PFENSTJ 602: Major Study (Orchestra)
4 credits
Spring
Mondays, Wednesdays, Fridays 15:15-18:00
Ken Lam
Assignments by the orchestral administration are made on a rotating basis and are primarily determined by audition. Also taken into account are professionalism, dependability, collegiality, experience level, performance history, and the nature of the event. Required of all Orchestral Performance students and all Chamber Music majors in each semester of residence.

OSENSTJ 602: Orchestral Forum
0 credits
Spring
Thursdays 12:00-13:00

CMENSTJ 602: Major Study (Chamber Music) 
4 credits
Spring
Angelo Xiang Yu 
Chamber music majors participate in intensively coached chamber music groups some of which extend for a full semester and usually coach two hours per week. Students may also perform in some groups that include faculty or guest artists that rehearse intensively over a short period of time. All coached chamber music groups culminate in a chamber music performance.

CMENSTJ 604: Chamber Music Forum 
0 credits
Spring
Thursdays 16:00-17:45
Chamber Music Faculty
A co-requisite course to major study for chamber music majors in which all chamber music majors will meet weekly as a group for team coaching led by chamber music faculty.    

PCKMUTJ 602-01: Major Study (Collaborative Piano): CHU 
2-4 credits  
Spring  
Katherine Chu 
All students receive 6-15 one-hour private lessons each semester.  

PCKMUTJ 602-02: Major Study (Collaborative Piano): KATYUKOVA
2-4 credits
Spring
Natalia Katyukova
All students receive 6-15 one-hour private lessons each semester.

OSPMUTJ 610: Annual Jury
0 credit
For first-year Orchestra Studies major. See annual jury requirements by department.

CMPMUTJ 610: Annual Jury
0 credit
For Chamber Music major. See annual jury requirements by department.

CPNMUTJ 610: Annual Jury
0 credit
For first-year Collaborative Piano major. See annual jury requirements by department.

OSPMUTJ 611: Graduation Jury
0 credit
For second-year Orchestra Studies major. See graduation jury requirements by department.

CMPMUTJ 611: Graduation Jury
0 credit
For second-year Chamber Music major. See graduation jury requirements by department.

CPNMUTJ 611: Graduation Jury
0 credit
For second-year Collaborative Piano major. See graduation jury requirements by department.

OSPMUTJ 612: Graduation Recital
2 credits
For second-year Orchestra Studies major.

CMPMUTJ 612: Graduation Recital
2 credits
For second-year Chamber Music major.

CPNMUTJ 612: Graduation Recital
2 credits
For second-year Collaborative Piano major.

All students receive 15 hours of studio lessons each semester.

FLWTJ 601: Studio Lessons (Flute): ITTZÉS
4 credits
Spring
Gergely Ittzés    

OBWTJ 601: Studio Lessons (Oboe): LIU
4 credits
Spring
Mingjia Liu   

CLWTJ 601: Studio Lessons (Clarinet): ZHOU
4 credits
Spring
Xiangyu Zhou

BNWTJ 601: Studio Lessons (Bassoon): KOYAMA
4 credits
Spring
Akio Koyama   

BNWTJ 601-02: Studio Lessons (Bassoon): LIU 
4 credits 
Spring 
Mingjia Liu    

HPSTJ 601: Studio Lessons (Harp): HUANG
4 credits
Spring
Liya Huang
 
TPBTJ 601: Studio Lessons (Trumpet): TYUTEYKIN
4 credits
Spring
Sergei Tyueteykin

TUBTJ 601: Studio Lessons (Tuba): STEMPLE
4 credits
Spring
Brett Stemple  

FHBTJ 601: Studio Lessons (French Horn): HAN
4 credits
Spring
Chang Chou Han    
            
TRBTJ 601: Studio Lessons (Trombone): ALLEN
4 credits
Spring
Lee Allen           
 
BTBTJ 601: Studio Lessons (Bass Trombone): ALLEN
4 credits
Spring
Lee Allen

VNSTJ 601-01: Studio Lessons (Violin): HE
1-4 credits
Spring
Wei He

VNSTJ 601-02: Studio Lessons (Violin): W. LI
1-4 credits
Spring
Weigang Li    
    
VNSTJ 601-03: Studio Lessons (Violin): YU
1-4 credits
Spring
Angelo Xiang Yu  

VNSTJ 601-04: Studio Lessons (Violin): TRAVERS 
1-4 credits 
Spring 
Tarn Travers  

VASTJ 601-01: Studio Lessons (Viola): H. LI
4 credits
Spring
Honggang Li

VASTJ 601-02: Studio Lessons (Viola): LEE
4 credits
Spring
Hanna Lee

VCSTJ 601-01: Studio Lessons (Violoncello): KIM
1-4 credits
Spring
Yeonjin Kim    

VCSTJ 601-02: Studio Lessons (Violoncello): HE
1-4 credits
Spring
Sihao He

DBSTJ 601: Studio Lessons (Double Bass): ZHANG
4 credits
Spring
DaXun Zhang    

PEPTJ 601: Studio Lessons (Percussion): HAHN
4 credits
Spring
June Hahn    

PNKTJ 601: Studio Lessons (Piano): WANG
4 credits
Spring
Xiaohan Wang  

PNCTJ 601: Solo Piano for Collaborative Piano Major: VALIANATOS
2 Credits
Spring
Konstantinos Valianatos

PFENSTJ 512L: Orchestra
1 credit
Spring
Mondays, Wednesdays, Fridays 15:15-18:00
Rotation of visiting conductors

CMENSTJ 532: Chamber Music
1-4 credits
Spring
Chamber Music Faculty
Students are placed into groups and assigned coaches. Groups are coached eight (8) hours per semester leading to a performance of a complete work. Requests to work with a particular coach are subject to approval by the office. This course may be repeated.

Orchestral/Ensemble Repertoire Classes
Required each semester of all Orchestral Studies majors, this class meets both in sections by instrument, and in combination with other instrumental groups and covers orchestral and large chamber music ensemble repertoire, as well as a variety of topics specific to the orchestral profession.

PFENSTJ 525R: Orchestra Ensemble Repertoire - Woodwinds
1 credit
Spring
Woodwind Faculty
Thursdays 13:00-14:45
    
PFENSTJ 526R: Orchestra Ensemble Repertoire - Brass
1 credit
Spring
Brass Faculty
Tuesdays 13:00-14:45
     
PFENSTJ 527R: Orchestra Ensemble Repertoire – Percussion
1 credit
Spring
June Hahn
Thursdays 13:00-14:45
         
PFENSTJ 528R: Orchestra Ensemble Repertoire - Strings
1 credit
Spring
Section 01: Violin (TRAVERS)
Section 02: Viola (LI)
Section 03: Cello (KIM)
Thursdays 13:00-14:45

Section 04: Double Bass (ZHANG)
Section 05: Violin (TRAVERS)
Thursdays 15:00-16:45

Section 06: Harp (HUANG)
Thursdays 11:00-12:00

GRADUATE THEORY: Note: Students are required to take a minimum of two graduate theory courses. Theory courses are assigned according to the results of a placement exam.

GRMUSTJ 602T: Music Theory and Analysis II
2 credits
Spring
Section 01 Tuesday 9:00-9:55, Friday 9:00-9:50
Section 02 Tuesday 10:00-10:55, Friday 10:00-10:50
Section 03 Tuesday 11:00-11:55, Friday 11:00-11:50
Leyou Wang
Prerequisite: GRMUSTJ 601T or by placement. This is the second semester of a year-long theory review course designed for entering graduate students at The Tianjin Juilliard School. Building upon skills developed either in the first semester of the course or demonstrated through performance on the theory placement test, students will continue to stretch and apply their theoretical perspectives in ever-more performative ways. Like the first semester, an integrated format will combine aural, visual, and written activities including analysis, keyboard, writing (figured bass, melody harmonization, and short compositions that incorporate various harmonic idioms), singing, and transposition. The ultimate emphasis is on the creative and performative applications of music theory. After reviewing necessary fundamentals and reacquainting students with this perhaps novel approach to theory, this course will venture into chromatic harmony and larger forms, including applied chords and tonicization, modulation and binary form, modal mixture and chromatic modulation, writing and using the Neapolitan chord and augmented sixth chords, and ternary and sonata form.

GRMUSTJ 650T: Sonata Form After Beethoven
2 credits
Spring
Wednesdays 11:00-12:45
Niccolo Athens
Prerequisite: GRMUSTJ 601T and 602T or by placement. This course will trace the usage of sonata form structures in symphonic and chamber music beginning after Beethoven through the first half of the 20th century, long after it is usually assumed to have been effectively defunct. Students will explore the ways in which a continuing engagement with this traditional form remained an important source of musical meaning for a wide variety of composers. Elements of “Sonata Theory” will be employed skeptically to determine their applicability to repertoire increasingly distant from the Austro-German music they were devised to describe. Students will assess the continued viability of the sonata form after the “common practice period,” as well as grapple with larger issues such as the role of shared conventions as a conduit for communication between the composer and listener and the influence of analytical models on the work of composers.

GRADUATE HISTORY: Note: Students are required to take a minimum of two graduate history courses. History courses are assigned according to the results of a placement exam.

GRMUSTJ 602H: Music History II
2 credits
Spring
Section 01 Mondays 9:00-10:45
Section 02 Mondays 11:00-12:45
Section 03 Wednesdays 9:00-10:45
Alvin Zhu
Prerequisite: GRMUSTJ 601H. The first semester of a year-long course sequence providing an intensive exploration of the pivotal developments in compositional genres and styles organized into topical modules. First semester topics include: Bach and the Baroque era, Mozart and his contemporaries, and the development of the Romantic symphony.

GRMUSTJ 603H: Der Ring des Nibelungen
2 credits
Spring
Fridays 9:00-10:45
Wayne Oquin
Prerequisite: GRMUSTJ 601H and 602H or by placement. Nearly one hundred and fifty years after its premiere, Wagner’s Ring Cycle continues to captivate and inspire audiences and scholars alike. Though much has been written on Wagner’s multifaceted Ring, musical analysis has regularly taken a subsidiary role to that of the theatrical.This course will explore all four operas of the Ring and strive for a deeper examination of Wagner’s music—its groundbreaking theory, orchestral color, and harmonic shifts—in order to more fully appreciate Wagner’s libretto, staging, and indeed his notion of art in its totality.  We will consider its leitmotifs, how these distinct melodic fragments are inextricably linked to one another and how they are radically transformed, each woven together to create a dense musical fabric of pioneering chromaticism; and we will study the Ring’s new approaches to harmony and tonality, both central to the music’s structure and dramatic conception.The Ring remains relevant. By absorbing it more fully we hope to better grasp the generations of subsequent composers under its indelible influence—orchestral, vocal, and film—from Wagner’s time to our own.

GRMUSTJ 609S: String Quartets Across Time 
2 credits 
Spring 
Wednesdays 11:00-12:45 
Alvin Zhu 
Prerequisite: GRMUSTJ 601H and 602H or by placement. “String Quartets Across Time” is a one-semester music history elective centered on the development of the string quartet genre from its inception in the 18th century to its transformation in the 20th century. The course focuses on the musical innovations of several selected string quartets from pioneering composers such as Haydn, Mozart, and Beethoven, to 19th-century composers including Schubert, Brahms, and Dvořák, and 20th century composers spanning Bartók, Debussy, Berg, and Shostakovich through analysis, lecture, and discussion. The goal of this course will be to provide a deeper understanding of genre and style, linking these celebrated works to social, cultural, and political constructs of their time. By forming a brief trajectory of the string quartet’s evolutionary rise, students will better understand where we came from, where we have been, and where we will continue to go in this paramount, musical genre.
   
ELECTIVE COURSES

GRMUSTJ 601S: Modernism: Art and Music
2 credits
Spring
Wednesday 9:00-10:45
Sophie Zhang
When discussing Impressionism, people frequently associate Debussy's music with Monet's paintings. Such musician/artist pairings, especially in the modern era, are not by chance. Picasso and Stravinsky, Schoenberg and Kandinsky, John Cage and Robert Rauschenberg, Scriabin and Roerich, etc. Art and music were inseparable in the modern era. This course will trace the emergence of Modernism and its development in both Music and Art. Beyond a historical survey of the various "isms" such as Expressionism and Cubism of the modern era, this course aims to help students gain an in-depth understanding of various artistic thoughts through creative inquiry, and to situate students in the present world as they learn about the rise of various styles influential to the social and cultural understanding of the world today.

GRMUSTJ 603H: Der Ring des Nibelungen
2 credits
Spring
Wednesdays 9:00-10:45
Wayne Oquin
Prerequisite: GRMUSTJ 601H and 602H or by placement. Nearly one hundred and fifty years after its premiere, Wagner’s Ring Cycle continues to captivate and inspire audiences and scholars alike. Though much has been written on Wagner’s multifaceted Ring, musical analysis has regularly taken a subsidiary role to that of the theatrical.This course will explore all four operas of the Ring and strive for a deeper examination of Wagner’s music—its groundbreaking theory, orchestral color, and harmonic shifts—in order to more fully appreciate Wagner’s libretto, staging, and indeed his notion of art in its totality.  We will consider its leitmotifs, how these distinct melodic fragments are inextricably linked to one another and how they are radically transformed, each woven together to create a dense musical fabric of pioneering chromaticism; and we will study the Ring’s new approaches to harmony and tonality, both central to the music’s structure and dramatic conception.The Ring remains relevant. By absorbing it more fully we hope to better grasp the generations of subsequent composers under its indelible influence—orchestral, vocal, and film—from Wagner’s time to our own.

GRMUSTJ 607S: Music and Society 
2 credits 
Spring 
Fridays 9:00-10:45 
Irena Klaic 
In this course, students will explore the relationship between music and society and the role that music plays in everyday life. We will focus on the questions such as: why is music important to culture and society? How does it influence social change? What part does music play in global society? The course will focus on music history in the context of cultural history by taking an interdisciplinary approach and exploring the relationship between music and social change, power, ethics influence on literature, political movements, and intercultural communication, among others. During the course, students will be introduced to information literacy and academic research.

GRMUSTJ 609S: String Quartets Across Time 
2 credits 
Spring 
Wednesdays 11:00-12:45 
Alvin Zhu 
Prerequisite: GRMUSTJ 601H and 602H or by placement. “String Quartets Across Time” is a one-semester music history elective centered on the development of the string quartet genre from its inception in the 18th century to its transformation in the 20th century. The course focuses on the musical innovations of several selected string quartets from pioneering composers such as Haydn, Mozart, and Beethoven, to 19th century composers including Schubert, Brahms, and Dvořák, and 20th century composers spanning Bartók, Debussy, Berg, and Shostakovich through analysis, lecture, and discussion. The goal of this course will be to provide a deeper understanding of genre and style, linking these celebrated works to social, cultural, and political constructs of their time. By forming a brief trajectory of the string quartet’s evolutionary rise, students will better understand where we came from, where we have been, and where we will continue to go in this paramount, musical genre. 

GRMUSTJ 612S: Improvisation Lab 
2 credits 
Spring 
Fridays 9:00-11:45 
Andrew Tyson and Junhui Chen 
This course is an exploration of the most fundamental act of musical creation—the art of improvisation as practiced by Bach, Mozart, Beethoven, and the other great composers of the classical canon. The term “improvisation” derives from the Latin im-provisus, meaning unforeseen. In music, improvising involves playing or singing without prior preparation. Students will alternate between systematic and spontaneous learning frameworks in order to build an improvisational vocabulary while honing their instincts. A variety of musical styles will be covered, ranging from the 18th to the 20th centuries. Connections between improvisation and other art forms will also be investigated. Because improvisation can only be learned by doing, all students are expected to play their instruments in every class.

GRMUSTJ 650T: Sonata Form After Beethoven
2 credits
Spring
Wednesdays 11:00-12:45
Niccolo Athens
Pre-requisite: GRMUSTJ 602T or by placement. This course will trace the usage of sonata form structures in symphonic and chamber music beginning after Beethoven through the first half of the 20th century, long after it is usually assumed to have been effectively defunct. Students will explore the ways in which a continuing engagement with this traditional form remained an important source of musical meaning for a wide variety of composers. Elements of “Sonata Theory” will be employed skeptically to determine their applicability to repertoire increasingly distant from the Austro-German music they were devised to describe. Students will assess the continued viability of the sonata form after the “common practice period,” as well as grapple with larger issues such as the role of shared conventions as a conduit for communication between the composer and listener and the influence of analytical models on the work of composers.

GRMUSTJ 682P: Introduction to Conducting for Orchestra & Ensemble 
1 credit 
Spring 
Fridays 13:25-14:25 
Kin Szeto 
Besides developing an interest in conducting, understanding its fundamental nature is critical to the artistic success of an orchestra or ensemble. This elective course provides students with a foundational and practical introduction to the art and technique of orchestral conducting. Through a combination of lectures, score analysis, and hands-on laboratory with live ensembles (or piano reductions), students will develop baton technique, including beat patterns, cueing, dynamics, phrasing, and rehearsal strategies. The course helps students understand how conducting translates from the podium to the orchestra/ensemble, and understand how their playing is bridged with conducting, viewing conducting as an extension of their playing and vice versa, but not a separate skill.

Note: The following six (6) courses are pre-requisite courses that may be required of students according to their major and based on results of placement exams.  

ETMUSTJ 512X: Ear Training IIx
0 credits
Spring
Section 01 Tuesdays, Fridays 9:00-9:50
Section 02 Tuesdays, Fridays 10:00-10:50
Section 03 Tuesdays, Fridays 11:00-11:50
Niccolo Athens

Section 04 Tuesdays, Fridays 9:00-9:50 
Section 05 Tuesdays, Fridays 10:00-10:50 
Section 06 Tuesdays, Fridays 11:00-11:50 
Chang Wang

A continuation of Ear Training Ix. Focusing on singing all intervals, 6/3 and 6/4 chord progressions, performing and conducting passages containing rapid changes of both meter and subdivision, and reading soprano clef. May be required of all majors according to the results of a placement exam.

KSMUSTJ 512X: Keyboard Skills IIx
0 credits
Spring
Section 01: Tuesdays 14:00-14:55, Fridays 13:00-13:55
Chang Wang
Continuation of Keyboards Studies Ix.
May be required of all majors in collaborative piano and chamber music: piano majors according to the results of a placement exam.

KSMUSTJ 002: Sight-Reading for Pianists II 
0 credits 
Spring 
Section 01: Tuesdays 13:00-13:50 
Chang Wang 
Continuation of Sight-reading for Pianists I. May be required of majors in Collaborative Piano and Chamber Music: piano majors according to the results of a placement exam.

KSMUSTJ 241: Piano for Non-Majors III
0 credits
Spring
Section 01: Mondays 13:00-13:50 
Section 02: Tuesdays 13:00-13:50 
Peter Ping 

Section 03: Wednesdays 10:00-10:50 
Ziyi Wang
Prerequisite: KSMUS-TJ 142 or placement test. A continuation of Piano for Non-majors II, students in this course will broaden their pianistic skills while developing finger and hand independence. Among the skills to be mastered are full-octave scales, harmonization of melodies, chord progressions in keyboard style, and repertoire that involves shifting positions and various left-hand accompaniment patterns.

KSMUSTJ 242: Piano for Non-Majors IV
0 credits
Spring
Section 01: Mondays 10:00-10:50 
Peter Ping 

Section 02: Tuesdays 10:00-10:50 
Section 03: Tuesdays 11:00-11:50 
Section 04: Wednesdays 11:00-11:50 
Ziyi Wang
Prerequisite: KSMUS-TJ 241 or placement test. A continuation of Piano for Non-majors III, students in this course will broaden their pianistic skills while developing finger and hand independence. Among the skills to be mastered are full-octave scales, harmonization of melodies, chord progressions in keyboard style, and repertoire that involves shifting positions and various left hand accompaniment patterns. Required of all non-keyboard majors. May be required of majors in orchestral studies and chamber music: strings major according to the results of a placement exam.

Note: all of the following collaborative piano courses are required of all first-year collaborative piano majors. 

MSMUSTJ 624R: Repertoire Performance
0 credits
Spring
This component of applied studies for Collaborative Piano majors consists of public performance of required repertoire.

GRMUSTJ 624R: Studio Accompanying
0 credits
Spring
Collaborative Piano majors accompany in the studios and classes of instrumental faculty. A component of their major study, this requirement provides valuable hands-on experience in developing collaborative skills under the guidance of an extensive roster of professional musicians.

GRMUSTJ 612P: Collaborative Skills: Instrumental II  
2 credits  
Spring  
Section 01: Tuesdays 15:00-16:45 
Allie Su  
Prerequisite: GRMUS-TJ 611P. A continuation of Collaborative Skills: Instrumental. The spring semester focuses on orchestral piano parts and sonata repertoire.  
This course may be repeated in the second year of the Collaborative Piano master's program.  .

GRMUSTJ 622P: Collaborative Skills: Vocal II
2 credits
Spring
Wednesdays 16:00-17:45
Katherine Chu
Prerequisite: GRMUSTJ 621P. A continuation of Collaborative Skills: Vocal. Collaborative piano majors continue to hone their vocal coaching and performing skills through demonstration, instructor feedback and class discussion. This course may be repeated in the second year of the Collaborative Piano Master's program.

GRMUSTJ 686: Vocal Literature
2 credits    
Spring
Fridays 16:00-17:55
Valentin Lanzrein
This course examines the genre of French mélodie” through the lens of poetic movements in French literature and musical styles forged by composers of the mélodie as a response to the artistic and literary tendencies of their time. In addition to preparing phonetic transcription and translation, students are required to research the poetic and historical background associated with each work, and apply the principles of French lyric diction and legato to the study of each work, to arrive at a fuller understanding of the style and aesthetics in French vocal literature.

VAMUSTJ 592: Lyric Diction (French)
2 credits
Spring
Thursdays 16:00-17:55
Valentin Lanzrein
The course covers the fundamentals of French lyric diction, beginning with an introduction to the French phonetics, spelling and pronunciation rules. Strong emphasis will be placed on drilling the idiosyncratic sounds in the French language and teaching how to reproduce them, as well as developing a sensibility to the French style as informed by its linguistic characteristics. Students will gain an understanding of the essence of the French legato through exercises, and learn the tools of how to teach and create an authentic French legato.
This course may be repeated.

GRMUSTJ 678P: Opera Performance Technique II 
2 credits 
Spring 
Wednesdays 16:00-17:45 
Katherine Chu 
Prerequisite: GRMUSTJ 677P. A continuation of Opera Performance Technique I. Collaborative piano majors continue to hone their skills in all aspects of opera rehearsal techniques such as playing under a conductor, singing and cueing. Special emphasis will be placed on how to run opera rehearsals effectively, and how to develop the style and vocabulary necessary for a vocal coach to productive music preparation.

Note: English language courses may be required based on the results of a language assessment; learning strategies will be personalized accordingly. 

ENGLTJ 101 English and Communication (ENC) 
0 credits 
Spring 
Mondays, Thursdays 9:00-10:20 
The course is designed to develop and enhance the academic and language skills of low intermediate proficiency English users. ENC aims to increase grammatical accuracy and fluency and raise students’ awareness regarding norms and conventions related to studying in a U.S. higher education institution. Students will review grammar and practice grammar rules and forms (e.g., subject-verb agreement, fragment avoidance, well-formed sentences, tenses). As well as working with a course textbook, students will be able to read a combination of classic and contemporary essays and this allows them to understand the essentials of writing such as topic, thesis, coherence, tone, and style. To prepare to write academically, students will engage in the writing process, including planning, generating ideas, organizing and drafting, revising, editing, and proofreading. Particular emphasis is put on the development of effective paragraphs, with attention paid to the topic sentence, supporting details, and concluding sentences. By developing effective reading strategies, students will prepare themselves to not only recognize but later be able to produce rhetorical patterns associated with description and narration. 

ENGLTJ 201 Graduate English Seminar (GES) 
0 credits 
Spring 
Mondays, Thursdays 9:00-10:20 
The course is designed to develop and enhance the academic and language skills of graduate students with a high intermediate level of English. As well as working from a course textbook, students enrolled in GES will read journal articles and literature, and in doing so they will develop reading, writing, listening, speaking, and grammar skills. Reading topics will allow musicians to explore music in relation to a wide range of topics (e.g., education, society and therapy). Finally, GES cultivates the rhetorical knowledge and compositional skills required for participation and success in postgraduate education.