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 16:30-17:45
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 credits  
Spring  
Katherine Chu 
All students receive 9 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): ITTZES
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       

HPSTJ 601: Studio Lessons (Harp): HUANG
4 credits
Spring
Liya Huang
 
TPBTJ 601: Studio Lessons (Trumpet): TYUETEKIN
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
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 coach 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 1: Violin (Travers)
Section 2: Viola (Li)
Section 3: Cello (Kim)
Section 4: Double Bass (Zhang)
Thursdays 13:00-14:45

Section 5: Harp (Huang)
Fridays 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
Wayne Oquin
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
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.

GENERAL GRADUATE STUDIES

GRMUSTJ 601H: Music History I
2 credits
Spring
Section 01 Mondays 9:00-10:45
Section 02 Mondays 11:00-12:45
Alvin Zhu
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
Wednesdays 9:00-10:45
Wayne Oquin
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.
   
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
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 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.

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 14:00-15:50  
Wayne Oquin 

Section 05 Mondays 15:00-15:55, Thursdays 13:00-13:50 
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: Mondays 14:00-14:55, Thursdays 14:00-14:50
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 142: Piano for non-majors II
0 credits
Spring
Section 01: Wednesdays 10:00-10:50
Chang Wang
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
Spring
Section 01: Wednesdays 11:00-11:50
Chang 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: Tuesdays 10:00-10:50
Section 02: Tuesdays 11:00-11:50
Chang 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 611P: Collaborative Skills: Instrumental I
2 credits
Spring
Section 01: 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 612P: Collaborative Skills: Instrumental II  
2 credits  
Spring  
Section 01: Tuesdays 15:00-16:45 
Allie Su  
Pre-requisite: 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 Masters program.  

GRMUSTJ 621P: Collaborative Skills: Vocal I
2 credits
Spring
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 622P: Collaborative Skills: Vocal II
2 credits
Spring
Wednesdays 16:00-17:45
Katherine Chu
Pre-requisite: 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 Masters 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
Katherine Chu
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.

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

ENGLTJ 201: English for Collaborative Musicianship (ECM3)
2 credits
Spring
Mondays, Tuesdays, Fridays 13:00-13:50
Dan Cornish, Cici Lan
English for Collaborative Musicianship (ECM) is a suite of courses specially tailored to graduate students on the Masters of Music with ECM track. Three courses in total, ECM is designed to prepare and support students for graduate study at Tianjin Juilliard, and its specialized approach brings together modern communicative approaches to English language learning with the specific requirements of the Tianjin Juilliard music curriculum. ECM starts with an online summer session, which combines teacher-led classes with peers with self-study activities on Canvas. Students then join semester-length English courses in fall and spring semesters during their first year at Tianjin Juilliard. Classes prepare and support students to succeed in all areas of study, including academic lessons, lectures and seminars, rehearsals and performance-related classes. Specific linguistic support is provided in many areas such as theory and analysis, collaboration, interpretation, entrepreneurship, research and professional practice. Fall/spring in-person classes are also supplemented by required self-study activities on Canvas.