PFENSTJ 601: Major Study (Instrumental and Orchestral Studies)
4 credits
Fall
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. Other considerations taken into account are professionalism, dependability, collegiality, experience level, performance history, and the nature of the event. Required of all full-time Instrumental and Orchestral Studies students in each semester of residence. 

OSENSTJ 601: Orchestral Forum
0 credits
Fall
Thursdays 12:00-13:00

CMENSTJ 601: Major Study (Instrumental and Chamber Music) 
4 credits
Fall
Chamber Music Faculty 
Instrumental and 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 603: Chamber Music Forum 
0 credits
Fall
Thursdays 16:00-17:45
Chamber Music Faculty
A co-requisite course to major study for Instrumental and Chamber Music majors in which all chamber music majors will meet weekly as a group for team coaching led by chamber music faculty.    

PCKMUTJ 601: Major Study (Collaborative Piano): CHU
4 credits
Fall
Katherine Chu
All students receive 15 one-hour private lessons each semester.    

PCKMUTJ 601: Major Study (Collaborative Piano): KATYUKOVA
4 credits
Fall
Natalia Katyukova
All students receive 15 one-hour private lessons each semester.

All students receive 15 hours of studio lessons each semester.

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

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

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

BNWTJ 601: Studio Lessons (Bassoon): SAKAKEENY
4 credits
Fall
George Sakakeeny       

TPBTJ 601: Studio Lessons (Trumpet): TYUTEYKIN
4 credits
Fall
Sergey Tyuteykin        

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

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

BTBTJ 601: Studio Lessons (Bass Trombone): ALLEN
4 credits
Fall
Lee Allen

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

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

VNSTJ 601-02: Studio Lessons (Violin): W. LI
1-4 credits
Fall
Weigang Li       

VNSTJ 601-03: Studio Lessons (Violin): YU
1-4 credits
Fall
Angelo Xiang Yu  

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

VNSTJ 601-05: Studio Lessons (Violin): ZHOU
1-4 credits
Fall
Nancy Zhou

VASTJ 601-01: Studio Lessons (Viola): H. LI
1-4 credits
Fall
Honggang Li

VASTJ 601-02: Studio Lessons (Viola): LEE
1-4 credits
Fall
Hanna Lee

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

DBSTJ 601: Studio Lessons (Double Bass): ZHANG
4 credits
Fall
Daxun Zhang    

HPSTJ 601: Studio Lessons (Harp): HUANG
4 credits
Fall
Liya Huang   

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

PNKTJ 601-02: Studio Lessons (Piano): KATYUKOVA 
4 credits 
Fall 
Natalia Katyukova

PFENSTJ 511L: Orchestra
1 credit
Fall
Mondays, Wednesdays, Fridays 15:15-18:00
Rotation of visiting conductors

CMENSTJ 531: Chamber Music 
1-4 credits
Fall
Chamber Music Faculty 
Students are placed into groups and assigned coaches. Each group receives a minimum of eight (8) hours of coaching per semester, culminating in a performance of a complete work. Depending on the repertoire and specific needs, and in consultation with the coaches, some groups may receive up to twelve (12) hours of coaching. 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 Instrumental and 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: Orchestral Ensemble Repertoire - Woodwinds
1 credit
Fall
Woodwind Faculty
Thursdays 13:00-14:45
    
PFENSTJ 526R: Orchestral Ensemble Repertoire - Brass
1 credit
Fall
Brass Faculty
Thursdays 13:00-14:45
     
PFENSTJ 527R: Orchestral Ensemble Repertoire - Percussion
1 credit
Fall
June Hahn
Thursdays 13:00-14:45
         
PFENSTJ 528R: Orchestral Ensemble Repertoire - Strings
1 credit
Fall
Section 01 Violin (Travers): Thursdays 13:00-14:45
Section 02 Viola (Li): Thursdays 13:00-14:45
Section 03 Cello: Thursdays 13:00-14:45
Section 04 Double Bass (Zhang): Thursdays 15:00-16:45
Section 05 Harp (Huang): Fridays 11:00-12:00
Section 06 Violin (Travers): Thursdays 15:00-16:45

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 601T: Music Theory and Analysis I
2 credits
Fall
Section 01: Tuesdays 9:00-9:55, Fridays 9:00-9:50
Section 02: Tuesdays 10:00-10:55, Fridays 10:00-10:50
Section 03: Tuesdays 11:00-11:55, Fridays 11:00-11:50
Leyou Wang
This is the first semester of a year-long theory review course designed for entering graduate students at The Tianjin Juilliard School. The integrated format combines 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 course encourages a reorientation that reveals how theory, composition, listening, and analysis can (and must!) inform performance, and provides a foundation for more advanced theory courses. After setting the stage for a more performative approach to theory, this course will focus on diatonic harmony, including counterpoint, melodic fluency, tonal categories and the phrase model, contrapuntal expansions, non-dominant seventh chords, musical periods and sentences, and submediant and mediant harmonies.

GRMUSTJ 602T: Music Theory and Analysis II
2 credits
Fall
Tuesdays 12:00-12:55, Fridays 12:00-12:50
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.

GENERAL GRADUATE STUDIES 

GRMUSTJ 600R: Collaboration and Interpretation
4 credits
Fall
Advisors: Katherine Chu, Cathy Guo
Using ‘Collaboration’ and ‘Interpretation’ as the principal objectives that anchor the students’ learning, and ‘Curiosity’ and ‘Imagination’ as the underlying values that stimulate the students’ work, this course offers a series of micro-courses in various topics covering each of these four pillars that help students explore and develop essential skillsets to fulfil these two objectives, taught by different micro-course instructors.
Completed over the span of the students’ two-year residency in Tianjin Juilliard, this course focuses on the four pillars of a twenty-first–century musician’s comprehensive abilities to think, speak, write about music, and most importantly to perform as a well-informed collaborative musician.
The goal of this course is to develop students as collaborators and interpreters who can effectively communicate their musical intentions, engage with audiences, and connect with communities—in other words, to become the consummate 21st-century musicians.

GRMUSTJ 601H: Music History I
2 credits
Fall
Section 01: Mondays 9:00-10:45
Section 02: Mondays 11:00-12:45
Section 03: Wednesdays 9:00-10:45
Alvin Zhu
The first semester of a year-long course sequence provides 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.

ELECTIVE COURSES

GRMUSTJ 602S: Introduction to Studio and Classroom Pedagogy
2 credits
Fall
Wednesdays 9:00-10:45
Sophie Zhang
This one-semester introductory course in studio and classroom teaching is designed for graduate-level students seeking to hone their teaching skills by offering a balanced blend of theoretical foundation and practical application. Through a structured curriculum encompassing educational philosophy, learning theories, curriculum design, and assessment strategies, students will develop a robust personal teaching philosophy and gain the tools needed to excel in both studio and classroom settings. With a focus also on hands-on experience, students will have the opportunity to teach demo classes/lessons implementing various teaching strategies and approaches, followed by self-reflection as well as peer and faculty feedback. This educational journey aims to provide a space for students to cultivate reflective teaching practices, embrace diversity in teaching strategies and environments, and emerge with the confidence and skills to make a meaningful impact as a teacher and musician.

GRMUSTJ 604S: Composition for Performers
2 credits
Fall
Wednesdays 11:00-12:45
Niccolo Athens
The most direct way to counter the trend of increasing specialization in the roles of composer and performer is to encourage the creative aspirations of young players. This is the rationale for this composition seminar geared towards performance majors. Students will be equipped with practical skills in composition that can serve them in the future in preparing both arrangements and original works. Experience composing will provide students with insight into the creative process. Much of the class time will be spent in an open group lesson format looking over works in progress, ensuring that each student will receive individual attention from the instructor. If needed, the instructor will provide a more structured series of assignments designed to help students hone their compositional technique. The semester will conclude with a concert featuring new works composed during the semester.

GRMUSTJ 606T: Art of the Fugue
2 credits
Fall
Wednesdays 9:00-10:45
Niccolo Athens
While a brief overview of fugue often forms part of the general music theory curriculum, this semester-long exploration of the topic is designed to provide the student with an immersive experience working through the intricacies of fugal procedure, leaving them with a lasting understanding of its various mechanisms. The course combines analysis and composition in mutually supportive ways to unravel and demystify the initially daunting complexities of the fugue in a straightforward fashion. This will be accomplished through a series of composition assignments culminating in a complete three-voice fugue along with two short analytical papers.

GRMUSTJ 609S: String Quartets Across Time
2 credits
Fall
Wednesdays 11:00-12:45
Alvin Zhu
“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
Fall
Fridays 9:00-10:45
Andrew Tyson, 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 682P Introduction to Conducting for Orchestra & Ensemble
1 credit
Fall 
Kin Szeto
Fridays 13:20-14:30 
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 understanding 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 seven (7) courses are pre-requisite courses that may be required of students according to their major and based on the results of placement exams. 

ETMUSTJ 511X: Ear Training Ix
0 credits
Fall
Section 01: Tuesdays 9:00-9:50, Fridays 9:00-9:50
Section 02: Tuesdays 10:00-10:50, Fridays 10:00-10:50
Section 03: Tuesdays 11:00-11:50, Fridays 11:00-11:50
Xingyu Li
Section 04: Tuesdays 9:00-9:50, Fridays 9:00-9:50
Section 05: Tuesdays 10:00-10:50, Fridays 10:00-10:50
Section 06: Tuesdays 11:00-11:50, Fridays 11:00-11:50
Chang Wang
The first semester of an accelerated two-semester review course builds the ability to notate melodic and harmonic passages with a high degree of accuracy within a limited number of hearings, and the ability to sight-sing using the basic skills of interval fluency and melodic memory. A particular emphasis will be placed on hearing harmonic function, and students will gain the ability to work fluently in any major or minor key on a foundation of fixed-DO solfège. The first semester covers syllables, scale degrees and singing and dictating all intervals including atonal intervals; mastery of treble, bass, alto and tenor clefs, and singing and dictating root position triads up and down from any given note, circle of fifths root-position chord progressions and basic root position chord progressions with a particular focus on major and harmonic minor keys with five or more sharps or flats. May be required of all majors according to the results of a placement exam.     

KSMUSTJ 001: Sight-Reading for Pianists I
0 credits
Fall
Tuesdays 13:00-13:50, Thursdays 13:00-13:50
Chang Wang
This yearlong practicum trains students in the art of sight-reading piano scores. During the first semester, emphasis is placed on approaching scores with an eye toward musicality, including articulation, phrasing, and dynamics. Rapid identification of rhythmic, melodic, and harmonic patterns is stressed. Students will sight-read diverse musical styles, including contrapuntal works, sonatas from the late 18th century, harmonically complex works from the 19th century, and non-tonal works. May be required of 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
Fall
Thursdays 12:00-12:50
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 511X: Keyboard Skills Ix
0 credits
Fall
Tuesdays 14:00-14:55, Fridays 13:00-13:55
Chang Wang
This accelerated two-semester review course covers the essential elements of Keyboard Skills. Areas of study in the first semester include realization of figured bass lines; composition of complex harmonic progressions; reduction of three- and four-part scores utilizing varying clefs; an introduction to orchestral transpositions and prepared reduction of symphonies by Haydn, Mozart, and Beethoven; and transposition of 19th-century lieder up and down minor seconds and thirds. May be required of all majors in collaborative piano and chamber music: piano majors according to the results of a placement exam.

KSMUSTJ 512X: Keyboard Skills IIx
0 credits
Fall
Fridays 14:00-14:55
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 141: Piano for Non-Majors I
0 credits
Fall
Ziyi Wang, Peter Ping
Designed for students with very little or no prior experience in piano, this course develops familiarity with five-finger position and basic keyboard harmony, as well as simple repertoire. Required of all non-keyboard majors. May be required of majors in orchestral studies and chamber music: strings majors according to the results of a placement exam.

KSMUSTJ 142: Piano for Non-Majors II
0 credits
Fall
Section 01: Mondays 13:00-13:50
Section 02: Tuesdays 13:00-13:50
Section 03: Wednesdays 10:00-10:50
Ziyi Wang, Peter Ping
Prerequisite: KSMUSTJ 141 or placement test.
Designed for students with very little or no prior experience in piano, this course develops familiarity with five-finger position and basic keyboard harmony, as well as simple repertoire. Required of all non-keyboard majors. May be required of majors in orchestral studies and chamber music: strings majors according to the results of a placement exam.

KSMUSTJ 241: Piano for Non-Majors III
0 credits
Fall
Section 01: Mondays 10:00-10:50
Section 02: Tuesdays 10:00-10:50
Section 03: Tuesdays 11:00-11:50
Ziyi Wang, Peter Ping
Prerequisite: KSMUSTJ 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. Required of all non-keyboard majors. May be required of all majors in orchestral studies and chamber music: strings majors according to the results of a placement exam.

KSMUSTJ 242: Piano for Non-Majors IV
0 credits
Fall
Section 01: Mondays 9:00-9:50
Section 02: Tuesdays 14:00-14:50
Section 03: Wednesdays 12:00-12:50
Ziyi Wang, Peter Ping
Prerequisite: KSMUSTJ 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.

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

MSMUSTJ 623R: Repertoire Performance
0 credits
Fall
This component of applied studies for Collaborative Piano majors consists of public performance of required repertoire.      
      
GRMUSTJ 623R: Studio Accompanying
0 credits
Fall
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 611P: Collaborative Skills: Instrumental I  
2 credits
Fall
Tuesdays 15:00-16:45
Allie Su
This two-semester practicum addresses different genres of instrumental collaborative piano performance. The fall semester focuses on orchestral reductions, virtuoso show works and shorter duo works. Emphasis is placed on empathetic listening and a nimble alternating of roles between partners in accordance with the musical demands of any particular piece of repertoire. Participants will play in class every week with visiting instrumentalists usually without prior rehearsal.
This course may be repeated.    
        
GRMUSTJ 621P: Collaborative Skills: Vocal I
2 credits
Fall
Mondays 16:00-17:45
Katherine Chu
This two-semester practicum explores specific skills required of pianists to successfully rehearse, coach and perform different genres and styles of vocal music including both operatic and song repertoire, with the periodic participation of visiting vocalists. The first semester covers the standard aria repertoire of various eras and languages, emphasizing the pianist’s role in providing orchestral texture and rhythmic structure for the singer. Selected song repertoire focusing on the dual nature of the pianist both as a coach and as a collaborative partner to vocalists will be studied.
This course may be repeated.   

GRMUSTJ 677P: Opera Performance Technique I 
2 credits
Fall
Wednesdays 16:00-17:45
Katherine Chu
This course focuses on the techniques of rehearsal playing and music preparation in an opera studio, addressing specific skills such as rendering orchestral effects on the piano, making enhancement to piano reductions, working with opera conductors, understanding and working with various roles in the opera rehearsal setting, working with different types of recitative and the related stylistic concerns. A roster of experts in the opera industry will be invited to present topic-specific lectures and masterclasses.

GRMUSTJ 681P: Conducting for Collaborative Pianists
2 credits  
Fall
Fridays 10:00-11:45
Katherine Chu, Kin Szeto  
This course is designed to provide an essential tool for any collaborative pianist (vocal or instrumental) who in the course of a future career will work in an opera or large ensemble context. It aims to introduce students to the basic techniques which constitute the international language of conducting. Areas of focus will be both direction from the piano and direction from the conductor’s position (vantage point). In varied repertoire from all styles of opera, students will be encouraged to think about rehearsal techniques and efficient communication of information both in word and by gesture. Repertoire for solo and ensemble will be chosen to help students confront a live situation and develop confidence in resolving problems that might occur in a coaching or rehearsal setting. This is not a conducting course; it is a specific and necessary element in the working life of collaborative/rehearsal pianist.

GRMUSTJ 685: Vocal Literature
2 credits
Fall
Fridays 16:00-17:55
Katherine Chu, 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 591: Lyric Diction (Italian)
2 credits
Fall
Thursdays 16:00-17:55
Valentin Lanzrein
The first semester of this two-semester course sequence covers the fundamentals of Italian diction and essentials of legato as the basis of lyric diction and singing, beginning with an introduction to the International Phonetic Alphabet (IPA) and Italian phonetics and pronunciation rules, as well as the introduction of basic grammatical elements with special emphasis placed on developing phonemes.
This course may be repeated.

ENGLTJ 203 ACE - Critical Thinking and Presentation in the American Conservatory
0 credits
Fall
Section 01: Mondays 9:00-10:30
Section 02: Mondays 11:00-12:30
In this course, students undertake a group research project that investigates a work from classical music repertoire and collaboratively present their findings to peers and faculty. Alongside developing language skills necessary to communicate about music in an academic discourse common in an American conservatory like Juilliard, the course aims to introduce students to a thinking musician’s approach to how music is performed interpretatively and artistically. Outcomes of this course include deep learning about repertoire and the acquisition and demonstration of a variety of academic skills including curious and critical thinking skills, collaboration and leadership-development skills, library and research skills, presentation skills, note-taking and information management skills, independent working and time management skills, the ability to read critically a variety of academic texts, and understanding of academic integrity.