PFENSTJ 602: Major Study (Instrumental and Orchestral Studies)
4 credits
Spring
Mondays, Wednesdays, Fridays 15:15-18:00
Ken Lam
The Tianjin Juilliard Orchestra presents up to 10 concerts each season, performing a wide-ranging repertoire from baroque to contemporary orchestral works, as well as pieces incorporating traditional Chinese instruments. Resident faculty and visiting artists coach sectionals and play side-by-side with students in rehearsals and performances. In addition to concerts led by resident conductor Ken Lam, the orchestra also work with renowned guest conductors.
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 full-time Instrumental and Orchestral Studies students in each semester of residence. 

OSENSTJ 602: Orchestra Forum
0 credits
Spring
Thursdays 12:00-13:00
Led by the director of orchestral studies and resident conductor, this is a co-requisite course to major study in Instrumental and Orchestral Studies in which students will meet regularly as a group for concert review, topics related to orchestral skills including but not limited to discussion on professionalism, dependability, collegiality, experience level and performance history. Guests from renowned orchestras are also invited to share insights and expertise on the orchestral discipline and the profession.

CMENSTJ 602: Major Study (Instrumental and 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.

CPCMUTJ 602: Major Study (Composition)
6 credits
Fall
Niccolo Athens
All students receive 15 one-hour private lessons each semester.

MSMUSTJ 504R: Composer's Forum
2 credits
Fall
Wednesdays 15:15-17:15
Niccolo Athens
Composer's Forum is the Composition Department’s weekly class for all composition students. Programming will be a mixture of guest speakers, presentations, masterclasses, and other topics of interest to be set by the Composition Dept. faculty. This will also be the forum for composition students to share their work with colleagues for constructive critique. The seminar class is headed by Dr. Athens

OSPMUTJ 610: Annual Jury
0 credit
For first-year Instrumental and Orchestral Studies major. See annual jury requirements by department posted on MyHub.

CMPMUTJ 610: Annual Jury
0 credit
For Instrumental and Chamber Music major. See annual jury requirements by department posted on MyHub.

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

OSPMUTJ 611: Graduation Jury
0 credit
For second-year Instrumental and Orchestral Studies major. See graduation jury requirements by department posted on MyHub.

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

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

OSPMUTJ 612: Graduation Recital
2 credits
For second-year Instrumental and Orchestral Studies major.

CMPMUTJ 612: Graduation Recital
2 credits
For second-year Instrumental and 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): SAKAKEENY
4 credits
Spring
George Sakakeeny
 
TPBTJ 601: Studio Lessons (Trumpet): TYUTEYKIN
4 credits
Spring
Sergey 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): WANG
1-4 credits
Spring
Ray Wang

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    

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

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

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

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. 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
Spring
Woodwind Faculty
Thursdays 13:00-14:45
    
PFENSTJ 526R: Orchestral Ensemble Repertoire – Brass
1 credit
Spring
Brass Faculty
Tuesdays 13:00-14:45
     
PFENSTJ 527R: Orchestral Ensemble Repertoire – Percussion
1 credit
Spring
June Hahn
Thursdays 13:00-14:45
         
PFENSTJ 528R: Orchestral Ensemble Repertoire – Strings
1 credit
Spring
Section 01 Violin (Travers): Thursdays 13:00-14:45
Section 02 Viola (Li): Thursdays 13:00-14:45
Section 03 Cello (He): 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 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 601H: Music History I
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
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.
   
GENERAL GRADUATE STUDIES

GRMUSTJ 600R: Collaboration and Interpretation
2-4 credits
Spring
Advisors: Katherine Chu, Cathy Guo
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. Students are required to complete this course before the end of the master’s program. This course focuses on a musician’s comprehensive abilities to think, speak, write about music, and most importantly to perform. These are considered the four pillars of a well-informed collaborative musician.
Using ‘Collaboration’ and ‘Interpretation (C&I)’ as the principal objectives that anchor students’ learning, and ‘Curiosity’ and ‘Imagination’ as the underlying values that stimulate 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.

GRMUSTJ 682P: Introduction to Conducting for Orchestra & Ensemble
1 credit
Fall 
Kin Szeto
Section 01: Fridays 09:30-10:40
Section 02: Fridays 10:45-11:55
Section 03: Fridays 12:05-13:15
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.
This course may be repeated.

GRMUSTJ 602P: Jaques-Dalcroze Eurhythmics
1 credit
Fall 
Kai Liu
Section 01: Thursdays 09:00-10:25
Section 02: Thursdays 10:30-11:50
For the contemporary performer, musicality is not merely an intellectual exercise or a feat of digital dexterity—it is a full-body experience. As a pivotal catalyst for the 20th-century avant-garde, Dalcroze Eurhythmics fundamentally redefined modern performance disciplines.
Moving beyond passive theory, this course offers an intensive, movement-based laboratory in Dalcroze Eurhythmics, bridging the gap between rhythmic consciousness and the fine motor virtuosity required for elite performance. Through immersive physical training and live demonstration, students will experience how active listening and whole-body kinesthesia rewire the nervous system—cultivating a profound synthesis of time, space, and energy that allows musicians to embody and project every subtle musical nuance with absolute spontaneity.

ELECTIVE COURSES

GRMUSTJ 602S: Introduction to Studio and Classroom Pedagogy
2 credits
Spring
Wednesdays 9:00-10:45
Sophie Zhang
This 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 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 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 613S: Symphony: Evolving Canon
2 credits
Spring 
Wednesdays 11:00-12:45
Alvin Zhu
“Symphonies: Evolving Canon” is a one-semester music history elective focusing on the development of the symphony genre from the 18th to the 20th centuries. This course will explore how the symphony has and continues to evolve as an idea. Throughout the semester, we will trace the symphony’s multiple masks—at times symbolizing social class, political ideology, national sentiment, and various other personal motives/philosophies as we deconstruct and reconstruct this genre’s history. In doing so, students will better understand the ever-evolving canon that is the symphony.

CHITJ 601:Secondary Lessons in Chinese Instruments
1 credit
Spring
Kin Szeto
Opportunities for instructions on a limited number of Chinese instruments are available for a limited number of instrumentalists and composers. Eligible instruments include Erhu and Guzheng, with possible addition of other instruments in the future. Depending on enrollment, students may receive lessons individually or in small groups. Students will receive 10 hours of instruction per semester. Participating students will be loaned an instrument from Tianjin Juilliard’s collection. Chinese instrument lessons are offered by application on a limited basis and are free of charge.

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
Spring
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
0 credits
Spring
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
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
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
Ziyi Wang/Peter Ping
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
Ziyi Wang/Peter Ping
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. 

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

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 17:00-18:45
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
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.