take, the school may deny the
student readmission.
/
• A dossier service is available to all School o Music graduates. A set-up ee is
required to initiate the file. Individual dossiers are each. The Oce o Admissions
handles dossiers.
• Transcripts cost each. Current students and alumni with a Yale NetID can place
an order by signing in through Yale Hub (yub.yale.edu), clicking on “Academic
Inormation,” and selecting “Transcript Orders.” Alumni and ormer students unable
to sign into Yale Hub will order directly through Parchment (www.parchment.com).
. All students are required to abide by the rules and regulations o the university and
the School o Music and are required to attend lessons, class sessions, rehearsals, and
appointments arranged or them. Those whose attendance or progress is unsatisac-
tory, or whose conduct is disruptive, will be reviewed by the deputy dean and may be
required to withdraw.
. Participation in the Yale Philharmonia, Chamber Music, New Music New Haven,
and Yale Opera is a continuing responsibility during the student’s stay at the Yale
School o Music, depending on the student’s major. Attendance at all rehearsals
and perormances is required and takes precedence over all outside commitments.
Unexcused absences rom an assigned ensemble will be reviewed by the dean’s oce
under the provisions o the above paragraph.
. Any student who is absent rom studies or more than five consecutive days may be
required to present a medical certificate to the dean’s oce.
. The proessional training program at the School o Music encourages all students to
have occasional work assignments or short-term employment outside the university.
Although proessional work opportunities are necessary to musicians’ development,
outside engagements must be scheduled so as to avoid rehearsal and perormance
conflicts.
International students should consult with the Oce o International Students
and Scholars to request that employment permission is stated in the immigration
documents.
. Many School o Music students contract or college work-study jobs and are assigned
to various duties throughout the school. The School o Music relies on the services
provided by these work-study students. Students who accept these positions must
meet the responsibilities o the job(s) completely. Students who do not comply with
the terms o their work-study commitments may be subject to loss o job and reduc-
tion o financial aid.
. Students are not permitted to schedule teaching, courses, or outside work during the
hours reserved or assigned ensembles.
. Students may not use School o Music acilities or private teaching.
. Students may be in School o Music acilities only during the hours that the buildings
are ocially open.
. During the school term, all students are expected to reside in the New Haven area.
. The possession or use o explosives, incendiary devices, or weapons on or about the
campus is absolutely prohibited.
General Information
School of Music 2024–2025
. All recital dates must be approved by the major teacher and the operations director.
. All recitals, regardless o the venue or student’s major, require the submission o a
student recital contract signed by the operations director. A signed contract is neces-
sary or a recital to be listed in the school’s calendar o events and website. Listings
or contracted degree recitals are also submitted to the Yale Calendar o Events.
. Students may be excused rom Yale Philharmonia and Chamber Music rehearsals
on the day o their degree or required recitals with the permission o the conductor
or aculty coach. Accompanists and other perormers on recitals will not be excused
rom these rehearsals.
. Cancellation or postponement o a recital aer approval o the recital contract
requires submission o a Recital Cancellation Form, signed by the deputy dean, major
teacher, and operations director. Unless a doctor’s note is submitted with this orm,
the student will be subject to a fine. Rescheduling will not occur until the Recital
Cancellation Form is submitted and, i applicable, payment is made.
. A complete recital program must be submitted to the concert oce no later than ten
business days beore the date o the recital. Programs submitted – business days
beore the recital are subject to a fine. Programs submitted – business days
beore the recital date are subject to a fine.
. Trading o dates is allowed only with permission o the major teacher(s), the opera-
tions director, and the deputy dean. This must be requested and confirmed in writing.
. All requests or exceptions to these regulations must be submitted in writing to the
operations director and approved by the deputy dean.
. Changing the status o a recital (or example, rom degree to required) must be
requested in writing and requires the approval o the student’s teacher and the
operations director. I a recital is no longer a degree recital, it may be canceled or
rescheduled to comply with the scheduling policies stated above.
. Recitals must take place during term, by the last day o classes in each term. Conflicts
with a concert directed by or eaturing a School o Music aculty member or any other
major event sponsored by the School o Music are to be avoided and will be permitted
only at the discretion o the deputy dean.
. Degree recitals recorded by the Plaut-Kimball Recording Studio may be streamed live
on a private web page; students may distribute the link to riends, amily, and col-
leagues. Streaming o student recitals is limited to concerts in Blocker Orchestra Hall,
Morse Recital Hall, Sudler Hall, and Woolsey Hall. Degree recitals with ensembles o
more than six players may only be perormed and streamed with written permission
o the aculty member operations director and the deputy dean.
, ,
Numerous Yale School o Music perormances are recorded and photographed or
various purposes, including live and on-demand streaming on the school’s website and
social media pages. The school retains all rights to the audio and visual reproduction o
these perormances, including the right to use the name and likeness o the participating
perormers. All students are required to sign an unlimited media release assigning such
rights to the School o Music.
The programs o study in the Yale School o Music reflect the symbiosis o the academic
and proessional worlds. Consequently, there are unique standards o behavior that
apply to this enriched hybrid environment.
. Students must maintain appropriate standards o behavior or rehearsal and
classroom work, which include (but are not limited to): adherence to attendance
requirements, preparedness, punctuality, cooperation, and honesty.
. Students must learn to unction in the ace o the challenges and uncertainties that
are inherent to the training and artistic process (as well as the proession).
. Students must be prepared to accept appropriate suggestions and criticism in a
proessional manner.
. Students must maintain health, diet, and practice habits that will allow them to be
alert, responsive, and ully participatory.
. Students must learn to manage their time and commitments to meet the rigorous
demands o the academic and perormance schedules.
. Students must be prepared to reevaluate their technique, consider new approaches
to training, and eliminate old habits that interere with their progress, as guided by
their teachers.
. Students must be able to integrate their unique creative and expressive talents with
perormance in ensembles.
. Students must develop and demonstrate the skills and sel-discipline necessary to
meet the rigors o and be thoroughly prepared or rehearsals and perormances.
The Yale School o Music is committed to the preservation and protection o ree inquiry
and expression or aculty and students in curricular and extracurricular programs and
perormances. The school reflects the university’s commitment to and policy on reedom
o expression as eloquently stated in the Woodward Report (Report o the Committee
on Freedom o Expression at Yale, ).
The Woodward Report states, “The history o intellectual growth and discovery
clearly demonstrates the need or unettered reedom, the right to think the unthinkable,
discuss the unmentionable, and challenge the unchallengeable. To curtail ree expression
strikes twice at intellectual reedom, or whoever deprives another o the right to state
unpopular views necessarily also deprives others o the right to listen to those views.”
(See https://studentlie.yale.edu/guidance-regarding-ree-expression-and-peaceable-
assembly-students-yale.)
As with Yale College, the graduate school, and the other proessional schools o Yale Uni-
versity, students in the School o Music must uphold the highest standards o intellectual
integrity and honesty. Within a university community ounded upon the principles o
reedom o inquiry and expression, instances o plagiarism and cheating o any kind are
particularly serious oenses. Evidence o cheating within the School o Music will be
subject to disciplinary action by the dean and/or the deputy dean.
General Information
School of Music 2024–2025
The School o Music expressly prohibits cheating and plagiarism in any o the ol-
lowing orms:
. Falsification o documents. Students must not orge or alter or misrepresent or
otherwise alsiy any transcript, academic record, identification card, or other ocial
document.
. Examinations. Students must not copy material rom other students, nor reer to
notes, books, laptop computers, cellular phones, or other programmable electronic
devices without written permission rom the instructor. It is also prohibited or a
student to use a cellular phone to discuss the exam with any other student.
. Plagiarism. Students must not use material rom someone else’s work without prop-
erly citing the source o the material. Ideas, opinions, and data, and o course textual
passages, whether published or not, should all be properly acknowledged; these may
derive rom a variety o sources, including conversations, interviews, lectures, and
websites.
Students who violate these principles are subject to penalties, including expulsion.
The dean o the School o Music, or a delegate o the dean, may place a student on an
emergency suspension rom residence or academic status when () the student has been
arrested or or charged with serious criminal behavior by law enorcement authorities;
or () the student allegedly violated a disciplinary rule o the School o Music and the
student’s presence on campus poses a significant risk to the saety or security o members
o the community.
Following an individualized risk and saety analysis, the student will be notified
in writing o the emergency suspension. A student who is notified o an emergency
suspension will have twenty-our hours to respond to the notice. The emergency sus-
pension will not be imposed prior to an opportunity or the student to respond unless
circumstances warrant immediate action or the saety and security o members o the
community. In such cases, the student will have an opportunity to respond aer the
emergency suspension has been imposed.
When a student in the School o Music is placed on an emergency suspension, the
matter will be reerred or disciplinary action in accordance with school policy. Such a
suspension may remain in eect until disciplinary action has been taken with regard to
the student; however, it may be lied earlier by action o the dean or dean’s delegate, or
by the disciplinary committee aer a preliminary review.
There are our grievance procedures available to School o Music students:
. Graduate School Procedure or Student Complaints
. Complaint Resolution through Dean’s Designee or Oce o Institutional Equity and
Access
. University-Wide Committee on Sexual Misconduct
. President’s Procedure or Addressing Students’ Complaints o Racial or Ethnic
Harassment
A student may use no more than one o these procedures or redress o any single
complaint. For more inormation on policies on student grievances, see https://
student-dhr.yale.edu/complaint-resolution. See also Resources on Sexual Misconduct
in the chapter Yale University Resources and Services.
General Information
Yale University Resources and Services
Global engagement is core to Yale’s mission as one o the world’s great universities. Yale
aspires to:
• Be the university that best prepares students or global citizenship and leadership
• Be a worldwide research leader on matters o global import
• Be the university with the most eective global networks
Yale’s engagement beyond the United States dates rom its earliest years. The uni
-
versity remains committed to attracting the best and brightest rom around the world
by oering generous international financial aid packages, conducting programs that
introduce and acclimate international students to Yale, and ostering a vibrant campus
community.
Yale’s globalization is guided by the vice provost or global strategy, who is responsible
or ensuring that Yale’s broader global initiatives serve its academic goals and priorities,
and or enhancing Yale’s international presence as a leader in liberal arts education and
as a world-class research institution. The vice provost works closely with academic col-
leagues in all o the university’s schools and provides support and strategic guidance to
the many international programs and activities undertaken by Yale aculty, students, and
sta.
Teaching and research at Yale benefit rom the many collaborations underway with
the university’s international partners and the global networks orged by Yale across the
globe. International activities across all Yale schools include curricular initiatives that
enrich classroom experiences rom in-depth study o a particular country to broader
comparative studies; aculty research and practice on matters o international impor-
tance; the development o online courses and expansion o distance learning; and the
many ellowships, internships, and opportunities or international collaborative research
projects on campus and abroad. Together these eorts serve to enhance Yale’s global
educational impact and are encompassed in the university’s global strategy.
The Oce o International Aairs (https://world.yale.edu/oia) provides adminis-
trative support or the international activities o all schools, departments, centers, and
organizations at Yale; promotes Yale and its aculty to international audiences; and
works to increase the visibility o Yale’s international activities around the globe. OIA
also coordinates Yale’s program or hosting scholars at risk.
The Oce o International Students and Scholars (https://oiss.yale.edu) hosts
orientation programs and social activities or the university’s international community
and is a resource or international students and scholars on immigration matters and
other aspects o acclimating to lie at Yale.
The Yale Alumni Association (https://alumni.yale.edu) provides a channel or com-
munication between the alumni and the university and supports alumni organizations
and programs around the world.
Additional inormation may be ound on the Yale and the World website (https://
world.yale.edu), including resources or those conducting international activities abroad
and links to international initiatives across the university.
Yale University Resources and Services
Keep up to date about university news and events by subscribing to the Yale Today
e-newsletter (https://news.yale.edu/subscribe-enewsletter), YaleNews (http://news.
yale.edu), the Yale Calendar o Events (http://calendar.yale.edu), and the university’s
Facebook, Twitter, Instagram, LinkedIn, and YouTube channels.
The Yale Peabody Museum (https://peabody.yale.edu), ounded in , houses
more than ourteen million specimens and objects in ten curatorial divisions. The
Museum’s galleries, newly renovated in , display thousands o objects, including
the first Brontosaurus, Stegosaurus, and Triceratops specimens ever discovered.
The Yale University Art Gallery (https://artgallery.yale.edu) is one o the largest
museums in the country, holding nearly , objects and welcoming visitors rom
around the world. Galleries showcase artworks rom ancient times to the present,
including vessels rom Tang-dynasty China, early Italian paintings, textiles rom Borneo,
treasures o American art, masks rom Western Arica, modern and contemporary art,
ancient sculptures, masterworks by Degas, van Gogh, and Picasso, and more.
The Yale Center or British Art (https://britishart.yale.edu) is a museum that houses
the largest collection o British art outside the United Kingdom, encompassing works in
a range o media rom the fieenth century to the present.
More than five hundred musical events take place at the university during the aca-
demic year, presented by the School o Music (https://music.yale.edu/concerts), the
Morris Steinert Collection o Musical Instruments (https://music.yale.edu/concerts-
events-collection), and the Institute o Sacred Music (https://ism.yale.edu/events/
upcoming-events), among others.
For theatergoers, Yale oers a wide range o dramatic productions at such venues
as the Yale Repertory Theatre (https://yalerep.org); the University Theater and Ise-
man Theater (https://drama.yale.edu/productions); and Yale Cabaret (https://www.
yalecabaret.org).
The religious and spiritual resources o the university serve all students, aculty, and
sta o all aiths. Additional inormation is available at http://chaplain.yale.edu.
The Payne Whitney Gymnasium, one o the most elaborate and extensive indoor
athletic acilities in the world, is open to Yale undergraduates and graduate and proes-
sional school students at no charge throughout the year. Memberships at reasonable
ees are available or aculty, employees, postdocs, visiting associates, alumni, and
members o the New Haven community. Additional inormation is available at https://
sportsandrecreation.yale.edu.
During the year, various recreational opportunities are available at the David S.
Ingalls Rink, the McNay Family Sailing Center in Branord, the Yale Tennis Complex,
and the Yale Gol Course. All members o the Yale community and their guests may
participate at each o these venues or a modest ee. Inormation is available at https://
myrec.yale.edu.
The Yale Outdoor Education Center (OEC) in East Lyme Yale is open to students,
aculty, sta, and alumni. The OEC, which consists o , acres surrounding a mile-
long lake in East Lyme, Connecticut. The acility includes overnight cabins and camp-
sites, a pavilion and dining hall available or group rental, and a waterront area with
School of Music 2024–2025
supervised swimming, rowboats, canoes, stand-up paddleboards, and kayaks. For more
inormation, visit https://sportsandrecreation.yale.edu/outdoor-education-center-.
Approximately fiy club sports are oered at Yale, organized by the Oce o Club
Sports and Outdoor Education (https://sportsandrecreation.yale.edu/club-sports-
intramural-sports/club-sports). Most o the teams are or undergraduates, but a ew are
available to graduate and proessional school students.
Throughout the year, Yale graduate and proessional school students have the
opportunity to participate in numerous intramural sports activities, including volleyball,
soccer, and soball in the all; basketball and volleyball in the winter; soball, soccer,
ultimate, and volleyball in the spring; and soball in the summer. With ew exceptions,
all academic-year graduate-proessional student sports activities are scheduled on week-
ends, and most sports activities are open to competitive, recreational, and coeducational
teams. More inormation is available at https://myrec.yale.edu.
The Yale Health Center is located on campus at Lock Street. The center is home to
Yale Health, a not-or-profit, physician-led health coverage option that oers a wide
variety o health care services or students and other members o the Yale community.
Services include student health, gynecology, mental health, pediatrics, pharmacy, blood
draw, radiology, a fieen-bed inpatient care unit, and an acute care clinic with extended
hours and telephone triage/guidance rom a registered nurse twenty-our hours a day.
Additional specialty services such as allergy, dermatology, orthopedics, a travel clinic,
and more are available through Yale Health Hospitalization Specialty Coverage. Yale
Health’s services are detailed in the Yale Health Student Handbook, available through the
Yale Health Member Services Department, .., or online at https://yalehealth.
yale.edu/coverage/student-coverage.
Eligibility for Services
All ull-time Yale degree-candidate students who are paying at least hal tuition are
enrolled automatically or Yale Health Basic Student Health Services, which is oered
at no charge and includes preventive health and medical services in the departments o
Student Health, Gynecology, Student Wellness, and Mental Health & Counseling. In
addition, treatment or triage or urgent medical problems can be obtained twenty-our
hours a day through Acute Care.
Students on leave o absence, on extended study and paying less than hal tuition, or
enrolled per course credit are not eligible or Yale Health Basic Student Health Services
but may enroll in Yale Health Student Aliate Coverage. Students enrolled in the Divi-
sion o Special Registration as nondegree special students or visiting scholars are not
eligible or Yale Health Basic Student Health Services but may enroll in the Yale Health
Billed Associates Plan and pay a monthly ee. Associates must register or a minimum o
one term within the first thirty days o aliation with the university.
Students not eligible or Yale Health Basic Student Health Services may also use the
services on a ee-or-service basis. Students who wish to be seen ee-or-service must
register with the Member Services Department. Enrollment applications or the Yale
Yale University Resources and Services
Health Student Aliate Coverage, Billed Associates Plan, or Fee-or-Service Program
are available rom the Member Services Department.
All students who purchase Yale Health Hospitalization/Specialty Coverage (see
below) are welcome to use specialty and ancillary services at Yale Health Center. Upon
reerral, Yale Health will cover the cost o specialty and ancillary services or these stu-
dents. Students with an alternate insurance plan should seek specialty services rom a
provider who accepts their alternate insurance.
Health Coverage Enrollment
The university also requires all students eligible or Yale Health Basic Student Health
Services to have adequate hospital insurance coverage. Students may choose Yale Health
Hospitalization/Specialty Coverage or elect to waive the plan i they have other hospi-
talization coverage, such as coverage through a spouse or parent. The waiver must be
renewed annually, and it is the student’s responsibility to confirm receipt o the waiver
by the university’s deadlines noted below.
/
For a detailed explanation o this plan, which includes coverage or prescriptions,
see the Yale Health Student Handbook, available online at https://yalehealth.yale.edu/
student-coverage.
Students are automatically enrolled and charged a ee each term on their Student
Financial Services bill or Yale Health Hospitalization/Specialty Coverage. Students with
no break in coverage who are enrolled during both the all and spring terms are billed
each term and are covered rom August through July . For students entering Yale
or the first time, readmitted students, and students returning rom a leave o absence
who have not been covered during their leave, Yale Health Hospitalization/Specialty
Coverage begins on the first day required to be on campus or program orientation. A
student who is enrolled or the all term only is covered or services through January ;
a student enrolled or the spring term only is covered or services through July .
Waiving Yale Health Hospitalization/Specialty Coverage Students are permitted to
waive Yale Health Hospitalization/Specialty Coverage by completing an online waiver
orm at https://yhpstudentwaiver.yale.edu that demonstrates proo o alternate cover-
age. It is the student’s responsibility to report any changes in alternate insurance coverage
to the Member Services Department within thirty days. Students are encouraged to
review their present coverage and compare its benefits to those available under Yale
Health. The waiver orm must be filed annually and must be received by September
or the ull year or all term or by January or the spring term only.
Revoking the waiver Students who waive Yale Health Hospitalization/Specialty Cover-
age but later wish to be covered must complete and send a orm voiding their waiver to
the Member Services Department by September or the ull year or all term, or by
January or the spring term only. Students who wish to revoke their waiver during the
term may do so, provided they show proo o loss o the alternate insurance plan and
enroll within thirty days o the loss o this coverage. Yale Health ees will not be prorated.
School of Music 2024–2025
A student may enroll the student’s lawully married spouse or civil union partner and/
or legally dependent child(ren) under the age o twenty-six in one o three student
dependent plans: Student + Spouse, Student + Child/Children, or Student Family
Plan. These plans include services described in both Yale Health Basic Student Health
Services and Yale Health Hospitalization/Specialty Coverage. Coverage is not automatic,
and enrollment is by application. Applications are available rom the Member Services
Department or can be downloaded rom the website (https://yalehealth.yale.edu/
orms-and-guidelines) and must be renewed annually. Applications must be received
by September or ull-year or all-term coverage, or by January or spring-term
coverage only.
Students on leave o absence, on extended study, or enrolled per course per credit; stu-
dents paying less than hal tuition; students enrolled in the EMBA program; students
enrolled in the Broad Center M.M.S. program; students enrolled in the PA Online pro-
gram; and students enrolled in the EMPH program may enroll in Yale Health Student
Aliate Coverage, which includes services described in both Yale Health Basic Student
Health Services and Yale Health Hospitalization/Specialty Coverage. Applications are
available rom the Member Services Department or can be downloaded rom the website
(https://yalehealth.yale.edu/orms-and-guidelines) and must be received by September
or ull-year or all-term coverage, or by January or spring-term coverage only.
Eligibility Changes
Withdrawal A student who withdraws rom the university during the first fieen days
o the term will be reunded the ee paid or Yale Health Hospitalization/Specialty Cover-
age. The student will not be eligible or any Yale Health benefits, and the student’s Yale
Health membership will be terminated retroactive to the beginning o the term. The
medical record will be reviewed, and any services rendered and/or claims paid will be
billed to the student on a ee-or-service basis. Assistance with identiying and locating
alternative sources o medical care may be available rom the Care Management Depart-
ment at Yale Health. At all other times, a student who withdraws rom the university will
be covered by Yale Health or thirty days ollowing the date o withdrawal. Fees will not
be prorated or reunded. Students who withdraw are not eligible to enroll in Yale Health
Student Aliate Coverage. Regardless o enrollment in Yale Health Hospitalization/
Specialty Coverage, students who withdraw will have access to services available under
Yale Health Basic Student Health Services (including Student Health, Athletic Medicine,
Mental Health & Counseling, and Care Management) during these thirty days to the
extent necessary or a coordinated transition o care.
Leaves of absence Students who are granted a leave o absence are eligible to purchase
Yale Health Student Aliate Coverage or the term(s) o the leave. I the leave occurs on
or before the first day o classes, Yale Health Hospitalization/Specialty Coverage will end
retroactive to the start o the coverage period or the term. I the leave occurs anytime
aer the first day o classes, Yale Health Hospitalization/Specialty Coverage will end on
Yale University Resources and Services
the day the registrar is notified o the leave. In either case, students may enroll in Yale
Health Student Aliate Coverage. Students must enroll in Aliate Coverage prior to
the beginning o the term unless the registrar is notified aer the first day o classes, in
which case, the coverage must be purchased within thirty days o the date the registrar
was notified. Fees paid or Yale Health Hospitalization/Specialty Coverage will be
applied toward the cost o Aliate Coverage. Coverage is not automatic, and enrollment
orms are available at the Member Services Department or can be downloaded rom the
website (https://yalehealth.yale.edu/orms-and-guidelines). Fees will not be prorated
or reunded.
Extended study or reduced tuition Students who are granted extended study status or
pay less than hal tuition are not eligible or Yale Health Hospitalization/Specialty Cover-
age. They may purchase Yale Health Student Aliate Coverage during the term(s) o
extended study. This plan includes services described in both Yale Health Basic Student
Health Services and Yale Health Hospitalization/Specialty Coverage. Coverage is not
automatic, and enrollment orms are available at the Member Services Department or can
be downloaded rom the website (https://yalehealth.yale.edu/orms-and-guidelines).
Students must complete an enrollment application or the plan prior to September or
the ull year or all term, or by January or the spring term only.
Per course per credit Students who are enrolled per course per credit are not eligible or
Yale Health Hospitalization/Specialty Coverage. They may purchase Yale Health Stu-
dent Aliate Coverage during the term(s) o per course per credit enrollment. This plan
includes services described in both Yale Health Basic Student Health Services and Yale
Health Hospitalization/Specialty Coverage. Coverage is not automatic, and enrollment
orms are available at the Member Services Department or can be downloaded rom the
website (https://yalehealth.yale.edu/orms-and-guidelines). Students must complete
an enrollment application or the plan prior to September or the ull year or all term,
or by January or the spring term only.
For a ull description o the services and benefits provided by Yale Health, please reer
to the Yale Health Student Handbook, available online at https://yalehealth.yale.edu/
resource/student-handbook and rom the Member Services Department, ..,
Lock Street, PO Box , New Haven CT -.
Required Immunizations
Proo o vaccination is a pre-entrance requirement determined by the Connecticut State
Department o Public Health. Students who are not compliant with this state regulation
will not be permitted to register or classes or move into the dormitories or the all term,
. Please access the Incoming Student Vaccination Record orm or graduate and
proessional students at https://yalehealth.yale.edu/new-student-health-requirements.
Connecticut state regulation requires that this orm be completed and signed, or each
student, by a physician, nurse practitioner, or physician’s assistant. The orm must be
completed, independent o any and all health insurance elections or coverage chosen.
Once the orm has been completed, the inormation must be entered into the Yale Vac-
cine Portal and all supporting documents must be uploaded to https://campushealth.
yale.edu/welcome-to-health-on-track. The final deadline is August .
School of Music 2024–2025
COVID-19 As per recommendations rom the Centers or Disease Control and Preven-
tion, vaccination against COVID- is strongly encouraged, but not required, or incom-
ing (matriculating) students. Students are asked to submit documentation o prior any
primary series vaccinations or bivalent boosters that they have received through the Yale
Health website, http://yalehealth.yale.edu. Vaccination requirements remain in place or
healthcare workers and trainees, including students who work in settings where patient
care is provided, or those who work with human research subjects in clinical settings.
Those individuals must submit documentation o vaccination with a primary series and
one booster (or, or those who have not yet received a primary series, one bivalent dose
o vaccine) to the university or seek approval or a medical or religious exemption. Yale
will accept any combination o COVID- vaccines that have received ull approval or
Emergency Use Authorization (EUA) by the U.S. Food and Drug Administration (FDA)
or have been issued Emergency Use Listing (EUL) by the World Health Organization
(WHO). International students who do not have access to WHO or FDA authorized or
approved vaccines may be vaccinated at Yale Health on request.
Influenza All students are required to have flu vaccination in the all when it is made
available to them by Yale Health.
Measles, mumps, rubella, and varicella All students are required to provide proo
o immunization against measles (rubeola), mumps, German measles (rubella), and
varicella. Connecticut state regulation requires two doses MMR (combined measles,
mumps, and rubella) and two doses o varicella vaccine. The first dose must have been
given aer the student’s first birthday; the second dose must have been given at least
twenty-eight days aer the first dose. I dates o vaccination are not available, titer results
(blood test) demonstrating immunity may be substituted or proo o vaccination. The
cost or all vaccinations and/or titers rests with the student, as these vaccinations are
considered to be a pre-entrance requirement by the Connecticut State Department o
Public Health. Students who are not compliant with this state regulation will not be
permitted to register or classes or move into the dormitories or the all term, .
Quadrivalent meningitis All students living in on-campus dormitory acilities (all
undergraduate residential colleges and the ollowing graduate dormitories: Pros-
pect Street, Elm Street, Prospect Street, Baker Hall, and Edward S. Harkness
Memorial Hall) must be vaccinated against meningitis. The only vaccines that will
be accepted in satisaction o the meningitis vaccination requirement are ACWY Vax,
Menveo, Nimenrix, Menactra, Mencevax, and Menomune. The vaccine must have been
given within five years o the first day o classes at Yale. Students who are not compliant
with this state regulation will not be permitted to register or classes or move into the
dormitories or the all term, . The cost or all vaccinations and/or titers rests with
the student, as these vaccinations are a pre-entrance requirement by the Connecticut
State Department o Public Health. Please note that the State o Connecticut does not
require this vaccine or students who intend to reside on campus and are over the age
o twenty-nine.
TB screening The university requires tuberculosis screening or all incoming students
who have lived or traveled outside o the United States within the past year.
Hepatitis B series The university recommends that incoming students receive a series
o three Hepatitis B vaccinations. Students may consult their health care provider or
urther inormation.
https://housing.yale.edu
..
The Yale Graduate Housing Oce has dormitory and apartment units available or
graduate and proessional students. Dormitories are single-occupancy and two-bedroom
units o varying sizes and prices. They are located across the campus, rom Edward S.
Harkness Memorial Hall, serving the medical campus, to and Prospect Street and
Elm Street, serving the central/science campus. Unurnished apartments consisting
o eciencies and one-, two-, and three-bedroom apartments or singles and amilies are
also available. Family housing is available in Whitehall and Esplanade Apartments. The
graduate housing website is the venue or graduate housing inormation and includes
dates, procedures, acility descriptions, floor plans, and rates. Applications or the new
academic year are available beginning April and can be submitted directly rom the
website with a Yale NetID. Room selection or paired roommates begins April . Room
selection or all others begins April .
The Yale Graduate Housing Oce also manages the O Campus Living listing service
(http://ocampusliving.yale.edu; ..), which is the exclusive Yale service or
providing o-campus rental and sales listings rom New Haven landlords. This secure
system allows members o the Yale community to search rental listings, review landlord/
property ratings, and search or a roommate in the New Haven area. On-campus housing
is limited, and members o the community should consider o-campus options. Yale
University discourages the use o Craigslist and other third-party nonsecure websites
or o-campus housing searches.
Yale University issues identification (ID) cards to aculty, sta, and students. ID cards
support the community’s saety and security by allowing access to many parts o campus:
dining halls and caés, residential housing, libraries, athletic centers, workspaces, labs,
and academic buildings. Cultivating an environment o public saety requires the entire
community to work together to ensure appropriate use o our spaces, as well as to oster
a sense o belonging or all members o our community.
University policies, regulations, and practice require all students, aculty, and sta to
carry their Yale ID card on campus and to show it to university ocials on request. Yale
ID cards are not transerable. Community members are responsible or their own ID
card and should report lost or stolen cards immediately to the Yale ID Center (https://
idcenter.yale.edu).
Members o the university community may be asked to show identification at vari-
ous points during their time at Yale. This may include but not be limited to situations
such as: where individuals are entering areas with access restrictions, or identification
Yale University Resources and Services
School of Music 2024–2025
in emergency situations, to record attendance at a particular building or event, or or
other academic or work-related reasons related to the sae and eective operation and
unctioning o Yale’s on-campus spaces.
For some members o our community, based on the needs and culture o their
program, department, and/or characteristics o their physical spaces, being asked to
show an ID card is a regular, even daily, occurrence. However, or others it may be
new or inrequent. For some, being asked to produce identification can be experienced
negatively, as a contradiction to a sense o belonging or as an aront to dignity. Yale
University is committed to enhancing diversity, supporting equity, and promoting an
environment that is welcoming, inclusive, and respectul. University ocials requesting
that a community member show their ID card should remain mindul that the request
may raise questions and should be prepared to articulate the reasons or any specific
request during the encounter. In addition, individuals requesting identification should
also be prepared to present their own identification, i requested.
http://oiss.yale.edu
..
The Oce o International Students and Scholars (OISS) coordinates services and
support or more than , international students, aculty, sta, and their dependents
at Yale. OISS assists international students and scholars with issues related to employ-
ment, immigration, personal and cultural adjustment, and serves as a source o general
inormation about living at Yale and in New Haven. As Yale University’s representative
or immigration concerns, OISS helps students and scholars obtain and maintain legal
nonimmigrant status in the United States.
OISS programs, like daily English conversation groups, the Understanding America
series, DEIB workshops, bus trips, and social events, provide an opportunity to meet
members o Yale’s international community and become acquainted with the many
resources o Yale University and New Haven. Spouses and partners o Yale students and
scholars will want to get involved with the International Spouses and Partners at Yale
(ISPY) community, which organizes a variety o programs and events.
The OISS website provides useul inormation to students and scholars prior to
and upon arrival in New Haven, as well as throughout their stay at Yale. International
students, scholars, and their amilies and partners can connect with OISS and the Yale
international community virtually through Yale Connect, Facebook, and Instagram.
OISS is a welcoming venue or students and scholars who want to check their email,
grab a cup o coee, and meet up with a riend or colleague. The International Center
is OISS’s home on Yale campus and is located at Temple Street. The International
Center provides meeting space or student groups and a venue or events organized by
both student groups and university departments. For more inormation about our hours,
directions, and how to reserve space at OISS, please visit https://oiss.yale.edu/about/
hours-directions-parking.
https://sas.yale.edu
..
Student Accessibility Services (SAS) engages in an interactive process with Yale students,
including undergraduate, graduate, and proessional-school students with permanent
conditions and/or temporary injuries, to determine reasonable and appropriate accom-
modations on a case-by-case basis. Students may initiate this process by requesting
accommodations through the online accommodation request orm available at https://
yale-accommodate.symplicity.com/public_accommodation.
Engagement with SAS is confidential, and aculty/sta are notified o approved
accommodations on a need-to-know basis only, except when required by law or health
and saety reasons. Students may upload supporting documentation regarding their
condition and request or accommodations with their accommodation request orm.
Documentation guidelines are available on the SAS website at https://sas.yale.edu/
students/documentation-guidelines.
,
,
Yale is a community committed to ostering an environment o diversity, mutual respect,
and intellectual discovery in which all members o the community can thrive. Acts o
discrimination and harassment are contrary to the community standards and ideals o
our university. Sta in the ollowing oces work within the Yale community to promote
respect, inclusivity, diversity, and equal opportunity, and are available to talk through
situations you have witnessed or experienced, as well as to provide guidance.
When you have concerns or questions related to discrimination or harassment, you
have a wide range o choices or support. You can reach out to a discrimination and
harassment resource coordinator, or you can talk with others, such as a residential college
dean, dean o student aairs, or the Oce o Institutional Equity and Accessibility.
I you’d like to talk with someone about sexual misconduct or sex-based discrimina-
tion, you can reach out directly to the deputy Title IX coordinator o your school or the
Title IX Oce. The Title IX website (https://titleix.yale.edu) is a helpul resource or
additional questions or concerns about sex-based discrimination or sexual misconduct.
I an individual is unsure o which resource to contact and wants to explore options or
addressing sexual misconduct, the SHARE Center is a good place to start.
Discrimination and Harassment Resource Coordinators
Oce hours: a.m.– p.m., M–F
https://dhr.yale.edu/discrimination-and-harassment-resource-coordinators
Discrimination and harassment resource coordinators (ormerly deans’ designees) have
been identified by the dean o each college and school as community members with
the responsibility to receive concerns and oer advice and guidance related to diversity
and inclusion, discrimination and harassment, and equal opportunity. Discrimination
Yale University Resources and Services
School of Music 2024–2025
and harassment resource coordinators may also help acilitate inormal resolution. This
may be an individual’s best “first stop” in discussing a concern related to discrimina-
tion, harassment, or retaliation, particularly as discrimination and harassment resource
coordinators will be knowledgeable about resources specific to their school or college.
Oce of Institutional Equity and Accessibility
Oce hours: a.m.– p.m., M–F
..
https://oiea.yale.edu
Any individual who would like to report a concern o discrimination, harassment, and/
or retaliation may contact the Oce o Institutional Equity and Accessibility (OIEA).
OIEA sta are available to discuss concerns, university resources, and options or resolu-
tion, including inormal resolution. Where appropriate, OIEA sta are also available to
conduct investigations into complaints o discrimination, harassment, and/or retalia-
tion. Talking with someone at OIEA about a concern or making a complaint does not
automatically launch an investigation. It can, however, be an important step to alerting
the university about a concern and getting assistance to resolve it.
SHARE: Information, Advocacy, and Support
Lock Street, Lower Level
Appointments: a.m.– p.m., M–F
/ on-call service (or time-sensitive matters): ..
https://sharecenter.yale.edu
SHARE, the Sexual Harassment and Assault Response and Education Center, has
trained counselors available to members o the Yale community who wish to discuss any
current or past experience o sexual misconduct involving themselves or someone they
care about. SHARE services are confidential and can be anonymous i desired. SHARE
can provide proessional help with medical and health issues (including accompanying
individuals to the hospital or the police), as well as ongoing counseling and support
or students. SHARE works closely with the University-Wide Committee on Sexual
Misconduct, the Title IX Oce, the Yale Police Department, and other campus resources
and can provide assistance with initiating a complaint.
I you wish to make use o SHARE’s services, you can call the SHARE number
(..) at any time or a phone consultation or to set up an in-person appoint-
ment. Some legal and medical options are time-sensitive, so i you have experienced an
assault, we encourage you to call SHARE and/or the Yale Police as soon as possible.
Title IX Coordinators
Oce hours: a.m.– p.m., M–F
..
https://titleix.yale.edu
Title IX o the Education Amendments o protects people rom sex discrimina-
tion in educational programs and activities at institutions that receive ederal financial
assistance. Sex discrimination includes sexual harassment, sexual assault, and other
orms o sexual misconduct. The university is committed to providing an environment
ree rom discrimination on the basis o sex or gender.
Yale College, the Graduate School o Arts and Sciences, and the proessional schools
have each designated one or more deputy Title IX coordinators, who work closely with
the university Title IX Oce and university Title IX Coordinator Elizabeth Conklin.
Coordinators respond to and address concerns, provide inormation on available
resources and options, track and monitor incidents to identiy patterns or systemic
issues, deliver prevention and educational programming, and address issues relating
to gender-based discrimination and sexual misconduct within their respective schools.
Coordinators also work with pregnant and parenting individuals to coordinate needed
accommodations and to respond to instances o discrimination. Discussions with a dep-
uty Title IX coordinator are private and inormation is only shared with other university
ocials on a need-to-know basis. In the case o imminent threat to an individual or the
community, the coordinator may need to consult with other administrators or take action
in the interest o saety. The coordinators also work closely with the SHARE Center, the
University-Wide Committee on Sexual Misconduct, and the Yale Police Department.
University-Wide Committee on Sexual Misconduct
Oce hours: a.m.– p.m., M–F
..
https://uwc.yale.edu
The University-Wide Committee on Sexual Misconduct (UWC) is an internal disciplin-
ary board or complaints o sexual misconduct available to students, aculty, and sta
across the university, as described in the committee’s procedures. The UWC provides an
accessible, representative, and trained body to airly and expeditiously address ormal
complaints o sexual misconduct. UWC members can answer inquiries about procedures
and the university sexual misconduct policy. The UWC is composed o aculty, senior
administrators, and graduate and proessional students drawn rom throughout the
university. UWC members are trained to observe strict confidentiality with respect to all
inormation they receive about a case.
Yale Police Department
Ashmun Street
/ hotline: ..
https://your.yale.edu/community/public-saety/yale-police-department
The Yale Police Department (YPD) operates / and is comprised o highly trained,
proessional ocers. The YPD can provide inormation on available victims’ assistance
services and also has the capacity to perorm ull criminal investigations. I you wish
to speak with the sensitive crimes and support coordinator, they can be reached at
... Inormational sessions are available with the sensitive crimes and support
coordinator to discuss saety planning, available options, etc. The YPD works closely
with the New Haven State’s Attorney, the SHARE Center, the Title IX Oce, and various
Yale University Resources and Services
School of Music 2024–2025
other departments within the university. Talking to the YPD does not commit you to
submitting evidence or pressing charges; with ew exceptions, all decisions about how
to proceed are up to you.
Admission Procedures
The Yale School o Music application or the – academic year is available online
at https://music.yale.edu/apply. The online application deadline is December , .
The inormation that ollows will assist applicants in filing the application. For an
explanation o requirements and structure o various programs, please reer to the chap-
ter Degrees in this bulletin. Please note that students may not apply to a degree program
at YSM i they already have the equivalent degree or a doctorate rom another institution
in the same area o concentration. Students may not enroll in a degree program at Yale i
they will be enrolled in another institution’s degree program simultaneously.
Application Fee
Each application submitted to the School o Music Oce o Admissions must be
accompanied by an application ee in the amount o (U.S.). This application ee
is non reundable and will not be credited toward tuition or any other account upon
admission. There are no application ee waivers.
Master of Music (M.M.) Degree
Applicants who will have earned a bachelor’s degree or its equivalent prior to September
may apply to the M.M. program, a two-year curriculum.
Master of Musical Arts (M.M.A.) Degree
Applicants who will have earned a Master o Music degree or its equivalent in the same
field in which they are applying prior to September may apply to the M.M.A.
program, a two-year curriculum. Those who have already earned a D.M.A. degree are
not eligible to apply.
Doctor of Musical Arts (D.M.A.) Degree
Applicants who will have received a Master o Music degree or its equivalent in the
same field in which they are applying prior to September may apply to the D.M.A.
program. Those who have already earned a D.M.A. degree are not eligible to apply.
D.M.A. applicants are required to submit a term paper or other sample o schol-
arly writing at the time o application. Admission to the program is through personal
audition or the relevant area aculty and examinations in music history, analysis, and
musicianship. Applicants should note that the entire application process requires their
presence or at least two separate days in New Haven.
No one may apply to the D.M.A. program more than twice. Yale first-year M.M.A.
or artist-diploma students admitted to the D.M.A. program oreit their enrollment in
their previous program.
School of Music 2024–2025
Artist Diploma (A.D.) Program
Applicants who will have earned a minimum o a high school diploma or its equivalent
prior to September may apply to the A.D. program, a two-year curriculum. The
program is open to instrumentalists and singers on the verge o a major career. Those
who have already earned a D.M.A. degree are not eligible to apply.
Certificate in Performance (CERT) Program
Applicants who will have earned a minimum o a high school diploma, or its equivalent,
prior to September may apply to the Certificate in Perormance program, a three-
year curriculum. Those who have already earned a bachelor’s degree are not eligible to
apply.
Bachelor of Arts/Master of Music (B.A./M.M.) Program
Admission to the B.A./M.M. program is through acceptance into Yale College as well as
a separate, successul audition through the School o Music, either beore matriculation
into Yale College or during the third year o the undergraduate program. The program is
open to instrumentalists majoring in both music and other subjects; current Yale College
students should consult with the School o Music’s admissions director beore applying.
Recording and Audition Repertoire Guidelines
Prescreening recordings are required rom all applicants. All applicants must submit
prescreening recordings online as part o the online application; no recordings or scores
are accepted by mail.It is very important that the audio quality is as high as possible on
audio and video recordings.
The admissions committee has selected the ollowing works as appropriate and
acceptable or prescreening and live auditions. Some substitution may be acceptable,
but applicants should adhere to the suggested repertoire as closely as possible.
Please note that the repertoire guidelines listed below are subject to change at any
time. The most up-to-date repertoire and detailed instructions may be ound online at
https://music.yale.edu/apply.
Horn, Trumpet, Trombone, Tuba
Prescreening Recording (audio or video; piano not required):
• Applicants should prepare repertoire that will show their playing to the best advan-
tage with the most variety possible both instrumentally and musically.
• Repertoire should display a broad range o styles, genres, and technical abilities, with
examples covering the ull range o the instrument and should include the ollowing:
. our or more varied standard orchestral excerpts and
. three or more varied selections rom a solo piece, étude, or individual movements
o a sonata or concerto.
Live Audition (piano not required):
Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to the abovementioned guidelines.
Prescreening Recording:
• Applicants should submit scores and recordings o two to three recent works (no
more than three will be considered; multi-movement works are suitable) which may
be written or dierent genres or instrumentations and/or electronic media.
• Composers should upload PDFs o scores, as well as recordings, videos, or external
links, to the online application.
Interview:
Applicants who advance beyond the prescreening round will be invited to New Haven
or a thirty-minute interview with the composition aculty.
Orchestral Conducting
Prescreening Recording (video required):
• Applicants should submit video excerpts that best showcase their orchestral-con-
ducting skills. While no specific repertoire is required, the recording should include
at least two contrasting musical styles o standard orchestral repertoire.
• Submitted videos must have been filmed within the previous twelve months. A
minimum o three excerpts should be uploaded and contain the ollowing:
. ootage o the applicant conducting an ensemble/orchestra in concert, and
. ootage o the applicant working with an ensemble/orchestra in rehearsal.
• Each piece o ootage must include the title o the piece, the date, and the name o the
ensemble. In addition, or rehearsal ootage, it would be helpul or the conductor to
wear a lavalier microphone to avoid poor audio quality. The video camera should be
positioned behind the orchestra and pointed at the conductor.
• We are most interested in rehearsal ootage, although some concert ootage should
also be included.
• Videos eaturing ull orchestra are preerred, but clips o an applicant leading an
ensemble o about fieen musicians are acceptable.
• Each video clip and any additional samples should be uploaded as separate video files
and should total no more than twenty minutes in length.
Live Audition:
Select applicants will be invited to New Haven in February or a series o interviews and
or a live audition. Invited applicants will be asked to conduct several selections rom the
standard orchestral repertoire with the Yale Philharmonia. Repertoire and audition date
will be included in the invitation letter.
Choral Conducting
Prescreening Recording (video required):
Applicants should submit a video o at least fieen minutes that shows them conducting
a choral ensemble in rehearsal and in perormance.
Admission Procedures
School of Music 2024–2025
Live Audition:
Applicants who are invited to New Haven or a live audition will be expected to
demonstrate a highly developed level o comprehensive musicianship that includes an
understanding o theory, aural skills, keyboard skills, harmonic dictation, and score
reading. Individual conducting assignments or the live audition will be made in the
letter o invitation to audition.
Prescreening Recording for M.M., M.M.A., and Certificate applicants (audio or video):
. a work by J.S. Bach (prepare the larger movement—the Prelude, or Prelude and
Fugue); arrangements o music by Scarlatti, Francesca Caccini, Élisabeth-Claude
Jacquet de La Guerre; three movements rom a Silvius Leopold Weiss suite; or others;
. a work or two shorter works by Emilia Giuliani-Guglielmi, Mauro Giuliani, Sor,
Mertz, or others;
. a work o the twentieth or twenty-first century, such as Villa-Lobos études (our o
the twelve études) or a work by Ponce, Kay, José, Britten, Martin, Brouwer, S. Assad,
C. Assad, Tower, León, Flippin, Lash, Ginastera, Takemitsu, or others;
. applicants who are also composers are encouraged to include a work o their own,
although it cannot replace requirement number (); and
. applicants may also consider including any o the ollowing repertoire (not required):
Renaissance music by Dowland and/or Da Milano, or arrangements o music by
Granados and Albéniz.
Prescreening Recording for A.D. and D.M.A. applicants (audio or video):
Applicants must submit a live recording o seventy-five minutes o music (the equiva-
lent o a ull recital program) plus a movement o a concerto. The recital program must
include the ollowing:
. a ull Bach suite or partita, or the Prelude, Fugue, and Allegro; or the Chaconne rom
the D minor Partita;
. a work rom either the Classical or Romantic period, such as Emilia Giuliani-
Guglielmi, Mauro Giuliani, Sor, Mertz, or others;
. a work o the twentieth or twenty-first century, such as Villa-Lobos études (our o
the twelve études) or a work by Ponce, Kay, José, Britten, Martin, Brouwer, S. Assad,
C. Assad, Tower, León, Flippin, Lash, Ginastera, Takemitsu, or others;
. the first movement o one o the ollowing concertos (with piano or orchestra):
Arnold’s Guitar Concerto, Brouwer’s Concerto de Toronto, Corigliano’s Troubadours
(Variations or Guitar and Chamber Orchestra), Giuliani’s Concerto No. in A Major,
Goss’s Guitar Concerto, Ponce’s Concierto Del Sur, Rodrigo’s Concierto de Aranjuez,
Sculthorpe’s Nourlangie, Takemitsu’s To the Edge of Dream, Tedesco’s Guitar Concerto
No. in D Major, or Villa-Lobos’s Concerto or Guitar and Small Orchestra;
. applicants who are also composers are encouraged to include a work o their own,
although it cannot replace requirement number (); and
. applicants may include, though it’s not required, music by Milan, Dowland, and Da
Milano, or arrangements o works by Granados and Albéniz.
Admission Procedures
Live Audition:
In addition to the prescreening repertoire, applicants who are invited to audition must
prepare a short piece that will be announced and emailed to applicants our to six weeks
beore the audition.
Prescreening Recording (audio or video):
. a work by Bach or another Baroque composer including but not limited to Scarlatti
(two sonatas o contrasting style) or Handel;
. a solo work rom the standard repertoire, including but not limited to Impromptu by
Fauré, Suite by Britten, Légende by Renié, works by Parish Alvars, or Rhapsodie by
Grandjany; and
. a sonata rom the twentieth-century repertoire including but not limited to works by
Casella, Tournier, Tailleerre, Hindemith, or Houdy.
Live Audition:
Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to the abovementioned guidelines. All works should be perormed
rom memory.
Prescreening Recording:
. any contrapuntal work by J.S. Bach;
. two or more French dances rom either the seventeenth or eighteenth century; and
. applicant’s choice: in addition to the abovementioned repertoire, please choose a rep-
resentative example rom either the English Virginalist school, an early seventeenth-
century Italian toccata, a sonata by Domenico Scarlatti, or a piece o twentieth- or
twenty-first-century composition.
Live Audition:
Applicants will be responsible or the abovementioned literature and, additionally, any
contrasting work by a dierent composer. Applicants will also be assessed on their level
o competence as continuo players.
Prescreening Recording:
Representative works rom the major areas o organ literature:
. a major work by Bach,
. a Romantic work, and
. a work by a composer born aer .
Live Audition:
• Organ applicants are strongly encouraged, though not required, to perorm dierent
works rom those on the prescreening recording. However, works should be chosen
rom the same three categories above.
• Applicants will also be asked to demonstrate sight-reading ability and other essential
musical skills.
School of Music 2024–2025
Prescreening Recording (unedited video):
. a major work composed or either marimba or vibraphone,
. one piece rom Elliott Carter’s Eight Pieces or Four Timpani,
. a solo piece or multiple percussion, and
. an étude or snare drum.
Live Audition:
. a major work composed or either marimba or vibraphone (examples o acceptable
works include, but are not limited to, Minoru Miki’s Time for Marimba, Gordon
Stout’s Two Mexican Dances, Steven Mackey’s See Ya Thursday, Philippe Manoury’s
Le Livre des Claviers, or Franco Donatoni’s Omar),
. a solo piece or multiple percussion (examples o acceptable works include, but are
not limited to, Iannis Xenakis’ Rebonds or Psappha, David Lang’s Anvil Chorus, or
James Wood’s Rogosanti),
. Jacques Delecluse’s Étude No. ,
. Anthony Cirone’s Étude No. ,
. two pieces rom Elliott Carter’s Eight Pieces or Four Timpani,
. two- and our-mallet marimba sight-reading will be required,
. the ollowing orchestral excerpts: (a) timpani: Beethoven’s Symphony No. ,
(b) timpani: Richard Strauss’ Burleske, (c) timpani: Mozart’s Symphony No. , (d)
snare drum: Rimsky-Korsakov’s Scheherazade, (e) xylophone: Messiaen’s Exotic Birds,
( ) glockenspiel: Debussy’s La Mer.
Prescreening Recording (audio or video; no concertos):
. a Bach prelude and ugue or another original work by Bach (not a transcription);
. a sonata or variations by Haydn, Mozart, Beethoven, or Schubert (or the prescreen-
ing recording, applicants should provide at least two contrasting movements; or a
live audition, applicants should prepare an entire work);
. a larger Romantic nineteenth-century work; and
. a twentieth- or twenty-first-century composition (or a multi-movement work,
provide at least two contrasting movements).
Live Audition:
Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to these guidelines.
Violin
Prescreening Recording (video preerred, with high-quality audio):
. one movement o an unaccompanied Bach sonata or partita (A.D., M.M.A., and
D.M.A. applicants must provide two movements);
. first movement o a Mozart concerto;
. any Paganini caprice;
. one movement o a Classical (other than Mozart), Romantic, or twentieth-century
concerto; and
Admission Procedures
. a short standalone piece o the applicant’s choice (rom any genre or style) that is not
a movement rom a sonata or concerto.
Live Audition (pianist required, details will be noted in the audition invitation):
• Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to the abovementioned guidelines.
• A.D., M.M.A., and D.M.A. applicants must play Mozart at the live audition.
• M.M. and Certificate applicants will not be asked to play Mozart at the live audition.
Viola
Prescreening Recording (video or audio; piano accompaniment required, where applicable):
• Applicants must provide at least fieen minutes o music o their choice, including
three works o contrasting styles.
• One movement o each work is acceptable, and applicants should be sure that at least
one o the pieces (the concerto or the sonata) is a Romantic work.
• It is not necessary to include the pieces required or the live audition.
Live Audition (pianist required, details will be noted in the audition invitation):
. the prelude rom any Bach cello suite or the first movement o any Bach sonata or
partita or solo violin, or the Chaconne;
. either the first movement o a Romantic viola sonata by a composer such as Brahms,
Glinka, Franck, Schubert, or Vieuxtemps, or a transcription o a piece such as Brahms
Op. or Op. , the Rachmanino Cello Sonata, the Grieg Cello Sonata;
. the first movement o a viola concerto by a composer such as Mozart (Clarinet
Concerto, arr. or viola), Bartók, Hindemith, Walton, Martinu˚, Bowen, Penderecki,
Schnittke (first and second movements), or Elgar (Cello Concerto, arr. L. Tertis);
. a short required piece—such as Fauré’s Après un rêve, Glazunov’s Elegy, or
Tchaikovsky’s Valse Sentimentale—that will be announced to invited applicants our
to six weeks beore the audition; () A.D. and D.M.A. applicants must also include
(in addition to the pieces above) a piece o the candidate’s choice. Applicants must be
sure that at least one o the pieces (the concerto or the sonata) is a Romantic work.
Cello
Prescreening Recording (video required):
. prelude and another movement rom a Bach Suite;
. the first movement rom one o the ollowing concerti: Dvorák, Haydn D major,
Schumann, Tchaikovsky, or Prokofiev Sinonia Concertante (first or second
movement);
. applicant’s choice: a piece (solo or with piano) written aer including but not
limited to Sofia Gubaidulina’s Preludes or cello solo; Tania Léon’s Four pieces or
cello solo; Coleridge-Taylor Perkinson’s Lamentations: Black/Folk Song Suite or
solo cello; Carlos Simon’s Lickety Split or cello and piano; and Errollyn Wallen’s
Dervish or cello and piano.
Live Audition (pianist required, details will be noted in the audition invitation):
Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to the abovementioned guidelines.
School of Music 2024–2025
Double Bass
Prescreening Recording (video required):
. a movement o a Bach cello suite (with repeats i not a prelude);
. two contrasting movements rom concertos, sonatas, or virtuoso pieces; and
. two contrasting orchestral excerpts.
Live audition (pianist optional):
Prepare the same or dierent pieces as the prescreening recording (both programs
should adhere to the abovementioned guidelines), plus a short work by a contemporary
composer such as Carter, Kurtág, Berio, Henze, Weinberg, or Persichetti.
Opera
Prescreening Recording (video strongly preerred; video required or at least five
selections):
Provide seven selections rom the operatic, oratorio, and/or art song repertoire o con-
trasting styles and languages. Four o these selections should be operatic arias.
Live Audition:
Audition and prescreening repertoire may be the same or dierent, as long as both
programs adhere to the abovementioned guidelines.
Early Music, Oratorio, and Chamber Ensemble
Prescreening Recording (audio or video; video required or at least one selection):
• Include seven selections o contrasting styles and languages rom the sacred music
(oratorio, mass, cantata, sacred song, etc.), opera, and art-song repertoire.
• Selections can be chosen rom any period, including contemporary compositions.
However, at least three selections should be rom the Renaissance and Baroque
periods.
• At least one aria by J.S. Bach is required.
• Applicants should choose selections that demonstrate their versatility as a perormer.
Live Audition:
• Material should include five pieces o contrasting styles, languages, and periods.
• These selections may be the same or dierent works rom the prescreening recording.
• O the five selections, prepare at least two Baroque selections (including one aria by
J.S. Bach) and a third selection written prior to .
• All works should be chosen rom the same reportorial categories as above and per-
ormed rom memory.
• Applicants will be asked to demonstrate sight-reading ability and other essential
musical skills.
Flute
Prescreening Recording (video required; piano required, where applicable):
. Dutilleux’s Sonatine or Flute and Piano (with piano),
. the second movement o Mozart’s Concerto in D major (with piano),
. on piccolo: Rossini’s Overture to Semiramide (select one o the standard excerpts),
and
. a work o the applicant’s choice (complete work preerred).
Live Audition (pianist required, details will be noted in the audition invitation):
. Jolivet’s Chant de Linos,
. rom memory: the second movement o Mozart’s Concerto in D major, and
. the first movement o any Vivaldi C major piccolo concerto.
Oboe
Prescreening Recording (video; piano required, where applicable):
Applicants should provide fieen to twenty minutes o music o their choice, sampled
rom each o the ollowing:
. a major sonata,
. a solo piece or étude,
. a major concerto, and
. our varied orchestral excerpts.
Live Audition (pianist required, details will be noted in the audition invitation):
. Henri Dutilleux: Sonata or Oboe and Piano;
. Mozart: Oboe Concerto Movement until bar , Movement ;
. J.S. Bach: Cantata # (Ich habe genug) opening Adagio (without piano accompani-
ment); and
. six varied orchestral excerpts.
Clarinet
Prescreening Recording (video required):
. Mozart: Clarinet Concerto with piano or orchestra accompaniment, i possible;
. Bach: Flute Partita Sarabande (measure –) and Bourrée anglaise (complete with-
out repeats), perormed as written on B-flat clarinet (sounding one step lower than
flute pitch);
. Schumann: the first movement o Fantasiestücke Op. , with piano, i possible;
. Beethoven: first clarinet excerpts rom Symphony No. (Movement I: measure
– and Movement II: measure –);
. a three- to five-minute selection rom a contemporary work or unaccompanied clari-
net including but not limited to Edison Denisov, Franco Donatoni, Donald Martino,
Roberto Sierra, Jörg Widmann, or Chen Yi; and
. Copland: cadenza o the Clarinet Concerto.
Live Audition (pianist required, details will be noted in the audition invitation):
Applicants may be asked to perorm selections rom the abovementioned repertoire list
and to demonstrate their sight-reading ability.
Bassoon
Prescreening Recording (video preerred; piano required, where applicable):
• Applicants may choose prescreening repertoire rom the live audition repertoire list
below.
• They are also welcomed to replace all or some works with appropriate alternatives
when submitting a prescreening recording.
Admission Procedures
School of Music 2024–2025
• Applicants should provide no more than fieen minutes o their playing, excerpted
rom the ollowing:
. a sonata or other non-concerto work or bassoon and piano;
. a concerto (played with piano or orchestra); and
. two to our varied orchestral excerpts.
Live Audition (pianist required, details will be noted in the audition invitation):
. Mozart: Bassoon Concerto (with piano) (Allegro: measure – (Solo exposition
until recap; Andante ma Adagio: measure –. “A & B sections” until recap; Rondo:
measure –);
. Camille Saint-Saens: Bassoon Sonata Op. Movements I and II or Alexandre
Tansman: Sonatine Movements I and II (complete movements);
. A three- to five-minute excerpt rom a contemporary work or unaccompanied bas-
soon by underrepresented composers such as (but not limited to): Edward Bland’s
For Bassoon, Jenni Brandon’s Colored Stones, Reena Esmail’s Zinfandel, Adolphus
Hailstork’s Bassoon Set, Libby Larsen’s Jazz Variations, Francisco Mignone’s 16 Brazil-
ian Waltzes, Isang Yun’s Monolog; and
. (a) Mozart’s Figaro Overture: Measure –, or Beethoven’s Symphony , Move-
ment IV: Measure through and through ; (b) Rimsky-Korsakov’s
Scheherazade, Movement II: Opening solo and cadenzas, or Tchaikovsky’s Symphony
, Movement II: Measure to the end; (c) Ravel’s Bolero: Bassoon solo (rehearsal
number to ), or Stravinsky’s Rite o Spring: Opening solo to measures aer
rehearsal number .
Recommendations
Each application must include three reerence letters to support the applicant’s candidacy
or graduate study. Current Yale School o Music students must submit one letter o
recommendation.
Transcripts
Applicants are required to submit transcripts rom all colleges, universities, and conser-
vatories that they have attended or are currently attending. An unocial transcript can
be uploaded to the online application, but the transcript must be legible and include the
applicant’s name, the name o the institution, the degree program, and GPA. Applicants
who are oered a live audition will be required to submit ocial transcripts rom all
schools. All transcripts must be in English. Final transcripts must be translated into
English by a certified translator, i applicable. Transcripts can be mailed; however, all
applicants are highly encouraged to submit ocial electronic transcripts through a secure
service such as Parchment, National Student Clearinghouse, eScript-Sae, or other
system. This helps to ensure that transcripts are delivered promptly and securely to the
School o Music. Applicants who have not received a bachelor’s degree must submit
ocial transcripts rom all high schools attended.
Yale School o Music reserves the right to request a third-party transcript evaluation
or oreign degrees i we are unable to determine the applicant’s degree equivalency
based on submitted transcripts. Applicants will be notified i an ocial evaluation o the
transcript is required to veriy academic level. Companies such as SpanTran, WES, or
ECE can provide this service or a ee.
Graduate Record Examinations (GRE)
GRE scores are not required o any applicant in any area o study in order to apply.
English Language Proficiency Requirement (TOEFL/IELTS)
Students or whom English is not a native language must demonstrate a level o language
proficiency appropriate or graduate study. For applicants to the M.M., M.M.A., and
D.M.A. degree programs, as well as the Certificate in Perormance program, the School
o Music requires a minimum TOEFL score o on the Internet-based test (equivalent
to on the computer-based test and on the paper-based test) or a minimum IELTS
Academic score o .. The minimum TOEFL score or artist diploma applicants is
on the Internet-based test (equivalent to on the computer-based test and on
the paper-based test) or . on the IELTS Academic. The institution reporting code
or ocial TOEFL score reports is . Ocial IELTS scores must be sent directly
rom IELTS by searching “Yale School o Music” in their online electronic score delivery
system. Students are advised to make testing arrangements at least six months beore
the application deadline.
Note: An initial TOEFL/IELTS score is due by the application deadline o December
. This score is required at the time o completing the online application, although it
does not have to meet our minimum requirement. Applicants who have not submitted
an initial score by the application deadline will not be invited to audition. Applicants will
then have until March to retake the test and achieve a score at or above our minimum
requirements. Applicants who have not submitted the required test with a score at or
above our minimum requirement by the final deadline o March will not be considered
or admission.
English Language Proficiency Waiver
Applicants may request a TOEFL/IELTS waiver i they have studied at ully English-
speaking institutions ull-time or six years or more prior to beginning school at Yale.
Waiver requests should be made as part o the online application and include the
ollowing:
. a short description o your education history (tell us when you started attending
English-speaking schools and how many years you studied at each school); and
. copies o your university, high school, and/or middle school transcripts that show six
years or more o strong academic perormance at English-speaking schools.
TOEFL/IELTS waivers are evaluated on a case-by-case basis with emphasis on strong
academic perormance and are not guaranteed or those who have studied at English-
speaking schools or six or more years. Uploaded transcripts must show strong academic
perormance and significant course work in areas other than music perormance.
Admission Procedures
School of Music 2024–2025
/
Applicants are invited or a personal audition (interview or composers) in New Haven
on the basis o the prescreening recording and other credentials. Applicants will be noti-
fied in January or February and must be prepared to perorm all material specified in the
repertoire guidelines. Applicants may be asked to demonstrate sight-reading ability and
other essential musical skills during the audition. Auditions are held in New Haven. In-
person attendance on the scheduled audition day(s) during audition week is mandatory,
and those who do not attend will not be considered or admission.
Audition/Interview Schedule, 2025
Auditions and interviews or all applicants will take place during audition week: Monday,
February , through Sunday, February , . Audition dates or specific areas o study
are posted online at https://music.yale.edu/apply.
The first round o A.D. auditions will be heard by Yale School o Music aculty as
part o the regular auditions or each area. Aer the first round, select candidates will be
advanced to a final round o auditions, which will take place on Saturday, February ,
. The final round will be adjudicated by a committee o external jurors. Those who
wish to be considered or the A.D. must plan on being present or at least two separate
days in New Haven during audition week.
The D.M.A. examinations in music history, analysis, and musicianship, required o
all D.M.A. candidates, will be given during audition week. All D.M.A. applicants are
required to attend in-person on the exam day. The exams are not oered on any other
dates and will not be rescheduled. Those who wish to be considered or the D.M.A.
must plan on being present or at least two separate days in New Haven during audition
week. Applicants may be invited to a thirty-minute virtual interview with members o
the D.M.A. Examination Committee. Applicants who are invited to interview will be
notified by the Oce o Admissions.
Requests to deer matriculation must be submitted in writing and require the approval
o the Admissions Committee and the dean. University policy permits matriculation
deerral or no more than two academic terms (one year) on approved requests. Those
who are approved or deerred matriculation must pay the enrollment deposit to secure
their place in the incoming class or the ollowing year.
Named Scholarships
The date when the scholarship und was established at the university is given, ollowed
by additional inormation according to donors’ wishes.
Stephen and Denise Adams (). To students in the School o Music.
Maxwell M. Belding Fellowship Fund (). To support students enrolled in the doctor
o musical arts degree program.
Virginia Belding Apprenticeship Awards (). Maxwell M. Belding, B.A. , o Hart-
ord, Connecticut, in memory o his sister. Several awards to assist students in their
exploration o the many dimensions o the music proession.
Muriel Birkhead (). Estate o Mary Jean Parson. To a emale voice student.
Robert Blocker Scholarship (). Friends, in honor o Robert Blocker, dean o the School
o Music rom to . To students in the School o Music.
H. Frank Bozyan Memorial (). Friends, in honor o Proessor H. Frank Bozyan,
member o the School o Music aculty rom to . To students in the School o
Music.
Bradley-Keeler Memorial (). Susanna Massey Keeler in memory o her husband,
Walter Bradley-Keeler. To students in composition.
Alfonso Albano Cavallaro Memorial (). To a student in violin.
Woods Chandler Memorial (, ). Helen Clarissa Gross Chandler o Hartord,
Connecticut, in memory o her husband, Woods Chandler, B.A. , B.M. . To an
outstanding major in organ or piano playing.
Charles Finch Dalton Memorial (). May L. Dalton o White Plains, New York, in
memory o her son, Charles Finch Dalton, B.A. , B.M. . To students in peror-
mance or composition.
Bruce G. Daniels ’48 (). To students in the School o Music.
Annie DeLoache Memorial (). Benjamin DeLoache. To students in voice.
Elizabeth Denis (). To students in the School o Music.
Conway Dickson (). To students in the School o Music.
Frank DiLeone Family Scholarship (). To students in the School o Music studying
string instruments.
Charles H. Ditson (). To students in the School o Music.
Jacob Druckman (). To a student composer who shows outstanding talent, academic
growth, and demonstrated compositional achievement.
Ender Scholarship (). To students in the School o Music.
School of Music 2024–2025
Linda and Alan Englander (). To a deserving piano student enrolled at the School
o Music.
Dorothy Green Osborn Ferguson (). To students in woodwinds or brass.
Madeleine and Allen Forte (). To students in voice.
Harriet Gibbs Fox Memorial (). Howard Fox, B.A. , in memory o his mother,
Harriet Gibbs Fox. To students in the School o Music.
Irving S. Gilmore Scholarships (). Estate o Irving S. Gilmore, Yale College . To
students in the School o Music.
Susan and Edward Greenberg (). To students in voice.
Rena Greenwald MUS ’31 Memorial (). For an outstanding student who writes the
best composition or solo piano during the current year.
George Lauder Greenway B.A. ’25 Fellowship (). Gilbert C. Greenway, LL.B. , in
honor o his brother. To deserving students.
Ellsworth Grumman (). Friends, in honor o Proessor Ellsworth Grumman, member
o the School o Music aculty rom to . To students in piano.
Bruce Kenneth Harrington Scholarship (). To a student majoring in trumpet.
Julia Loomis Havemeyer Fund (). Loomis Havemeyer, Ph.B. , M.A. , Ph.D.
, o New Haven, Connecticut, in memory o his sister, Julia Loomis Havemeyer. To
outstanding majors in either perormance or composition.
Stephen Hendel ’73 (). To support students at the School o Music.
Hoover Family Fund (). To students in the School o Music.
Ariel Horowitz Scholarship (). To students in the School o Music.
George Knight Houpt Memorial (). Wilber E. Houpt, B.A. , in memory o his
son, George Knight Houpt o the Class o , Yale College. To students in the School
o Music.
Mary Clapp Howell (). Bequest o Mary Clapp Howell, B.M. . To deserving
piano students.
Charles Ives (). Helen T. Ives in honor o her husband, Brewster Ives. For distin-
guished work in composition or perormance.
John Day Jackson (). For an outstanding composition or strings, written during the
first year.
Benjamin Jepson Memorial (). To students in the School o Music.
Harry B. Jepson Memorial (). Clara Louise Jepson (Mrs. Cliord W.) Beers, Class
o Music, in honor o her brother, Harry Benjamin Jepson, B.A. , B.M. ,
university organist and member o the School o Music aculty rom to . To
students in the School o Music.
David L. Kasdon B.A. ’67 Memorial (). For an outstanding singer.
Carol Lieberman and Mark Kroll (). For a harpsichordist or violinist.
Frances E. Osborne Kellogg (). To students in the School o Music.
Dorothy Kish (). To students in voice.
Stanley Knight (). Stanley Knight, member o the School o Music aculty rom
to . To students in the School o Music.
Lori Laitman (). To support students at the School o Music.
Lotte Lenya (). Bequest o Margo Liebes Harris Hammerschlag and Dr. Ernst
Hammerschlag in honor o Lotte Lenya. To a singing actress or actor.
Nathan B. Lipofsky (). To students in the School o Music.
Julia Abigail Lockwood (). Julia Abigail Lockwood o Norwalk, Connecticut. To
students in the School o Music.
Tonia Marcune Memorial (). To students in the School o Music.
Braxton McKee (). To an opera student.
James R. Meehan ’71 (). To students in the School o Music.
Lawrence Meisel Memorial (). In memory o Lawrence Meisel, B.A . To students
in the School o Music.
George Wellington Miles Memorial (). Martha Curtis Miles, School o Music Certifi-
cate , o Milord, Connecticut, in memory o her brother, George Wellington Miles,
Ph.D. . To students in the School o Music.
Martha Curtis Miles (). Martha Curtis Miles, School o Music Certificate , o
Milord, Connecticut. To a student who excels in theory and composition in connection
with piano studies.
Charles S. Miller Memorial (). To a gied piano student.
Lester S. and Enid W. Morse (). To students in the School o Music.
Henry and Lucy Moses (). Lucy G. Moses o New York City. To students in the School
o Music.
Luther Noss Scholarship (). To students in the School o Music, with preerence to
students in the M.M.A. program.
Jonilu Swearingen Nubel Scholarship (). To students majoring in piano, violin, or
composition.
Loyde and William C. G. Ortel (). To students in the School o Music.
Horatio Parker Memorial (). Ralph Borgeldt Semler, B.A. , and Mrs. Semler, in
memory o Mrs. Semler’s ather, Horatio Parker, proessor in the Yale School o Music
rom its beginning in to , and first to hold the position o dean. To students in
the School o Music.
Named Scholarships
School of Music 2024–2025
Raymond Plank (). To students in the School o Music.
Charles and Philippa Richardson Memorial (). For an outstanding student o
composition.
Louis and Anne Roso (). Bequest o Louis Roso. To a student, preerably rom
Connecticut, on the basis o high scholarship and financial need.
Harvey R. Russell (). To students in the School o Music.
Edmund C. Saranec (). To a student majoring in perormance or composition.
Julia R. Sherman Memorial (). Charles P. Sherman, B.A. , in memory o his wie,
a member o the School o Music, Class o . To students in the School o Music.
Julia Silliman Memorial (). Julia Silliman (Mrs. Eugene Stuart) Bristol o New
Haven, Connecticut, in memory o her mother, Julia Silliman Gilman, youngest daugh-
ter o Proessor Benjamin Silliman, B.A. . To a student in the first-year class.
Harry and Margaret Simeone (). To students in the School o Music.
Bruce Simonds (). A riend, in honor o Proessor Bruce Simonds, member o the
School o Music aculty rom to and dean rom to . To an outstanding
major in piano.
David Stanley Smith Memorial (). Cora Welch Smith, in memory o her husband,
David Stanley Smith, B.A. , B.M. , M.A. Hon. , dean rom to .
To students in the School o Music.
Blake Stern Scholarship (). To an outstanding major in voice.
Leroy “Slam” Stewart (). To a student in double bass.
Frances Louise Kircho Tapp (). Frances Louise Kircho Tapp, School o Music
Certificate , o New Haven, Connecticut. To outstanding perormers or composers.
Alec Templeton (). Juliet B. Templeton. To students in the School o Music.
Virgil Thomson (). Friends, in honor o Virgil Thomson, on the occasion o the
establishment o the Virgil Thomson Collection in the Yale Music Library. For students
in composition.
Toscanini and Troostwyk Family Scholarship (). To students in voice.
Leon Brooks Walker (). Alma Brooks Walker Foundation. To students in perormance.
Stuart Walker Memorial (). Richard D. Colburn o Los Angeles, Caliornia, in
memory o Stuart Walker, B.M. . To an outstanding major in violin playing.
Edward R. (B.A. 1927) and Leila M. Wardwell (). To students in the School o Music.
Winston L. Warner (). To a student majoring in perormance or composition.
Emma Phipps White, William White, Jr., and Lawrence Phipps White (). Mr. and Mrs.
Lawrence Phipps White, B.A. , in memory o Lawrence’s mother, Emma Phipps
White. To students in the School o Music.
Named Scholarships
Frances G. Wickes (). Frances G. Wickes Foundation o New York. To students in
the School o Music.
Keith Wilson (). Mitch Leigh, B.M. , M.M. , riends, and alumni in honor o
Proessor Keith Wilson. To an outstanding major in wind instrument playing.
Yale School of Music (). To students in the School o Music.
Yarick-Cross Scholarship Fund (). To students in the School o Music.
The Work o Yale University
The work o Yale University is carried on in the ollowing schools:
Yale College Est. . Courses in humanities, social sciences, natural sciences, math-
ematical and computer sciences, and engineering. Bachelor o Arts (B.A.), Bachelor o
Science (B.S.).
For additional inormation, please visit https://admissions.yale.edu, email student.
[email protected], or call ... Postal correspondence should be directed to
Oce o Undergraduate Admissions, Yale University, PO Box , New Haven CT
-.
Graduate School of Arts and Sciences Est. . Courses or college graduates. Master
o Arts (M.A.), Master o Science (M.S.), Master o Philosophy (M.Phil.), Doctor o
Philosophy (Ph.D.).
For additional inormation, please visit https://gsas.yale.edu, email graduate.
[email protected], or call the Oce o Graduate Admissions at ... Postal
correspondence should be directed to Oce o Graduate Admissions, Yale Graduate
School o Arts and Sciences, PO Box , New Haven CT -.
School of Medicine Est. . Courses or college graduates and students who have
completed requisite training in approved institutions. Doctor o Medicine (M.D.). Post-
graduate study in the basic sciences and clinical subjects. Five-year combined program
leading to Doctor o Medicine and Master o Health Science (M.D./M.H.S.). Combined
program with the Graduate School o Arts and Sciences leading to Doctor o Medicine
and Doctor o Philosophy (M.D.-Ph.D.). Master o Medical Science (M.M.Sc.) rom the
Physician Associate Program and the Physician Assistant Online Program.
For additional inormation, please visit https://medicine.yale.edu/edu, email
[email protected], or call the Oce o Admissions at ... Postal
correspondence should be directed to Oce o Admissions, Yale School o Medicine,
Cedar Street, New Haven CT .
Divinity School Est. . Courses or college graduates. Master o Divinity (M.Div.),
Master o Arts in Religion (M.A.R.). Individuals with an M.Div. degree may apply or
the program leading to the degree o Master o Sacred Theology (S.T.M.).
For additional inormation, please visit https://divinity.yale.edu, email div.
[email protected], or call the Admissions Oce at ... Postal correspon-
dence should be directed to Admissions Oce, Yale Divinity School, Prospect Street,
New Haven CT .
Law School Est. . Courses or college graduates. Juris Doctor (J.D.). For additional
inormation, please visit https://law.yale.edu, email [email protected], or call
the Admissions Oce at ... Postal correspondence should be directed to
Admissions Oce, Yale Law School, PO Box , New Haven CT -.
Graduate Programs: Master o Laws (LL.M.), Doctor o the Science o Law (J.S.D.),
Master o Studies in Law (M.S.L.). Doctor o Philosophy (Ph.D.) awarded by the
Graduate School o Arts and Sciences. For additional inormation, please visit https://
law.yale.edu, email gradpro.la[email protected], or call the Graduate Programs Oce at
The Work of Yale University
... Postal correspondence should be directed to Graduate Programs, Yale Law
School, PO Box , New Haven CT -.
School of Engineering & Applied Science Est. . Courses or college graduates.
Master o Science (M.S.) and Doctor o Philosophy (Ph.D.) awarded by the Graduate
School o Arts and Sciences.
For additional inormation, please visit https://seas.yale.edu, email grad.engineering
@yale.edu, or call ... Postal correspondence should be directed to Oce o
Graduate Studies, Yale School o Engineering & Applied Science, PO Box , New
Haven CT -.
School of Art Est. . Proessional courses or college and art school graduates.
Master o Fine Arts (M.F.A.).
For additional inormation, please visit http://art.yale.edu, email artschool.ino@
yale.edu, or call the Oce o Academic Administration at ... Postal corre-
spondence should be directed to Oce o Academic Administration, Yale School o Art,
PO Box , New Haven CT -.
School of Music Est. . Graduate proessional studies in perormance and composi-
tion. Certificate in Perormance (CERT), Master o Music (M.M.), Master o Musical
Arts (M.M.A.), Artist Diploma (A.D.), Doctor o Musical Arts (D.M.A.).
For additional inormation, please visit https://music.yale.edu, email gradmusic.
[email protected], or call the Oce o Admissions at ... Postal corre-
spondence should be directed to Yale School o Music, PO Box , New Haven CT
-.
School of the Environment Est. . Courses or college graduates. Master o Forestry
(M.F.), Master o Forest Science (M.F.S.), Master o Environmental Science (M.E.Sc.),
Master o Environmental Management (M.E.M.). Doctor o Philosophy (Ph.D.)
awarded by the Graduate School o Arts and Sciences.
For additional inormation, please visit https://environment.yale.edu, email
[email protected], or call the Oce o Admissions at ... Postal corre-
spondence should be directed to Oce o Admissions, Yale School o the Environment,
Prospect Street, New Haven CT .
School of Public Health Est. . Courses or college graduates. Master o Public
Health (M.P.H.). Master o Science (M.S.) and Doctor o Philosophy (Ph.D.) awarded
by the Graduate School o Arts and Sciences.
For additional inormation, please visit https://publichealth.yale.edu, email ysph.
[email protected], or call the Admissions Oce at ...
School of Architecture Est. . Courses or college graduates. Proessional and
post-proessional degree: Master o Architecture (M.Arch.); nonproessional degree:
Master o Environmental Design (M.E.D.). Doctor o Philosophy (Ph.D.) awarded by
the Graduate School o Arts and Sciences.
For additional inormation, please visit https://www.architecture.yale.edu, email
gradarch.admissions@yale.edu, or call ... Postal correspondence should be
directed to the Yale School o Architecture, PO Box , New Haven CT -.
School of Music 2024–2025
School of Nursing Est. . Courses or college graduates. Master o Science in Nurs-
ing (M.S.N.), Post Master’s Certificate (P.M.C.), Doctor o Nursing Practice (D.N.P.).
Doctor o Philosophy (Ph.D.) awarded by the Graduate School o Arts and Sciences.
For additional inormation, please visit https://nursing.yale.edu or call ...
Postal correspondence should be directed to Yale School o Nursing, Yale University
West Campus, PO Box , West Haven CT -.
David Geen School of Drama Est. . Courses or college graduates and certificate
students. Master o Fine Arts (M.F.A.), Certificate in Drama, Doctor o Fine Arts
(D.F.A.).
For additional inormation, please visit https://drama.yale.edu, email dgsd.admissions
@yale.edu, or call the Registrar/Admissions Oce at ... Postal correspon-
dence should be directed to David Geen School o Drama at Yale University, PO Box
, New Haven CT -.
School of Management Est. . Courses or college graduates. Master o Business
Administration (M.B.A.), Master o Advanced Management (M.A.M.), Master o Man-
agement Studies (M.M.S.). Doctor o Philosophy (Ph.D.) awarded by the Graduate
School o Arts and Sciences.
For additional inormation, please visit https://som.yale.edu. Postal correspondence
should be directed to Yale School o Management, PO Box , New Haven CT
-.
Jackson School of Global Aairs Est. . Courses or college graduates. Master in
Public Policy (M.P.P.) and Master o Advanced Study (M.A.S.).
For additional inormation, please visit https://jackson.yale.edu, email jackson.
[email protected], or call ...
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Lanman-
Wright
Harkness
Tower
Art
Gallery
Sculpture
Garden
Rudolph
Hall
205
202
215
Green
Hall
Howe
Street
Garage
353
204
University
Theatre
Rose
Alumni
212
217
32
36
220
149
305
Repertory
Theatre
150
York
Latino
Cultural
Center
301
Native American
Cultural Center
26
295
Asian American
Cultural Center
405
442
432-4
Air Rights
Parking Facility
Center for
British Art
493
Warner
House
Dow
Hall
27
Allwin Hall
85
270
Bass
Library
WLH
15
433
421
International
Center
80
Slifka
Undergrad
Admissions
Visitor
Center
149
195
250
350
Whitney
Grove
Square
Curtis
Fishe
r
221
Whitney
Avenue
Garage
Kline
Geology Lab
Peabody
Museum
210
Class of 1954
Environmental
Science
Center
Evans
Hall
100 Church
Street South
Amistad
Street
Garage
10
459
55
341-47
Betts
House
O
Broadway
Theater
35
Broadway
Music
Library
Rosenfeld
Hall
202
Connecticut
Mental Health
Center
34
Children’s
Hospital:
West Pavilion
Yale-New Haven
Hospital:
East Pavilion
Hospital:
South
Pavilion
ESH
ICDU
NIHB
CSC
Cancer
Center
Harkness
Auditorium
LEPH
Medical
Library
Sterling Hall
of Medicine
NSB
Hunter
WWW
CB
BB
BML
Lauder
LMP
LLCI
MRC/
PET
FMP
Dana
Clinic
Howard Ave.
Garage
Yale
Physicians
Building
TE
TMP
Primary
Care Ctr
464 & 430
FMB
LSOG
Anlyan
Center
SPP
College
Place
127
135
153
60
40
300
100
College
Pierce
Laboratory
270
132
Yale-New Haven
Psychiatric
Hospital
Congress
Place
BCMM
Hope
St. Thomas
More Chapel
Golden
Center
Afro-American
Cultural Center
211
2 Church
Street
South
Miller
Hall
Loria
Center
70
Sterling
Law
Building
Kroon
Hall
SW Service
Node
204
238
1201
1221
Greenberg
Conference
Center
Rosenkranz
Hall
Pauli
Murray
Benjamin
Franklin
96
25
Science
Park
28
SPPC
Smilow
Cancer
Hospital
Air Rights
Parking Facility
111
100
Dixwell
Goe
350
272
Yale
Science
Building
Tsai
CITY
101
College
yale university campus north
Continued on next page
NORTH
<
Arnold
Hall
81
294-
296
160
301
3
Lincoln Street
Whitney Avenue
Wall Street
Trumbull Street
Prospect Street
Hillhouse Avenue
Mansfield Street
Compton Street
Woodland Street
Canal Street
Sachem Street
Whitney Avenue
Edwards Street
Bishop Street
Humphrey Street
Prospect Street
Lock Street
Webster Street
Bristol Street
Winchester Avenue
Winchester Avenue
Hillside Place
Ashmun Street
York S quare Place
Lake Place
Broadway
Elm Street
Chapel Street
Temple Street
Temple Street
Temple Street
College Street
Broadway
Edgewood Avenue
Crown Street
Chapel Street
York Street
York Street
North Frontage Road
College Street
Park Street
Howard Avenue
Vernon Street
Ward Street
Sylvan Avenue
Davenport Avenue
Gilbert Street
Congress Avenue
Washington Avenue
Cedar Street
Liberty Street
Amistad Street
Church Street South
Gold Street
Lafayette Street
South Frontage Road
Grove Street
George Street
High Street
Tower Parkway
Lynwood Place
Howe Street
St. Ronan Street
Canner Street
Cottage Street
Orange Street
Orange Street
Bradley Street
Audubon Street
Lawrence Street
Church Street
Church Street
York Street
Park Street
Prospect Street
Elm Street
Edwards Street
Munson Street
Tilton Street
Canal Street
HEWITT
QUAD
NEW HAVEN GREEN
OLD CAMPUS
CROSS CAMPUS
GROVE STREET
CEMETERY
Jonathan
Edwards
Trumbull
Berkeley
Silliman
Davenport
Saybrook
Branford
Grace
Hopper
Timothy
Dwight
Pierson
Berkeley
Ezra
Stiles
Morse
from I-91 & I-95
from I-91
to Yale
Athletic
Fields
to
Science
Park
Lo ck
Stree t
Ga rage
Yale
He alt h
Ce nte r
36 0
Le itn er
Ob ser vator y &
Pl ane tar ium
129
12 3
129
157
55
1
Mason Lab
17
Helen
Hadley Hall
Leet
Oliver
24
Watson
Hall
Malone
Engineering
Center
77
28
SSS
Kirtland
Dunham
Lab
Becton
38
230
Ingalls
Rink
Prospect-
Sachem
Garage
30
46
Steinbach
Hall
T.M.
Evans
Hall
35
37
President’s
House
51
Horchow
Hall
10
36
121
Founders
Hall
Rose
Center
(Yale
Police)
Osborn
Lab
Sloane
Physics
Lab
Kline
Tower
Kline
Chemistry
Lab
Class of 1954
Chemistry
Research Building
Sage
Hall
Sterling
Chemistry
Lab
Wright
Lab
Wright
Lab
Connector
Wright
Lab West
Pierson-Sage Garage
Bass Center
380
340
309
175
301
Watson
Center
205
276
254
314
310
Luce
Hall
87
Sterling
Divinity
Quadrangle
Marquand
Chapel
Greeley
Memorial Lab
Marsh Hall
Bellamy
Marsh
Botanical
Garden
to
344
Winchester
Yale
Farm
Farnam
Memorial
Garden
Central
Power
Plant
Baker
Hall
Payne
Whitney
Gym
Lanman
Center
Ray Tompkins
House
Humanities
Quadrangle
Yale
Bookstore
Beinecke
Library
Schwarzman
Center
Woolsey
Hall
Woodbridge
Hall
Sprague
Hall
Sterling
Memorial
Library
246
Leigh
Hall
451
459
Stoeckel
Hall
Hendrie
Hall
Adams
Center
82-90
66
320
Yale
Press
302
143
53
Street
Hall
Vanderbilt
Bingham
Linsly-
Chittenden
McClellan
Connecticut
Hall
Dwight
Hall
Welch
Lawrance
Phelps
Farnam
Battell
Chapel
Durfee
Yale Station
Post Oce
Lanman-
Wright
Harkness
Tower
Art
Gallery
Sculpture
Garden
Rudolph
Hall
205
202
215
Green
Hall
Howe
Street
Garage
353
204
University
Theatre
Rose
Alumni
212
217
32
36
220
149
305
Repertory
Theatre
150
York
Latino
Cultural
Center
301
Native American
Cultural Center
26
295
Asian American
Cultural Center
405
442
432-4
Air Rights
Parking Facility
Center for
British Art
493
Warner
House
Dow
Hall
27
Allwin Hall
85
270
Bass
Library
WLH
15
433
421
International
Center
80
Slifka
Undergrad
Admissions
Visitor
Center
149
195
250
350
Whitney
Grove
Square
Curtis
Fisher
221
Whitney
Avenue
Garage
Kline
Geology Lab
Peabody
Museum
210
Class of 1954
Environmental
Science
Center
Evans
Hall
100 Church
Street South
Amistad
Street
Garage
10
459
55
341-47
Betts
House
O
Broadway
Theater
35
Broadway
Music
Library
Rosenfeld
Hall
202
Connecticut
Mental Health
Center
34
Children’s
Hospital:
West Pavilion
Yale-New Haven
Hospital:
East Pavilion
Hospital:
South
Pavilion
ESH
ICDU
NIHB
CSC
Cancer
Center
Harkness
Auditorium
LEPH
Medical
Library
Sterling Hall
of Medicine
NSB
Hunter
WWW
CB
BB
BML
Lauder
LMP
LLCI
MRC/
PET
FMP
Dana
Clinic
Howard Ave.
Garage
Yale
Physicians
Building
TE
TMP
Primary
Care Ctr
464 & 430
FMB
LSOG
Anlyan
Center
SPP
College
Place
127
135
153
60
40
300
100
College
Pierce
Laboratory
270
132
Yale-New Haven
Psychiatric
Hospital
Congress
Place
BCMM
Hope
St. Thomas
More Chapel
Golden
Center
Afro-American
Cultural Center
211
2 Church
Street
South
Miller
Hall
Loria
Center
70
Sterling
Law
Building
Kroon
Hall
SW Service
Node
204
238
1201
1221
Greenberg
Conference
Center
Rosenkranz
Hall
Pauli
Murray
Benjamin
Franklin
96
25
Science
Park
28
SPPC
Smilow
Cancer
Hospital
Air Rights
Parking Facility
111
100
Dixwell
Go
e
350
272
Yale
Science
Building
Tsai
CITY
101
College
yale university campus south & yale medical center
© Yale University. Map not to scale
NORTH
<
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