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Department of Music Graduate Handbook 2007—2008 Stanford University
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Page 1: Stanford

Department of MusicGraduate Handbook

2007—2008

Stanford University

Page 2: Stanford

INTRODUCTION.............................................................................................................................................................................................4THE HONOR CODE AT STANFORD..................................................................................................................................................................5

SECTION ONE: THE DEPARTMENT OF MUSIC...............................................................................................................................7

GENERAL INFORMATION..............................................................................................................................................................................8Braun Music Center Hours Fall, Winter, and Spring Quarters ...........................................................................................................8CCRMA Hours Fall, Winter and Spring Quarters................................................................................................................................8Braun Music Center After-Hours Access...............................................................................................................................................8Music Library Hours Fall, Winter, and Spring Quarters .....................................................................................................................8Center for Computer-Assisted Research in the Humanities (CCARH) ................................................................................................9Dinkelspiel Auditorium...........................................................................................................................................................................9Center for Computer Research in Music and Acoustics (CCRMA)......................................................................................................9

FACILITIES ACCESS, SCHEDULING, AND USE POLICIES................................................................................................................................9Practice Rooms and Keys.......................................................................................................................................................................9Instrument Lockers and Locks..............................................................................................................................................................10Concerts/Recitals and Receptions........................................................................................................................................................10Concert Recordings ..............................................................................................................................................................................10Grad-Students’ ID Mailboxes ..............................................................................................................................................................11Photocopying ........................................................................................................................................................................................11Computer/Copy Room (Braun 230) .....................................................................................................................................................11Guidelines Regarding Use of Standard Music-Department Letterhead ............................................................................................11Important Sources of Information........................................................................................................................................................12

MUSIC DEPARTMENT PEOPLE ....................................................................................................................................................................13Music Student Association (MSA) and the Graduate Music Student Association (GMSA)...............................................................13Friends of Music at Stanford (FoM)....................................................................................................................................................14Departmental Committees....................................................................................................................................................................14Faculty...................................................................................................................................................................................................14Mellon Fellows .....................................................................................................................................................................................15Consulting Professors ..........................................................................................................................................................................15Applied Music Faculty Senior Lecturers .............................................................................................................................................15Emeriti...................................................................................................................................................................................................15Lecturers & Applied Music Faculty.....................................................................................................................................................16Ensemble in Residence: St. Lawrence String Quartet.........................................................................................................................17Departmental Performing Ensembles..................................................................................................................................................17Department Staff ...................................................................................................................................................................................17

SECTION TWO: ALL ABOUT REGISTRATION ................................................................................................................................19

REGISTRATION GENERAL INFORMATION...................................................................................................................................................20Continuous Registration.......................................................................................................................................................................21Registration Categories........................................................................................................................................................................21

Full-Tuition Registration — Year 1.......................................................................................................................................................................21Research and Teaching Assistantships — Years 2 through 5 ..............................................................................................................................21Reduced Tuition Adjustment .................................................................................................................................................................................21Terminal Graduate Registration (TGR).................................................................................................................................................................22Understanding TGR................................................................................................................................................................................................22Graduation Quarter .................................................................................................................................................................................................24

LEAVE OF ABSENCE ...................................................................................................................................................................................24REINSTATEMENT ........................................................................................................................................................................................24RESIGNATION .............................................................................................................................................................................................25STUDY LISTS ..............................................................................................................................................................................................25STANFORD/MUSIC ENROLLMENT DEADLINES ..........................................................................................................................................26UNIVERSITY GRADING POLICIES ...............................................................................................................................................................26MUSIC DEPARTMENT GRADING POLICIES.................................................................................................................................................26ACADEMIC PROGRESS REQUIREMENTS .....................................................................................................................................................26

Period of Study......................................................................................................................................................................................27Policy on Minimum Progress Requirements for Graduate Students..................................................................................................27Course Substitution...............................................................................................................................................................................27Changes to, and Addition of Degree Programs ..................................................................................................................................27

RESIDENCY.................................................................................................................................................................................................28

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Residency Credit for Graduate Work Done Elsewhere ......................................................................................................................28

SECTION THREE: ALL ABOUT MUSIC GRADUATE DEGREE PROGRAMS.....................................................................29

GRADUATE DEGREE GENERAL INFORMATION..........................................................................................................................................30Language Requirements for all Graduate Students ............................................................................................................................30

German Language Examination — http://language.stanford.edu/requirement/germanPhD.html......................................................................31French Language Examination — http://language.stanford.edu/requirement/frenchPhD.html..........................................................................31Italian Examinations—http://language.stanford.edu/requirement/italianPhD.html ............................................................................................31Latin Examinations.................................................................................................................................................................................................32Spanish Examinations ............................................................................................................................................................................................32Other languages ......................................................................................................................................................................................................32

DOCTORAL DEGREES .................................................................................................................................................................................33DOCTOR OF MUSICAL ARTS.......................................................................................................................................................................33

Course and Residency Requirements...................................................................................................................................................33Electives ................................................................................................................................................................................................34Language Requirements .......................................................................................................................................................................34Examinations.........................................................................................................................................................................................34Composition Projects ...........................................................................................................................................................................34Application for Doctoral Candidacy ...................................................................................................................................................34DMA Final Project ...............................................................................................................................................................................35

Final Project Proposal.............................................................................................................................................................................................35Recommended Guidelines for Final Project Proposals.........................................................................................................................................35

Appointment of a Reading Committee .................................................................................................................................................36Directions for Preparing the Final Project .........................................................................................................................................36DMA Final Project Defense: Guidelines & Principles.......................................................................................................................37

DOCTOR OF PHILOSOPHY...........................................................................................................................................................................39Course and Residency Requirements...................................................................................................................................................39Electives ................................................................................................................................................................................................40Language Requirements .......................................................................................................................................................................40Examinations.........................................................................................................................................................................................40Application For Doctoral Candidacy ..................................................................................................................................................40PhD Dissertation ..................................................................................................................................................................................40

Scope of the Dissertation........................................................................................................................................................................................40PhD Dissertation Proposal .....................................................................................................................................................................................41Recommended Guidelines for Dissertation Proposals..........................................................................................................................................41

Directions for Preparing the Dissertation...........................................................................................................................................42Sample Dissertation Topics in Music at Stanford ...............................................................................................................................42

Musicology .............................................................................................................................................................................................................42Computer-Based Music Theory and Acoustics.....................................................................................................................................................42

Appointment of a Reading Committee .................................................................................................................................................43PhD RILM Abstract ..............................................................................................................................................................................43

PHD SCHEDULES (4-YEAR MODELS) .........................................................................................................................................................44PHD SCHEDULES – YOUR SCHEDULE (A WORKSHEET TO HELP YOU PLAN AHEAD!) ...........................................................................45MULTIPLE DEGREE PROGRAMS .................................................................................................................................................................46JOINT PHD PROGRAM IN THE HUMANITIES...............................................................................................................................................46GRADUATE DEGREE TIMETABLE...............................................................................................................................................................47

SECTION FOUR: ALL ABOUT EXAMINATIONS .......................................................................................................................49

EXAMINATIONS GENERAL INFORMATION .................................................................................................................................................50GRADUATE DIAGNOSTIC EXAM.................................................................................................................................................................50

Components of the Graduate Diagnostic Exam ..................................................................................................................................50QUALIFYING EXAMINATION ......................................................................................................................................................................51

Procedures ............................................................................................................................................................................................52Format for DMA Program in Composition .........................................................................................................................................52Sample Questions — Part A: Composition DMAs ..............................................................................................................................53Format for PhD Program in Computer-Based Music Theory and Acoustics (CBMTA)...................................................................54Sample Questions — Part A: CMBTA PhDs .......................................................................................................................................54Sample Questions — Part B: Composition DMAs and CMBTA PhDs ..............................................................................................54

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Format for PhD Program in Musicology ............................................................................................................................................56Sample Questions — Essays: Musicology PhDs .................................................................................................................................57

SPECIAL-AREA EXAMINATION...................................................................................................................................................................59Format for CBMTA and Musicology PhDs.........................................................................................................................................59Format for Composition DMAs ...........................................................................................................................................................59SPECIAL-AREA EXAM PROCEDURES CHECKLIST FOR STUDENTS AND FACULTY .....................................................................................60Sample Questions — Part 1: Composition DMAs...............................................................................................................................61Sample Questions — Part 1: Musicology PhDs..................................................................................................................................61Sample Questions — Part 1: CBMTA PhDs........................................................................................................................................61Sample Questions – Part 2: Composition DMAs ................................................................................................................................62Sample Questions — Part 2: Musicology PhDs..................................................................................................................................62Sample Questions — Part 2: CBMTA PhDs........................................................................................................................................62

UNIVERSITY ORAL EXAMINATION.............................................................................................................................................................62Format for CBMTA PhDs ....................................................................................................................................................................63Format for Musicology PhDs...............................................................................................................................................................63Registration Requirement for Candidates Taking University Oral Exams ........................................................................................63

SECTION FIVE: ALL ABOUT OTHER STUFF YOU SHOULD KNOW!.......................................................................................65

GRADUATION GENERAL INFORMATION ....................................................................................................................................................66Conferral Of Degrees ...........................................................................................................................................................................66Spring Commencement.........................................................................................................................................................................66Regalia ..................................................................................................................................................................................................66Graduation Quarter..............................................................................................................................................................................67

FINANCIAL AID OPPORTUNITIES................................................................................................................................................................67Financial Obligations...........................................................................................................................................................................67Discretionary Funds .............................................................................................................................................................................67Graduate Aid Plan................................................................................................................................................................................68

Format .....................................................................................................................................................................................................................69Monies.....................................................................................................................................................................................................................70The teaching component of your graduate work: Privileges and responsibilities ...............................................................................................70Graduate-Student Teaching....................................................................................................................................................................................70TA Training Course: Music 280 ............................................................................................................................................................................71Foreign-Student-TA English Screening ................................................................................................................................................................71

Work In Addition To Assistantship Appointment.................................................................................................................................72Applied Music Lessons & Scholarship Support ..................................................................................................................................72Musician-Referral Service for Off-Campus Teaching and Performing .............................................................................................73Outside Fellowships, Post-Degree Plans, Career Planning And Placement.....................................................................................73Exchange Scholar Program .................................................................................................................................................................74Support Services at Stanford ................................................................................................................................................................74

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INTRODUCTION

Welcome to Stanford!

In providing information about graduate study in music, this handbook is designed as a supplement to variousother University publications, in particular the 2007-08 version of the Stanford Bulletin (THE final word on allaspects of your academic life at Stanford) and {http://registrar.stanford.edu/academic_calendar/index.htm} theStanford University Graduate Handbook {http://www.stanford.edu/dept/DoR/GSH/}. We urge you to take thetime to read the general material in the Bulletin concerning policies associated with study at Stanford (pages6-44, as well as the Department of Music’s specific section (pages 542-551).

The Stanford Bulletin 2007-08:

http://www.stanford.edu/dept/registrar/bulletin/

The information and tips contained in these pages should prove useful throughout your course of study in theMusic Department. If you’re still left with questions after having consulted it, the best way to find answers isto ask your advisor or a staff member in the main office.

E-mail is the preferred mode of practical communication at Stanford. If you don’t have an account by the timeyou read this sentence, you can obtain one by visiting ITSS at{http://www.stanford.edu/home/computing/index.html}. Contact information for the campus community maybe found at Stanford.Who {http://stanfordwho.stanford.edu/lookup}, or in the Stanford Directory{http://www.stanford.edu/home/directories/}.

The Center for Computer Research in Music and Acoustics (CCRMA) {http://ccrma.stanford.edu/} publishesits own Overview. {http://ccrma.stanford.edu/overview}

I wish you a productive and enjoyable period of graduate education.

Steve SanoChair

Note on the use of this handbook:

This icon alerts you to particularly helpful sites (URLs) or PDFs and where to find them.

You may find procedures documented here that have been changed. Please, if you discover errors, or if youhave suggestions that will improve the usability of this manual, let me know!

Debbie BarneyGraduate Administrator

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THE HONOR CODE AT STANFORD

The University formally adopted the first campus-wide honor system in the spring of 1921, after a seven-yearcampaign by the student body. The Code underwent various changes through the years, most recently in thespring of 1977. Modifications to these and other codes of student conduct are drafted and enacted by theStudent Conduct Legislative Council in accordance with the procedures set forth in “The Legislative andJudicial Charter of 1968.”The standard of academic conduct for Stanford students is as follows:

1. The Honor Code is an undertaking of the students, individually and collectively:

a. That they will not give or receive aid in examinations; that they will not give or receiveunpermitted aid in class work, in the preparation of reports, or in any other work that is to beused by the instructor as the basis of grading;

b. That they will do their share and take an active part in seeing to it that others as well asthemselves uphold the spirit and letter of the Honor Code.

2. The faculty on its part manifests its confidence in the honor of its students by refraining fromproctoring examinations and from taking unusual and unreasonable precautions to prevent the forms ofdishonesty mentioned above. The faculty will also avoid, as far as practicable, academic proceduresthat create temptations to violate the Honor Code.

3. While the faculty alone has the right and obligation to set academic requirements, the students andfaculty will work together to establish optimal conditions for honorable academic work.

Examples of conduct which have been regarded as being in violation of the Honor Code include:

• Copying from another’s examination paper or allowing another to copy from one’s own paper;• Unpermitted collaboration;• Plagiarism;• Revising and resubmitting a quiz or exam for regrading without the instructor’s knowledge and

consent;• Giving or receiving unpermitted aid on a take-home examination;• Representing as one’s own work the work of another; and• Giving or receiving aid on an academic assignment under circumstances in which a reasonable person

should have known that such aid was not permitted.

In recent years, most student disciplinary cases have involved Honor Code violations; of those, the mostfrequent is plagiarism. The ordinary penalty for a first offense is a one-quarter suspension from the University,40 hours of community service, and a grade of “No Credit” for the class in which the violation occurred. Theordinary penalty for a multiple violation (e.g. cheating more than once in the same course) is a three-quartersuspension, 40 or more hours of community service, and a grade of “No Credit”.

For additional information about the Honor Code visit:http://www.stanford.edu/dept/vpsa/judicialaffairs/guiding/honorcode.htm

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SECTION ONE: THE DEPARTMENT OF MUSICIn this section you will find…

• General information about the department• Facilities access, scheduling, and use policies• Department faculty and staff

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8 Section One: All About the Music Department

GENERAL INFORMATION

As the department has grown, it has spread out a bit over campus! The Knoll, above Florence Mooredormitory, (“FloMo”) was the home of the Music Department until 1984, when Braun Music Center opened.Now The Knoll houses CCRMA, while the rest of the Music Department resides amidst bustling activity inthe area referred to as the “Campus Center” (southwest side of White Plaza)

Braun Music Center HoursFall, Winter, and Spring Quarters

Mon.–Fri. 8 am–11 pm

Sat. 9 am–6 pm

Sun. 12 noon–10 pm

Hours during Summer Quarter, intersessions, and university holidays falling within the three academicquarters will be posted and normally include only weekday hours. Holidays closed: Thanksgiving Day,Christmas Eve, Christmas Day, New Year’s Eve, New Year’s Day, Independence Day, Labor Day.

Braun Music Center After-Hours AccessUndergraduate majors and graduate students who are willing and able to follow departmental policy may beissued a key allowing after-hours access to the building for practice, etc. Deposit for the building key is $50,refundable upon return of it. Please see the department receptionist or Mark Dalrymple ([email protected])in the Music Department Office to request a building key.

NOTE: this building key will not allow you access to the Music Library after hours!

The Music Library (http://www–sul.stanford.edu/depts/music/index.html) maintains a collection of writings,music, and sound recordings for use by enrolled graduate students. Borrowing privileges are granted by thePrivileges/Service Desk in Green Library and vary with the status of the student. Doctoral students may applyfor carrel assignments in fall quarter http://www-sul.stanford.edu/depts/music/forms_restricted/carrel.html(SUNet ID and password required). Informative tours and helpful instructions about using the Music Libraryare available from Ray Heigemeir ([email protected]). After passing candidacy, doctoral students areeligible to apply for Dissertation Room assignments in Green Library http://www-sul.stanford.edu/libraries_collections/places_to_study/index.html). Remember: to borrowanything (and/or even to enter some libraries!), you’ll need your ID card!

Music Library HoursFall, Winter, and Spring Quarters

Mon.–Thu. 9 am–10 pm

Fri. 9 am–5 pm

Sat. 1 pm–5 pm

Sun. 1 pm–10 pm

CCRMA HoursFall, Winter and Spring Quarters

Mon.–Fri. 9 am–5 pm

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Section One: All About the Music Department 9

Hours during Summer Quarter, intersessions, and university holidays falling within the three academicquarters will be posted and normally include only weekday hours. Holidays closed: Thanksgiving Day,Christmas Eve, Christmas Day, New Year’s Eve, New Year’s Day, Independence Day, Labor Day. Forfurther details see: http://www-sul.stanford.edu/depts/music/about/index.html

Employment opportunities in the Music Library are available by applying at the Music Library circulationdesk. Please contact Rich Powers with questions.

The Archive of Recorded Sound is located in the basement of Braun, accessible via a staircase near the mainoffice. They are open to the public from 1–5 pm weekdays. Many grad students have found this an excellentresource in their research. Please contact Aurora Perez ([email protected]).

The Lange Historical Instruments and Bows Collection is housed in Braun 217. Herbert Myers([email protected]) is curator. We have a Stradivarius, and various other marvels; if you have interest inborrowing or just seeing instruments, get in touch with Herb.

Center for Computer-Assisted Research in the Humanities (CCARH)CCARH (pronounced “ka kar”) (http://www.ccarh.org) is located in Braun 129, a center engaged in thedevelopment of large databases of musical and textual materials for applications in research, teaching, andperformance. It has proved extremely useful to faculty and grad students in printing, analyzing, and otherwiseaccessing music. Don Anthony ([email protected]) is their extremely helpful administrative associate.

Dinkelspiel AuditoriumDinkelspiel (“Dink”) is open the same hours as Braun; during the summer; however, it is closed to all exceptworkshop participants. During intersessions it is also closed. Dink houses the University’s primary concerthall with 710 seats. Large ensemble rehearsals take place on stage and both classes and rehearsals are held inthe rehearsal hall in the basement. There are also nine practice rooms and several offices in the lower level.

Center for Computer Research in Music and Acoustics (CCRMA)CCRMA (pronounced “karma”) is open weekdays 9 a.m. to 5 p.m. {http://ccrma.stanford.edu/}

FACILITIES ACCESS, SCHEDULING, AND USE POLICIES

Practice Rooms and KeysOn the first day of each quarter, sign-ups for practice time and space are reserved for Music majors (includingMusic graduate students) only. Thereafter, anyone with a valid University I.D. may sign up in Dinkelspiel,Room 1, during the first three weeks of the quarter. See the department receptionist in Braun 101 duringbusiness hours to sign up for practice times after the first three weeks of the quarter. Bring your Stanford ID.Fees may be paid using cash, checks, ID, or The StanfordCardPlan [sic](http://www.stanford.edu/services/campuscard/cardplan.html) made payable to Stanford University.

The classrooms and rehearsal/recital halls are NOT intended for use as individual practice facilities (seeChamber Groups below). Practice rooms are located in the basement of Dinkelspiel and in Room 206 in BraunMusic Center, and should be reserved before use each quarter. The nominal fee charged for room use isapplied toward piano and practice-room maintenance.

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10 Section One: All About the Music Department

Keys are needed for most of the individual practice rooms in Dinkelspiel. There is a $10 deposit for the key,which is refundable when you return same.

• PRACTICE TIME is signed up each quarter, for the entire quarter (e.g., if you sign up for 3 hours a week ina room, your charge will be $30.00 for the entire quarter; there is a 3-hour minimum, and a 20-hr.maximum, per week). Fees are not prorated; the charge is the same whether you sign up during the firstweek of the quarter or the last. Therefore, you are advised to sign up early in the quarter.

• CHAMBER GROUPS may make arrangements in advance with the department receptionist in the Musicoffice for rehearsal time in Rooms 103, 105, 106.

• DURING INTERCESSION Dinkelspiel is closed. Braun is open from 8:00 a.m. to 5:00 p.m., Monday throughFriday. The practice modules in Room 206 will be available, on a first-come, first-served basis, during thattime.

Instrument Lockers and LocksLockers are available for storage of musical instruments, materials, and books. There is a rental fee chargedfor lockers, ($5 or $10 for the academic year, depending on the size of the instrument), and a $20 deposit isrequired for the locks. The deposit is returned when the lock is returned to the department. Locker fees arepayable twice each year, at the start of Autumn Quarter & the end of Spring Quarter. Lockers not renewedwill be cleared and reassigned, and the deposit forfeited. If you play anything but a stand-up bass, pleasesee the department receptionist in Braun 101 to sign up for a locker. Lockers for basses are issued by HerbMyers ([email protected]).

Concerts/Recitals and ReceptionsConcert/recital and reception bookings are managed by Mark Dalrymple, Production Manager([email protected]). Limited publicity support is available for Department-sponsored events including PhDand DMA project recitals. Please contact the department publicist for information regarding publicity fordepartment-sponsored concerts.

Current checklists and booking forms – Music Department Concert Booking Form; Music DepartmentReception Scheduling Request; Student Reception Policy; Publicity Guidelines for Student Recitals –are all available on the turnaround rack outside the Braun main office.

The opportunity for more informal concert giving exists in the form of Wednesday- and/or Friday-NoonRecitals. Contact the department receptionist to schedule a noon concert/recital.

Concert RecordingsRecordings of concerts may be made for participants only — copyright laws. Order forms are available in thefront-hall rack. Fees are currently $15.00 for copies of archived recordings and $30 advance payment forstudent recitals, but may change at any time. See the department receptionist to submit completed forms and toarrange payment.

The Request for Concert Recording is available on the turnaround rack outside the Braun main office.

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Section One: All About the Music Department 11

Grad-Students’ ID MailboxesIn Braun, labeled ID mailboxes are issued to grad student composers and musicologists. Student boxes areunderneath the wooden faculty mailboxes in the main Music office (Braun 101). Computer-based musictheorists ID mailboxes are at CCRMA on the second floor lobby area. Both MAIL and PAYCHECKS (unlessyou sign up for direct deposit via Axess) will be distributed to these boxes. The Music Department cannotassume the burden of forwarding subscriptions, personal mail, etc.; we therefore ask that students not use thedepartment for anything but university-oriented correspondence; especially that they not remain on anymailing lists which generate junk mail. Please keep personal mail at home! The importance of this cannot beemphasized sufficiently: the US Post Office cannot change the address of the Music Department at Stanfordand if you attempt to use OUR address as YOUR address, what it means in reality is that YOU won’t be ableto change your address with outside sources using the Post Office’s forms: therefore, all your mail willcontinue to come here after you are gone! And we won’t be forwarding it to you — we’ll be recycling it!

Last word about addresses: please be sure to notify the University (by keeping your information up-to-date inAxess), the music department (email Debbie), of any changes in address/phone, as they occur during theacademic year!

PhotocopyingDepartment policy — students may deposit money into their SU ID cards (the “Stanford Card Plan”, see linkbelow) to finance photocopying of their personal work (this includes research, music for chamber music orlessons, etc.) The photocopier in the Music Library is available for student use. The photocopiers in the mainoffice (Braun 101), and in the upstairs computer/printer/copier room (Braun 230) are for faculty and staff(including students currently serving as TAs) and are available only for departmental-business copying. Thisincludes TA’s copying materials for their classes — syllabi, exams, handouts, etc. — and non-TA seminarstudents copying assignments to be handed out to the entire class. Departmental-ensemble librarians ormanagers only will also be able to copy music for rehearsals.

Visit http://www.stanford.edu/group/itss-cns/campuscard/cardplan.html for specific information aboutthe Stanford Card Plan.

Computer/Copy Room (Braun 230)The department has a room set aside for student use of Macintosh computers, a LaserWriter, an IBM Selectrictypewriter (really!), and copier. The computers have Internet access and some basic software, including Finaleand Microsoft Office. The key to Braun 230 is available in the Music Office — see anyone! The Universityhas lots of other computer areas for students, too (http://academiccomputing.stanford.edu/clusters/). CCRMA,of course, also has many computers — please see Tricia or Fernando about their policies.

Visit http://www.stanford.edu/home/computing/print_and_clusters.shtml for lots of very helpfulinformation about computer clusters on campus.

Guidelines Regarding Use of Standard Music-Department Letterhead1. The departmental letterhead is intended for use by members of the Department of Music in conducting

business of the department or university.

2. “Business of the Department or University” is understood to mean any concern, process, or task directlyrelated to, or in the exercise of, a member’s appointment or a graduate student’s candidacy for an advanceddegree, as it expresses the educational purposes of the department or university.

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12 Section One: All About the Music Department

3. Use of departmental letterhead for personal and non-university-related business is not permitted.

4. Examples of approved uses:

a. A student request for information or an order for material (such as microfilm from European libraries),in support of a credit-bearing project or a doctoral dissertation, with the approval of the student’sproject or dissertation advisor.

b. Students, faculty, or staff correspondence related to formal participation at professional meetings,when the department member is identified as representing the university.

c. Correspondence or promotion related to a department-sponsored program, lecture, or concert, wherethe department member is assigned duties requiring such correspondence or promotion.

d. Student letters related to job placement, provided that the student identifies his or her official affiliationwith the department.

5. Exceptions to the above policy may be arranged by students with approval of their academic advisors andby faculty and staff with the approval of the Chair.

See Debbie Barney for said letterhead and envelopes!

Important Sources of InformationAll students are expected to obtain, from the Registrar’s Office, and to keep available for reference, copies ofthe current Stanford Bulletin (http://www.stanford.edu/dept/registrar/bulletin/) and Time Schedule (availablefor the entire year in Axess). All students should read, in the bulletin, both the university-wide anddepartmental sections relating to the particular degree they are seeking. Note: The printed time schedule isnever the most up-to-date one! The online time schedule in Axess (https://Axess.stanford.edu/) is always themost current source of class information.

The front- and back-hallway bulletin boards, the glassed-in board outside the Music Library, specializedboards adjacent to the Symphony and Choral offices, in CCRMA, and upstairs boards by faculty offices and inthe long hallway should be checked regularly for announcements. All hard-copy gig, job, audition, andschool/workshop announcements are posted on the back-hallway bulletin board across from CCARH’s offices(130 Braun).

Email and Email Lists: As soon as you created your SUNet ID (Stanford University Net ID) when youresponded to our offer of admission, your default Stanford email address became<[email protected]>. This email address is the one to which all department correspondence will besent, unless you advise Debbie otherwise. In addition, every graduate student is a member of the list named“musicgrads” and, (using a Stanford email account) anyone with a Stanford email address may postannouncements to this list by sending mail to “[email protected].”

For complete information on subscribing and unsubscribing to campus mail lists, visit:

http://www.stanford.edu/services/mailman/

In addition, the department keeps a list for students interested in learning about performance gigs called in bythe immediate Stanford community as well as the local communities near our campus. If you are interested inreceiving and, potentially, responding to the various gig requests received by the department each year, pleasecontact Nette ([email protected]) with your request to be added to this list. This is a wonderful

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Section One: All About the Music Department 13

opportunity to pick up some extra cash and experience as ambassadors of the Department (and, of music) tothe rest of the campus and the surrounding community.

The Department Office Staff are a primary source of information. If they don’t know the answer, theyprobably know where to get it, or will try really hard to find out! (Warning! Beware or you may find yourselfthe object of gentle chiding if you should ask too many questions whose answers may be found by reading thismanual, or by reading notices posted on the glass doors to Braun 101 (the central office) or on the front-hallway bulletin board!)

Your advisor is also an important source of information — such as whether or not you are fulfillingrequirements — and should be consulted AT LEAST once per quarter (at registration time): the more often,however, the better.

The student-run Stanford Daily (http://daily.stanford.edu) and the Stanford Report(http://www.stanford.edu/dept/news/report, available to all: comes out Wednesdays and is delivered to themain office) are invaluable in many ways. The Academic Senate has a way of changing things mid-year, andannouncements of such changes often appear in these publications. Besides, they list campus news andgoings-on—stay as informed as you can!

The Registrar’s Office (http://www.stanford.edu/dept/registrar/) is THE source for information aboutgraduate degree requirements and their site provides many downloadable PDF forms you will need duringyour career—bookmark this site, now! http://registrar.stanford.edu/shared/forms.htm

Bechtel International Center (“I-Center,” http://www.stanford.edu/dept/icenter) is an extremely importantresource for all our international students. Please visit the I-Center frequently for updated informationregarding your status as an international student and the ever-changing federal requirements concerning yourstudy here in the States.

Students with physical, psychological, or learning disabilities in need of academic, housing, or otheraccommodations should contact the Disability Resource Center (DRC,http://www.stanford.edu/group/DRC), located at 563 Salvatierra Walk. Student requests for academicadjustments, auxiliary aids, and services are evaluated by a DRC program coordinator and appropriateaccommodations are recommended which specifically address the functional limitations of the disabilitywithout substantially altering the course or program of study. Requests for accommodation need to be made ina timely manner, that is, within the first two weeks of the quarter, or as soon as a new need arises. Studentsmust register with the DRC and provide documentation of their disability. Contact the DRC at (voice) 3-1066,(TTY) 3-1067 for questions or to request a copy of the DRC Student Guide, which contains additionalinformation regarding specific criteria and procedures.

MUSIC DEPARTMENT PEOPLE

Music Student Association (MSA) and the Graduate Music Student Association (GMSA)The purpose of the MSA/GMSA is to provide an avenue through which music students communicate withfaculty and administration and with each other, to focus their ideas and concerns for the improvement andenhancement of the Music program at Stanford. All music students are welcome, and indeed, encouraged toparticipate. MSA/GMSA sponsor a Musicology Colloquia series as well as occasional informal recitals,book/record sales, and student parties. They also provide the Chair with recommendations for student

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delegates to departmental committees. Notices of events and meetings of both groups are sent to the mail lists“musicugrads” and “musicgrads” as appropriate.

Visit http://www.stanford.edu/services/mailman/ for information about Stanford mail lists.

Friends of Music at Stanford (FoM)The Friends of Music (FoM) at Stanford, https://www.stanford.edu/dept/music/People/fom.html, is an extra-departmental group that provides funding for a variety of music student activities. The mission of the Friendsof Music at Stanford is to support the activities of the Department of Music and to enhance musical life atStanford and in the community. FoM is primarily involved with providing both full (to majors) and partial (tonon-majors) scholarship support to students who would be unable to take private lessons without financialassistance. [See “Applied Music Lessons & Scholarship Support” in Section Five of this manual for details.]Funds to support these scholarships are raised by Friends members through fundraising activities and privatecontributions. FoM occasionally picks up fees for other musical endeavors undertaken by music students:please consult with Nette Worthey ([email protected]) if you think you have a project with which FoMmight be interested in assisting.

Departmental CommitteesThe following is a list of departmental committees. Faculty and student membership changes from year.Please check the front hall bulletin board (outside Braun 102) for the new 2007–08 committee memberships(TBD Autumn Quarter). If you are interested in serving as the student representative to any of thesecommittees, please let Debbie or Nette know.

Undergraduate Studies CommitteeGraduate Studies CommitteeLibrary CommitteePerformance Committee)

Music Students’ Association (MSA)Graduate Music Students’ Association (GMSA)Musicology Lecture Series Coordinator(s)Graduate Student Musicology ColloquiaWednesday-Noon Recitals Coordinator(s)

NOTE: Ad hoc committees appointed as required. A membership roster is posted annually.)

FacultyFor contact information, please see the Faculty, Student, and Staff Directories:http://music.stanford.edu/People/index.html orsearch in StanfordWho http://stanfordwho.stanford.edu/SWApp/lookup

Mark Applebaum, Associate Professor: composition, theoryGeorge Barth, Professor (Teaching): piano and early piano, IvesJonathan Berger, Associate Professor: composition, music theory, and music cognition—CCRMAKarol Berger, Professor: history of music theory and aesthetics, music of the Renaissance, Mozart, and ChopinJindong Cai, Associate Professor (Performance), Director of Orchestral StudiesChristopher Chafe, Professor: interactive composition, physical modeling of digital audio

techniques—CCRMA (Director)Brian Ferneyhough, Professor: composition, theory (on leave)Thomas Grey, Professor: theory and history of German Romanticism (on leave Aut)Heather Hadlock, Professor: 19th-century opera and operetta, feminist and gender studies, French Romanticism

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Stephen Hinton, Professor: aesthetics, early 20th-century theory; Hindemith and WeillWilliam Mahrt, Associate Professor: performance practices of Medieval and Renaissance music, Director of

Early Music Singers (on leave Win)Jesse Rodin, Assistant Professor: 15th-century Franco Flemish polyphony; Renaissance music and performance; late

Medieval notationThomas Rossing, Visiting Professor: musical acoustics—CCRMAStephen Sano, Associate Professor (Teaching) and Chair: Director of Choral Activities; conductingJulius Smith, Professor: applications of signal processing—CCRMA (on leave Aut)Ge Wang, Assistant Professor (subject to PhD): real-time software; computer music; ensembles—CCRMA

Mellon FellowsJames Kennaway, musicologyMichael Markham, musicology

Consulting ProfessorsJonathan Abel, Consulting Professor: signal

processing—CCRMADavid Berners, Consulting Professor: signal

processing—CCRMAMarina Bosi-Goldberg, Consulting Professor:

digital audio technology—CCRMAWalter Hewlett, Consulting Professor: computer

applications in musicology—CCARHEleanor Selfridge-Field, Consulting Professor:

computer applications inmusicology—CCARH

Malcolm Slaney, Consulting Professor: hearingsciences, CCRMA

Applied Music Faculty Senior LecturersGiancarlo Aquilanti, Director of Theory and of TheStanford Wind EnsembleStephen Harrison, ‘celloThomas Schultz, pianoGregory Wait, voice/choral conductingFrederick Weldy, piano

EmeritiArthur P. Barnes: bands, musicianshipJohn Chowning: composition, CCRMAAlbert Cohen: musicologyMarie Gibson: voiceGeorge Houle: musicologyMax Mathews: computer music, CCRMAWilliam Ramsey: choral conducting

Leonard Ratner: musicologyLeland C. Smith: composition

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Lecturers & Applied Music FacultyKumaran Arul, pianoTalya Berger, theory and analysisFredrick Berry, Jazz EnsembleFrances Blaisdell, fluteMark Brandenburg, clarinetMarjorie Chauvel, harpTony Clements, tubaLaura Dahl, resident collaborative pianistNatasha Daniels, violaAnthony Doheny, violinJohn Dornenburg, viola da gambaCharles Ferguson, guitarDebra Fong, violinClaire Giovannetti, voiceDawn Harms, violinAlexandra Hawley, fluteDavid Henderson, saxophoneMelody Holmes-Schaefle, fluteRobert Hubbard, oboe (Aut only)Graeme Jennings, violinJoyce Johnson-Hamilton, trumpetChris Jones, theory and compositionJay Kadis, audio recording, CCRMAMcDowell Kenley, tromboneJosh Levine, composition (Aut only)Mary Linduska, voice (Sum only)Fernando Lopez-Lezcano, CCRMAMurray Low, jazz pianoJanet Maestre, fluteAnthony Martin, Baroque violinJames Matheson, oboe (Win, Spr only)Robert Huw Morgan, organ, University SingersBruce Moyer, contrabassHerbert Myers, Renaissance winds;

instrument curatorJames Nadel, jazz theory, combosRufus Olivier, bassoonLarry Ragent, French hornAmy Schneider, voiceJerome Simas, clarinetThomas Schultz, pianoLivia Sohn, violinHarold Stein, saxophoneElaine Thornburgh, harpsichordErik Ulman, theory and compositionLinda Uyechi, Taiko

Mark Veregge, percussionDaisy You, guzhengTimothy Zerlang, piano, carillon

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Ensemble in Residence:St. Lawrence String QuartetGeoff Nuttall, violinScott St. John, violinLesley Robertson, violaChristopher Costanza, ‘cello

Departmental Performing EnsemblesChamber ChoraleChamber Ensembles (duets, trios, quartets, jazz,

etc.), as arranged through Music 171Early Music SingersGuzhengJazz OrchestraMariachi EnsembleMemorial Church ChoirPhilharmonia Orchestra[sic] Improvisation Collective (Win only)Soundwire Ensemble (Aut only)Symphonic ChorusSymphony OrchestraTaiko EnsembleUniversity SingersWind Ensemble

Department StaffDebbie Barney, chairman’s/graduate

students’/academic administrative associatePam Bergmann, stage managerMario Champagne, administrative directorRaina Cornejo, receptionist/assistant facilitiesmanagerMark Dalrymple, facilities/production managerSasha Leitman, technical coordinator, CCRMAJaime Marconette, financial officerTricia Schroeter, administrative associate, CCRMANette Worthey, undergraduate student services,

Friends of Music liaisonJerry McBride, head, Music Library and Archive of

Recorded Soundnow hiring!, publicist

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SECTION TWO: ALL ABOUT REGISTRATIONIn this section you will find…

• Registration General Information• TGR Registration• Leave of Absence• Reinstatement• Resignation• Study Lists• Stanford/Music Enrollment Deadlines• University Grading Policies• Music Department Grading Policies• Academic Progress Requirements• Residency

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REGISTRATION GENERAL INFORMATION

The Registrar’s website is THE source for information about all things “Registration” at Stanford University.

Registering at Stanford, http://www.stanford.edu/dept/registrar/registration/index.html and,Graduate Student Handbook, http://www.stanford.edu/dept/DoR/GSH

New students will be term-activated upon acceptance to Stanford; then they’re eligible to enroll. Termactivation will continue for every quarter following, unless students notify the university that they’re going onleave, until the end of their careers at Stanford. (See the “Leave of Absence” section for information oncanceling your registration.)

Photo ID cards are issued after arrival; if you returned the “Stanford ID Card” form included in your copy of“A Guide for New Graduate Students”, you may pick up your new card at the Stanford Card Office(http://www.stanford.edu/services/campuscard/cardoffice.html). Their usual office hours are 8 am–5 pm. Ifyou have any questions, call them at 498-2273. If you did not prearrange your ID, follow the instructions forobtaining a card at their website.

Your university bill is issued through Student Financial Services. Questions regarding the assessed tuitionshould be directed to the Registrar’s Information window in the Harold trailer at 633 Serra Street, or by emailto mailto:mailto:[email protected]. Any other questions regarding your university bill and/or charges thatappear thereon should be addressed to Student Financial Services.

For tuition information, visit http://www.stanford.edu/dept/registrar/registration/tuition.htmlFor complete billing information, visithttp://financialgateway.stanford.edu/students/universbill/index.html

Because almost all registration and billing processes at Stanford are accomplished in Axess, you areresponsible for making sure your mailing address (along with all other addresses!) is up-to-date in Axess. AllUniversity offices will use your current contact information as you have entered it in Axess. Debbie needs toknow this information, too, so if you change residences, let her know, pronto!

NOTE: The specific tuition and fees (including music lesson fees!) to which a student commitswill be reported to the University Student Financial Office for billing and collection togetherwith any other separately reported charges (e.g., housing, ASSU fees, and food service). Credittoward tuition charges provided by scholarship grants, or fellowships will be shown on yourUniversity Bill, either as “anticipated aid” or as credit(s) to your account. Note that Teachingand Research Assistantships are salaried positions (i.e. you are an employee of the University)and these monies will NOT be reflected on your University Bill. Salaries are paid out of thePayroll Office. For complete information:http://financialgateway.stanford.edu/staff/payemployee/

Prior to completion of registration, all students must consult with their assigned Graduate Advisor in Music. Ifyou are a new student, your advisor will discuss with you your diagnostic exams as well as your program andcourse planning for this and subsequent quarters of your first year. Any student who does not meet with theiradvisor will have a hold placed on their enrollment!

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Continuous RegistrationRegistration is required for Autumn, Winter, and Spring quarters of each academic year until the degree isconferred. Students must be registered in the current quarter to fulfill any university or departmentalrequirement (commonly referred to as “milestones”). All students must be registered in the current quarter inwhich a degree is conferred, a thesis or dissertation is submitted, or declaration of your intention to completeis made in Axess.

Graduate students at Stanford are expected to do coursework and research on campus unless their departmentgives prior approval for study in absentia. Students who wish to register in absentia must have a currentmailing address on file in Axess and with the department while away from campus. International studentsmust to consult with Bechtel International Center for information concerning this registration status and toensure that they do not fall out of compliance with US government rules regarding international studentstatus.

Bechtel International Center (I-Center):http://www.stanford.edu/dept/icenter/InternationalStudents/index.html

Registration Categories

Full-Tuition Registration — Year 1First-year graduate students are expected to pursue their studies on a full-time basis. Full-tuition registrationentitles students to enroll in 11 to 18 units of coursework. Full-time students may register for more than 18units; however, your financial-aid package only covers the first 18 units. Maximum registration in summerquarter is 10 units.

Graduate students are expected to enroll for full tuition unless they have departmentalfellowships or assistantships that require part-time enrollment. Therefore, first-year quartersshould be for 12–18 units each (in Music we think of 12 as full-time, but encourage 15 for aspeedy transition to Terminal Graduate Registration — TGR); in years two through five youshould sign up for 8–10 units every quarter. This is important in figuring your residency andgetting you to “go TGR” in a timely fashion (see below).

Other categories:

Research and Teaching Assistantships — Years 2 through 58–10 units, unless otherwise specified by the department. All tuition adjustments based on student awardsare administered in the Department. [Years II & III—TA’s; Years IV & V—RA and/or TA]

Reduced Tuition AdjustmentGraduate students who are within 3-7 units of achieving the required 135-unit minimum and who needonly a single remaining quarter in which to complete all requirements prior to going TGR are eligible for areduced tuition registration. This registration status is granted only once and requires department approval.Submit the “Request for Graduate Tuition Adjustment”(http://www.stanford.edu/dept/registrar/pdf/tuitadjreq.pdf) to the graduate administrator in Braun 101.

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Terminal Graduate Registration (TGR)A reduced-tuition registration ($2,760 per quarter, 2007–08 academic year) is available for eligiblestudents who are working on a dissertation, thesis, or departmental project. Students may qualify for TGRstatus (http://www.stanford.edu/dept/registrar/pdf/tgrreq.pdf) only when there is a valid program objectiveto justify their continued access to University resources. Eligibility criteria for TGR Status are as follows:

Doctoral Programs:1. Admission to Candidacy

2. Completion of all courses, special-area exam (including the approved dissertation proposal), and anylanguage requirements for the degree as listed on the “Application for Candidacy for Doctoral Degree”form (http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf). (Revisions to the plan delineatedon the candidacy form must be approved by the student’s graduate advisor and notification (via email)from the advisor provided to Debbie.)

3. Completion of 135 academic units of graduate-level work (the Residency requirement)Do read the Stanford Bulletin, “Graduate Degrees” section, carefully!http://www.stanford.edu/dept/registrar/bulletin/pdf/GraduateDegrees.pdf

4. Approval of dissertation/final-project proposal (part of the special-area exam)

5. Filing of “Doctoral Dissertation Reading Committee Form”(http://www.stanford.edu/dept/registrar/pdf/docrdngcomm.pdf)

Students applying for TGR status must complete the “Request for Terminal Graduate Registration (TGR)Status” form (http://www.stanford.edu/dept/registrar/pdf/tgrreq.pdf). All requirements for TGR status must becompleted prior to the start of the quarter for which TGR is requested (at the latest!).

A student in TGR status must enroll in the TGR course (Music 801 for DMAs; Music 802 for PhDs) with theadvisor as the instructor. An “N” grade signifying satisfactory progress must be received each quarter tomaintain registration privileges. An “N–” grade constitutes a warning. The advisor, department chair, andstudent should discuss the deficiencies and the steps necessary to correct them. A second consecutive “N–”grade will result in a hold on future registration. Future registration will only be permitted when a written planfor completion of degree requirements has been reviewed and approved by the department [upon completionof the degree, a final “S” is given].

Understanding TGRThe following is an attempt to explain why TGR is important, and why you need to sign up for as many unitsas you can handle in Year I and the full amount of units allowed every quarter in Years II through V, plus thetwo summers you have of aid!

Fellowship packages for doctoral students include:

Year I Full-time tuition plus stipend

Summer* 8–10 units tuition plus 1/2-time salary (RA)

Year II 8–10 units tuition plus 1/2-time salary (TA)

Year III 8–10 units tuition plus 1/2-time salary (TA)

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Summer* 8–10 units tuition plus 1/2-time salary (RA)

Year IV 8–10 units tuition plus 1/2-time salary (RA or TA*)

Year V TGR tuition (0 units plus 1/2-time salary (RA)

*First summer aid occurs after Year I for DMAs and PhD CCRMAlites; after Year II for PhD musicologists;second summer aid occurs after year III for all and is intended to provide an opportunity for students toprepare for their Special Area Exam (including submission and approval of the dissertation or final projectproposal), to be taken in the first quarter of year IV. Students in years IV and V may be required to TA ifdepartmental need arises.

The following chart illustrates the academic credits, which would have accrued if a student were to take therecommended number of units per quarter. (This example assumes that in Year I the student takes between 12and 18 units.)

YearUnits PerQuarter

YearlyTotal

I 15 45

Summer 10 10

II 10 30

III 10 30

Summer 10 10

IV 10 30

V 0 (TGR) 0

Total 155

After four years plus the two summers of available aid, a grad student would thus have more than enoughacademic units to graduate. However, many students (especially PhD candidates who require a long time towrite that dissertation) are not ready to graduate at the end of four years. That’s what TGR is for; to helpstudents finish at a lower tuition rate than paying for 8–10 academic units. We require students to finish(besides the 135 units of coursework) their quals, teaching assistantships, special-area exam (includingapproval of the dissertation proposal), and language requirements before going TGR.

Students entering with an MA may request a transfer of up to 45 units of MA credit(http://www.stanford.edu/dept/registrar/pdf/grad_res_credit.pdf). So, if we transfer the MA work doneelsewhere and add that to the equation, we get:

MA year 45 units 200 total**if student continues in regular registration, by the end of the financial-aid package

Those students who came in with an MA may be eligible to go TGR even earlier, assuming, of course, thatthey have completed the other requirements necessary for that step, as noted above.

Students are required to go TGR as soon as possible in year IV. This means that the Special-Area Examshould be scheduled, taken, and passed no later than autumn quarter of the fourth year, including completionand approval of the dissertation or final project proposal (the final section of the Special-Area Exam).

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Graduation QuarterA reduced-tuition registration ($100 per quarter) is available for eligible students who are putting thefinishing touches on a dissertation or departmental project. Students may qualify for Graduation Quarterstatus (http://registrar/pdf/grad_qtr.pdf) only when they have been enrolled in TGR status in the quarterimmediately preceding the requested Graduation Quarter (including summer prior to autumn quarter).Graduation Quarter enrollment status may only be granted and used for a single quarter in a student’scareer at Stanford. The intent is to provide a bit of extra time for students who are essentially ready tosubmit their dissertations (i.e. they have successfully defended and are deeply into the final editingprocess). If you miss the submission deadline in your Graduation Quarter you will need to register for anyadditional quarters at the normal TGR rate ($2760 in 2007-08): consider yourselves forewarned!

LEAVE OF ABSENCE

Students who wish to interrupt their registration may request, in advance of their departure, a leave of absence.The leave must be recommended to the Registrar by the student’s advisor, Department Chair, BechtelInternational Center [if the student is in the U.S. on a visa], and Vaden Heath Center [if leave is requested formedical reasons]. The Registrar will act on the recommendations. Leave is normally granted for a maximumof one calendar year. Leave requested for a longer period will only be approved in exceptional circumstancesand can only be approved one year at a time. However, taking a second year of leave during one’s financial-aid tenure runs the risk of losing subsequent aid. An extension of leave (maximum of one year) for doctoralstudents not yet admitted to candidacy will be approved only in very unusual circumstances. Advanceddoctoral students (usually in TGR status) may expect approval of an extension of leave for a second year if aplan for degree completion, with the advisor’s written endorsement, is submitted to the Registrar. A requestfor a leave of absence beyond the expiration of candidacy must be accompanied by an “Application forExtension of Candidacy” form approved by the department. [N.B. University policy states that an extension ofcandidacy may be granted one time for one year, only!]

NOTE: GRADUATE STUDENTS MUST, IN ALL CASES, NOTIFY THE DEPARTMENT OF THEIR LEAVE.

We require the advisor’s consent, even though the form does not!

Leave of Absence: http://www.stanford.edu/dept/registrar/pdf/leaveofabsence.pdfApplication for Extension of Candidacy: http://www.stanford.edu/dept/registrar/pdf/appcandextens.pdf..

REINSTATEMENT

The official line: A student who has not registered for a quarter during the academic year and who is not onan approved leave of absence ceases to have registration privileges. The reinstatement procedure is requiredfor students who wish to return to the same degree program or to be admitted to a different degree program inthe original department or in another field. The Application for Reinstatement in Graduate Study may bedownloaded from the Registrar’s “Forms” website (the one you’ve bookmarked already, right?http://www.stanford.edu/dept/registrar/pdf/appgradreinstate.pdf). An application fee of $105 and a $150reinstatement fee are required of students enrolled since 1980 and who are approved for reinstatement (feessubject to change annually). Supplementary credentials may be required. The decision to approve or denyreinstatement is made by the Department.

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Reality: One does lose registration privileges and needs to do the Application for Reinstatement along with thefees mentioned above. The only supplementary material usually required, however, is a timetable of thestudent’s plans for completion that should be signed off by the advisor, and any special documentationrequired of international students. If you fail to register or take a leave when you are TGR, all we want you todo is finish your dissertation and take your PhD orals, or give your DMA final project defense, and get yourdegree. If you “stop out” early on in your graduate career, however, there will probably be more examinationof your ability to finish.

International students take note! If you are unable to complete your degree requirements in thetime covered by your fellowship monies, your options are pretty much dictated by federal law.You must speak with Bechtel International center regarding what is and is NOT possibleconcerning your registration. Please be sure to contact Bechtel early and often during yourcareers as graduate students so that you can keep abreast of the ever-changing regulations.

RESIGNATION

Students who wish to terminate study in a program should submit a letter of resignation to the Department. Astudent who has resigned and later wishes to return to Stanford must follow the reinstatement procedures.

STUDY LISTS

The “study list” — a list of courses you are taking for the current quarter — must be submitted (via Axess)prior to the second Sunday of each quarter. There is a $100 fee for filing late study lists!

Section Numbers: All courses have section numbers, but section numbers may have subtly differentmeanings between courses. Most academic courses in Music have just one section, “01”. Courses with TAshave more than one section, but students sign up in “01” [TA sections, numbered “02” and above, exist so thatthe TAs may receive evaluations]. Independent Lessons (e.g., piano, voice, violin etc.), which are taught bymore than one faculty member have multiple sections: students sign up for the section designated for theinstructor with whom they wish to study. Independent study courses (i.e. Music 199) follow the same model:students must enroll in the section corresponding to the instructor with whom they wish to work. Forclarification about how to actually do this in Axess, see under “Independent Study Search” (near the bottom ofthe page) at http://registrar.stanford.edu/Axess/Studenthelp/enrollment/class_search.htm.

If you are enrolling in any of the following courses, you MUST CHOOSE THE PROPER INSTRUCTOR, oryou risk receiving no credit and no grade: Music 125 [not a grad-student course, however: you’d use 325],198, 199, 220D, 269B, 299, 302, 321, 325, 341, 399, 801, and 802. Axess will not allow you to register for oneof these courses unless you choose to list the individual instructor sections for the course when you first searchfor the course. This also requires previous acceptance by the instructor, so check with your chosen facultymember first!

Music 171 (Chamber Music) also requires sections, but these differ from the independent-research sectionslisted above — they’re more like lessons, and sections are as listed in Axess. Please sign up with the propersection for the instructor/coach with whom you are working.

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NOTE: Your Official Study List must be filed with the Office of the Registrar no later than thesecond Sunday of the quarter (online via Axess). You are, however, encouraged to do so as soonas possible before that.

See the next two pages for the official Registrar’s version of enrollment deadlines and grading policies.

STANFORD/MUSIC ENROLLMENT DEADLINES

These deadlines follow the same pattern each term. Please refer to the printed Time Schedule and/or theregistrar’s Academic Calendar (available in hard copy on the scheduling desk in Braun, standing up in themetal book rack). http://registrar.stanford.edu/academic_calendar/index.htm

UNIVERSITY GRADING POLICIES

Please see both the current Stanford Bulletin, “Grading Systems”,http://www.stanford.edu/dept/registrar/bulletin/ and the Registrar’s website “Records and Grades”http://registrar.stanford.edu/students/grades/index.htm?id=1for up-to-date information about gradingand University policies regarding same.

MUSIC DEPARTMENT GRADING POLICIES

Any Music course you want to count towards your degree must be for a letter grade (A or B), or an “S” (whichis a course where everyone is pass/fail, instructor-mandated). Courses from other departments may be takencredit/no credit (C/NC): in that case, only a “C” will count towards the degree.

Music 801 and Music 802 are considered to be “continuing”—i.e., you sign up for them more than once,because they take more than one quarter to complete; the end-quarter grade is “N” until you’re done with theproject you agreed on at the beginning with the professor (“N–” if you’re not making satisfactory progress).So if a professor gives you an “I” at the end of a quarter in any of these courses, see Debbie immediately!

About the “N–” grade in Music 801 or 802: The first N– constitutes a warning. A second N– puts a hold onfurther registration until a written plan for completion of degree requirements has been submitted by thestudent and accepted by the department. Any N–’s after that point are grounds for dismissal from the program.All N– grades should be reported to advisor and department chair. (N– in these courses will probably havebeen given by the advisor).

Note: Music 314 and Music 399 may be considered as “continuing” courses; however, if a student is preparedto petition for TGR status, it is likely that it will be necessary for the instructor(s) to provide final grades inthese courses in order for the total of 135 units to be reached. Please see the instructor and/or Debbie forclarification and assistance in this instance.

ACADEMIC PROGRESS REQUIREMENTS

University policy on academic progress for graduate students is well outlined in the Stanford Bulletin underthe sections “Graduate Degrees” http://www.stanford.edu/dept/registrar/bulletin/pdf/GraduateDegrees.pdf and“Academic Policies and Statements”http://www.stanford.edu/dept/registrar/bulletin/pdf/AcadPoliciesStatem.pdf

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Period of StudyDoctoral-degree students (PhD CCRMAlites and DMA Composers) are expected to be admitted to candidacyby the end of the first quarter of the second year. (“Application for Candidacy for Doctoral Degree” form isavailable in the office and at the Registrar’s website under “Forms” (you’ve bookmarked that page in yourbrowser already, right?) http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf.) PhD Musicologistsmust be admitted to candidacy by the end of the first quarter of the third year. This is normally done as soon asthe student passes the qualifying exams. The form is included in the letter sent out to the student notifyinghim/her of passing same. (NB: If it is not included in this letter, (or worse, if you don’t receive a letter(!))please download or see Debbie for a copy at your earliest convenience!) It needs to be filled out, signed by theadvisor, and returned by the end of Autumn quarter of that same year. Candidacy is valid for five years.

Policy on Minimum Progress Requirements for Graduate StudentsPlease read the University’s official policies under “Policy on Minimum Progress Requirements for GraduateStudents” in the Stanford Bulletin in the “Graduate Degrees” section of the bulletin front matter. Please readthe Department’s official policies under “Graduate Programs” in the Music section of the Stanford Bulletin.http://www.stanford.edu/dept/registrar/bulletin/pdf/Music.pdf

Departmental guidelines that set higher standards take precedence over the University policy. (i.e. In Musicwe require grades of A, B or S in order for a course’s units to count toward your degree; the university onlyrequires a B average over all courses.)

Each academic year, early in the Spring quarter, a letter will be sent to students who have completed fewerunits than the required University minimum, with a copy to the department chair. At the end of the academicyear, students who have not met the requirements for minimal progress (24 or 18 units, as appropriate) will bereviewed on a case-by-case basis by the department. Students will have the opportunity to explain any specialcircumstances. Approval for continuation in the degree program will be contingent on the submission of asuitable plan by the student to the department to maintain satisfactory progress in subsequent quarters,including making up any course deficiencies.

Course SubstitutionIn exceptional cases, a student may petition the department’s Graduate Studies Committee (GSC) forpermission to substitute a required course with another. Normally, this would be appropriate only when thestudent has already taken a similar course at another institution. The petition should be approved by thestudent’s advisor before it is submitted to the committee; the results should be reported to Debbie (via emailfrom the committee chair) for inclusion in the student’s file. An exception here is that PhD musicologists maysubstitute up to two 310s for their required complement of eight. This information must be transmitted toDebbie by the advisor so that it may be noted in the student’s file.

Changes to, and Addition of Degree ProgramsStudents enrolled in a graduate degree program must have departmental and Registrar’s approval for anadditional degree program or to change the degree program for which they were originally admitted. TheGraduate Program Authorization Petition (commonly referred to as a “grad auth” form) is available at (alltogether now, bookmarked site, yes? — http://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf. Thispetition is for all programs including those doctoral students who wish to add (or, “pick up” after passingquals) a master’s degree to their existing program. Applicants seeking degrees in a department in which they

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were not originally admitted may be required to provide additional information to the second department suchas advanced subject GRE scores, letters of recommendation, or a new statement of purpose. There is noadditional graduate application fee, but filing the grad auth now costs $50. Foreign students must file a newFinancial Resources Certification form, available at http://www.stanford.edu/dept/registrar/pdf/finrescert.pdf,before approval will be granted.

RESIDENCY

In addition to minimum unit requirements, each graduate-degree program requires a specified number ofacademic units [45 for the MA; 135 for the doctorate] to be completed in order to graduate or enter TerminalGraduate Registration (see above). It cannot be over-stressed that residency is granted only for completed,graduate-level units: any Incompletes, Ns, or missing grades and the like will not help you a whit!

Residency Credit for Graduate Work Done ElsewhereStudents may request validation of graduate work done at another University for residency credit at Stanford.A maximum 45 units of coursework may be validated to meet requirements for a doctoral degree. (The 45-unitrequirement for a master’s degree may not be reduced. The department may validate work done elsewhere tomeet course requirements above the 45-unit university minimum. Note that whether one received one’sMaster’s degree units at Stanford or elsewhere, only 45 total units may be applied toward the doctoralprogram.)

The “Application for Graduate Residency Credit”(http://www.stanford.edu/dept/registrar/pdf/grad_res_credit.pdf) for graduate work done elsewheremust be approved by the Department and the Registrar to receive residency credit for doctoral degreerequirements.

See Debbie for a worksheet to assist in calculating equivalencies between semester units and quarter units.

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SECTION THREE: ALL ABOUT MUSIC GRADUATE DEGREE PROGRAMSIn this section you will find…

• Graduate Degree General Information• Doctoral Degrees• Doctor of Musical Arts• Doctor of Philosophy• PhD Schedules (4-year models)• Multiple Degree Programs• Joint PhD Program in the Humanities• Graduate Degree Timetable

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GRADUATE DEGREE GENERAL INFORMATION

Graduate programs in the Music Department at Stanford lead to three degrees: the Master of Arts, Doctor ofMusical Arts, and Doctor of Philosophy.

The Master of Arts degree may be conferred (“picked up”) after a minimum of 45 units. The Master’s degreein Music History, Composition, and Computer-Based Music Theory and Acoustics is a preparatory degree(conferred only after passing the qualifying exams and entering into candidacy); the Master’s in Music,Science, and Technology is a terminal degree. As a terminal degree, the Master’s provides additional studybeyond the Bachelor’s degree in the student’s special field of interest. As a preparatory degree, it initiatesstudies culminating in either the Doctor of Philosophy or Doctor of Musical Arts degree.

The doctorate in the Music Department may be conferred after completion of four- or five-years, plus twosummers, of study, although a longer time may be required, depending on the scope of the dissertation or finalproject elected by the student.

The Doctor of Musical Arts degree centers on composition. In order to qualify for the DMA program, acandidate will have already achieved competence in his or her chosen field of composition. Stanford’sprogram emphasizes writing for a variety of forces and media, all-inclusive from traditional, acousticorchestral instruments to computer-related, digital, and multimedia work. Seminars and private study withfaculty combine intensive personal work with deepening knowledge of significant movements anddevelopments in the art. Composition faculty reviews the overall work of each student annually. Opportunitiesfor performance are available and, if a piece is accepted by the director, through performing ensembles in thedepartment. Less formally, the Wednesday-noon concert series may also be considered as a venue. In addition,DMA composition term projects may be submitted to the Music Library (contact Mimi Tashiro,[email protected], for details) for inclusion in the Library’s collection of circulating manuscripts.

The Doctor of Philosophy degree culminates in a dissertation that is an original contribution to musicalscholarship. The degree may center on either musicology, including historical, aesthetic, or theoreticalperspectives, or a concentration in historical performance practices; or computer-based music theory. The firsttwo years of study are usually devoted to learning methods of research and analysis, after which time thestudent concentrates on research and writing. The dissertation demonstrates scholarly method and clearexposition as well as the ability to work systematically and independently. Quality, rather than scope orlength, is of prime importance.

Language Requirements for all Graduate StudentsAt the beginning of graduate study, all DMA and PhD students in the computer-based theory and acousticsprogram are required to demonstrate a reading knowledge of a language other than English and the ability totranslate into idiomatic English (for students from a non-English-speaking country, English is their secondlanguage! — but a translation from their own language into English is still required, to show ability in saidsecond language). PhD candidates in musicology are required to demonstrate proficiency in and ability totranslate idiomatically into English from German and a similar competence in a second language, chosen fromFrench, Italian, or Latin (or another language, if it is pertinent to their specialty), before the end of the secondyear of doctoral study. Language exams for French, Italian, and German are given by the respectivedepartments. Each language has a different procedure: descriptions are posted at the Language Center site (seeURLs below). In order to meet these requirements, all entering graduate students should be prepared to take

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their first language exams in October according to the schedules provided. If either exam is failed, remedialcoursework is required, and the exam must be retaken as soon as possible.

Demonstrating a reading knowledge in a language at the beginning of graduate study is not always doable, ofcourse. If you arrive without any other language, we won’t expect you to be reading at the doctoral levelwithin ten weeks: in that case, you should start studying your chosen language immediately and take theexam(s) as soon as possible.

Successful completion of these examinations will be reported to the department three weeks after the exam.(Departments are not informed if students do not pass the exam; students wishing to know whether they havepassed should inform the examiner at the time of the examination.)

NOTE: The University requires that any units graduate students wish to count towards theirdegree MUST be taken in courses numbered at or above the 100 level.

Since most of the beginning reading language classes are offered as courses below the 100 level, the procedurefor registering for these classes is as follows:

Enroll for a letter grade only. You have the option of taking the course from 2–5 units.

a) Go to “Enroll in Classes” in the “Courses and Grades” menu.b) Click “Add Classes” and then shop for a class.c) Hit the “Independent Study” option at the bottom of the page.d) Select subject area — [language of your choice]e) Under “Catalogue Number” enter “395”.f) Enter the [language of your choice] instructor last name and first initial, in the format: LAST, Fh) CLICK THE SEARCH BUTTON

German Language Examination — http://language.stanford.edu/requirement/germanPhD.htmlThe exam lasts one hour and consists of translation only, with dictionary. The normal length of the passage tobe translated is approximately 300 words and will include both prose and poetry. The examiner is looking forspeed and accuracy. If you have not been reading regularly, you probably will not have the speed needed tofinish. It is strongly suggested in this case that students take a Reading class and read independently for aquarter. The German Department is tough on accuracy: three major errors and you fail.

If you are planning to take the exam, please contact the examiner, Dr. William E. Petig, at 3-0417 or [email protected]. His office is in Pigott Hall, Building 260-248.

French Language Examination — http://language.stanford.edu/requirement/frenchPhD.html1. Contact Patricia de Castries, [email protected], to sign up for the exam. [N.B. There is no

examination during summer quarter.]

Sign up TWO WEEKS BEFORE THE EXAM. N.B. Be sure to read about the exam well ahead ofscheduling at: http://language.stanford.edu/requirement/frenchPhD.html

Italian Examinations—http://language.stanford.edu/requirement/italianPhD.htmlContact Maria Devine ([email protected]) for details.

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Latin ExaminationsPlease contact William Mahrt of our own department ([email protected]), if that is your language ofprimary research.

Spanish ExaminationsPlease contact Alice Miano ([email protected]), if Spanish is your language of primary research. Pleaseread about the exam at: http://language.stanford.edu/requirement/spanishPhD.html

Other languagesSee Debbie and we’ll figure out what to do!

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DOCTORAL DEGREES

Students enrolled in doctoral programs should review the requirements, procedures, and timetable forcoursework, qualifying examinations, teaching and research, dissertation proposal, establishment ofdissertation committee, and University oral examinations in the Stanford Bulletin and this handbook. TheDepartment requires submission of the Application for Candidacy by the end of the first quarter of the secondyear (except PhDs in Musicology, who must submit immediately after passing quals at the beginning of thethird year!). Candidacy is valid for five years unless terminated for unsatisfactory progress.

DOCTOR OF MUSICAL ARTS

The Doctor of Musical Arts (DMA) may be pursued in composition. This concentration will be given breadththrough collateral studies in other branches of music and in relevant studies outside music as deemeddesirable. A minimum of 135 units of credit is required for the degree.

Course and Residency RequirementsRemember that the Stanford residency requirement for the DMA is 135 academic units. After this unit totalhas been met, and after all other examinations and form requirements are successfully completed, the studentmay graduate. If the student has done everything except the DMA final project and the final project defense,s/he may then apply for Terminal Graduate Registration (TGR).

If a student enters the university with a Master’s degree, s/he may transfer up to 45 units towards this end. Seethe Residency section in the Stanford Bulletin.

Full-time study at the graduate level is 12 units per quarter or more; however, in their second, third and fourthyears students may take only 8–10 units per quarter. Any questions about residency requirements should beaddressed to Debbie.

Doctoral programs in the Music Department do not require the MA degree as a prerequisite; students may, infact, pick up the MA after passing the qualifying examination (and advancing to candidacy) by completing theGraduate Authorization Petition and paying the $50 filing fee. [The Graduate Program Authorization Petition(commonly referred to as a “grad auth” form) is available athttp://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf.]

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All doctoral program participants are required to take…

200 Graduate Proseminar [4 units](CCRMA PhDs exempt if they enter with an MA, having already taken thecourse elsewhere at the graduate level)

280 TA Training Course [1 unit, Spring of 1st year]301A/B/C Music Analysis: Modal, Tonal, and Post-Tonal [12 units]

…and DMA students must take 4 quarters of

323 DMA Seminar in Composition [16 units]

Again, 135 academic units of study are required for the degree; the rest are made up in electives. Compositionstudents commonly take Music 325 many times, and often they sign up for 399 on a continuing basis whilewriting their final project

Electives

The following may be taken as electives for graduate credit:

• Any course in another department numbered 100 or over (with advisor’s consent)• Any course in the Music Department numbered 100 or over (except for courses required for the Bachelor’s

degree, unless specifically required for both degrees; see the Stanford Bulletin)• Music Department group instruction numbered 72–77

Language RequirementsSee Language Requirements section above.

ExaminationsAll exams are described in depth later in this handbook.

1. Qualifying Exams: taken the week before classes begin in the fourth quarter of graduate study.

2. A Special-Area Examination, testing the candidate’s knowledge of music and research in the area ofconcentration, to be taken no later than the autumn quarter of the fourth year.

3. The Final Project Defense: an oral presentation given once the final project is substantially underway(often in the last quarter of residency).

Composition ProjectsCandidates are expected to produce a number of works demonstrating their ability to compose in a variety offorms and for the common media of vocal, instrumental, and electronic music [usually in Music 325]. Insofaras possible, the works submitted will be presented in public performance prepared by the composer. DMAcomposition “term projects” may be submitted to the Music Library (contact Mimi Tashiro,[email protected], for details) for inclusion in the Library’s collection of circulating manuscripts.

Application for Doctoral CandidacyApplication for doctoral candidacy should be made as soon as the qualifying exams are successfullycompleted and must be submitted no later than the end of the fifth quarter of study. The application may befiled before the coursework, language, residency, or teaching requirements are completed; tentative dates are

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entered. Only the name of the dissertation advisor and the field of investigation are indicated on theapplication. Additional reading committee members and the dissertation title are submitted at a later date.

The form is sent along with the congratulatory letter after the successful completion of your qualifying exam.(NB: If it is not included with this letter, (or worse, if you do not receive such a letter!), please download orsee Debbie for one at your earliest convenience!) Fill it in completely, obtain the necessary signature(advisor/major professor), and return it to the office for the Chair’s signature and processing through theRegistrar.

Application for Candidacy for Doctoral Degree:http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf.

DMA Final Project

Final Project ProposalA proposal for the final project should be finished no later than the end of the autumn quarter of the fourthyear (as part of the special-area exam). The final project proposal should be submitted to the advisor, who willconsult all available composition faculty, advise the candidate accordingly, and report the results to the chairof the Graduate Studies Committee. File copy of the signed proposal is given to the graduate administrator.

NOTE: The signature of the principal advisor should be appended to the submitted copy of theproposal, or a letter expressing the advisor’s approval should accompany proposal.

Our goal is to have all works composed here performed in our concerts. While success in this has been good, itis not always possible to get local hearings of larger pieces. Works by our composition students have beenperformed by all of Stanford’s musical organizations at one time or another.

The final project in composition will be a major work for full orchestra or chamber ensemble with chorus,instruments, voices, electronic media, or a combination of these. Typically, work on the final project willencompass several quarters. Usually, smaller works, for specific performances, will be composed at the sametime.

Recommended Guidelines for Final Project ProposalsPassed by the Academic Council Teaching Faculty, February, 1997

A statement of c.700–1000 words (2–3 pp.) describing the nature of the proposed composition with regard tomedium (instrumental, vocal, electronic, etc.); approximate scope (length/dimensions/proportions); elementsof “language,” style, idiom, aesthetic; (nature of text/s or textual material, if applicable); structural ideas,principles envisioned; [etc./misc.].

These aspects of the projected composition should also be put in the context of other composers’ work: past orpresent; local, national or international.

How does the composition compare to the candidate’s previous and most recent work? In what ways does it,or might it, serve as an appropriate summation or end-point of graduate work in composition, as this has beenpursued to date?

In preparing the proposal, students are encouraged to think in terms of a proposal for a grant or fellowship.The aim should be to convince a knowledgeable reader of the fundamental interest and importance of the

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topic, the candidate’s qualifications to pursue the project and to carry it out successfully within a stipulatedperiod of time, reasons why this work, if successful, will be favorably regarded by the interested communityof readers, listeners, and researchers.

Appointment of a Reading CommitteeThe minimum membership of the reading committee is 1) the principal dissertation advisor, 2) a secondmember from the department. A third member from the department is optional. All members of the committeemust belong to the Academic Council (i.e., Assistant, Associate, or Full Professor, or other rank designated bythe University).

The notice of appointment of a DMA Final Project Reading Committee should be submitted to the departmentat the same time as the approved project proposal and the completion of the Special-Area Exam. It is theresponsibility of the student—with the advice of his or her advisor—to approach appropriate faculty membersand obtain their consent to serve on the reading committee. The composition of the committee is thenpresented, via the graduate administrator, to the department chair for approval.

Obtain the form from the department office; fill it out; obtain committee members’ signatures; return to thedepartment office. Allow several days for departmental procedures if filing near the deadline!

See the graduate administrator for a copy of the DMA Final Project Reading Committee form.

Directions for Preparing the Final Project

NOTE: IT MUST BE STRESSED THAT ALL DMA FINAL PROJECTS IN COMPOSITIONmust comply with the format for written projects. Please follow the instructions dealing withformat discussed below.

Before beginning preparation of the final dissertation manuscript, pick up a copy of “Directions for PreparingDoctoral Dissertations” from the Graduate Degree Support Section of the Registrar’s Office. You should alsoobtain a copy of the “Doctoral Dissertation Agreement Form” and “Survey of Earned Doctorates,” which mustbe completed and turned in with your dissertation. Please follow all instructions in this pamphlet carefully, orthe Registrar may not accept your dissertation. Students should make special note of the instructions forcorrect word hyphenations in dissertations and theses.

The university requires three copies of the dissertation. Students may elect to have a maximum of twoadditional copies of their dissertation bound for personal use. The student must pick up such copies from theRegistrar when notified.

NOTE: As detailed in “Directions for Preparing Doctoral Dissertations,” an abstract of 350words must be submitted with your Dissertation. DISSERTATIONS WILL NOT BEACCEPTED WITHOUT THIS ABSTRACT.

“Directions for Preparing Doctoral Dissertations” is available from the Registrar’s Office or at theirwebsite, http://www.stanford.edu/dept/registrar/pdf/docdissdir.pdf

In general, DMA final projects follow the same rules as PhD dissertations.

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The following additions and variations from those instructions should be observed:

1. Paper to be used: Use 8–1/2” X 11”, 16–lb. or heavier acid-free bond paper (20-lb. preferred),whether an original or a Xerox copy [the Xerox method is specified because the copy, when done ongood paper, is permanent]. Scores may be submitted on paper up to 17” high. The department has alimited supply of archival paper 11”x17”–so you may copy onto this from an original score of11”x17”. This paper is available from the graduate administrator for 8¢ per sheet (our cost, or slightlyunder). [N.B. The reference you should take with you (or maybe just print out the Socrates info toshow the RO) is Juan Pampin’s score from the Music Library! He did a final DMA score recorded as28 x 44 cm. which is 11 x 17. It's physically located in the oversized book locations and the callnumber is: ML29.1.P186 F. There have been others since then, but I'm pretty sure this set theprecedent!]

2. Directions for formatting of any prose sections of final project: 1–1/2 or double-spacing is allowed.Please note that scores for compositions may be bound horizontally, along with the writtenperformance notes. Be sure to leave a 1–1/2” left margin no matter which way your score is oriented.

3. Miscellaneous: The instructions for pagination must be followed carefully. The submitted project mustnot contain musical examples pasted in; instead, photocopy the examples, enter them on a computerprogram, or draw the examples directly on the appropriate pages.

4. Bell & Howell Microfilming: Pick up the form for this when you get the “Directions for Preparing thePhD Dissertation” booklet at the Registrar’s office in the Harold Trailer (630 Serra Street).

5. The formats on the title and signature pages must be exactly as described for the PhD dissertation in“Directions for Preparing Doctoral Dissertations” — see URL link above.

DMA Final Project Defense: Guidelines & PrinciplesThe purpose of the DMA Final Project Defense is to demonstrate the ability of the candidate to organize andpresent the topic of his/her final DMA project for public review.

1. The date, time, and location of the defense must be scheduled at least six weeks beforehand, and incoordination with the schedules of the individual committee members. Candidates are encouraged toschedule defenses even further in advance than the six-week deadline.

2. The defense must take place during regular daytime hours, Monday-Friday. It may not be scheduled on aholiday or during the last two weeks of any quarter.

3. The defense is a public event. The candidate must advertise the event beforehand. The candidate mustdirectly inform all graduate composers of the date, time, and location of the defense at least one month inadvance (and preferably earlier).

4. All DMA students are expected to attend every defense. If they cannot attend a colleague's defense theymust provide a reasonable explanation to all members of the composition faculty.

5. The defense will consist of three parts whose total is not to exceed two hours. Parts A & B are open to thepublic; part C is private and involves only the committee:

A. 45-minute presentation on the work by the candidate; additional time may be added to play a piece orpieces, excerpted or complete, live or recorded.

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B. Question and answer, and discussion; the committee asks questions first and then the forum isbroadened to include questions and comments of the public;

C. A vote by the committee on the success of the defense (pass or fail), plus recommendations forrevisions. Candidates who fail their defense must undertake an additional, remedial defense.

6. A written outline of the presentation must be presented to the candidate's mentor/advisor for approval atleast one week prior to the defense.

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DOCTOR OF PHILOSOPHY

The PhD in music can be pursued in two concentrations, Musicology or Computer-Based Music Theory andAcoustics.

Course and Residency RequirementsRemember that the Stanford residency requirement for the PhD is 135 academic units. After earning theseunits, and after all other examinations and form requirements are achieved, the student may graduate. If thestudent has done everything except the PhD dissertation and oral exams (defense), s/he may then go apply forTerminal Graduate Registration (TGR).

If a student enters the university with a Master’s degree, s/he may transfer up to 45 units towards this end. Seethe Residency section the Stanford Bulletin.

Full-time study at the graduate level is 12 units per quarter or more; however, in their second through fifthyears students may take only 8–10 units per quarter. Any questions about residency requirements should beaddressed to the graduate administrator. A dissertation is also required; however, one is not required to sign upfor units in Music 341 in order to complete it: the writing may take place in full or in part under the Music 802(TGR) rubric.

All doctoral program participants are required to take…

200 Graduate Proseminar [4 units](CCRMA PhDs exempt if they enter with an MA, having already taken thecourse elsewhere at the graduate level)

280 TA Training Course [1 unit, Spring of 1st year]301A/B/C Music Analysis: Modal, Tonal, and Post-Tonal [12 units]

To this “core” Musicology students must add…

221 Topics in the History of Theory [3-5 units]300A/B Seminar in Notation [8 units, alternate years]310 Research Seminars in Musicology [24–40 units] [The requirement is for

eight seminars at 3–5 units; 2 can be in other departments.]312A/B Aesthetics and Criticism of Music [8 units, alternate years]

…and Computer-Based Music Theory and Acoustics students must add…

220A/B/C Computer-Generated Music [12 units]220D Research in Computer Music [12 units]320 Introduction to Digital Audio Signal Processing [4 units]

NOTE: The University requires that a minimum of 3 units of work be taken with each of fouror more Stanford faculty members, not necessarily in the major department.

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ElectivesThe following may be taken as electives for graduate credit:

• Any course in another department numbered 100 or over (with advisor’s consent)• Any course in the Music Department numbered 100 or over except those required for the A.B. degree.

A letter grade of A, B or S (in an instructor-mandated pass/fail course) is required.• Music Department group instruction numbered 72–77

Language RequirementsFor a description of the tests and procedures for taking them, see LANGUAGE REQUIREMENTS, above.

ExaminationsAll exams are described in depth later in this handbook.

1. Qualifying Exams: taken the week before classes begin in the eighth quarter of graduate study.

2. A Special-Area Examination, testing the candidate’s knowledge of music and research in the area ofconcentration, to be taken no later than the autumn quarter of the fourth year.

3. The University Oral examination: an oral presentation and defense of dissertation research methods andresults, to be taken once the dissertation is substantially underway (usually the last quarter of residency).

Application For Doctoral CandidacyApplication for doctoral candidacy should be made as soon as the Qualifying exams are successfullycompleted and must be submitted no later than the end of the fifth (CCRMA) or eighth (Musicology) quarterof study. The application may be filed before the coursework, language, residency, or teaching requirementsare completed; tentative dates are entered. Only the name of the dissertation advisor and the field ofinvestigation are indicated on the application. Additional reading committee members and the dissertation titleare submitted at a later date.

The form is sent along with the congratulatory letter after the successful completion of your qualifying exam.(NB: If it is not included with this letter, please download or see the graduate administrator for one at yourearliest convenience!) Fill it out, obtain the necessary signature (advisor/major professor), and return it to theoffice for the Chair’s signature and processing through the Registrar.

Application for Candidacy for Doctoral Degree:http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf

PhD DissertationAfter the first two years of graduate study, the student concentrates on research and writing of the dissertation.The dissertation demonstrates the student’s ability to work systematically and independently to produce anessay of competent scholarship.

Scope of the DissertationTopics for the dissertation may be drawn from one of the following areas:

• study of one or more major works or a composer;• translation of and commentary upon a theoretical treatise;• studies of performance practice;• historical aspects of music theory;• an examination of style trends.

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PhD Dissertation ProposalThe dissertation proposal for the PhD is part of the Special-Area Exam and must be approved by the student’sspecial-area examination committee. The steps to be taken are:

1. Discuss the proposal with your major professor.

2. Put the proposal in writing (see below), indicating the scope of your topic, the approach to it that youwish to take, and the major bibliographical sources that you will use. Submit a draft of the proposal toyour special-area committee in advance of the (special-area) orals. After orals, complete any revisionsrecommended by the committee; submit revised draft to principal advisor and chair of special-areacommittee for approval.

3. After review by the Graduate Committee, give file copy of signed proposal to Debbie.

Recommended Guidelines for Dissertation ProposalsPassed by the Academic Council Teaching Faculty, February, 1997

A preliminary [draft] of the dissertation proposal should be finished by the end of the spring quarter of thethird year. The final proposal should be submitted as part of the Special-Area Exams so that it may beapproved no later than the end of the first quarter of the fourth year.

Recommended length for the dissertation proposal is between 3,000–6,000 words (10–20 [+] pp.), including(additionally) a full bibliography. The precise format is open, but the proposal should cover the followingareas:

1. Working title

2. Brief description (in abstract form) of project (c. 2 pp.), including a provisional justification of itssignificance and relation to existing work in the field, some indication of methodology(ies) informingthis work, whether historical/ documentary, theoretical, experimental, analytical, critical, cross-disciplinary etc.

3. A more detailed summary of existing scholarship in the field (and closely related fields, as applicable).Give as clear as possible an idea which prior work will be most important for the present study, andways in which this study will constitute a significant contribution to the field (5–15 pp.). An annotatedbibliography might serve this purpose, up to a point; however, some contextualized discussion of theliterature and its relation to the proposed topic is desirable.

4. Detail as closely as is possible, at this stage, your plans for proceeding: general methodologicalpremises (starting point); anticipated stages of research; anticipated structure of dissertation; structureof the underlying argument/thesis (as far as this applies); order in which material will be presented,discussed, analyzed, with reference to specific compositions, primary sources, research, or other typesof material to be considered. To the extent that results and conclusions remain contingent on findingsof research, try to set out the nature of these contingencies, and the nature and variety of possible orforeseen results (5–15 pp.). If possible, include an outline of proposed sections, chapters, andsubheadings for the dissertation.

5. Bibliography (with optional annotations)

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NOTE: The signature of the principal advisor should be appended to the submitted copy of theproposal, or a letter expressing the advisor’s approval should accompany proposal.

In preparing the proposal, students are encouraged to think in terms of a proposal for a grant or fellowship.The aim should be to convince a knowledgeable reader of the fundamental interest and importance of thetopic, the candidate’s qualifications to pursue the project and to carry it out successfully within a stipulatedperiod of time, reasons why this work, if successful, will be favorably regarded by the interested communityof readers, listeners, and researchers.

At this time, Musicologists may wish to register their topic with Adkins Doctoral Dissertations in Musicology.Forms are available at the Registrar’s Office or may be completed online athttp://www.music.indiana.edu/ddm/this_site.html).

Directions for Preparing the DissertationBefore beginning preparation of the final dissertation manuscript, pick up a copy of “Directions for PreparingDoctoral Dissertations” from the Graduate Degree Support Section of the Registrar’s Office. You should alsoobtain a copy of the “Doctoral Dissertation Agreement Form” and “Survey of Earned Doctorates,” which mustbe completed and turned in with your dissertation. Please follow all instructions in this pamphlet carefully,or the Registrar may not accept your dissertation. Students should make special note of the instructions forcorrect word hyphenations in dissertations and theses.

NOTE: As detailed in “Directions for Preparing Doctoral Dissertations,” an abstract of 350words must be submitted with your Dissertation.

DISSERTATIONS WILL NOT BE ACCEPTED WITHOUT THIS ABSTRACT!

“Directions for Preparing Doctoral Dissertations” is available from the Registrar’s Office or at theirwebsite, http://www.stanford.edu/dept/registrar/pdf/docdissdir.pdf

Sample Dissertation Topics in Music at Stanford

Musicology

A General Concept of Musical Time with Special Reference to Certain Developments in the Music ofAnton Webern

The Evolution of the Concord Sonata: A Study of Choices and Variants in the Music of Charles Ives

The Performance of Coloration, Sesquialtera, and Hemiola (1450–1750)

Computer-Based Music Theory and Acoustics

Embedded Pitch Spaces and the Question of Chroma: An Experimental Approach

Applying Wavefront Reconstruction and Psychoacoustic Principles to Loudspeaker Reproduction of Audio

Incorporating Haptic Feedback into Interfaces for Digital Musical Instruments

The vBow: An Expressive Musical Controller Haptic Human-Computer Interface

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Appointment of a Reading Committee

The minimum membership of the reading committee is 1) the principal dissertation advisor, 2) a secondmember from the department, 3) a third member from the major department or another department. If a thirdmember is from another institution, a fourth member must be appointed from the department. The principaldissertation advisor and all other members of the committee must belong to the Academic Council (i.e.,Assistant, Associate, or Full Professor, or other rank designated by the University). The Registrar mustapprove all exceptions. [N.B. It is possible to have two outside readers (provided all other requirements aremet); however, a letter stating that the department has approved this must accompany your dissertation at thetime you submit it to the Registrar. Please see the graduate administrator for details.]

The notice of appointment of a PhD Dissertation Reading Committee should be submitted as soon after thefiling of the application for candidacy as is deemed appropriate by the major professor and the student—in anycase, before the University Oral Examination (the “dissertation defense”). It is the responsibility of thestudent—with the advice of his or her advisor—to approach appropriate faculty members and obtain theirconsent to serve on the reading committee. The composition of the committee is then presented to thedepartment chair for approval (via the graduate administrator) and recommendation to the Registrar.

This form must be submitted to the Registrar no later than the end of the quarter immediately preceding thequarter in which the dissertation is to be submitted (and preferably, simultaneously with the Application forCandidacy immediately after passing quals).

Obtain the form; obtain committee members’ signatures; return to the department office. Allow several daysfor departmental procedures if filing near the deadline.

Doctoral Dissertation Reading Committee Form:http://www.stanford.edu/dept/registrar/pdf/docrdngcomm.pdf

PhD RILM AbstractAn abstract, briefer than the one for publication by UMI® Dissertations Publishing, is to be prepared by thecandidate for publication in RILM Abstracts of Music Literature. It will be published just as it is submitted, sothe author and advisor are urged to check its contents very carefully. Please see the RILM site (and youradvisor) for instructions about submitting your dissertation abstract to them, http://www.rilm.org/submit.html.

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PHD SCHEDULES (4-YEAR MODELS)

Use as a starting point and adjust according to your situation. N.B. 221 could be offered any quarter. Alternate-year courses usuallyoccur according to the following cycle:

YEAR FALL WINTER SPRING

A 312A 312B

B 300A 300B

Musicology Recommended Schedule

FALL WINTER SPRING ADD’L REQ’S200 310 310 Language I301 A/B/C 301 A/B/C 301 A/B/C

1st year12 units min

312A or 221 312B or 300A 221 or 300B, 280 Language II12 units is the MINIMUM you can take up to 18 within your financial aid package!

221 or 312A 300A or 312B 300B or 221 (TA Year I)310 310 310

2nd year8–10 units

1-unit elective ordirected-rsch course

1-unit elective ordirected-rsch course

310 310 310 (Quals)3rd year8–10 units elect elect elect (TA Year II)AWSp: 199, 302, 321, or 341 in some combination totaling 8–10 units.

(Dissertation Year) (Special Areas)4th year8–10 units sign up in 302 or 341 for the full 8–10 units!

5th year TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation!

CCRMA Theory Recommended Schedule

Fall Winter Spring Add’l Req’s200 elect elect1st year

12 units min. 220A, 301 A/B/C 220B, 301 A/B/C 220C, 301 A/B/C, 280 Language12 units is the MINIMUM you can take up to 18 within your financial aid package!

elect 320 or elect elect (Quals)220D 220D 220D (TA Year I)

2nd year8–10 units

199 or 1-unit elect 199 or 1-unit elect199, 302, 341 in some combination AWSp (TA Year II)3rd year

8–10 units or may take other electives (i.e., 220D’s, 252’s, 420–423, etc.)4th year8–10 units

(Dissertation Year)sign up in 321 or 341 for the full 8–10 units

(Special Areas)

5th year TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation!

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PHD SCHEDULES – YOUR SCHEDULE (A WORKSHEET TO HELP YOU PLAN AHEAD!)

FALL WINTER SPRING ADD’L REQ’S

1st year12 units min18 units max

2nd year8–10 units

3rd year8–10 units

4th year8–10 units

5th year TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation!

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46 Section Three: All About Music Graduate Degree Programs

MULTIPLE DEGREE PROGRAMS

The requirements for each advanced degree are described in the Stanford Bulletin. Degree programs have unitand residency requirements as specified by departments. The university also determines minimumrequirements for unduplicated coursework and residency for each degree and combination of degrees.Students who are enrolled in more than one degree program may obtain additional information about totalrequirements from the Registrar.

JOINT PHD PROGRAM IN THE HUMANITIES

See the Stanford Bulletin for details on this very interesting program (especially to musicologists).The Person Who Knows Everything about this program:

Monica Moore, Program AdministratorGraduate Programs in the Humanities, Building 250, Room 251FPhone: [email protected]

http://www.stanford.edu/group/HSP/GPH/grad.html

Note: The following considerations apply to students who opt for the joint PhD:

Students in the Graduate Program in Humanities (GPH) need to get the Program’s approval as well as that ofthe Music Department on candidacy, dissertation-reading committee, and orals forms.

At the time you declare candidacy, include all the GPH requirements on your list of courses, and be sure to geta Program signature (Monica Moore can provide that). Also, at that time, you will formally declare yourprogram with the Registrar (i.e., from Music to Music and Humanities), and you will need to fill out a “GradAuth” form http://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf to make this change to yourprogram formally.

Also, you need to have a member on both your dissertation reading and orals committees who is arepresentative of the Program (usually a person from whom you will have taken GPH courses; generally it’sthe same person for both committees).

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GRADUATE DEGREE TIMETABLE

Diagnostic Exams First year, just before registrationGraduate Orientation First year, just before registrationMeet with advisor to plan study program, short-and long-range

During registration every quarter!!

Foreign-language exams 1st language–during first quarter of residence; seeFOREIGN LANGUAGE REQUIREMENTS.

International Students—TA English Screening First or second quarter of studyDoctoral qualifying exam DMAs and CCRMAlites–Written: week before beginning

of 5th quarter (Year II, week before registration), orals aweek later; Musicologists–Written: week before beginningof 8th quarter (Year III, week before registration), orals aweek later

File for candidacy: DMA and PhD IMMEDIATELY upon successful completion of quals;NO LATER than 5th quarter of residence for DMAs andCCRMAlites; 8th quarter for Musicologists

Second foreign-language exam(Musicologists only)

Should be certified no later than end of second year ofdoctoral study

Doctoral special-area exam In the first quarter of the 4th year (all fields, no matterwhen you took quals)

File dissertation/final-project proposal per advisor and timetable (part of the Special Areas,actually!); in the first quarter of the 4th year of financial aid(Musicologists: Submit topic to Adkins, DoctoralDissertations in Musicology –http://www.music.indiana.edu/ddm/this_site.html)

PhD oral examination prior to completing dissertation: usually during 4th or 5th

year of residencyDMA lecture-demonstration after final project is completed (or almost), during last

quarter of residencyPhD-dissertation/DMA-Final-Project submission per date on current Academic Calendar

(http://registrar.stanford.edu/academic_calendar/index.htm)(Submit abstract to Rilm Abstracts of Music Literature —http://www.rilm.org )(Submit completion card to Adkins, Doctoral Dissertationsin Musicology —http://www.music.indiana.edu/ddm/this_site.html )

Apply to Graduate (for printed diploma atCommencement)

on Axess: by announced date in February of anticipatedgraduation year, for June graduation (see time schedule orAcademic Calendar for deadline in each quarter)

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SECTION FOUR: ALL ABOUT EXAMINATIONSIn this section you will find…

• Examinations General Information• Graduate Diagnostic Exam• Qualifying Examination• Special-Area Examination• University Oral Examination

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50 Section Four: All About Examinations

EXAMINATIONS GENERAL INFORMATION

From start to finish your career at Stanford will include a series of exams, each with a specific purpose andrequiring its own preparation, procedure, and reporting.

GRADUATE DIAGNOSTIC EXAM

All first year doctoral students are required to take diagnostic exams in the week prior to the start of classes inautumn quarter. Students must remedy any deficiencies in basic keyboard skills, and/or harmony and theorycomprehension before being assigned a Teaching Assistantship at the end of spring quarter of the first year.Keyboard skills may be remediated either through private instruction or class piano (Music 12A, B, C).Deficiencies in harmony and theory comprehension may be remediated by enrolling in or auditing theappropriate level(s) of the Music 21, 22, 23 sequence. George Barth will oversee re-testing of students’keyboard skills prior to the end of spring quarter of the first year. Giancarlo Aquilanti will oversee re-testingof students’ harmony and theory comprehension in the same time period.

Components of the Graduate Diagnostic ExamThe graduate diagnostic exam consists of four separate sections:

1. Piano ProficiencyGraduate students are examined in piano proficiency at the beginning of their study at Stanford. If unableto perform at this level, students should discuss with their advisors taking Music 12A, B, or C, or Music72A, depending on their level and their needs as a graduate student and musician. Any deficiencies inbasic keyboard skills are to be remedied before taking the Qualifying exams. The piano proficiency examconsists of four parts:A. Scales and arpeggios: Hands separately, two octaves ascending and descending, minimum speed

M.M. = 92 per each two notes:• Major scales in E Major, Eb Major, F Major, F# Major;• Melodic minor scales in C Minor, A Minor, F Minor;• Diminished arpeggio beginning on C;• Major arpeggios in E Major, Ab Major;• Minor arpeggios in G Minor, B Minor

B. A simple tune, to be set by the examiner:• Play the tune by ear.• Play a simple accompaniment along with the tune (which itself may be either played or sung).

C. Performance of a composition for piano: This should be a performance, with or without score, of apiece from Schumann’s Album for the Young or Bartók’s Mikrokosmos, vol. 2.

D. Playing at sight a piece chosen by the examiner (level of difficulty as in C, above).

2. Solfège and Score Reading exam also consists of four parts:• Sight singing• Melodic dictation• Harmonic dictation• Score reading

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3. History exam (musicology students only)This is a written exam to test your knowledge of Medieval, Renaissance, Baroque, Classic, Romantic,Twentieth Century and American music. Taken over the course of 1.5 – 2.0 hours in the Music Library.

4. Theory exam

The theory examination consists of two separate sections:A. Ear Training (Aural) examination taken in the week prior to the start of classes in the autumn

quarter.B. 24-hour, take-home, written examination taken after the Ear Training Examination.

The written examination consists of three sections:

• Sec I: HarmonizationHarmonize a diatonic bass line and a chromatic modulating bass line.

• Sec II: ABA Modulating Chord ProgressionChord progression to be embellished with non-chord tones (passing tones, suspensions,appoggiaturas)

• Sec III: Music AnalysisTonal and atonal music (i.e. Bach chorale, Mozart sonata, 12-tone piece)

[N.B. Any standard theory book used as an undergraduate may be used for review over the summerpreceding the examination. (i.e. Tonal Harmony, Stefan Kostka, Dorothy Payne)]

Advisement: The whole purpose of the above process is to determine strengths/weaknesses, to give theadvisor an idea of areas to be explored, and to ensure that a student may be placed in the correct courses forhis/her needs. (Students will not be dismissed from the program if they do poorly on these tests, so quell thosefears!). To that end, students are counseled to speak with their advisors as soon as possible after the examsare corrected (usually after the first week of classes).

QUALIFYING EXAMINATION

Each prospective candidate for a doctoral degree must pass the comprehensive examination. The examinationis in two sections; Qualifying Examination and Special-Area Examination. The student can becomefamiliar with the general characteristics of the examinations through the description and sample questionsgiven below and through conversation with faculty and grad students who have taken the exams.

Status as a doctoral student is probationary until the qualifying exam is successfully passed and the candidacyform turned in, at which time the student becomes a Doctoral Candidate.

The qualifying exam must be taken the week prior to the beginning of:• The fifth quarter (start of Year II) of graduate study, for CCRMA PhDs and Composition DMAs• The eighth quarter (start of Year III) of graduate study, for Musicology PhDs.

Plan ahead and come back EARLY to take the qualifying exam! You can make arrangements withhousing to return early because of departmental requirements. Do this in [email protected]

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52 Section Four: All About Examinations

Students have asked about getting photocopies of corrected, hardcopy (blue-book) exams. [This considerationis moot if exams are taken online via CourseWork.] The graduate committee has ruled that, generally, thesewill not be available, but the issue could be considered on a case-by-case basis:

IF the student asks for this before the quals are taken, and IF the readers who are marking the papers know that they will be given back to students before they do the

marking.

Alternatively, students can meet with their advisors and go over their exams with them. Students may, uponrequest, have photocopies of the uncorrected, blue-book exams.

Procedures1. Examining committees will be established for each student, and will consist of the student’s graduate

advisor, a chair (not the advisor) from the candidate’s program, and a third faculty member. Thestudent consults with his/her adviser to draw up a committee membership, and approaches theprospective members of the committee to secure their services. When the committee is finalized, thegraduate administrator should be informed who comprises the committee. Questions will be preparedfor each historical period by different faculty.

2. DMA and CCRMA PhD exams: Answers for Parts B & C will first be graded by the facultymembers who generate the questions; Part A is sent directly to the members of the student’s readingcommittee. Corrected exams and or correctors’ comments will be forwarded to the students’ examcommittees for final assessment.PhD Musicology exams: The student’s reading committee and the question creators will gradeanswers to each of the six sections.For all students, in case of disagreement between the first and second readers, the third reader will bethe tiebreaker.

3. If the written sections are passed, the committee and student together schedule the oral portion. Thisshould happen during the first week of classes (usually the Wednesday, Thursday, or Friday of thatweek) or as soon as possible thereafter. If any of the first written portions of the exam are not passed,arrangements are made for a retake; the student should meet with his/her advisor to determine astrategy for remedial study in any areas of weakness.

4. After completion of the oral portion of the quals, a report, in letter format, will be sent to the student onthe entire exam by his or her quals-committee chair, a copy of which will be placed in the student’sfile. Included in all passing reports will be a candidacy form for the student to complete and return tothe office. [N.B. In the event that the form is not included with the passing report letter to the student,please download one or see the graduate administrator immediately!] In case of failure, the committeemay recommend that a second examination be given if it appears that additional brief preparation willenable the candidate to be qualified. Otherwise, the student is disqualified from the doctoral program.

The exam will follow the format described below, according to discipline.

Format for DMA Program in Composition1. Written discussion of 20th-century examples (complete works): 3 hours. These may be selected from a

“reading list” (repertoire list) proposed by the candidate by the end of the 1st year (spring quarter), with

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the approval of the graduate advisor. Otherwise, they will be two pieces announced and put on reserveone month before the exam.

2. Written discussion of selected score examples, including 1 or more short complete works, covering ahistorical range from medieval through 19th-century: 3 hours

3. Analysis of given short composition: 2 hours [same as (C) for exams in computer-based theory]

4. 1-hour oral exam/discussion based on written exam, parts A, B, and C. The discussion could also beextended to include other works from the appointed “reading list” of 20th-century compositionsmentioned under Section A.

Sample Questions — Part A: Composition DMAsTwo pieces are announced a month in advance and scores and recordings are put on reserve in the MusicLibrary. Students may study the scores in the library. The following pieces have been used in recent years:

Elliott Carter, Enchanted PreludesLouis Andriessen, De SnelheidJohn Corigliano, Symphony No. 1Pierre Boulez, DeriveGeorge Crumb, Vox BalaenaeLuciano Berio, . . . Points on the curve to find . . .Michael Torke, The Yellow PagesAlfred Schnittke, String Quartet No. 3György Ligeti, Piano ConcertoElliott Carter, Esprit Rude/Esprit DouxJohn Adams, Chamber SymphonyPierre Boulez, NotationsMorton Feldman, Coptic LightWitold Lutoslawski, Symphony #3Gerard Grisey: Vortex TemporumIannis Xenakis: IkhoorDonald Martino: NotturnoGiacinto Scelsi: String Quartet #6

The questions tend to be general in nature; the student is to apply them to the specific pieces. For example:

Discuss the composer’s primary influences as reflected in each work. Also discuss the works in context of20th-century compositional styles/aesthetics.

Describe the compositional materials/processes employed.

Provide a graphic representation of the works (include explanatory notes). Also, be sure to include a clearrepresentation of the formal structure of the works.

Where applicable, describe in general terms the instrumental/orchestral elements and characteristics.

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Format for PhD Program in Computer-Based Music Theory and Acoustics (CBMTA)1. Essays and problem—solving on a choice of topics representing the core curriculum for 1st-year

students in the CCRMA doctoral program: 220A, B, and possibly C. Additional material could beincluded to reflect the particular background and interests of individual students, at the discretion ofthe exam committee. 3 hours

2. Written identification/discussion of 6 score examples representing a range of historical styles,medieval through 20th century: 3 hours

3. Written analysis of a short composition from the 18th/19th-c. repertoire (e.g., a minuet or scherzomovement; a Beethoven bagatelle; a small-form piano work by Schumann, Chopin, or Brahms; a Liedby Schubert, Schumann, Fauré, Wolf): 2 hours

4. 1-hour oral exam. The oral exam will entail further discussion of the material on the written exam (theessays the candidate chose to write, score examples, analysis); questioning should be limited to thespecific questions and examples of the exam, or extend only to closely related material, includingimportant scholarship in the area.

Sample Questions — Part A: CMBTA PhDsWhat sampling rate should be used for digital audio and why?

What is the correct increment, in samples, for a wavetable oscillator to make it produce a fundamentalfrequency of 100 Hz, given that the sampling rate is fs = 10,000 Hz, and the wavetable length is N = 1000samples?

Describe the principle behind the “auditory streaming” illusion and propose computer-generated examplesillustrating the effect for a) register and b) timbre.

“Spatialization” involves several auditory cues and underlying percepts. Discuss the requirements of aspatialization system and its control from the point of view of a composer. Cite works that incorporate suchtechniques.

Sample Questions — Part B: Composition DMAs and CMBTA PhDsScore identification and discussion: Discuss the score excerpts given here in a few brief paragraphs (1–2handwritten pages, 8”x11” format) for each example. Begin by identifying the period, style, probable date andcomposer, genre, and (perhaps) musical form represented by each excerpt. Point to a few salient features ofmelody, counterpoint, motive, phrase structure, harmony, scoring (instrumental or vocal), etc. that might serveas significant indicators of the historical style, composer, formal design or process of the larger work ormovement, and that contribute in some way to the expressive or (more generally) aesthetic effect of the work.Allow about a half-hour for each.

CCRMA theorists have six such examples.

Composers have four such examples. For their fifth example (a complete work), composers discuss as abovebut more in depth. Allow an hour for this piece.

In addition to your general commentary, address the specific questions for each example, where indicated.

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Sample questions for the three sample pieces available at the URLs below:

Example B–1. What is the nature of dissonance treatment in these two short pieces? What is the nature of thecontrapuntal relation of voices?

Example B–2. Indicate the tonality at the beginning and at the end of the excerpt. Although the sforzandomarkings in mm. 398–403 fall on the accented beats of the measure, what generates a feeling of metricalsyncopation (hemiola) across this passage?

Example B–5 (composers only). Translation of text:

We were both silent for a long while,— when suddenly speech came to us again.The angels who flew down from heaven,they brought us peace again, after war.

God’s angels flew down,with them peace has returned.The angels of love come overnight,and brought peace to my breast.

In your analytical comments, include some discussion of the following:• How the issue of tonic key is problematized (and for what possible reasons?)• Impact the repetitive character of the text may have on the musical setting.• What resonance/ramifications the passing C-flat of the penultimate measure may have elsewhere in the

song.See the following downloadable files for the corresponding sample scores:

Ex. B–1 http://music.stanford.edu/Academics/downloads/gradHandbook/B1.pdf

Ex. B–2 http://music.stanford.edu/Academics/downloads/gradHandbook/B2.pdf

Ex. B–5 http://music.stanford.edu/Academics/downloads/gradHandbook/B5-Comp.pdf

Sample Questions — Part C: Composition DMAs and CMBTA PhDs

Analysis: Begin by identifying the period (approximate date), possible composer, genre, and overall formrepresented by this movement.

Provide a written (prose) analysis of the movement, which you may supplement by any diagrammatic meansyou find useful (letter schemes, harmonic outline, etc.).

Your analytical remarks should include some mention of the following:• overall tonal design of the movement• identification of the basic melodic/thematic material and its motivic components• aspects of meter and phrase structure, noting in particular any striking divergences from expected

normsIn addition, comment specifically on the following points:

• the harmonic progression from m. 49 through m. 66• the function of the “Coda” (mm. 119–27) and the use of that term in this context

See the following downloadable file for the corresponding sample scores:

Part C http://music.stanford.edu/Academics/downloads/gradHandbook/C-Analysis.pdf

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Format for PhD Program in MusicologyThe following guidelines from the Musicology Faculty are a shortened version of the 2007 revisions andclarifications to the original plan that was passed by the Academic Council Teaching Faculty in AY1999–2000.

Please be sure that you obtain and read the complete “Guidelines for Musicology Quals —Spring 2007” from the graduate administrator. [N.B. A copy of same was included in the hardcopy of this manual provided to you at the start of your graduate career at Stanford.]

I. Description and Schedule of the Exam

The Ph.D. Qualifying Exam in musicology tests the student’s knowledge of repertoire and scholarly literaturein six fields of music history. The student selects her/his six fields and creates a repertoire and bibliographylist for each field in consultation with the advisor and musicology faculty. The exam includes a principalwritten portion and a one-hour oral exam (with the three committee members) following up on the written.

Step 1. Choose Quals committee (advisor + 2 other musicology faculty)

Examining committees will be composed of the student’s graduate advisor, a chair (not theadvisor) from the candidate’s program, and a 3rd faculty member.

• Choose 2 fields each from the periods Pre–1600, 1600–1830, and 1830–present.[See section II. Fields of study, below.]

• Within each chronological period, study one field as a “survey” and narrow the other down to a “topic.” A“topic” should focus on a composer, genre, or scholarly problem within the field.

• “Topic” fields should complement the “survey” fields chosen. Repertoire should not overlap significantlywith that of the larger “survey” fields. [See the worksheet on page 4 of the complete “Guidelines”document.]

List of fields and committee members due to advisor end of first quarter in the first year. Advisor reviews withCommittee. Advisor sends final list to Debbie, 1/31 of first year.

Step 2. Create repertoire list and bibliography for each field, in consultation with advisor andmusicology faculty.

• Topics are narrower than surveys, so the exam will test a correspondingly deeper knowledge ofmusicological literature. Bibliographies for the “topic” fields should approximate the scope of a researchpaper bibliography, and will constitute part of the material for examination. Bibliographies for surveyfields may remain more general.

See Section II. Fields of study through Section V. Recommended reading on individualcomposers in the complete “Guidelines” document.

Repertoire lists and bibliographies are due first day of spring quarter, first year. They may be revisedsubsequently in consultation with advisors.

Step 3. Propose question(s) for each field.

• Faculty members writing the exam may use, alter, or ignore the candidate’s question(s), at their discretion.

Due July 15, 2nd year

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Step 4. Taking the exam.

• The written exam will consist of six 3-hour sessions, over five days—one 3-hour session devoted to eachof the six fields. Answers should demonstrate knowledge of repertoire and relevant scholarship.

• Candidate will write the exam over the five weekdays immediately preceding the eighth quarter ofgraduate study (i.e. autumn quarter of the third year).

• In “survey” fields, candidate will answer three essay questions per 3-hour session. Scores may beconsulted, but not notes or other study materials.

• In “topic” fields, candidate will write one essay per 3-hour session. Scores may be consulted, but not notesor other study materials.

• After the written portion of the exam, the candidate and committee will schedule a one-hour oral exam onthe essays and the selected fields.

A Qualifying Exam Report form, obtained from Debbie and signed by each of the exam committee members,must be returned to Debbie (regardless of outcome) following the completion of the oral portion of the exam.A letter from the advisor to the student may be provided to the student (copy to Debbie), but is not required

II. Fields of Study

Pre-1600

1. Plainsong (Mahrt, Rodin)2. Early vocal polyphony, 900-1300 (Mahrt, Rodin)3. Sacred vocal polyphony, 1300-1600 (Mahrt, Rodin, K. Berger)4. Secular vocal music to 1600 (Mahrt, Rodin, K. Berger)5. Instrumental music to 1600 (Mahrt)

1600-1830

6. Opera and other secular vocal music, 1600-1830 (Hadlock)7. Sacred vocal music, 1600-1830 (Hadlock, K. Berger)8. Solo keyboard music, 1600-1830 (Barth, K. Berger)9. Chamber music, 1600-1830 (Barth, Grey)10. Orchestral music, 1600-1830 (Barth, Grey)

1830-present

11. Opera, 1830-1945 (Hadlock, Grey, Hinton)12. Choral music, 1800-1945 (Grey, Sano)13. Solo song, 1800-1945 (Hadlock)14. Symphonic music and concerto, 1830-1945 (all)15. Chamber music, 1830-1945 (Grey, Barth, Hinton)16. Piano music, 1830-1945 (Grey, Barth, Hinton)17. Music since 1945 (Hinton, Applebaum, J. Berger)

Sample Questions — Essays: Musicology PhDsEarly vocal polyphony: 900–1300

The music of the Notre Dame school as a manifestation of Gothic style and scholastic method.

Sacred vocal polyphony: 1300–1600The polyphonic Mass before Dufay

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Solo keyboard music, 1600-1830Discuss Bach’s “style consciousness” in the preludes of the Well–Tempered Clavier: his assimilation andtransfer of various genres, styles, and idioms.

Opera, 1830-1945Russian musicians, critics, and intellectuals in the later 19th c. were much preoccupied with ideas of about“realism” and nationalism or national identity as these might be manifested in opera. In what ways (similaror contrasting) do Mussorgsky’s Boris Godunov and Tchaikovsky’s Eugene Onegin engage these criticalpreoccupations?

Choral music: 1800-1945Discuss the varying ways that composers of Romantic sacred choral music used archaic compositionalstyles and techniques, and describe the results achieved.

Solo song 1800-1945Dichterliebe: musical protagonists and cyclical techniques

Music since 1945Discuss several kinds of aleatoric techniques used by composers of the post-war period. Cite specificworks and explain:1) whether (and how) they were reacting against certain existing musical styles or languages2) their aesthetic goals regarding the role and interaction of composer, performer, and listener.

Sample Survey and Topics for Musicology Qualifying Examination

Pre–1600 1600–1830 1830–present

Survey

Choose one Surveyfield from each period.

Plainsong Opera Piano music,1830–1945

Topic

Define a Topic withinone field from eachperiod. Topic fieldshould not overlap

with the Survey field inthe same period.

Italian madrigal(topic within the field of

Secular vocal music,1300–1600)

The Classical stringquartet (Haydn,

Mozart, Beethoven)(topic within the field of

Chamber music)

The symphonic poemsof Liszt and theirlegacy (1850–1900):compositional andaesthetic issues(topic within the field ofSymphonic music andconcerto)

Please be sure that you obtain and read the complete “Guidelines for Musicology Quals —Spring 2007” from the graduate administrator. [N.B. A copy of same was included in the hardcopy of this manual provided to you at the start of your graduate career at Stanford.]

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SPECIAL-AREA EXAMINATION

Each prospective candidate for a doctoral degree must pass the comprehensive examination. The examinationis in two sections; Qualifying Examination and Special-Area Examination. The student can becomefamiliar with the general characteristics of the examinations through the description and sample questionsgiven below and through conversation with faculty and grad students who have taken the exams.

Format for CBMTA and Musicology PhDsA Special-Area Exam is to be taken no later than the autumn quarter of the fourth year.

The exam includes the following:

Part 1. Essays on special topics in the candidate’s field: bibliography, history, style analysis (written: 3hours).

Part 2. A take-home problem in the candidate’s field: may be analysis of a specific work or research on agiven topic (written: 24 hours).

Part 3. Translation [and commentary] of theoretical excerpts in the candidate’s field: ordinarily in theprimary language of the candidate’s research but could include examination in the secondary language aswell (written: 3 hours).

Part 4. An oral defense of the dissertation-proposal draft in the following steps:a. Appointment of committee, normally three members, potentially the readers of the dissertationb. Submission of a draft of the proposal to committee members in advance of the oralc. A one-hour oral examination, including an oral presentation by the candidate on the subject (for up to

20 minutes), with questions and discussion by the committeed. Revision of the proposal, taking into account the discussion from the examinatione. Submission of revised draft to the principal advisor and the chair of the committee for approval

[The chair of the committee checks that the discussion from the examination has been incorporated.Chair of committee and advisor cosign the revised proposal, which is submitted to the chair of theGraduate Studies Committee, who takes note of it.]

f. File copy of signed proposal given to the graduate administrator.

Format for Composition DMAsA Special-Area Exam is to be taken no later than the autumn quarter of the fourth year.

Part 1. Essays on special topics in the candidate’s field (written: 3 hours).

Part 2. A take-home problem in the candidate’s field: may be analysis of a specific work or research on agiven topic (written: 24 hours).

Part 3. A proposal for the final composition project is submitted in writing to the advisor, who will consultall available composition faculty, advise the candidate accordingly, and report the results to the chair of theGraduate Studies Committee. File copy of signed proposal given to the graduate administrator.

Any exceptions to this schedule must be requested in writing and authorized by the Department.Requests should be addressed to the department’s Graduate Studies Committee.

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SPECIAL-AREA EXAM PROCEDURES CHECKLIST FOR STUDENTS AND FACULTY

__ STUDENT, in consultation with advisor, creates committee and procures agreement to serve from allmembers, then notifies administrator who is on the committee and when the exams are to take place.

__ STUDENT also prepares for the orals [this applies to all PhD’s] before the exam by submitting the draft ofthe dissertation proposal to the committee, as outlined in the Special-Area Examination section of theGraduate Handbook. For DMA’s: the final-project proposal is the third part of the Special Areas, asoutlined in the Handbook.

Note: all composition faculty are to see the proposal. The approved proposal should be signedby the Advisor and Chair, and given to the graduate administrator.

COMMITTEE consists of:Chair: ________________________________Advisor: ______________________________

3rd Reader (in case of a split decision): ______________________________The 3rd reader is also available for the orals section of the PhD exam.

__ STUDENT arranges specific days and times during which the written exam will be administered with thegraduate administrator, copying advisor.

__ ADVISOR writes the questions [in conference with the chair] and gives them to the graduate administrator(at least 24 hours in advance of the prearranged time of the exam!).

__ STUDENT takes the written exam as arranged with advisor and graduate administrator.

__ COMMITTEE reads exams over a period of no more than a week. Each reader marks individually on aseparate sheet provided by the graduate administrator [these are saved as commentary in the file];

__ CHAIR marks the report form and summarizes comments in the space provided.

__ STUDENT AND COMMITTEE: Orals happen as soon as possible. [N.B. not composition students;musicologists and CCRMAlites only] The student and the committee set time for the orals.

COMMITTEE CHAIR:__ writes letter to student notifying of pass/fail, commenting, etc.

__ makes sure entire committee signs report form

__ gives EVERYTHING back to graduate administrator, including the letter, immediately

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Sample Questions — Part 1: Composition DMAsDiscuss the use of sonification of complex data. Using specific examples, classify the use of auditoryrepresentation and display of data with graphic visualization of musical practices (3 hours)

Discuss the use of layering in the music of Ives, with particular reference to perception.

In what ways can music affect the meaning of drama? Relate to ideas of what music means “in itself.”

Give an account of the beginnings of the spectral movement.

Discuss ways in which knowledge of the microstructure of sound material has pointed towards new types ofmusical form.

Sample Questions — Part 1: Musicology PhDsWrite on three of the following:

Musical organization, meaning, and expressive intent as discussed and understood by theorists of theRenaissance, and the influence of these theories on the vocal and instrumental performance of the period.

Styles of figured bass realization, 1600–1800.

The relation of dance and music, both in compositions, techniques and performance techniques in France1600–1720 (approximately).

Discuss the violin and the violin family as they evolved as instruments-their shape or configuration, theirfittings and interior braces, their strings, their bows. How did the various differences reflect the use andrepertory of different eras and the technique of performance?

The history of the cantata in the baroque era, with particular emphasis on the chamber cantata with soloinstrumental obligato accompaniment.

Technique of instrumental performance in the Renaissance and Baroque. How was articulation, phrasing,intonation conceived and applied to musical performance on keyboard, wind and stringed instruments?

Sample Questions — Part 1: CBMTA PhDsElementary Signal Processing Theory

What is the definition of the DFT? What is the definition of the inverse DFT?State and prove the Convolution Theorem for the DFT.What is the difference between phase delay and group delay?What is true of the spectrum of every real signal?

Signal Processing PracticeHow fast is the DSP56001 on a dot product of two real vectors?In what ways are DSP chips better than general-purpose processors for audio work?Describe in one paragraph the process for developing and debugging DSP software.

Short-Time Fourier TransformFor a good spectral display of audio, what parameters should be used?Describe how to implement “cross-synthesis” using the STFT.

Synthesis TechniquesWhat are the characteristics of a good reverberator design?Sketch a block diagram for physical-modeling synthesis of the following: plucked strings, bowedstrings, piano, clarinet, human voice

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Sample Questions – Part 2: Composition DMAsWrite an extensive analysis of the first movement of Bartók 3rd Piano Concerto.* Discuss the relationship ofthe movement to the entire work. Include some comments on the work’s historical context. List a bibliographyof any reference material used.

*or any other work of like dimensions

Sample Questions — Part 2: Musicology PhDsA = any composer B = any work C = any similar composer

Option 1. Write an essay on (A)’s (B). In addition to analyzing the work, place it in its historical context,showing how it differs stylistically and formally from similar works by (C) and speculating as to how theirdiffering musical educations and experience might account for this. List a bibliography of works consulted.

Option 2. Write a lecture on (A)’s (B) for an advanced undergraduate class of music majors. Include pertinenthistorical references to musical form, style, and setting and expression of text. Touch briefly on performanceproblems that would necessitate a change from the printed text as found in the present edition of the works of(A). Append a bibliography of primary and/or secondary sources consulted in preparation of this lecture.

Sample Questions — Part 2: CBMTA PhDsPlan a syllabus/proposal for an elementary course of acoustics and psychoacoustics for musicians.

UNIVERSITY ORAL EXAMINATION

The University Oral Exam is generally taken near the completion of the dissertation. The student proposesfour (or more) department faculty members to serve as examiners using the University Oral ExaminationSchedule. [These four (or more) faculty members will ordinarily include the members of the readingcommittee.] The Department chair must approve all examination committee members by signing off on theform.

The University Orals Chair (a member of the Academic Council Teaching Faculty) is selected from anotherdepartment, in consultation with the student, the student’s advisor and the music department chair. Unless thestudent of advisor is more comfortable with the role, the graduate administrator will contact the candidate forOrals Chair initially. Generally, students should not approach professors themselves for this purpose, but theyshould let the graduate administrator know of any preferences or ideas.

It should be noted that the student, in consultation with the major professor, is responsible 1) for determiningthe availability and willingness to serve of all necessary department committee members, and 2) for arrangingan examination time convenient to all. [Allow time for this — at least a month! It can be difficult tocoordinate the schedules of 4+ busy people. Remember, also, the candidate(s) for University Chair is (are)only contacted after the date is set!]. The examination may not be scheduled during the first two weeks of thequarter nor after the last day of instruction in any quarter. Students are strongly urged to schedule these examsin some quarter other than the summer quarter!

When a suitable examination time has been found, fill out the University Oral Examination Schedule,including a list of the examiners’ names; give the form to the graduate administrator, along with an abstract(described below). The department will then reserve a room, and a University Chair found. You will receive apacket confirming date, time and location. This process should commence at least a month before theproposed date of the exam.

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A one- or two-page abstract should be submitted to the Department when submitting the request for UniversityOral Examination. The abstract will be attached to the Orals Committee form and given to the ExamCommittee as a briefing of the topic of the exam.

University Oral Examination Schedule: http://www.stanford.edu/dept/registrar/pdf/oralsform.pdf

An announcement of your University Oral is sent to Public Events for publication in the Stanford Report. Thetopic listed on this announcement is the dissertation title shown on your University Oral ExaminationSchedule, unless you have advised the Music Department office in writing of a change. To assure that theannouncement copy is accurate, please check with the graduate administrator two weeks before your exam.

Format for CBMTA PhDs1. Open Session

a. Formal presentation by the candidate (1 hour)b. Questions (30 min.)c. Intermission (15 min.)

2. Closed sessiona. Questions from the committee (30 min.)b. Voting by the committee (15 min.)

3. Adjournment

Format for Musicology PhDs1. Presentation of the dissertation by the candidate (50 min.)

a. The student should begin by explaining how the topic of the dissertation is situated within theimmediate field. Following that, the student presents a summary of the structure and content ofthe individual chapters, discussing also relevant points of methodology.

2. Break (10 min.)3. Questions from the committee (50 min.)4. Committee deliberations (10 min.)5. Notification of Student, Adjournment

Registration Requirement for Candidates Taking University Oral ExamsCandidates for the PhD degree must be registered at the time the PhD oral exams are taken. A furtherreminder: University “holds” must be cleared before registration for the orals can be completed.

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SECTION FIVE: ALL ABOUT OTHER STUFF YOU SHOULD KNOW!In this section you will find…

• Graduation General Information• Financial Aid Opportunities• Student Opportunities

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GRADUATION GENERAL INFORMATION

Conferral Of DegreesStudents should apply to graduate on Axess just before or early in the conferral term in order to allowsufficient time for department and Graduate Degree Progress review of degree requirements—preferably inthe second week of the degree quarter, but definitely before the deadline published in the Stanford AcademicCalendar (http://registrar.stanford.edu/academic_calendar/index.htm) as “Application deadline for _____Quarter degree conferral.” (Note that the deadline for spring commencement is at the end of the second weekof the quarter!) Recommending lists of students who have applied for conferral of graduate degrees arereviewed by the Registrar and the department to verify completion of degree requirements. Students who wishto defer their conferral date must file another application for a later quarter and withdraw the one they havemade previously. Application to graduate is made on Axess. Late applications and withdrawal of theApplication to graduate are made by visiting the information windows at the Registrar’s Office andcompleting the appropriate paper forms.

Degree certificates are sent to students who have been awarded degrees for all but Spring-quarter (see below).Transcripts verifying conferral of degrees may also be requested on Axess and obtained from the Registrar’sOffice.

Spring CommencementCommencement ceremonies are held each June for students who have received degrees in the previousSummer, Autumn, Winter, and the current Spring quarters. Students who wish to receive their diplomas atJune commencement must apply, via Axess, by the deadline printed in the academic calendar to allowadequate time for preparation of the diploma. Information on commencement activities and distribution ofdiplomas is sent by the Registrar’s Office in early April to the address provided in Axess. Students indicatewhether they would like to receive their diploma at commencement ceremonies or have it mailed to them.

Students who expect to complete their degree requirements in Summer Quarter but wish to participate incommencement activities in advance of conferral of their degree must notify the graduate administrator viaemail prior to May 31. Walk-through petitions are approved for students who are in good standing and are noton the June degree list.

See the official Stanford Commencement site for complete information about University commencementactivities: http://commencement.stanford.edu/

Do provide the above link to parents and friends who may wish to attend! Music’s departmental ceremonyoccurs in Campbell Recital Hall at 12:30pm on the same Sunday as the University commencement (usuallythe 3rd Sunday in June). This provides anyone interested in attending the University’s stadium ceremonyample time to amble back up the hill to Braun for Music’s diploma-award ceremony and gala receptionimmediately following in the adjacent Courtyard.

RegaliaBelow is the “last word” about regalia and hoods.

MA White = Arts. However, this is usually academic arts, like musicology or theory.

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Pink = Music. This is the more professional or “performer-ish” side. Usually composers, conductors,and the MST Master’s students should get this one, unless they really want the white for whateverreason.

DMA Pink. That’s right: pink. (Sorry, guys.)

Ph.D. ALL (Musicology, Music & Humanities, and CCRMA) should get the darkish “Philosophy blue,”because you’re getting a Doctor of PHILOSOPHY, even though it is in Music. (Note: This is wherethe bookstore often has misunderstandings.)

You may order your commencement regalia at the bookstore,(http://www.efollett.com/Home/10001-14603-1?demoKey=d), if you intend to participate in the graduationceremony(ies) in June. Deadline for ordering regalia from the bookstore is usually April 30th.

There is also a cap and gown supplier that offers discounted regalia. Their site is: http://www.capgown.com/

Graduation QuarterStudents who meet the requirements defined by the Registrar, and described on the form (available using thelink below), may enroll in their final quarter at a special TGR tuition rate of $100.

Graduation Quarter Petition: http://registrar.stanford.edu/pdf/grad_qtr.pdf

FINANCIAL AID OPPORTUNITIES

Financial ObligationsWhile you are a Stanford student, whether registered or not, you will receive a University Bill containinginformation about all charges and credits on your account for a given quarter. The first bill of each quarter isdue and payable upon receipt and becomes delinquent at closing time on the day before the start of classes.

Most financial aid awarded for the quarter will appear as a credit on your bill. The aid included on your billincludes scholarships, grants, and outside awards (agency support, honors). Teaching and researchassistantships are salaried positions and the monies from this employment will not appear on your UniversityBill.

For Complete information concerning your University bill and payment procedures/options, see:http://financialgateway.stanford.edu/students/index.html

Discretionary FundsA limited funding source provided annually by H&S to the department may be tapped by graduate students fora variety of purposes. Students should use the Discretionary Funds Application (available at “DepartmentForms” under the “Department Info” tab on Music’s homepage[http://music.stanford.edu/DeptInfo/index.html#forms] to request portions of these funds to support theiracademic activities. Discretionary funds for an academic year are available from 9/1 through 8/31 (Stanford’sfiscal year). All approved requests for discretionary funding must be submitted to Jaime Marconette (FinancialOfficer), including completed receipts showing payment, well prior to the 8/31 cutoff date (You will receive

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notice in email of the exact date each year.) In the case of travel reimbursements, the trip must have beencompleted (and proof of same submitted to the financial officer) in order for a refund to be sent directly toyou. In those rare instances when it is impossible to complete travel prior to submitting the approved requestand documentation (i.e. near the end of Stanford’s fiscal year on August 31), you must obtain prior approvalfor the travel, and realize that Stanford University policy dictates that your advance “reimbursement” beapplied as a stipend directly to your account (not as a check to you). In this instance, you will incur federal andstate tax liability and the appropriate withholding will occur.

Graduate Aid Plan1. Fellowship (1st year)

The tuition grant is automatically applied to the tuition charge on your university bill. The stipend ispaid as a quarterly check. Unless you make special arrangements with the Financial Office, the stipendwill automatically be applied to outstanding charges on your university bill, with any balance issued asa refund check.

2. Research or Teaching Assistantships (2nd through 5th years and both summers)

International Students: Note that you will need to apply for a Social Security number that isrequired on the I-9 form. Please see Bechtel for information about where and how to apply forthe Social Security number at the start of Spring Quarter in your first year!

http://www.stanford.edu/dept/icenter/new/orientation/SOCIAL_SECURITY_NUMBER.htm

Students cannot receive any funding for Years II, III, IV or V without first submitting:INS I-9, plus enclosuresComplete in late spring or summer of your first year;(You must complete this form in person with the appropriate form(s) of identification.See Jaime, Debbie, or Mario in the central Braun office for further information.)

IRS W-4File on-line in Axess under the employee tab (which will appear in your Axess tabs just prior tothe start of your first term as a Teaching Assistant),

LA-6, for international students/non-residentsComplete in late spring or summer of your first year; see Jaime for this form.

Note: It is STRONGLY RECOMMENDED that you sign up for Direct Deposit in Axess at your earliestopportunity. See http://co.stanford.edu/payroll_manual/online/faq_dd.html for instructions.

The tuition grant associated with your assistantship is automatically applied to the tuition charge onyour university bill.

Your TA or RA salary is paid semi-monthly on the 7th and 22nd of each month. If those dates fall on aweekend, the checks come to the department on the preceding Friday (and will be available in yourdepartment ID mailbox), or are directly deposited to your bank account (if you have madearrangements for direct deposit: see above).

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There are six pay periods (hence, six paychecks) in Autumn, Winter, and Spring quarters. Summerquarters are two weeks shorter than the AWS quarters, and there are only four pay periods in summerquarter.

Note that for any “pay period” (i.e. 9/16-9/30) the paycheck for that period will be received by thestudent on the next scheduled pay day (i.e. 10/7).

Teaching Assistantships are entered on an “alternate quarter” schedule and pay periods for eachquarter correspond to the following calendar:

Pay Period for Teaching Assistants:Corresponding Pay Dateson the 7th and 22nd of each month beginning:

Autumn Quarter: 9/16 to 12/15 10/7 and running through 12/22 (6 paychecks)

Winter Quarter: 12/16 to 3/15 1/7 and running through 3/22 (6 paychecks)

Spring Quarter: 3/16 to 6/15 4/7 and running through 6/22 (6 paychecks)

Research Assistantships (which include years 4 and 5, and the two summers of graduate aid) areentered on a “standard quarter” schedule that corresponds to the following calendar:

Pay Period for Research Assistants:Corresponding Pay Dateson the 7th and 22nd of each month beginning:

Autumn Quarter: 10/1 to 12/31 10/22 and running through 1/7 (6 paychecks)

Winter Quarter: 1/1 to 3/31 1/22 and running through 4/7 (6 paychecks)

Spring Quarter: 4/1 to 6/30 4/22 and running through 7/7 (6 paychecks)

Summer Quarter: 7/1 to 8/31 7/22 and running through 9/7 (4 paychecks)

Please ask to see your personal account representative at the front desk in the Student Financial Office,[http://financialgateway.stanford.edu/contact/students.html] with questions you may have about your stipendchecks or university bills. [N.B. If you have questions you’d like to run by music administration prior tovisiting the Student Financial Office, know that the graduate and department administrators have the ability tosee your student bill online (as you do).]

Format1. Year I: Full fellowship and full tuition (12–18 units tuition per quarter; living stipend)

2. Years II and III: Half-time TA responsibility and half-time tuition (8–10 units tuition per quarter;salary)

3. Years IV and V: Pre-Doctoral Research Fellow (8–10 units tuition per quarter; research salary)

4. Summer: Support is provided for two summers during the student’s aid tenure. PhD CCRMA andDMAs take their first summer of aid between years I and II; PhD Musicologists, between years II andIII, both in preparation for Quals (8–10 units of tuition; research salary). The second summer of aid forall doctoral students is taken between years III and IV in preparation for the Special-Area Examination.Summer funds not taken during these specified times will be forfeited.

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Monies1. First-year fellowship students on full awards in 2007–08 will receive full tuition $34,800 per year

($11,600 per quarter), paid directly to Stanford) and a stipend of $19,725 for the academic year; that is,a check (or a direct deposit to your bank account arranged through Axess) for $6,575 (less anydeductions made for housing and student fees) available to enrolled students from Student FinancialServices, on each registration day Autumn, Winter, and Spring quarters.

2. Students in their second through fifth years will receive either 50% TA, or 50% RA salaries. TheTeaching Assistantship salary amount for 2007–08 is $21,765 paid in 18 semi-monthly installments(i.e. 6 pay periods per quarter), plus half-time tuition (8–10 units = $22,710 or $7,570 per quarter).

Pre-doctoral Research Assistantships are also for 8–10 units of tuition ($22,710) in 2007–08, and astipend of $19,725.

Fifth-year students are expected to have achieved Terminal Graduate Registration (TGR) status andwill receive TGR fees of $2,760 per quarter (up to 3 units; register in 801 or 802) and a stipend of$19,725.

The teaching component of your graduate work: Privileges and responsibilitiesTeaching is an integral part of the graduate academic program. Your dedication and commitment as aTeaching Assistant is important to your own future career path, as well as to Stanford’s core teaching mission.Your success as a Teaching Assistant is crucial to completing a doctoral course of study at StanfordUniversity. All students in the doctoral program will spend at least two years (six quarters) working half-time(20 hours/week) as Teaching Assistants (figured as an obligation of 20 hours per week for each quarterlycourse). In the event of departmental need, the School of Humanities and Sciences has directed departments torequire students in their fourth or fifth years to serve as TAs. In the event of such an occurrence, the fifth yearstudent would be compensated at the TA rate, rather than the RA rate, for her/his stipend; such substitutions oftype of quarter are not reversible (i.e., “losing” a quarter of RA to TA is not compensated by an additional RAquarter later in time).

TAing must be taken seriously. This includes complete collaboration with the faculty member teaching thecourse, course preparation, assignment and examination preparation and grading, holding regular office hours,and making yourself available to assist both the professor and all the students as needed. Each TA is requiredto be trained (by taking and passing both the Diagnostic Examination at the start of the first year, and theMusic 280 course in spring of the first year), and to demonstrate proficiency in English sufficient to teach.Failure to pass the English proficiency exam could lead to loss of funding. (See, “Foreign-Student-TA EnglishScreening”, below.)

Graduate-Student TeachingGraduate-student teaching assignments are made based on enrollment size of the course and the need foradditional qualified teaching assistance to the faculty charged with teaching the course. The graduateadministrator in consultation with the Music Theory Coordinator and course instructors allocates assignments.

In keeping with the nature of the academic job market, the department ideally tries to designate TAassignments such that most courses are in the student’s main area of study with some in either related fields oras “general music” courses. Thus, for example, a PhD in Musicology will have a core of courses in the 40 or

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140 series and/or the general music courses; a PhD at CCRMA would be assigned to 151, the 220 or 250series, 320, etc.; a DMA would work in the theory/analysis sequence (21–23; 121–122C).

Graduate-student teaching is both supervised and evaluated. By “supervision,” we mean advice andsuggestions on planning of teaching, as well clear direction on what materials need to be covered over whatperiod of time. By “evaluation,” we mean a series of conferences and/or one or two classroom observations bya faculty member of the graduate student currently engaged in teaching, as well as the formal Universityevaluation provided to the students about the TA’s teaching.

A copy of the official course evaluations (completed by the students from the class via Axess) is placed in thestudent’s file. Course Evaluations are accessible to the graduate student TA in Axess. The most importantpurpose of such evaluations is to help the graduate student improve his or her teaching effectiveness.Teaching, as a professional communication process, should not be viewed as a private activity exempt fromprofessional criticism. Another purpose of evaluation is to enable faculty members, when writingrecommendations to possible employers, to comment usefully on the graduate student’s teaching qualities.

Teaching Stanford undergraduates is a privilege and not a right. In the event that your work as a TeachingAssistant is deemed unacceptable due to lack of commitment you may be removed from the position andforfeit the Teaching part of your graduate stipend.

Teaching is extremely rewarding when done with devotion and commitment.

TA Training Course: Music 280Course Description: TA Training Course [Music 280] Instructors: Erinn Knyt and Bruno Ruviaro; Mondays,12: 00 noon/1 unit-S/NC grading only.

TA training is required for doctoral students serving as Teaching Assistants. The course includes orientation toresources at Stanford, guest presentations on principles of common teaching activities, and supervisedteaching experience, among other topics.

Note: Students entering in Autumn 2007 should take Music 280 in the Spring quarter 2008.

The Center for Teaching and Learning (CTL, http://www.stanford.edu/dept/CTL/TA/ index.html) is anespecially valuable resource for TAs, offering workshops on techniques, etc. Notification is disseminated viae-mail to all grad students.

Foreign-Student-TA English ScreeningBefore non-native-English-speakers can TA, they must be tested for English proficiency. Non-native-English-speaking permanent residents are NOT necessarily nor automatically exempted. Such students should checkwith Tracey Riesen in the English for Foreign Students office (contact info below). If it is required and notdone, the student cannot be paid as a Teaching Assistant, so this is not a “soft” requirement!

Screening must be done well before TAing begins—preferably in the winter quarter of the first year of studyat Stanford, since summer is iffy and TAing starts in the fall, along with Quals. If the student does not pass thescreening, the course(s) he or she will be required to take is (are) offered in Spring quarter. Students do NOTneed to prepare for this screening, which consists of a simulated office-hour situation in which a student asksquestions of the TA. The EFS office in Axess will note “OK to TA” certification).

Arrangements may be made with Tracey Riesen via e-mail: [email protected].

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Students are asked to bring a textbook on the subject matter they will be teaching: since assignments may notbe made by the time this should be done, an undergraduate text from the student’s specialty will do. If you’re acomposer, for instance, see a professor who’s teaching Music 19, 21, 22, 23, or any of the 122 series; if you’rea musicologist, see someone who teaches 40, 41, or 42; if you’re a CCRMAlite, see the instructor of Music151, 220A/B/C, 250A/B, or 320.

Work In Addition To Assistantship AppointmentAs opportunities come up to make extra money (e.g., grading exams), please note the university policies onhours:

• Students on a 50%-time assistantship may not be employed more than an additional eight hours aweek: those eight hours cannot be in another assistantship position.

• International students on F-1 and J-1 visas are limited to a total of 20 hours of employment perweek, including their assistantship appointment. (TAships are considered to be 20 hours per week(half-time), by the way) [N.B. Foreign students: Please check with the I-Center for up-to-dateinformation regarding summer work.http://www.stanford.edu/dept/icenter/visas/student/campus_employment.html]

Applied Music Lessons & Scholarship SupportApplied music lessons for music majors and music graduate students, are currently available at the cost of$200 per quarter (these costs are in addition to fees for tuition credits). There are minimum-proficiencyrequirements for private study, which are posted on the front-hall bulletin board, near the Music office andmay also be found at http://www.stanford.edu/dept/music/Academics/Auditions.html; acceptance into aninstructor’s studio is by audition. Again, see the hallway bulletin boards outside the Music office during theAutumn-quarter registration period.

If you sign up for lessons, either in Axess or directly with an instructor, and THEN decide thatyou do NOT wish to take lessons that quarter, you MUST obtain a departmental drop form(turnaround rack in front hallway of Braun), complete it, and give it to Nette WortheyBEFORE THE THIRD FRIDAY of the quarter. You must ALSO drop the course in Axess!Simply dropping the course in Axess will result in your being billed for lessons for the quarter.Failure to comply will result in your being billed for lessons!

The Friends of Music (FoM) at Stanford provides both full (to music majors and grads) and partial (to non-majors) scholarship support to students who would be unable to take private lessons without financialassistance. Funds to support these scholarships are raised by Friends members through fundraising activitiesand private contributions. Each recipient is required to send a thank-you note to his or her patron for thescholarship, to invite the patron to concerts in which he or she is performing, and to attend an orientationmeeting and scholarship reception (if you are sent an invitation).

Failure to do any of these things will result in the forfeiture of the scholarship: PLEASE readthe instructions accompanying the application completely to avoid heartache later!

Students who wish to apply for an applied-music award complete the “Department of Music Applied-MusicAwards” form (available from the aforementioned hallway rack) and submit it to the FoM mailbox no later

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than the deadlines marked on the form. Nette Worthey will inform students regarding whether or not they havereceived an applied-music award via e-mail.

Musician-Referral Service for Off-Campus Teaching and PerformingThe Department receives frequent requests for musicians to perform and/or teach off-campus. If you need theincome or the experience, please fill out the forms (in the gray, turning rack in front of the main office), getyour teacher’s written recommendation, and have your name entered in the departmental list of RecommendedStudents.

Nette keeps a “gig list” – a list of students wishing to be informed of possible performance opportunities onand off campus. The department receives requests continually for a variety of ensemble and solo gigs, so ifyou’re interested in picking up some extra spending money and are happy to perform for dinners, weddings,mall extravaganzas etc., contact Nette and get on the distribution list!

If you are planning to give a Winter or Spring recital, or have a program in place and would like to performfor an appreciative audience, please consider performing in a local retirement home or senior center. Thesepeople enjoy music and look forward to hearing Stanford students perform. You may also wish to combineyour talents with those other students. This is an opportunity to preview your recital as well as share yourtalent with others and gives something special back to the community.

NOTE: Department facilities and instruments may NOT be used for private teaching [it isStanford University policy that no university facilities may be used for private gain]: all suchactivity must take place outside the Music building!

Outside Fellowships, Post-Degree Plans, Career Planning And PlacementThe department and the university encourage matriculated graduate students to apply for outside fellowships.Registers of sources of outside fellowships, including brief descriptions and application deadlines, areavailable in the Financial Aid Office, [http://www.stanford.edu/dept/finaid/graduate/3_1_options.html], and inthe Bechtel International Center (http://www.stanford.edu/dept/icenter/orc/index.html) [for internationalfellowships]. The department also maintains listings and information on outside fellowships; current flyers areposted on the bulletin board in the back hallway, and any announcements received from H&S are sent via e-mail to all grad students.

Information about Dissertation Fellowships in the Humanities is available at the Stanford Humanities Centerhttp://shc.stanford.edu/fellowships/dissertation.htm. There is also a wonderfully comprehensive list of externalfellowships on the CASA website: http://www.stanford.edu/dept/anthroCASA/gprg/extramuralsources.html.The graduate administrator also has an on-going compilation of URLs to various outside sources that she ishappy to share!

Well in advance of his/her expected graduation, each student should consult with the major professor and withmembers of the reading committee concerning career plans and the strategies and conventions of obtainingeither outside fellowships or faculty positions. Announcements of faculty job openings are posted on the backbulletin board and/or emailed to students (depending on how the information is sent to the department). Acompleted placement folder should be on file at Career Development Office(http://www.stanford.edu/dept/CDC). They also offer group seminars and individual counseling for jobseekers.

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Exchange Scholar ProgramOpen to matriculated graduate students, this program enables students to take courses not offered at Stanford.Tuition and fees are charged and collected at Stanford’s rate, by Stanford. Students do not register at Stanford, but atthe exchange institution. Participating institutions include the University of California (Berkeley and San Franciscocampuses), Brown University, University of Chicago, Columbia University, Cornell University, Harvard University,Massachusetts Institute of Technology, University of Pennsylvania, Princeton University, and Yale University.

The student earns residency at Stanford, but the major department determines whether the work taken is to beaccepted as fulfilling course requirements for the degree. At the end of the term after grades have been reported, anofficial transcript is sent by the exchange institution to the Stanford registrar’s office. Individual titles and grades forcourses taken at the exchange institution are not recorded on the Stanford transcript.

Please contact Trudy Carter ([email protected]) for details about the exchange scholar program.

Support Services at StanfordStanford has a well established history of providing a network of support services that encompassesCounseling and Psychological Services (CAPS), The Bridge Peer Counseling Center, graduate residence staff,the Office for Religious Life, the Dean of Students Office, and the Graduate Life Office. To meet the needs ofa diverse student body, Stanford provides many points of contact for students seeking help. (A list of many ofthese resources is below.)

Graduate Life Office http://glo.stanford.edu/CAPS http://vaden.stanford.edu/caps/Vaden Health Center http://vaden.stanford.edu/Office of Accessible Education http://www.stanford.edu/dept/ocr/diversityaccess/Office of the Dean of Students http://www.stanford.edu/dept/DOS/Bechtel International Center http://www.stanford.edu/dept/icenter/The Bridge Peer Counseling http://thebridge.stanford.edu/Office of Residential Education http://www.stanford.edu/dept/resed/Office for Religious Life http://www.stanford.edu/group/religiouslife/Asian American Activities Center www.stanford.edu/dept/DOS/asian.htmBlack Community Services Center www.stanford.edu/dept/BCSC/El Centro Chicano www.stanford.edu/group/centro/Native American Cultural Program www.stanford.edu/dept/nacc/LGBT Community Resources Center http://www.stanford.edu/group/QR/Women’s Center http://www.stanford.edu/group/womenscntr/