374 / The Hartt School T The Hartt School he Hartt School is an internationally acclaimed performing arts school with programs in music, dance, and theatre. The school was established by Julius Hartt, Moshe Paranov, and Associated Teachers in 1920 and was one of the three founding institu- tions of the University of Hartford in 1957. Alongside the traditional performance-oriented majors in music, theatre, and dance, the school offers programs in music history, music theory, music education, and composition. Hartt also offers innovative programs in pre-cantorial studies, music management, performing arts management, and music production and tech- nology. With a strong tradition of excellence, Hartt takes pride in its talented artist-faculty. Recog- nized nationally and internationally as perform- ers, educators, and scholars, The Hartt School faculty members are active in their areas of ex- pertise. Through performances, recordings, books, articles, major awards, grants, and fel- lowships, faculty members set an excellent ex- ample for their students. Interaction between faculty and students provides the framework for the development of future professional perform- ing artists, arts managers, composers, music and production technologists, and teachers. A strong commitment to a select student body ensures a high quality of education. A wide range of opportunities is available to Hartt students. Musicians benefit from partici- pation in large orchestral, wind, or choral en- sembles. Smaller chamber music ensembles as well as solo opportunities help to create well- rounded musicians. Each year, master classes are given by guest artists that have included Sherrill Milnes, Hank Jones, Vieri Bottazzini, Eugene Levinson, Pamela Frank, Maureen O’Flynn, Angel Romero, Elly Ameling, John Musto, Amiri Baraka, Eugenia Zuckerman, Daniel Pinkham, Midori, Bright Sheng, Joseph Schwantner, John Corigliano, the American Brass Quintet, and the Miami, Emerson, Colo- rado, Lark, and Miró string quartets. Hartt also boasts Performance 20/20, a highly competitive honors chamber music program that provides its students with the opportunity to perform even more extensively. Vocal performance opportu- nities include a variety of choral performing or- ganizations as well as black-box and fully staged operas. Voice students also have the opportunity to audition for and perform in pro- ductions by Connecticut Concert Opera, and to hold section-leader positions in many fine area choirs. Future music educators have years of hands-on practical training with children from The Hartt School Community Division, the Hartt String Project, the Hartt Band Project, and area schools. Management majors have special opportunities to participate in a comprehensive internship program. Interns have worked at the Bushnell Center for the Performing Arts, with the Hartford Symphony Orchestra, at the John F. Kennedy Center for the Performing Arts, at Creative Artists Agency, and in a wide variety of other arts-related organizations and record companies in New York City and around the country. Dancers thrive in workshops and large-scale productions. They benefit from working with professional arts organizations like the Ameri- can Ballet Studio Company and Full Force Dance Theatre, as well as collaborating with Hartt music and theatre students. They also per- form, teach, and choreograph works throughout the four-year, comprehensive curriculum. Ballet pedagogy majors have four semesters of hands- on teaching with students in the Hartt Commu- nity Division. In the Theatre Division, the classroom expe- rience is enhanced by the yearly production of 16 plays and musicals, incorporating a broad repertoire of contemporary and classical works. A highlight of the actor training program is the third-year semester in England. Both the music theatre and actor training programs present a yearly showcase in New York City, and actor training students present an additional showcase in Los Angeles. Music theatre students have the opportunity to participate in Goodspeed Musi- cals’ annual Festival of New Artists. Actor training students have the opportunity to partic- ipate in activities with the Hartford Stage Company, in roles or understudying in the com- pany’s productions. For more than four decades, the growth of The Hartt School was nurtured by the philan- thropy of Alfred C. Fuller, founder of the fa- mous Fuller Brush Company. Fuller’s generosity helped to create scholarship opportu- nities that continue to benefit Hartt students. Additional support from the Fuller family ena- bled Hartt to build the Alfred C. Fuller Music Center, the four-story complex that houses The Hartt School music divisions, administration, and community division. In the same spirit of
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374 / The Hartt School
T
The Hartt
School
he Hartt School is an internationally
acclaimed performing arts school with
programs in music, dance, and theatre.
The school was established by Julius Hartt,
Moshe Paranov, and Associated Teachers in
1920 and was one of the three founding institu-
tions of the University of Hartford in 1957.
Alongside the traditional performance-oriented
majors in music, theatre, and dance, the school
offers programs in music history, music theory,
music education, and composition. Hartt also
offers innovative programs in pre-cantorial
studies, music management, performing arts
management, and music production and tech-
nology.
With a strong tradition of excellence, Hartt
takes pride in its talented artist-faculty. Recog-
nized nationally and internationally as perform-
ers, educators, and scholars, The Hartt School
faculty members are active in their areas of ex-
pertise. Through performances, recordings,
books, articles, major awards, grants, and fel-
lowships, faculty members set an excellent ex-
ample for their students. Interaction between
faculty and students provides the framework for
the development of future professional perform-
ing artists, arts managers, composers, music and
production technologists, and teachers. A strong
commitment to a select student body ensures a
high quality of education.
A wide range of opportunities is available to
Hartt students. Musicians benefit from partici-
pation in large orchestral, wind, or choral en-
sembles. Smaller chamber music ensembles as
well as solo opportunities help to create well-
rounded musicians. Each year, master classes
are given by guest artists that have included
Sherrill Milnes, Hank Jones, Vieri Bottazzini,
Eugene Levinson, Pamela Frank, Maureen
O’Flynn, Angel Romero, Elly Ameling, John
Musto, Amiri Baraka, Eugenia Zuckerman,
Daniel Pinkham, Midori, Bright Sheng, Joseph
Schwantner, John Corigliano, the American
Brass Quintet, and the Miami, Emerson, Colo-
rado, Lark, and Miró string quartets. Hartt also
boasts Performance 20/20, a highly competitive
honors chamber music program that provides its
students with the opportunity to perform even
more extensively. Vocal performance opportu-
nities include a variety of choral performing or-
ganizations as well as black-box and fully
staged operas. Voice students also have the
opportunity to audition for and perform in pro-
ductions by Connecticut Concert Opera, and to
hold section-leader positions in many fine area
choirs. Future music educators have years of
hands-on practical training with children from
The Hartt School Community Division, the
Hartt String Project, the Hartt Band Project, and
area schools. Management majors have special
opportunities to participate in a comprehensive
internship program. Interns have worked at the
Bushnell Center for the Performing Arts, with
the Hartford Symphony Orchestra, at the John
F. Kennedy Center for the Performing Arts, at
Creative Artists Agency, and in a wide variety
of other arts-related organizations and record
companies in New York City and around the
country.
Dancers thrive in workshops and large-scale
productions. They benefit from working with
professional arts organizations like the Ameri-
can Ballet Studio Company and Full Force
Dance Theatre, as well as collaborating with
Hartt music and theatre students. They also per-
form, teach, and choreograph works throughout
the four-year, comprehensive curriculum. Ballet
pedagogy majors have four semesters of hands-
on teaching with students in the Hartt Commu-
nity Division.
In the Theatre Division, the classroom expe-
rience is enhanced by the yearly production of
16 plays and musicals, incorporating a broad
repertoire of contemporary and classical works.
A highlight of the actor training program is the
third-year semester in England. Both the music
theatre and actor training programs present a
yearly showcase in New York City, and actor
training students present an additional showcase
in Los Angeles. Music theatre students have the
opportunity to participate in Goodspeed Musi-
cals’ annual Festival of New Artists. Actor
training students have the opportunity to partic-
ipate in activities with the Hartford Stage
Company, in roles or understudying in the com-
pany’s productions.
For more than four decades, the growth of
The Hartt School was nurtured by the philan-
thropy of Alfred C. Fuller, founder of the fa-
mous Fuller Brush Company. Fuller’s
generosity helped to create scholarship opportu-
nities that continue to benefit Hartt students.
Additional support from the Fuller family ena-
bled Hartt to build the Alfred C. Fuller Music
Center, the four-story complex that houses The
Hartt School music divisions, administration,
and community division. In the same spirit of
The Hartt School / 375
generosity demonstrated by her husband, Mary
Primrose Fuller left a bequest of $19.8 million
in 1998, creating new opportunities for Hartt.
The Hartt School of the University of Hart-
ford is an accredited institutional member of the
National Association of Schools of Music, the
National Association of Schools of Dance, and
the National Association of Schools of Theatre.
Its programs in music education are accredited
by the National Council for Accreditation of
Teacher Education, and it shares University of
Hartford accreditation by the Commission of
Higher Education of the State of Connecticut
and the New England Association of Schools
and Colleges.
Mission The Hartt School provides preprofessional train-
ing in the performing arts characterized by artis-
tic and academic rigor, individualized attention
including mentorship and peer support, and a
synthesis of tradition and innovation leading to
lifelong service to, and advocacy for, the arts.
Values We believe in an education that
• Promotes a contextual understanding of the
arts from historical, cultural, and theoretical
perspectives;
• Is rich in performance and collaboration op-
portunities within the school, University,
community, and professional world;
• Cultivates broadly educated individuals and
performing artists of vision, depth, and confi-
dence through unique opportunities available
throughout the University;
• Is connected with the professional world and
the evolution of the field;
• Fosters and develops teaching excellence,
which equips and inspires future teachers to
positively impact the field; and
• Underscores the essential role of the arts in en-
riching society and the human experience.
Facilities
The Hartt School operates the Mort and Irma
Handel Performing Arts Center, the Alfred C.
Fuller Music Center, and Lincoln Theater.
The Mort and Irma Handel Performing Arts
Center was converted from an industrial build-
ing designed in 1929 by pioneering industrial
architect Albert Kahn. This vibrant new center
for performing arts education serves as a re-
source for the entire community. The 56,000-
square-foot center provides performance and
rehearsal space, classrooms, and studios for stu-
dents in The Hartt School’s Dance, Theatre, and
Community Divisions. Housed in the Handel
Performing Arts Center are the 184-seat Edward
C. and Ann T. Roberts Foundation Black Box
Theater and the 96-seat McCray Theater, given
through the generosity of Kent ’51 and Susan
McCray. Performances in these venues include
the third-year student public performances in
theatre and music theatre, recitals, lectures, and
Community Division performances. Each thea-
ter has a state-of-the-art, computerized light
board and sound equipment.
All courses for dance majors are taught at the
Mort and Irma Handel Performing Arts Center.
The south wing includes five spacious studios,
artistic and production offices, a conference
room, and dressing and shower facilities. The
9,000 square feet of dance studios have high
ceilings, hallway observation windows, wooden
barres, mirrors, and Gerstung multilayered
dance floors.
The Fuller Music Center consists of three
wings:
Millard Auditorium provides one of the main
performance venues on the University of Hart-
ford campus. An intimate, 428-seat house, Mil-
lard is used for operas; theatre productions;
orchestra, wind ensemble, and chamber music
concerts; solo recitals; and lectures. Millard has
computerized sound and lighting equipment, a
50-foot proscenium arch with a stage depth of 32
feet, a 22-line-set fly rail, and a full orchestra pit.
O’Connell Hall houses the organ studio,
Berkman Recital Hall, practice rooms, teaching
studios, and offices for the Hartt Community
Division.
Paranov Hall, a four-story instructional
building, houses classrooms, the Hartt recording
studios, faculty and administrative offices, the
University of Hartford Center for Computer and
Electronic Music, and the LEGO Learning Cen-
ter, a state-of-the-art research facility housing a
large classroom and an adjoining observation
room designed to further the understanding of
how children in their first seven years develop
musical understandings and skills.
Lincoln Theater accommodates outside
bookings as well as campus-based activities. It
is used for commencements, lectures, concerts,
theatre and music theatre performances, solo
performances, orchestra/wind ensemble con-
certs, and a variety of other activities. Lincoln
Theater seats 716 and has a thrust stage that
measures 65 feet at its widest, 52 feet from back
wall to front edge of thrust. It has a full orches-
tra pit as well as sound and computerized light-
376 / The Hartt School
ing equipment with follow spots. The dressing
rooms easily accommodate up to 50 performers.
The Mildred P. Allen Memorial Library
is located adjacent to The Hartt School on the
second floor of the east wing of the Harry Jack
Gray Center. The Allen Library provides refer-
ence, circulating, and online materials in the
fields of music, dance, and related arts. Its hold-
Instrumental study 4 4 APC 452-453 Orchestra Repertory Class 1 1 APC 420 Communicating with an Audience – 1 REC 440 Recital – 0
Academic electives 3 3 Mathematics elective 3 –
APC 423 Building a Music Career 1 – ENS Chamber ensemble 1 1 IPO Instrumental performing organization 1 1 AUC All-University Curriculum 3 3
17 14 1Enrollment dependent on placement exam. 2 Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits
with equivalent credits approved by assigned advisor.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
Organ / 397
Major in Organ (135.5 credits)
Credits Credits First Year Sem. 1 Sem. 2 AOR 499 Instrumental Study 4 4 Piano
1 2 2 CHU 112, 113 Organ Performance Class .5 .5 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18 18 Second Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 101 Voice Class 1 – TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 GER 110-111 Elementary German I-II
3 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 16 Third Year AOR 499 Instrumental Study 4 4 APC 420 Communicating with an Audience – 1 CHU 112, 113 Organ Performance Class .5 .5 CON 314 Conducting Fundamentals – 2 HLM 316 Music History: Medieval through Baroque 3 – Music history elective – 3 COM 340 Orchestration 3 – TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 CHU Liturgical music courses 2 2 AUC All-University Curriculum – 3 APC 423 Building a Music Career 1 – CPO Choral performing organization 1 1 16.5 18 Fourth Year AOR 499 Instrumental Study 4 4 CHU 112, 113 Organ Performance Class .5 .5 TH 333 Score Reading 2 – CHU Liturgical music courses 2 2 Academic electives (including philosophy or religion course) 6 3 AUC All-University Curriculum – 3 Mathematics elective – 3 CPO Choral performing organization 1 1 REC 440 Recital – 0 15.5 16.5
1A piano proficiency exam is taken at the end of the first year. Further required study is taken with additional charge. Harpsichord
may be substituted for piano with approval of the department chair. 2Enrollment dependent on placement exam.
3Further study in German or a second foreign language is encouraged.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
398 / The Hartt School
Major in Piano (129 credits) Credits Credits
First Year Sem. 1 Sem. 2 API 499 Instrumental Study 4 4 ACC 110-111 Art of Accompanying I-II .5 .5 TH 111-112 Diatonic
1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization
2 1 1 16 16
Second Year API 499 Instrumental Study 4 4 ACC 220-221 Piano Ensemble I-II 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization
2 1 1 16.5 16.5
Third Year API 499 Instrumental Study 4 4 ACC 330-331 Vocal Repertory for Singers and Pianists 1 1
Music electives 3 3 ART 210/211/212 History of Western Art 3 –
17 15 Fourth Year API 499 Instrumental Study 4 4 ACC 440-441 Instrumental Accompanying I-II 1.5 1.5 APC 420 Communicating with an Audience – 1 HLM 430-431 Keyboard Literature 3 3
Music elective 3 – Academic electives 3 3
APC 423 Building a Music Career 1 – TPR 410-411 Student Applied Teaching 1 1 TPR 420-421 Advanced Major Instrument Teaching 1 1 REC 440 Recital – 0
17.5 14.5 1Enrollment dependent on placement examination.
2Major choral or instrumental performing organization or accompanying laboratory, four semesters.
Note: The Instrumental Studies Division requires a grade of B– or higher in all studio work.
AVO 499 Vocal Study1 4 4
APC 122-123 Piano Keyboard Class 2 2 DIC 110 English Diction .5 – DIC 111 Italian Diction – .5 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 OPR 160-161 Opera Stagecraft I-II 1 1 CPO Choral performing organization 1 1 APC 114-115 Vocal Seminar for Freshmen .5 .5 16.5 16.5 Second Year AVO 499
Vocal Study1
4
4 APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 Language
3 3 3 CPO Choral performing organization 1 1 OPR 260-261 Acting and Movement for Singers I-II 1 1 APC 214-215 Vocal Seminar for Sophomores .5 .5 18.5 18.5 Third Year AVO 499
Vocal Study1
4
4 ACO 488 Vocal Coaching .5 .5 DIC 210 French Diction .5 – DIC 310 German Diction – .5 TH 320-321 Advanced Ear Training I-II 2 2 Language
3 3 3 Mathematics elective 3 – AUC All-University Curriculum 3 3 CPO Choral performing organization 1 1 OPR 360 Opera Blackbox I 1 – Music history elective
1 A total of 32 credits of applied voice lessons is required for a bachelor’s degree in voice. 2Enrollment dependent on placement exam. If TH 110 is taken in the first year, the math elective is taken in the second semester,
fourth year. 3Students must take 6 credits each of French, Italian, and German. Permission to substitute another language may be granted only
by the voice department chair or vocal division director.
4Students may choose HLM 200 or HLM 316.
5Must be taken concurrently with private vocal study.
6HLM 323 is offered every other year. In the years it is not offered, students take a second-semester AUC.
Note: Voice majors are required to earn a B– or higher in all applied lessons.
Pre-Cantorial Studies / 401
Major in Pre-Cantorial Studies (133.5 credits)
Credits Credits First Year Sem. 1 Sem. 2 AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching – .5 APC 122-123 Piano Keyboard Class
1 2 2 DIC 110 English Diction .5 – DRM 120-121 Acting for Singers I-II 1 1 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II2 2 2
RPW 110-111 Rhetoric and Writing I-II 3 3 HBR 113-114 Elementary Hebrew Conversation I-II 3 3 HLM 020 Information Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 17 17 Second Year AVO 488 Vocal Study 2 2 ACO Voice coaching .5 .5 APC 222-223 Piano Keyboard Class
1 2 2 DIC 111 Italian Diction – .5 AUC All-University Curriculum 3 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II
2 2 2 HBR 115-116 Intermediate Hebrew Conversation I-II 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 16 16.5 Third Year AVO 488 Vocal Study 2 2 ACO Voice coaching (cantorial) .5 .5 APC 322-323 Piano Keyboard Class
1 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 320-321 Advanced Ear Training I-II 2 2 HBR 118-119 Advanced Hebrew Conversation I-II 3 3 HIS/JS/REL Judaic studies electives 3 3 CPO Choral performing organization 1 1 16.5 16.5
1If this requirement is waived, course work must be chosen in consultation with an advisor to make up equivalent credits. 2Enrollment dependent on placement exam.
Note: Pre-cantorial studies majors must earn a B– or higher in all voice lessons.
Jazz Studies / 403
Major in Jazz Studies (128 credits)
Credits Credits First Year Sem. 1 Sem. 2
Instrumental study 4 4 AFR 131 African American Music, 1890–1945 3 – AFR 132 African American Music, 1945 to Present – 3 AFR 242, 243 Repertory Building 1 1
APC 122-123 Piano Keyboard Class1
2 2 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1
18.5 18.5 Second Year
Instrumental study 4 4
AFR 220-221 Jazz Keyboard Class1
2 2 AFR 222-223 Jazz Transcription I-II 1 1 AFR 242, 243 Repertory Building 1 1 AFR 342-343 Arranging (Jazz Styles) 2 2 HLM 212 Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 AUC All-University Curriculum 3 3 MUS 110, 111 Paranov Performance Hour .5 .5 ENS 402, 403 Jazz Combo Ensemble 1 1
17.5 17.5 Third Year
Instrumental study 4 4 AFR 242, 243 Repertory Building 1 1 AFR 110-111 Jazz Improvisational Devices 1 1
Academic electives 3 3 AUC All-University Curriculum 3 3 ES 262 Acoustics for Musicians
3 3 –
ENS 402, 403 Jazz Combo Ensemble 1 1 16 13
Fourth Year
Instrumental study 4 4 AFR 321 Core course – 3 AFR 242, 243 Repertory Building 1 1 AFT 410 Senior Project 3 – MPT 450 Sound Technology I 3 –
15 12 1If these requirements are waived, students must choose alternate course work, with the help of an advisor, to make up equivalent credits.
2Enrollment dependent on placement exam.
3Requires strong algebra background; CS 110 may be substituted.
Note: Students are required to demonstrate continued improvement in their performance and improvisation skills. Student
progress is evaluated through annual juries. Failure to demonstrate progress for two consecutive semesters may result in removal
from the major.
404 / The Hartt School
Major in Composition (137–141 credits) Credits Credits
First Year Sem. 1 Sem. 2 APC 122-123 Piano Keyboard Class
1 2 2
COM 110-111 First Course Composition 3 3 COM 461 Music Technology I 3 – COM 470, 471 Composers’ Seminar 0 0 RPW 110-111 Rhetoric and Writing I-II 3 3 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 AUC All-University Curriculum – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization3
– – 15.5 15.5
Second Year APC 222-223 Piano Keyboard Class
1 2 2
COM 210-211 Second Course Composition 3 3 COM 340 Orchestration 3 – COM 470, 471 Composers’ Seminar 0 0 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 3 M Mathematics elective – 3
Performing organization3
– – 18.5 18.5
Third Year
Instrumental/vocal study or elective 2–3 2–3 COM 310-311 Third Course Composition 3 3 HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3
Foreign language 3 3 COM 470, 471 Composers’ Seminar 0 0
Theory or composition electives 6 6 COM 472, 473 Composers’ Ensemble .5 .5
17.5–18.5 17.5–18.5
Composition / 405
Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study or elective 2–3 2–3 COM 410-411 Fourth Course Composition 3 3 COM 470, 471 Composers’ Seminar 0 0 TH 441 Music since 1950 – 3 ES 262 Acoustics for Musicians 3 – Theory or composition electives 6 3 Academic elective – 3 AUC All-University Curriculum 3 – CON 314 Fundamentals of Conducting – 2 COM 472, 473 Composers’ Ensemble .5 .5 17.5–18.5 16.5–17.5
1Exempted students take private instrumental/vocal study.
2Enrollment dependent on placement exam.
3Major choral or instrumental performing organization, four semesters. Composers’ ensemble, four semesters. Other approved
performing organizations may be substituted.
Note: Students with a major in composition must have the equivalent of one evening’s performance of their music before
graduation. Programs of performances must be submitted at least four months before the anticipated date of graduation.
Note: Composition majors should refer to the Hartt Undergraduate Handbook for departmental grade requirements.
Note: Students wishing to specialize in composition for electronic and digital instruments should include the following courses in
their elective choices: COM 462 Music Technology II; COM 463 Music Technology III; COM 466 Introduction to Computer
Music; COM 468 Scoring for Film, TV, and Video; MPT 450, 451 Sound Technology I and II; courses in Electro-Acoustic
Instrumentation (MIDI); Electronic Performance Techniques; and Seminar in Techniques of Experimental Music.
Students wishing to specialize in composition using more traditional musical materials should include the following courses
in their elective choices: TH 330 Keyboard Harmony, TH 333 Score Reading, TH 420 Modal Counterpoint, TH 421 Tonal
Counterpoint, and CON 314 Conducting Fundamentals.
406 / The Hartt School
Major in Music Education (four-year)—Vocal Emphasis (139 credits) First Year
Credits Sem. 1
Credits Sem. 2
AVO 488 Vocal Study 2 2 APC 122-123 Piano Keyboard Class 2 2 TH 111-112 Harmony I
1-II 2 2
TH 120-121 Ear Training I-II 2 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – RPW 110-111 Rhetoric and Writing I-II 3 3 DIC 110 IPA/English Diction – .5 MUS 110-111 Paranov Performance Hour .5 .5 General academic* 3 3 EDR 335 Language and Literacy Development for All Learners – 2 CPO Choral performing organization 1 1 HLM 020 Info Literacy in the Performing Arts
2 0 0 18.5 18 Winterterm MED 150 Freshman Partnership 0 – Second Year AVO 488 Vocal Study 2 2 APC 222-223 Piano Keyboard Class 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 CON 314 Conducting Fundamentals 2 – CON 315 Choral Conducting – 2 MEA 100 Classroom Instruments 1 – MEA 202 Percussion Class – 1 General academic* 3 3 MUS 110-111 Paranov Performance Hour .5 .5 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year AVO 488 Vocal Study 2 2 APC 322-323 Piano Keyboard Class 2 2 TH 320-321 Ear Training V-VI 2 2 MEA 307 Vocal Development K–12 2 – MEA 103 Wind Instrument Class – 1 MEA 308 String Class/Vocal – 1 MED 310 School Choral Program and Lab – 3 MED 340-341 Elementary Vocal Methods 3 3 MED 413 Improvisation in Music Education 2 – DIC 111 or 210 Italian, German, or French Diction .5 –
or 310 HLM 316 Music History: Medieval through Baroque 3 – HLM 200 Music History: World Music Survey – 3 CPO Choral performing organization 1 1 17.5 18
408 / The Hartt School
Fourth Year (Semesters may be reversed.)
Credits Credits
Sem. 1 Sem. 2
AVO 488 Vocal Study – 2
MED 410 Student Internship (Practice Teaching)3
9 –
General academic* 3 3
General academic – 3
General academic – 3
General academic – 3
General academic – 4
CPO Choral performing organization4
– 1
12 18
General Academics
AUCC All-University Curriculum 3
AUCS All-University Curriculum 3
AUCT All-University Curriculum 3
AUCW All-University Curriculum 3
EDR 335 Language and Literacy Development for All Learners 2
EDH 120 Psychology of Exceptionalities 3
EDP 230 Educational Psychology (EDP 132 may substitute) 3
Mathematics elective (M 116 recommended) 3
Science elective (CH 116 recommended) 4
Academic elective 3
HE 112 Modern Health Concepts 3
*Required general academics:
• May be taken in any order.
• No more than one AUC course should be taken per semester.
• EDH, EDP, and EDR courses should be taken before the senior year.
1Enrollment dependent on placement exam. 2Must be successfully completed before sophomore year.
3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.
4Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.
Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.
Music Education / 407
Major in Music Education (four-year)—Instrumental Emphasis (140 credits) Fourth Year
Credits Sem. 1
Credits Sem. 2
Instrumental study 2 2 APC 122-123 Piano Keyboard Class 2 2 MEA 101 Voice Class – 1 MEA 201 Brass Class – 2 MED 110 Foundations Music Education 2 – MEA 104 Technology for Music Educators 1 – TH 111-112 Harmony I
1-II 2 2
TH 120-121 Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 General academic* 3 – EDR 335 Language and Literacy Development for All Learners – 2 MUS 110-111 Paronov Peformance Hour .5 .5 IPO Instrumental Performing Organization 1 1 HLM 020 Info Literacy for the Performing Arts
2 0 0
18.5 17.5 Winterterm MED 150 Freshman Partnership – 0 Second Year Instrumental study 2 2 APC 222-223 Piano Keyboard Class 2 2 CON 314 Conducting Fundamentals 2 – CON 316 Instrumental Conducting – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MEA 102 Woodwind Class: Clarinet, Saxophone 2 – MEA 300 Woodwind Class: Flute, Oboe, Bassoon – 2 MEA 303-304 String Class 1 1 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Ear Training III-IV 2 2 MUS 110-111 Performance Hour .5 .5 IPO Instrumental performing organization 1 1 CPO Choral performing organization 1 1 18.5 18.5 Winterterm MED 250 Sophomore Partnership – 0 Third Year Instrumental study 2 2 MEA 200 Percussion Class 2 – MED 303 Elementary Instrumental Methods 3 – MED 304 Secondary Instrumental Methods – 3 MED 350 Jazz Ensemble for Music Educators – 1 MED 340 Elementary Vocal Methods (N–2) 3 – MED 413 Improvisation in Music Education 2 – HLM 316 Music History: Medieval through Baroque 3 – TH 320 Ear Training V 2 – HLM 200 Music History: World Music Survey – 3 General academic* – 3 General academic* – 3 IPO Instrumental performing organization 1 1 19 17
410 / The Hartt School
Fourth Year (Semesters may be reversed.)
Credits Credits
Sem. 1 Sem. 2
Instrumental Study – 2
MED 410 Student Internship (Apprentice Teaching)3
9 –
General academic* 3 –
General academic 3 3 General academic – 3
General academic – 3
General academic – 3
General academic – 3
IPO Instrumental performing organization4
– 1
15 18 General Academics
AUCC All-University Curriculum 3
AUCS All-University Curriculum 3
AUCT All-University Curriculum 3
AUCW All-University Curriculum 3
EDR 335 Language and Literacy Development for All Learners 2
EDH 120 Psychology of Exceptionalities 3
EDP 230 Educational Psychology (EDP 132 may substitute) 3
Mathematics elective (M 116 recommended) 3
Science elective (CH 116 recommended) 4
Academic elective 3
HE 112 Modern Health Concepts 3
*Required general academics:
• May be taken in any order.
• No more than one AUC course should be taken per semester. • EDH, EDP, and EDR courses should be taken before the senior year.
1Enrollment dependent on placement exam.
2Must be successfully completed before sophomore year. 3Prerequisite: Cumulative grade point average of 2.67 required; no more than one C in a music education or education course.
4 Enrollment permitted during student-teaching semester only with the permission of Music Education Division director.
Note: Students must successfully complete the PRAXIS I Academic Skills Assessment prior to the end of fall semester of the
sophomore year. The PRAXIS II test must be successfully completed prior to the student-teaching semester.
Music Education / 409
TH 111-112 Diatonic1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 122-123 Piano Keyboard Class
2 2 2 COM 110-111 First Course Composition 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization
3 1 1 AUC All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 16.5 16.5 Second Year TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 TH 475, 476 Music Theory Colloquium 0 0 APC 222-223 Piano Keyboard Class
2 2 2 CON 314 Conducting Fundamentals – 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5 Performing organization
3 1 1 AUC All-University Curriculum 3 3 GER 110-111 Elementary German I-II 3 3 16.5 18.5 Third Year TH 330 Keyboard Harmony 2 – TH 331 Keyboard Improvisation – 1.5 TH 400 Music Theory Pedagogy – 3 TH 410 Advanced Form and Analysis – 3 TH 475, 476 Music Theory Colloquium 0 0 COM 340 Orchestration 3 – COM 461 Music Technology I 3 – HLM 316 Music History: Medieval through Baroque 3 – HLM Music history elective – 3 Performing organization
3 1 1 Instrumental/vocal study 2 2 Music theory/comp./history elective – 2 Music elective – 3 Mathematics elective 3 – 17 18.5
Major in Music Theory (137.5 credits) Credits Credits
Instrumental/vocal study 2 2 Music electives 6 3 Academic elective – 3
17 17
1Enrollment dependent on placement exam. 2Exempted students take private instrumental/vocal study.
3Major choral or instrumental performing organization, eight semesters.
Note: Undergraduate music theory majors must maintain an overall grade point average of B– (2.67) or higher in order to remain
in the music theory program. Refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
412 / The Hartt School
Credits Credits First Year Sem. 1 Sem. 2 Instrumental/vocal study 4 4 APC 122-123 Piano Keyboard Class
1 2 2 TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 Foreign language
3 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 Collegium Musicum, Early Music Ensemble,
Major in Music History—Performance Practices Emphasis (137.5 credits)
Second Year
or other performing organization 1 1 17.5 17.5
Instrumental/vocal study 4 4
APC 222-223 Piano Keyboard Class1
2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3
Foreign language3
3 3 MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
17.5 17.5 Third Year
Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –
Music literature course – 3 HLM Advanced music history course 3 – TH 420 or 421 Counterpoint 3 – TH 332 Continuo Realization – 1.5 HIS European history 3 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 3
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
18 16.5 Fourth Year
Instrumental/vocal study 2 2 Secondary instrumental/vocal study 2 2
CON 314 Conducting Fundamentals 2 – HLM 473 Seminar in Performance Practice – 3 HLM Advanced music history courses 3 3
Academic elective – 3 Mathematics elective 3 –
AUC All-University Curriculum 3 3 Collegium Musicum, Early Music Ensemble,
or other performing organization 1 1 REC 440 Recital
4 – 0 16 17
1Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits
with equivalent credits approved by assigned advisor.
2Enrollment dependent on placement exam.
3Language should include two years of college-level German or equivalent. French is recommended as a second language.
4The minimum accomplishment of major 6 is required.
Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.
Music History / 413
Major in Music History—Scholarship and Research Emphasis (129.5 credits) Credits Credits
3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
16.5 16.5 Second Year APC 222-223 Piano Keyboard Class
1 2 2
TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 HIS European history 3 3
Foreign language3
3 3 MUS 110, 111 Paranov Performance Hour .5 .5
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
16.5 16.5 Third Year
Instrumental/vocal study 2 2 HLM 316 Music History: Medieval through Baroque 3 –
Music literature course – 3 HLM Advanced music history courses 3 3 TH 332 Continuo Realization – 1.5 TH 420 Modal Counterpoint 3 – TH 421 Tonal Counterpoint – 3 ART 210/211/212 History of Western Art – 3 AUC All-University Curriculum 3 –
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
15 16.5 Fourth Year
Instrumental/vocal study 2 2 TE 410 Senior Essay – 2 HLM Advanced music history courses 6 6 PHI 110 Introduction to Philosophy 3 – ENG 140 English Literature 3 – M Mathematics elective – 3 AUC All-University Curriculum – 3
Collegium Musicum, Early Music Ensemble, or other performing organization 1 1
15 17
1Exempted students take private instrumental/vocal study.
2Enrollment dependent on placement exam.
3Language should include two years of college-level German or equivalent. French is recommended as a second language.
Note: Music history majors are required to earn a minimum grade of B– in all major (HLM) courses.
414 / The Hartt School
Major in Music Production and Technology (135 credits) Credits Credits
First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2
TH 111-112 Diatonic1–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 MTH 112-122 Math for Technologists I-II 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MPT 110 Fundamentals of Music Production 2 – MPT 210 Practicum in Music Production – 2 MUM 120 Introduction to Arts Management 3 – MUM 221 Arts Management: For Profit – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization 1 1 18.5 18.5
Second Year
Instrumental/vocal study 2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 122-123 Piano Keyboard Class
2 2 2
ECT 111 Introduction to Electricity and Electronics 4 – ECT 121 DC and AC Electrical Fundamentals – 4 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization 1 1 16.5 16.5
Third Year MPT 300-310 Music Production Technology I-II (lab) 4 4 ES 262 Acoustics for Musicians 3 – COM 462 Music Technology II – 3 MPT 305 Electronics for Music Systems I 3 – MPT 315 Electronics for Music Systems II – 3
MPT 400-410 Music Production Techniques I-II (lab) 4 4 MPT 420 Music Production Special Project/Internship – 3 HLM Music history elective – 3 COM 470, 471 Composition Seminar 0 0
Professional Elective Options Electronic music: COM 466, 467 Business: AC 210, 211; MKT 310 Media/broadcast: CMM 110, 150, 240, 242, 244, 281 Audio technology/electronics: AUD 361; ECT 122, 231, 241, 352 Student’s performance area: repertory, improvisation (jazz), diction Other: conducting, orchestration, art history
1Enrollment dependent on placement exam.
2If this requirement is waived, alternate course work must be chosen in consultation with an advisor to make up
equivalent credits.
Note: Music production and technology majors should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
Music Production and Technology / 415
Bachelor of Music
Major in Elective Studies in Business (Music Management) (140 credits) Credits Credits
First Year Sem. 1 Sem. 2 Instrumental/vocal study 2 2
APC 122-123 Piano Keyboard Class1
2 2 M 110 or M 116 Precalculus or Contemporary Math 3 – TH 111-112 Diatonic
2–Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training I-II 2 2 CS 110 Introduction to Computers – 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 MUM 120 Introduction to Arts Management 3 – AUC All-University Curriculum – 3
Performing organization3
1 1 18.5 18.5
Second Year
Instrumental/vocal study 2 2
APC 222-223 Piano Keyboard Class1
2 2 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 MUM 220 Arts Management: Not for Profit 3 – MUM 221 Arts Management: For Profit – 3 EC 110 Principles of Macroeconomics 3 – EC 211 Principles of Microeconomics – 3 MUS 110, 111 Paranov Performance Hour .5 .5
Performing organization3
1 1 18.5 18.5
Third Year
Instrumental/vocal study 2 2 MPT 450 Sound Technology I 3 – MUM 321 Arts Management Practicum – 3 MUM Music management electives
4 3 3
AUC All-University Curriculum 3 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 MKT 310 Principles of Marketing 3 – RLC 211W Advanced Composition/Business – 3
Performing organization3
1 1 18 18
418 / The Hartt School
Credits Credits Fourth Year Sem. 1 Sem. 2 Instrumental/vocal study 2 – HLM Music history electives 3 3 MUM 340 Survey of the Recording Industry 3 – MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM Music management elective
DFA 150 Improvisation I – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3
17 18 Second Year DFA 134 Pilates I – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1 DFA 226 Contemporary Dance Forms II
1 1 –
DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II
1 1 1
DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance II – 1 DFA 267 Production Practicum II – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 HLM 100 Introduction to Music I 3 – MUS 110, 111 Paranov Performance Hour .5 .5 M Mathematics elective – 3
18.5 18 Third Year DFA 162-163 Variations/Pas de Deux I-II .5 .5 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III
1 – 1
DFA 266 Production Practicum II – .5
DFA 320-321 Classical Ballet III1
2 2
DFA 324-325 Martha Graham Technique III1
1 – DFA 332-333 Pointe III
1 1 1
DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384-385 Student Internship 1 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – DFA 470 Dance Administration – 1 AUC All-University Curriculum 3 3
17.5 13
Ballet Pedagogy / 419
Credits
Credits
Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 261, 360 Repertory/Performance II/III 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 420-421 Classical Ballet IV
DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 166-167 Production Practicum .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 EDP 132 Human Development 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 –
17 18 Second Year DFA 134 Pilates – 1 DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1
DFA 226 Contemporary Dance Forms II1
1 – DFA 230-231 Ballet Pedagogy III-IV 2 2 DFA 232-233 Pointe II
1 1 1
DFA 240, 340 Dance Pedagogy I, II 2 2 DFA 250 Elements of Composition – 2 DFA 260 Repertory/Performance – 1 DFA 267 Production Practicum – .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – M Mathematics elective – 3
18.5 18 Third Year DFA 151 Improvisation II – 1 DFA 170 Dance History I – 3 DFA 227 Contemporary Dance Forms III
1 – 1
DFA 261 Repertory/Performance II – 1 DFA 266 Production Practicum II – .5
DFA 322-323 Intermediate Ballet1
2 2
DFA 324-325 Martha Graham Technique III1
1 1 DFA 331 Methods for Pre-Ballet 2 – DFA 350 Process of Composition 2 – DFA 371 Technology in Dance 3 – DFA 372 Music in the Ballet Studio 1 – DFA 384, 385 Student Internship 1 1 DFA 470 Dance Administration – 1 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum 3 3
18 14.5
Children’s Dance / 421
Credits
Credits
Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 326-327 Contemporary Dance Forms IV
1 1 1 DFA 440 Issues in Pedagogy – 1 DFA 450 Problems in Composition 2 – DFA 474 Dance Production 2 – DFA 484, 485 Student Internship 2 2 DFA Dance elective 1 2 MED 501 Teaching Music in Early Childhood – 3 AUC All-University Curriculum 3 3 18 15
1Class-level placement based on audition or juries. Entrance by audition only.
Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
422 / The Hartt School
Major in Dance—Performance Emphasis (130 credits) Credits Credits
First Year Sem. 1 Sem. 2 DFA 134 Pilates – 1
DFA 120-121 Classical Ballet I1
2 2
DFA 124-125 Martha Graham Technique I1
1 1 DFA 126-127 Contemporary Dance Forms I
1 1 1
DFA 130 Ballet Pedagogy I 2 – DFA 132-133 Pointe I
1 1 1
DFA 150 Improvisation – 1 DFA 160-161 Repertory/Performance I 1 1 DFA 162-163 Variations/Pas de Deux I .5 .5 DFA 166-167 Production Practicum I .5 .5 DFA 270 Dance Kinesiology I – 3 TH 130-131 Music Theory/Ear Training for Dancers 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – M Mathematics elective 3 –
17.5 17.5 Second Year DFA 140 Movement Fundamentals I 3 – DFA 220-221 Classical Ballet II
1 2 2
DFA 224-225 Martha Graham Technique II1
1 1
DFA 226-227 Contemporary Dance Forms II1
1 1
DFA 232-233 Pointe II1
1 1 DFA 250 Elements of Composition – 2 DFA 260-261 Repertory/Performance II 1 1 DFA 262-263 Variations/Pas de Deux II .5 .5 DFA 266-267 Production Practicum II .5 .5 DFA 271 Dance Kinesiology II 3 – DFA 272 Musicianship for Dancers – 2 DFA Pedagogy elective 2 – MUS 110, 111 Paranov Performance Hour .5 .5 HLM 100 Introduction to Music I 3 – AUC All-University Curriculum – 3
18.5 14.5 Third Year DFA 170 Dance History I – 3
DFA 320-321 Classical Ballet III1
2 2
DFA 324-325 Martha Graham Technique III1
1 1
DFA 326-327 Contemporary Dance Forms III1
1 1 DFA 332-333 Pointe III
1 1 1
DFA 350 Process of Composition 2 – DFA 360-361 Repertory/Performance III 1 1 DFA 362-363 Variations/Pas de Deux III .5 .5 DFA 371 Technology in Dance 3 – DFA Dance elective – 2 ART 100/211/212 Aspects of Art or History of Western Art II or III 3 – AUC All-University Curriculum – 3
Academic elective 3 – 17.5 14.5
Dance Performance / 423
Credits Credits Fourth Year Sem. 1 Sem. 2 DFA 171 Dance History II 3 – DFA 420-421 Classical Ballet IV
1 2 2 DFA 424-425 Martha Graham Technique IV
1 1 1 DFA 426-427 Contemporary Dance Forms IV
1 1 1 DFA 432-433 Pointe IV
1 1 1 DFA 450 Problems in Composition 2 – DFA 460-461 Repertory/Performance IV 1 1 DFA 462-463 Variations/Pas de Deux IV .5 .5 DFA 474 Dance Production 2 – DFA Dance elective – 1 AUC All-University Curriculum 3 3 Academic elective – 3 16.5 13.5
1Class-level placement based on audition or juries. Entrance by audition only.
Note: Students should refer to the Hartt Undergraduate Handbook for further departmental grade requirements.
424 / The Hartt School
AVO 488 Vocal Study 2 2 HTD 110-111 Ballet I 1 1 HTA 110-111 Voice I-II 3 3 HTS 140-141 Stagecraft 1 1 HTA 130-131 Acting I-II 3 3 TH 110 Music Theory Fundamentals 2 – TH 111 Diatonic Harmony – 2 TH 120-121 Elementary Ear Training I-II 2 2 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 18.5 18.5 Second Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTD 210-211 Ballet II 1 1 APC 122-123 Piano Keyboard Class
1 2 2 HTA 230-231 Acting III-IV 3 3 DRA 362 Development of Theatre – 3 HTA 210-211 Voice III-IV 3 3 TH 220 Intermediate Ear Training I 2 – ENG 140 Introduction to Literature 3 – MUS 111 Paranov Performance Hour – .5 CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 112-113 Tap I .5 .5 HTD 114-115 Jazz I .5 .5 18.5 17 Third Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 330-331 Acting V-VI 3 3 AUC All-University Curriculum 3 3 HLM 111 History of Music Theatre 3 – ENG 348/349 Modern Drama: 1870–1920/1920–Present – 3 HTA 325 Movement for the Music Theatre Actor – 3 Academic elective
2 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 HTD 212-213 Tap II .5 .5 HTD 214-215 Jazz II .5 .5 MUS 110 Paranov Performance Hour .5 – 17 16.5 Fourth Year AVO 488 Vocal Study 2 2 ACO 488 Vocal Coaching .5 .5 HTA 430 Acting VII 3 – HTA 451 Career Preparation – 3 ENG 361/362 Shakespeare: Plays to 1600/Plays after 1600 – 3 AUC All-University Curriculum 3 3 Academic elective 3 – M Precalculus or statistics or contemporary mathematics – 3 Academic elective 3 – CPO 404, 405 Music Theatre Chorus/Laboratory 1 1 REC 440 Recital (or Cabaret) – 0 15.5 15.5
Major in Music Theatre (137 credits) Credits Credits
First Year Sem. 1 Sem. 2
1If these requirements are waived, alternate course work must be chosen in consultation with an advisor to make up
the equivalent credits. 2Academic electives must be liberal arts courses approved by the advisor.
Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
426 / The Hartt School
Major in Actor Training (134 credits) Credits Credits
First Year Sem. 1 Sem. 2 HTA 110-111 Voice I-II 3 3 HTA 120-121 Movement I-II 3 3 HTA 130-131 Acting I-II 3 3 HTA 140-141 Rehearsal/Performance I-II 1 1 AUCC, AUCS All-University Curriculum 3 3 RPW 110-111 Rhetoric and Writing I-II 3 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 CPO 404, 405 Music Theatre Chorus Laboratory 1 1 HTS 140-141 Stagecraft 1 1 18.5 18.5 Second Year HTA 210-211 Voice III-IV 3 3 HTA 220-221 Movement III-IV 3 3 HTA 230-231 Acting III-IV 3 3 HTA 240-241 Rehearsal/Performance III-IV 1 1 AUCT, AUCW All-University Curriculum 3 3 M 110, 114, or 11 6 Precalculus/Statistics/Contemporary Mathematics 3 – MUS 110, 111 Paranov Performance Hour .5 .5 HTA 200-201 Text Analysis I-II 2 2 DRA 362 Development of Theatre – 3 18.5 18.5 Third Year HTA 305 Study in England – 6 HTA 310 Voice V 3 – HTA 320-321 Movement V-VI 3 3 HTA 330 Acting V 3 – HTA 360-361 Projects I-II 3 3 Academic elective
1 3 – HTA 300 The Shakespearean Context 3 – 18 12 Fourth Year HTA 410-411 Voice VII, VIII 2 2 HTA 331 Acting VI 3 – HTA 440-441 Rehearsal/Performance V-VI
2 6 3 HTA 451 Career Preparation – 3 HTA 461 Projects III – 1 Academic elective – 3 HTA 400 Shakespeare in Text and Performance 3 – HTA 412 Acting for the Camera – 4 14 16
1Academic electives must be liberal arts courses approved by the advisor. 2Students are expected to arrange schedules so that all other class obligations are completed before the beginning of this class.
Note: Theatre students should refer to the Hartt Undergraduate Handbook for updated grade requirements for this major.
Actor Training / 425
Bachelor of Arts
Major in Performing Arts Management (131 credits) Credits Credits
First Year Sem. 1 Sem. 2 MUM 120 Introduction to Arts Management 3 – RPW 110-111 Rhetoric and Writing I-II 3 3 EC 110 Macroeconomics 3 – EC 211 Microeconomics – 3 AUC All-University Curriculum – 3 HLM Music history elective 3 – HLM Music history elective – 3
Academic elective 3 – M 110
or M 116 Precalculus or Contemporary Math – 3 CS 110 Introduction to Computers – 3 HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5
15.5 18.5 Second Year MUM 220 Arts Management: Not for Profit 3 – MUM 221 Music Management: For Profit – 3 AC 210 Financial Accounting 3 – AC 211 Managerial Accounting – 3 ART 100 Aspects of Art 3 –
Concentration elective1
– 3 AUC All-University Curriculum 3 3 CMM 240 Introduction to Mass Communication 3 – CMM 260 Communication and Advertising – 3 RLC 211W Advanced Composition/Business 3 –
18.5 18.5 Third Year MUM 321 Arts Management Practicum – 3 MUM 330 Entertainment Law 3 – MUM 340 Survey of Record Industry 3 – MUM 350 Computers and the Arts – 3
Concentration elective1
– 3 MPT 450 Sound Technology I 3 – ENG 140 Introduction to Literature 3 – FIN 310 Business Finance – 3 MGT 310 Managing Organizational Behavior 3 – MKT 310 Introduction to Marketing – 3
15 15
Performing Arts Management / 427
Credits
Credits
Fourth Year Sem. 1 Sem. 2 MUM 410 Case Studies in Music/Arts Management 3 – MUM 420 Internship 3 – MUM 421 Internship Seminar – 3 MUM 440 Fundraising 3 – Concentration electives
1 3 3 AUC All-University Curriculum – 3 Business elective – 3 DRA 160 Introduction to Theatre 3 – ENG English elective – 3 15 15
1Students will construct a 12-credit concentration of liberal arts and/or business courses focusing on a core topic that
complements the MUM courses. Examples for the concentrations include, but are not limited to, theatre management,
public relations, fundraising, multiculturalism in management, and events management. Choice of appropriate courses
will be made in consultation with an advisor.
Note: Performing arts management students may earn no more than one grade below B– in MUM courses.
428 / The Hartt School
Major in Music (120 credits) Credits Credits
First Year Sem. 1 Sem. 2 TH 111-112 Diatonic-Chromatic Harmony
1 2 2
TH 120-121 Elementary Ear Training I-II 2 2 RLC 110-111 Rhetoric and Writing I-II 3 3 AUC All-University Curriculum 3 – HLM 020 Info Literacy in the Performing Arts 0 – MUS 110, 111 Paranov Performance Hour .5 .5 ENG 140 Intro to Literature – 3 M 110/116 Math elective – 3 PHI 110 Intro to Philosophy 3 – APC 122-123 Piano Keyboard Class
2 2 2 15.5 15.5
Second Year APC 222-223 Piano Keyboard Class 2 2 HLM 212 Music History: Perspectives on Music History 3 – HLM 213 Music History: Classicism to the Present – 3 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 MUS 110, 111 Paranov Performance Hour .5 .5 AUC All-University Curriculum 3 – HIS 100/101 World History – 3 Foreign language Two semesters of a foreign language
or CMM 115, CS 110 Communications and a computer course 3 3
15.5 15.5 Third Year HLM Music history elective 3 – AUCT All-University Curriculum with lab 4 – EC, PSY, SOC Elective – 3 Lab science Biology or chemistry – 4
Writing-intensive course above 200 level with a W designation 3 3 Academic electives
5 6 6 16 16
Fourth Year HLM Music history elective 3 – TE 410/REC 440 Senior Project (Essay
3 or Recital
4) – 2
POL 100 American Government – 3 AUC All-University Curriculum 3 –
Academic electives5
6 6 12 14
1A placement exam is used for assignment into music theory courses. 2Required unless principal instrument is piano. If this requirement is waived, the credits must be made up with music electives
approved by the assigned advisor.
3Students who choose an essay as their senior project submit the title and outline of the essay to the division director for approval.
A faculty advisor will then be appointed. 4Students who choose a recital as their senior project are expected to have studied privately for five semesters at The Hartt School.
These students must register for private music study at the college level and pass an audition at the end of the first semester of their
junior year, followed by a recital of 30 minutes or more. 5These are classes taken in the College of Arts and Sciences, Barney School of Business, and the College of Engineering,
Technology, and Architecture. Students should consult with their advisors.
Instrumental/vocal/composition study1 4 4
TH 111-112 Diatonic2-Chromatic Harmony 2 2
TH 120-121 Elementary Ear Training 2 2 MUS 110-111 Paranov Performance Hour .5 .5 APC 122-123 Piano Keyboard Class
3 2 2 ENS/CPO Instrumental or Choral Ensemble 1 1 11.5 11.5 Second Year Instrumental/vocal/composition study
1 4 4 TH 210-211 Tonal Form–Post-Tonal Form 2 2 TH 220-221 Intermediate Ear Training I-II 2 2 APC 222-223 Piano Keyboard Class
3 2 2 ENS Ensemble 1 1 11 11 Third Year
Instrumental/vocal/composition study1 4 4
MUS 110-111 Paranov Performance Hour .5 .5 HLM 212 Music History: Perspectives on Music History 3 HLM 213 Music History: Romanticism to the Present 3
Music electives4 3 3
ENS Ensemble 1 1 REC 440 Recital 0 11.5 11.5
Composition / 429
Undergraduate Diploma Program
(68 credits; 65–68 credits for composition majors)
Credits Credits
First Year Sem. 1 Sem. 2
1Total 24 credits; 18 credits for composition majors. (Note: composition study is 3 credits per semester.) 2Enrollment dependent on placement examination.
3Students whose principal instrument is keyboard, and those who are waived because of proficiency, must replace these credits with music electives approved by assigned advisor.
4Total of 6 credits; a minimum of 9 credits for composition majors.
430 / The Hartt School
Bachelor of Science in Engineering
Major in Acoustical Engineering
and Music
(141–144 credits)
Credits in the Major: 46 plus at least
42 in Music
For a complete listing of courses, see pages
320–22 in the Engineering section.
Private Lessons
ACC 115, 116 Accompanying Laboratory
(Choral) [1, 1] Assigned accompanying for
Hartt Chorale or Hartt Chorus. May be repeated
for additional credit.
ACC 220-221 Piano Ensemble I-II [1-1]
Study and performance of the literature for duo
piano and piano duet from the baroque to the
20th century. One and one-half hours weekly.
Prerequisites: ACC 110-111.
ACC 330-331 Vocal Repertory for Singers
and Pianists [1-1] Detailed analysis and per-
Following are the course codes for private
lessons. Music entrance requirements may be
found on page 378; performance requirements
for graduation are specified on page 393.
The specific credits for private lessons in the
various curricula are indicated in the degree
programs.
A lab fee, which partially covers the cost of
a lesson accompanist, is charged for all voice
instruction.
Course Codes
AAN Ancient instrument AOB Oboe
ABH Baritone horn AOR Organ
ABN Bassoon API Piano
ACL Clarinet APR Percussion
CON Conducting ARC Recorder
ACO Vocal coaching ASX Saxophone
ADB Double bass ATB Trombone
AEU Euphonium ATP Trumpet
AFH French horn ATU Tuba
AFL Flute AVA Viola
AGT Guitar AVC Violoncello
AHD Harpsichord AVN Violin
AHP Harp AVO Voice
ALU Lute
Course Descriptions
Not all courses listed in this Bulletin are offered
each year. Offerings for each semester and for
Winterterm and Summerterm are listed in the
class schedules available during each registra-
tion period. The University reserves the right to
make changes in academic programs.
Accompanying
For Undergraduate Students
ACC 110-111 The Art of Accompanying
I-II [.5-.5] Practical approaches to accompany-
ing—sight reading, instant recognition of
rhythms, chords, and basic keyboard patterns.
Material drawn from the standard vocal and
instrumental literature. One hour weekly.
formance of the standard vocal repertory, in-
cluding songs, arias from operas, and oratorios.
Emphasis on accompanying problems, includ-
ing transpositions and language considerations.
One hour weekly. Prerequisites: ACC 110-111
(for pianists).
ACC 345, 346 Accompanying Laboratory—
Vocal [1, 1] Accompanying in studios of vocal
faculty and for student recitals. Two hours
weekly.
ACC 410, 411 Accompanying Recital [1, 1]
Assigned accompanying for a public vocal re-
cital and a public instrumental recital.
ACC 430, 431 Accompanying Laboratory—
Instrumental [1, 1] Accompanying in studios
of instrumental faculty and for student recitals.
Two hours weekly.
ACC 440-441 Instrumental Accompanying
I-II [1.5-1.5] Study of the standard string and
wind repertory with piano, including concerto
reductions. Emphasis on the varied technical
skills needed for collaborating with different
instruments. One hour weekly. Prerequisites:
ACC 110-111.
For Undergraduate and Graduate Students
ACC 540, 541 Special Studies in Accompany-
ing [1, 3] Special accompanying assigned on an
individual basis. May be repeated for additional
credit. Credits determined by department chair
based on number of hours of accompanying as-
signed.
African American Music (Jazz Studies)
For Undergraduate Students
AFR 110-111 Jazz Improvisational Devices
[1-1] A course in improvisational devices and
the application of these techniques in perfor-
mance and arranging. Two hours weekly.
AFR 131 African American Music, 1890– 1945 [3] Starting with an introductory back-
ground on the African empires, the slave trade,
and colonial American music, the course
focuses on social and stylistic developments
African American Music / Music Performance / 431
from ragtime to the Big Band era. Three hours
weekly.
AFR 132 African American Music, 1945 to
the Present [3] Contemporary African Ameri-
can music, the be-bop revolution, hard bop, free
and modal developments of the 1960s, and var-
ious artists and trends to the present. Three
hours weekly. Prerequisite: AFR 131.
AFR 220-221 Jazz Keyboard Class [2-2] This
two-semester course develops facility with har-
monic voicing systems, covering seventh
chords, extensions, harmonization of melodies,
block chord technique, and memorization of
standard chord progressions. Two hours weekly.
Prerequisites: APC 122-123.
AFR 222 Jazz Transcription I [1] Introduction
to solfège, rhythmic and melodic dictation,
melodic transcription from recordings. Two
hours weekly. Prerequisite: TH 121.
AFR 223 Jazz Transcription II [1] Melodic,
rhythmic and harmonic dictation, solo transcrip-
tions with harmonic progressions. Two hours
weekly. Prerequisite: AFR 222.
AFR 242, 243 Repertory Building [1, 1] In-
depth study of harmony and theory in the jazz
idiom. Analysis of standard African American
composition. Two hours weekly. Prerequisite:
Permission of instructor.
AFR 321 Jazz Studies Core Course [3] Lec-
ture seminar on a variety of music topics. Con-
tracts, copyright law, union issues, and other
aspects of the music business are discussed.
Students will be expected to prepare presenta-
tions and papers on related topics. Three hours
weekly.
AFR 342-343 Arranging (Jazz) [2-2] Writing
for small and large ensembles, starting with
rhythm section and combination of horns;
two-part writing, three-part writing, four-part
writing, and sectional writing for jazz orchestra;
and other criteria germane to jazz ensembles.
Two hours weekly. Prerequisite: Permission of
instructor.
AFR 480, 481 Independent Study in African
American Music [1–3, 1–3] An independent
study project conducted under the direction of
an assigned faculty member. Credit determined
by scope and nature of project.
AFR 490, 491 Special Topics in African
American Music [1–3, 1–3] Selected topics in
African American music, varying yearly with
needs of curriculum and availability of particu-
lar faculty. Credit determined by scope and
nature of work required.
AFT 410 Jazz Studies Senior Project [3] For
graduating seniors. Independent study on a
planned project. Includes one of the following:
lecture-demonstration, public performance, or
original large-scale composition or arrange-
ment, recording, video-sound tape.
Music Performance, Class Study
For Undergraduate Students
APC 110-111 Basic Guitar I-II [1-1]
APC 114-115 Vocal Seminar for Freshmen
[.5-.5] Students develop basic skills in memori-
zation, art-song analysis, musicianship shills,
use of the piano, and finding linguistic re-
sources. One hour weekly. Prerequisite: Voice
major.
APC 122-123 Piano Keyboard Class [2-2] A
first-level piano course that places equal empha-
sis on the tactile, visual, and harmonic aspects
of keyboard playing. Two hours weekly. Music
majors only.
APC 214-215 Vocal Seminar for Sophomores
[.5-.5] Students continue to develop skills in
score preparation, with the goal of fostering
independent musicianship on the level of the
vocal repertoire being prepared for the sopho-
more evaluation. One hour weekly. Prerequi-
sites: APC 114-115.
APC 222-223 Piano Keyboard Class [2-2]
Emphasis on the functional aspects of keyboard
playing. Technical, harmonic, and sight-reading
skills are integrated. Two hours weekly. Music
majors only. Prerequisites: APC 122-123 or
permission of instructor.
APC 310 Organ Class [2] For non–organ
majors. Fundamentals of organ playing tech-
niques in terms of the pedals, keyboard touch,
and registration; basic repertory, hymns,
anthems, and accompaniments. Essential skills
for church-service playing. Two hours weekly.
May be repeated for additional credit.
APC 314-315 Vocal Performance Seminar
[.5-.5] Vocal Seminar includes informal per-
formances, master classes, and lectures on top-
ics specifically related to vocal performance.
One hour weekly. Prerequisites: APC 214-215.
APC 311 Harpsichord Class [2] Fundamentals
of harpsichord playing techniques in terms of
keyboard touch, registration, and basic solo and
ensemble repertory. Two hours weekly. May be
repeated for additional credit.
APC 322-323 Piano Keyboard Class [2-2] A
two-semester skills course for students whose
repertoire placement is beyond APC 223. Sight
432 / The Hartt School
reading, transposition, melody harmonization,
improvisation, and score reading will be ex-
plored. Required of music education piano
majors; others by placement tests. Two hours
weekly. Prerequisite: APC 223 or permission of
instructor.
APC 410 Vocal Pedagogy [2] This course is an
introduction to voice pedagogy. Students learn
the anatomy and physiology of the voice, the
mechanics of breath management, as well as
the nature of sound. The scientific principles
of resonance and acoustics, and how these relate
to singing and the teaching of singing, are ex-
plored thoroughly. Students are required to cre-
ate a ―Resources in Voice Pedagogy Notebook,‖
in which they include assignments designed to
promote awareness of the rich array of voice
pedagogy publications available, a log of their
own voice lessons, and observations of voice
lessons from other studios. These assignments
prepare the students for the discussion and
comparison of teaching styles. Prerequisite:
Voice performance major or five-year voice
performance/music education major.
APC 414-415 Electric Guitar Styles I-II [1-1]
Introduction to electric guitar technique. Em-
phasis in Styles I on developing plectrum tech-
nique, harmonic concept, jazz scales, and gen-
eral methodology. Emphasis in Styles II on
basic improvisational skills, rhythm section, and
ensemble work. One hour weekly.
APC 420 Communicating with an Audience
[1] A course designed to give students infor-
mation, skill, and practical application in pro-
gramming and presenting themselves in a
variety of concert venues. Topics include pro-
gramming, presentational and performance
skills, repertoire selection, and educational pres-
entations.
APC 422 Piano Keyboard Class [2] Ad-
vanced-level course that encompasses score
reading, accompanying of choral scores, and
improvisation. Two hours weekly. Prerequi-
sites: APC 322-323.
APC 423 Building a Music Career [1] Career
preparation for instrumental and vocal per-
formance majors beyond the mastery of their
technical discipline. The course is in a modular
format with each module dealing with a specific
area of career development. Some of the topics
are résumé writing, auditions, producing a
demotape/CD, beginning a solo/chamber music
career, and beginning and developing a teaching
career.
APC 450, 451, 452, 453 Orchestra Repertory
Class [1, 1, 1, 1] A course designed to familiar-
ize students with the standard orchestral
repertory through actual rehearsal. Wind, brass,
and percussion students are grouped together.
String students are placed in separate sections
for violin, viola, violoncello, and double bass,
respectively. The course content covers the
major orchestral compositions from Haydn
through Stravinsky. One hour weekly.
APC 480, 481 Independent Study in Perfor-
mance Studies [1–4, 1–4] An independent
study project conducted under the direction of
an assigned faculty member. Credit determined
by scope and nature of project.
For Undergraduate and Graduate Students
APC 500-501 Free Improvisation [1–1]
This course is designed to explore the genre
of free improvisation. Concepts, techniques, ap-
proaches and attitudes to music and free
improvisation will be learned in a performance
situation. Discussions, written assignments,
readings, and listenings will figure prominently.
APC 566-567 Performance 20/20 [1–1]
Selected individual and group projects of an ad-
vanced level, covering areas such as concert
performance, recording, radio/TV broadcast,
composition, and career promotion. May be re-
peated for credit. Prerequisite: By audition only.
APC 594, 595 Special Topics in Performance
[1–4, 1–4] Selected topics in performance tech-
niques, varying yearly with needs of curriculum
and availability of particular faculty. Credit de-
termined by scope and nature of work
required.
ISC 500-501 Instrumental Studio Class [0–0]
An extension of and requisite to individual
studio lessons. A laboratory environment for
students to practice and demonstrate those skills
developed in lessons. Students perform for
each other, work in small groups, and engage
in common activities beneficial to a particular
homogeneous instrumental grouping.
Liturgical Music
For Undergraduate Students
CHU 112-113 Organ Performance Class
[.5-.5] Performance observation, critical analy-
sis, registration problems, performance practic-
es, and general musicianship. One hour weekly.
May be repeated for additional credit.
CHU 312 Church-Service Playing [2] The
standard service music of various churches and
its proper performance. Special emphasis given
Liturgical Music / Composition / 433
to hymns, their history, their suitability for wor-
ship and performance. Two hours weekly. Pre-
requisite: Permission of instructor.
CHU 313 Church-Service Playing [2]
Choral conducting from the console, rehearsal
procedure, interpretation of standard anthems
and oratorios. Research and study. Two hours
weekly. Prerequisite: CON 314 or permission of
instructor.
CHU 314 Liturgies [2] The historical devel-
opment of liturgies and a study of their music.
The function of music in worship; practical
analysis of the church musician. Two hours
weekly.
CHU 390, 391 Special Topics in Liturgical
Music [2–3, 2–3] Selected topics in liturgical
music, varying yearly with needs of curriculum
and availability of particular faculty.
CHU 415 Foundations of Organ Perfor-
mance [2] An introductory course to gain the
technical and musical skills of organ playing.
Pedal technique, registration, articulation, and
touch are emphasized. Two hours weekly. May
be repeated for credit once. Prerequisite: Major-
level (1) piano skills.
CHU 460 Organ Literature [2] A historic sur-
vey of organ literature with attention given to
works suitable for recital and church service.
Works for organ and instruments. Survey of
editions and publishers. Two hours weekly.
CHU 470 History and Design of the Organ
[2] An approach to contemporary organ design
based on the study of the great historical
schools of organ building. Emphasis given to
the function of the organ in relation to organ lit-
erature. Discussion of the proper registration of
the various schools of organ composition in re-
lation to contemporary organ design. Two hours
weekly.
Composition
For Undergraduate Students
COM 110-111 First Course Composition
[3-3]*
COM 210-211 Second Course Composition
[3-3]*
COM 310-311 Third Course Composition
[3-3]*
COM 410-411 Fourth Course Composition
[3-3]*
COM 320 Compositional Techniques [3] In-
depth study of compositional techniques, pri-
marily for composers and theorists. Emphasis
on writing and drill instead of analysis, giving
the student a foundation in most technical
aspects of composition. Course includes some
discussion of aesthetics issues and music’s
relation to the other arts. Three hours weekly.
Prerequisite: TH 211. Usually offered alternate
years.
COM 340 Orchestration [3] The study of
acoustic instruments, their techniques and roles
in the symphony orchestra. Exercises in arrang-
ing music for orchestra and study of works from
the standard orchestral repertoire. Prerequisite:
TH 112.
COM 390, 391 Special Topics in Composition
[1–3] Selected topics in composition, varying
yearly with needs of curriculum and availability
of particular faculty. Credits determined by
scope and nature of work required.
COM 420, 421 Directed Studies in Composi-
tion [3–3] Special projects assigned on an indi-
vidual basis. May be repeated for additional
credit.
COM 461 Music Technology I [3] Introduc-
tion to traditional and contemporary music no-
tation through the use of Finale. Course work
includes the clear notation and copying of ex-
cerpts from the published literature as well as
student-composed works. Simple, single-line
melodies; chamber, choral, percussion, full or-
chestral, or band scores; as well as the creation
of MIDI demonstration recordings and extrac-
tion and preparation of parts are covered in
depth. Extensive use of computer workstations
by students. Laboratory fee.
COM 462 Music Technology II [3] Introduc-
tion to MIDI theory, sequencing, and digital au-
dio through the use of Logic and a variety of
software synthesizers and signal-processor
plug-ins. Special emphasis on the composition
of a variety of pieces in varied styles through
the use of the available technology. Class lec-
tures, demonstrations, and extensive laboratory
work in the electronic music studio. Laboratory
fee.
COM 463 Music Technology III [3] Directed
independent composition or research projects
utilizing the facilities of the music technology
studios. Prerequisite: COM 462 or permission
of instructor. Laboratory fee.
*These courses develop the student’s ability and technique in
musical composition and explore concepts of musical lan-
guage and rhythm. For COM 210-411, a weekly individual
lesson is taken with a faculty composer. Courses are open to
non–music majors by permission of the department chair.
434 / The Hartt School
COM 466 Introduction to Computer Music
[3] Introduction to fundamentals of digital syn-
thesis, sound editing, sampling, and aesthetic is-
sues of electronic and computer-aided music
composition. Topics include construction of
timbres using sampling, editing, signal pro-
cessing, various kinds of synthesis, and interac-
tive composition. Includes introduction to
ProTools, Metasynth, Unity Session, and other
computer applications. Prerequisite: COM 461
or 462, or permission of instructor. Laboratory
fee.
COM 468 Scoring for Film, TV, and Video
[3] This course is for composers who are inter-
ested in writing music for film and video. Stu-
dents study the technical aspects of film
scoring, including synchronization, SMPTE
code, click tracks, stopwatch and free timing,
spotting procedures, orchestration, and music
software. The aesthetics of film music are stud-
ied, and major film scores, past and present, are
analyzed. In addition, there is an exploration of
the business aspects of film scoring. Prerequi-
site: COM 462 or permission of instructor.
COM 470, 471 Composers’ Seminar [0, 0] A
forum for students to discuss issues related to
their compositional activities. Topics include
new compositions and contemporary compos-
ers, the role of the composer in contemporary
society, issues of aesthetics and style, and the
workings of professional organizations that
support composers (e.g., universities, founda-
tions, performing organizations, licensing or-
ganizations, etc.). Students have the opportunity
to speak with professional composers who will
be guests. Composition majors (except doctoral
students) are required to enroll every semester.
For Undergraduate and Graduate Students
COM 472, 473 Composers’ Ensemble [.5, .5]
This ensemble is required for junior and senior
composition majors who are not enrolled in any
other ensemble. It is also open to other students
with permission of the instructor. Students re-
hearse existing repertoire as well as new pieces
composed by members of the ensemble. Stu-
dents plan, rehearse, and present one public
presentation per semester.
COM 510 Scoring for Wind Ensembles [3]
Students learn effective scoring techniques for
large ensembles of wind and percussion instru-
ments, known variously as wind ensembles,
wind symphonies, concert bands, and symphon-
ic bands. Essential to the course is intensive
score study of the wind band literature of the
past hundred years. Students gain experi-
ence and skill through directed scoring assign-
ments. Prerequisite: COM 340 or TH 245.
COM 580, 581 Independent Study in Compo-
sition [1–3] An independent study project con-
ducted under the direction of an assigned
faculty member. Credit determined by scope
and nature of project.
COM 590, 591 Special Topics in Composition
[1–3] Selected topics in composition, varying
yearly with needs of curriculum and availability
of particular faculty. Credit determined by
scope and nature of work required.
Conducting
For Undergraduate Students
CON 314 Conducting Fundamentals [2] Gen-
eral introduction to the history and art of con-
ducting. Consideration of fundamental factors
in the reading of choral and orchestral scores.
Basic patterns for different time signatures,
problems of agogics and dynamics, changes of
rhythm and tempo. Two hours weekly. Prereq-
uisite: TH 111.
CON 315 Choral Conducting [2] Choral
conducting techniques, score analysis and
interpretation, aural listening skills, rehearsal
techniques, and choral literature and materials.
Prerequisites: CON 314, TH 111-112, and
TH 210-211; or equivalent. Offered in spring
semester.
CON 316 Instrumental Conducting [2] In-
strumental conducting techniques, instrumenta-
tion, score analysis and interpretation, rehearsal
techniques, and instrumental literature and
materials. Prerequisites: CON 314, TH 111-112,
and TH 210-211; or equivalent. Offered in
spring semester.
CON 390, 391 Special Topics in Conducting
[1–3] Selected topics in conducting, varying
yearly with needs of curriculum and availability
of particular faculty. Credit determined by
scope and nature of work required.
CON 480, 481 Independent Study in Con-
ducting [1–3] Special projects assigned on an
individual basis. Credit determined by the scope
of the project. Prerequisites: CON 314, 315, and
316; or equivalent.
For Undergraduate and Graduate Students
CON 512, 513 Special Studies in Conducting
[1–3] Special projects assigned on an individual
basis. Credit determined by scope and nature of
work required. May be repeated for additional
credit. Prerequisites: CON 314, 315, and 316; or
equivalent.
436 / The Hartt School
Dance
For Music Theatre Majors
HTD 110-111 Ballet I [1-1] Basic ballet
movement, technique, vocabulary, musicality,
and style are developed through this course.
Class includes movement work at the barre,
center floor, traveling, and traveling combina-
tions, in adagio and allegro tempi. This course
also includes body conditioning with an empha-
sis on placement and posture. A studio format is
used. Prerequisites: Acceptance to the Hartt
School Theatre Division, Music Theatre pro-
gram.
HTD 112-113 Tap I [.5-.5] This course ex-
plores basic tap dance movement and vocabu-
lary with emphasis on technique, rhythm, style,
and musicality. Class consists of a warm-up,
center work, traveling movement, and move-
ment combinations. A studio format is used.
Prerequisites: Music theatre major and HTD
110-111, or permission of instructor.
HTD 114-115 Jazz I [.5-.5] This course
explores the fundamentals of jazz dance
movement on the beginning level, while incor-
porating ballet and contemporary dance tech-
niques. Various styles of character, social, and
ethnic dance are explored. Class consists of a
standing warm-up, floor warm-up, stretching,
center work, traveling, and traveling combina-
tions. Emphasis is on full-body conditioning.
A studio format is used. Prerequisites: Music
theatre major and HTD 110-111, or permission
of instructor.
HTD 210-211 Ballet II [1-1] Intermediate
ballet movement, technique, vocabulary, and
musicality are developed through this course.
Class includes movement work at the barre,
stretching, center floor, traveling, and traveling
combinations. Work is explored in different
tempos and styles. This course includes body
conditioning with an emphasis on placement
and the basic fundamentals of ballet technique.
A studio format is used. Prerequisites: Music
theatre major and HTD 110-111, or permission
of instructor.
HTD 212-213 Tap II [.5-.5] This course ex-
plores movement, style, and vocabulary of tap
dance on the intermediate level. Technique is
studied, emphasizing rhythm, style, and musi-
cality. Class consists of a warm-up, center
work, traveling movement, and movement
combinations. A studio format is used. Prereq-
uisites: Music theatre major and HTD 112-113,
or permission of instructor.
HTD 214-215 Jazz II [.5-.5] This course ex-
plores contemporary dance styles with an em-
phasis on musical-theatre, social, and ethnic
dance forms on the intermediate level, using
ballet and other movement techniques. Class
consists of a standing warm-up, floor warm-up,
stretching, center work, traveling, and traveling
combinations. There is also an emphasis on full-
body conditioning. A studio format is used. Pre-
requisites: Music theatre major and HTD 114-
115, or permission of instructor.
HTD 310-311 Ballet III [1-1] The study of
classical ballet taught at the high-intermediate
level. Movement vocabulary includes complete
barre and center exercises with emphasis on re-
fining coordination, building technical strength,
and improving artistic presentation. Prerequi-
sites: HTD 210-211 and audition, or permission
of instructor.
HTD 312-313 Tap III [.5-.5] This course
explores movement, style, and vocabulary of
tap dance on the advanced level. Technique is
studied, emphasizing rhythm, musicality, style,
and performance quality. Class consists of a
warm-up, center work, traveling, and traveling
combination. A studio format is used. Prerequi-
sites: Music theatre major and HTD 212-213, or
permission of instructor.
HTD 314-315 Jazz III [.5-.5] This course
explores musical-theatre jazz on the advanced
level, with an emphasis on musical-theatre, so-
cial, and ethnic dance forms, using contempo-
rary dance techniques. Class consists of a
standing warm-up, floor warm-up, stretching,
center work, traveling, and traveling combina-
tions. There is also emphasis on full-body con-
ditioning and advanced coordination skills. A
studio format is used. Prerequisites: Music thea-
tre major and HTD 214-215, or permission of
instructor.
Diction
For Undergraduate Students
DIC 110 IPA/English Diction [.5] An intro-
duction to the International Phonetic Alphabet
(IPA) and its application in pronunciation, as
well as conversion of the letters of a word into
the proper vocal sounds, with emphasis on sing-
ing in English. Two hours weekly.
DIC 111 Italian Diction [.5] Application of the
International Phonetic Alphabet in pronuncia-
tion, as well as conversion of the letters of a
word into proper vocal sounds, with emphasis
on singing in Italian. Prerequisite: DIC 110 or
permission of instructor. Two hours weekly.
Dance / Diction / 435
DIC 210 German Diction I [.5] Application of
the International Phonetic Alphabet in pronun-
ciation, as well as conversion of the letters of a
word into the proper vocal sounds, with empha-
sis on singing in German. Two hours weekly.
DIC 310 French Diction I [.5] Application of
the International Phonetic Alphabet in pronun-
ciation, as well as conversion of the letters of a
word into proper vocal sounds, with emphasis
on singing in French. Two hours weekly.
DIC 410 Comparative Diction for Singers [1]
Through the use of the International Phonetic
Alphabet, students will compare and contrast
the phonetic systems of the most frequently
sung languages, including, but not limited to,
English, Italian, German, and French. Two
hours weekly. Prerequisite: DIC 310.
Fine Arts in Dance
DFA 120-121 Classical Ballet I [2-2] The first
and second semester, at the beginning level, of
an eight-semester sequence of graded training in
classical ballet technique. Prerequisite for DFA
120: Audition or permission of instructor. Pre-
requisite for DFA 121: DFA 120 or permission
of instructor.
DFA 124-125 Martha Graham Technique I
[1-1] The first and second semester, at the
fundamental level, of an eight-semester se-
quence of graded training in the Martha Graham
technique. Prerequisite for DFA 124: Audition
or permission of instructor. Prerequisite for
DFA 125: DFA 124 or permission of instructor.
DFA 126-127 Contemporary Dance Forms I
[1-1] Introductory-level training in modern
dance forms in varying techniques (Cunning-
ham, jazz, limon, tap, and world dance forms).
Prerequisite for DFA 126: Audition or permis-
sion of instructor. Prerequisite for DFA 127:
DFA 126 or permission of instructor.
DFA 130 Ballet Pedagogy I [2] The study of
a syllabus for dance teaching. Structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Study of
Labanotation and ballet vocabulary in a connec-
tive manner. Covers materials in preparation for
preprofessional study.
DFA 131 Ballet Pedagogy II [2] The study of a
syllabus for dance teaching. Structuring the bal-
let lesson. Study of correct technical execution
of classical ballet vocabulary. Study of
Labanotation and ballet vocabulary in a connec-
tive manner. Continued development of exercis-
es and topics begun in Level I. Introduction of
more of the ballet vocabulary and its progres-
sion from previous material. Beginning of sepa-
rate work for male dancers and pointe work for
females. Prerequisite: DFA 130 or permission
of instructor.
DFA 132-133 Pointe I [1-1] The first and se-
cond semester, at the beginning level, of an
eight-semester sequence of graded training in
classical ballet pointe technique. Prerequisite for
DFA 132: Audition or permission of instructor.
Prerequisite for DFA 133: DFA 132 or permis-
sion of instructor.
DFA 134 Pilates I [1] This non-apparatus mat
course is an introduction to the Pilates method
of body conditioning utilizing the six principles
formulated by Polestar® Pilates Education.
These principles consist of breathing, core con-
trol, efficiency of movement, spine articulation,
alignment of the extremities, and movement in-
tegration techniques.
DFA 140 Movement Fundamentals I [3]
Introductory and continued movement obser-
vation and analysis as applied to dance teaching
and performing. Based on the work of Rudolph
Laban, course work includes relaxation skills,
warm-up techniques, body mechanics, introduc-
tion to and additional study of effort/ shape.
DFA 150 Improvisation I [1] Exploration of
the basic elements of dance to develop the stu-
dents’ awareness of their own creative potential
and their ability to relate to others through
movement. Problem solving through movement.
Introduction to contact improvisation. Prerequi-
site: Audition or permission of instructor.
DFA 160-161 Repertory/Performance I [1-1]
Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 160: Audition or permis-
sion of instructor. Prerequisite for DFA 161:
DFA 160 or permission of instructor.
DFA 162-163 Variations/Pas de Deux I [.5-.5]
Learning and performing solo works and pas de
deux from the classical, romantic, and neoclas-
sical ballet literature as well as from varying
modern forms. Study of style, content, and for-
mat of modern and classical roles and ballets,
Fine Arts in Dance / 437
and the historical context of their development.
Study and development of rehearsal skills and
techniques, including the roles of the ballet
master and others involved in the process of
preparing concert dance for the stage. The ex-
ploration and execution of partnering tech-
niques. Prerequisite for DFA 162: Audition or
permission of instructor. Prerequisite for DFA
163: DFA 162 or permission of instructor. DFA
166-167 Production Practicum I [.5-.5] DFA
266-267 Production Practicum II [.5-.5]
Practical experience in major areas of dance
production: administration, marketing and
publicity, costume and/or lighting design and
execution, stage management/crew, audition/
rehearsal assistant. Students select areas of con-
centration in support of department or profes-
sional productions. Four semesters are required
of dance majors.
DFA 168, 169 Dance Ensemble I [1, 1]
DFA 268, 269 Dance Ensemble II [1, 1]
DFA 368, 369 Dance Ensemble III [1, 1]
DFA 468, 469 Dance Ensemble IV [1, 1]
The concert dance company of the Dance de-
partment, open to all dance majors by audition
only. Prepares new and reconstructed ballet and
modern dance works for performance; tours en-
tertainment and educational programs to schools
and community organizations. Prerequisite for
all: Audition.
DFA 170 Dance History I [3] The study of
the development of dance from its earliest times
to the 19th century. Prerequisite: DFA 131 or
DFA 010, or permission of instructor.
DFA 171 Dance History II [3] The study of the
development of dance in the 20th century. Pre-
requisite: DFA 170 or DFA 010, or permission
of instructor.
DFA 220-221 Classic Ballet II [2-2] The third
and fourth semesters of an eight-semester se-
quence of graded training in classical ballet
technique. Syllabus is taught at the low-inter-
mediate level. Prerequisite for DFA 220:
DFA 121 or permission of instructor. Prerequi-
site for DFA 221: DFA 220 or permission of
instructor.
DFA 224-225 Martha Graham Technique II
[1-1] The third and fourth semesters of an eight-
semester sequence of graded training in the
Martha Graham technique. Students work at
the elementary level of proficiency. Prerequisite
for DFA 224: DFA 125 or permission of
instructor. Prerequisite for DFA 225: DFA 224
or permission of instructor.
DFA 226-227 Contemporary Dance Forms II
[1-1] Intermediate-level training in modern
dance forms in varying techniques (Cunning-
ham, jazz, limon, tap, and world dance forms).
Prerequisite for DFA 226: DFA 127 or permis-
sion of instructor. Prerequisite for DFA 227:
DFA 226 or permission of instructor.
DFA 230 Ballet Pedagogy III [2] The study of
a syllabus for dance teaching and structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Continued
development of exercises and topics presented
in Level II. Completion of the introduction of
the ballet vocabulary and its progression from
previous material through the low-intermediate
level. Expansion of men’s work and pointe
work. Prerequisite: DFA 131 or permission of
instructor.
DFA 231 Ballet Pedagogy IV [2] The study of
a syllabus for dance teaching and structuring the
ballet lesson. Study of correct technical execu-
tion of classical ballet vocabulary. Continued
development of exercises and topics presented
in Level III. Completion of the ballet vocabu-
lary through the intermediate level. Emphasis is
on development of large or multiple movements
in leaps, jumps, and turns. Further development
of men’s work and pointe work. Prerequisite:
DFA 230 or permission of instructor.
DFA 232-233 Pointe II [1-1] The third and
fourth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the low-
intermediate level. Prerequisite for DFA 232:
DFA 133 or permission of instructor. Prerequi-
site for DFA 233: DFA 232 or permission of
instructor.
DFA 240 Dance Pedagogy I [2] A study of the
teaching/learning process as it applies to dance.
This is where students begin to develop funda-
mental teaching skills. Prerequisite: DFA 130 or
permission of instructor.
DFA 250 Elements of Composition [2] A
study of the basic elements of composition and
choreographic process. Problem solving to gain
skill with creating movement phrases and stud-
ies. Development of a working vocabulary with
which to create and analyze dance. Prerequisite:
DFA 150 or permission of instructor.
438 / The Hartt School
DFA 260-261 Repertory/Performance II [1-1]
Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 260: DFA 161 or permis-
sion of instructor. Prerequisite for DFA 261:
DFA 260 or permission of instructor.
DFA 262-263 Variations/Pas de Deux II [.5-
.5] Learning and performing solo works and pas
de deux from the classical, romantic, and neo-
classical ballet literature as well as from varying
modern forms. Study of style, content, and for-
mat of modern and classical roles and ballets,
and the historical context of their development.
Study and development of rehearsal skills and
techniques, including the roles of the ballet
master and others involved in the process
of preparing concert dance for the stage. The
exploration and execution of partnering tech-
niques. Prerequisite for DFA 262: DFA 163
or permission of instructor. Prerequisite for
DFA 263: DFA 262 or permission of instructor.
DFA 270-271 Dance Kinesiology I-II [3-3]
The study of the dancer’s instrument—
the human body. Structural, biomechanical,
and neuromuscular analysis of body systems.
Understanding the physical variables involved
in dance in order to allow more efficient and
effective training, performance, and injury
prevention. Prerequisite for DFA 271: DFA 270
or permission of instructor.
DFA 272 Musicianship for Dancers [2] Ex-
ploration of the relationship of music and dance.
The elements of music reinforced from a dance
perspective. The elements of dance examined in
the context of music theory. Communication
and collaboration of musicians and dancers. Ex-
panded consideration of musicality in the work
of the dancer and dance teacher. Prerequisite:
Permission of instructor.
DFA 320-321 Classical Ballet III [2-2] The
fifth and sixth semesters of an eight-semester
sequence of graded training in classical ballet
technique. Syllabus is taught at the high-
intermediate level. Prerequisite for DFA 320:
DFA 221 or permission of instructor. Prerequi-
site for DFA 321: DFA 320 or permission of
instructor.
DFA 322-323 Intermediate Ballet [2-2] The
study of classical ballet technique at the inter-
mediate level for majors in children’s dance.
Prerequisite for DFA 322: DFA 223 or permis-
sion of instructor. Prerequisite for DFA 323:
DFA 322 or permission of instructor.
DFA 324-325 Martha Graham Technique III
[1-1] The fifth and sixth semesters of an eight-
semester sequence of graded training in the
Martha Graham technique. Students will work
at the intermediate level of proficiency. Prereq-
uisite for DFA 324: DFA 225 or permission of
instructor. Prerequisite for DFA 325: DFA 324
or permission of instructor.
DFA 326-327 Contemporary Dance Forms II
[1-1] Advanced-level training in modern dance
forms in varying techniques (Cunningham,
jazz, limon, tap, and world dance forms).
Prerequisite for DFA 326: DFA 227 or permis-
sion of instructor. Prerequisite for DFA 327:
DFA 326 or permission of instructor.
DFA 331 Methods for Pre-ballet [2] Methods
and materials for teaching dance to the pre-
ballet student, ages 3 to 7. Creative approaches,
incorporating Labanotation motif writing, to in-
troduce appropriate movement activities. Pre-
requisite: DFA 231 or permission of instructor.
DFA 332-333 Pointe III [1-1] The fifth and
sixth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the high-
intermediate level. Prerequisite for DFA 332:
DFA 233 or permission of instructor. Prerequi-
site for DFA 333: DFA 332 or permission of
instructor.
DFA 340 Dance Pedagogy II [2] A laboratory
course providing practical experience working
with students of various ages. Material present-
ed in DFA 240 and EDP 132 is integrated into
the dance classroom. Prerequisites: DFA 240
and EDP 132, or permission of instructor.
DFA 350 Process of Composition [2] The ex-
ploration of a variety of processes and further
development of the basic tools of composition
with the goal of completing finished, rehearsed
products. A study of the spatial and dynamic
characteristics of solos and ensemble pieces.
Development of personal style. Prerequisite:
DFA 250 or permission of instructor.
Fine Arts in Dance / 439
DFA 360-361 Repertory/Performance III [1-
1] Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 360: DFA 261 or permis-
sion of instructor. Prerequisite for DFA 361:
DFA 360 or permission of instructor.
DFA 362-363 Variations in Pas de Deux III
[.5-.5] Learning and performing solo works and
pas de deux from the classical, romantic, and
neoclassical ballet literature as well as from
varying modern forms. Study of style, content,
and format of modern and classical roles
and ballets, and the historical context of their
development. Study and development of re-
hearsal skills and techniques, including the roles
of the ballet master and others involved
in the process of preparing concert dance for
the stage. The exploration and execution
of partnering techniques. Prerequisite for
DFA 362: DFA 263 or permission of instructor.
Prerequisite for DFA 363: DFA 362 or permis-
sion of instructor.
DFA 371 Technology in Dance [3] A laborato-
ry course providing practical experience for stu-
dents to gain an understanding of technological
applications for dance, through acquired com-
puter skills designed to enhance their education-
al experience, video-audio recording and
editing, graphics, and Web design. Students use
the same skills to enhance their knowledge of
dance, dance education, and technologies in the
dance profession. Laboratory fee.
DFA 372 Music in the Ballet Studio [1]
Course instruction includes exploration of the
relationship between movement and music in
the ballet class. Musicians and dance teaching
students have opportunities to improve their
ability to communicate and work together
through a series of practical exercises. Prerequi-
sites: TH 130 and HLM 100, or permission of
instructor.
DFA 384, 385 Student Internship [1, 1] Prac-
tice teaching in various community programs.
Prerequisites for DFA 384: DFA 340 and DFA
231, or permission of internship supervisor. Pre-
requisite for DFA 385: DFA 384 or permission
of internship supervisor.
DFA 420-421 Classical Ballet IV [2-2] The
seventh and eighth semester of an eight-
semester sequence of graded training in classi-
cal ballet technique. Syllabus is taught at the
high-intermediate level. Prerequisite for DFA
420: DFA 321 or permission of instructor. Pre-
requisite for DFA 421: DFA 420 or permission
of instructor.
DFA 424-425 Martha Graham Technique III
[1-1] The seventh and eighth semesters of an
eight-semester sequence of graded training in
the Martha Graham technique. Students work at
the advanced level of proficiency. Prerequisite
for DFA 424: DFA 325 or permission of
instructor. Prerequisite for DFA 425: DFA 424
or permission of instructor.
DFA 426-427 Contemporary Dance Forms
IV [1-1] Continued study of various modern
dance forms at the advanced and preprofession-
al levels. Prerequisite for DFA 426: DFA 327 or
permission of instructor. Prerequisite for DFA
427: DFA 426 or permission of instructor.
DFA 432-433 Pointe IV [1-1] The seventh and
eighth semesters of an eight-semester sequence
of graded training in classical ballet pointe
technique. Syllabus is taught at the advanced
level. Prerequisite for DFA 432: DFA 333 or
permission of instructor. Prerequisite for
DFA 433: DFA 432 or permission of instructor.
DFA 440 Issues in Pedagogy [1] Dance teach-
ing majors learn skills and strategies for
improving students’ abilities to learn, watch,
and perform dance. Techniques such as mental
imagery and coaching are used to address emo-
tional issues, performance issues, and learning
styles. Prerequisites: DFA 240, DFA 340, and
EDP 132; or permission of instructor.
DFA 450 Problems in Composition [2] An in-
dependent choreography project supervised by
faculty and culminating in a finished perfor-
mance piece. Emphasis on the orchestration of
all elements of a concert dance, including mu-
sic, costumes, and lighting. Strategies for doc-
umenting movement and organizing performers
and rehearsals. Prerequisite: DFA 350 or per-
mission of instructor.
DFA 460-461 Repertory/Performance IV [1-
1] Learning and performing contemporary and
classical dance works; and classical, romantic,
and neoclassical ballet literature. Study and de-
velopment of rehearsal skills and techniques,
including the roles of choreographer, ballet
440 / The Hartt School
master, and others involved in the process of
preparing concert dance for the stage. Assess-
ment of student performance in the following
areas: technical merit, conduct and deportment
in theatre, growth in performance qualities, and
effort and improvement in all of these areas.
Prerequisite for DFA 460: DFA 361 or permis-
sion of instructor. Prerequisite for DFA 461:
DFA 460 or permission of instructor.
DFA 462-463 Variations/Pas de Deux IV [.5-
.5] Learning and performing solo works and pas
de deux from the classical, romantic, and neo-
classical ballet literature as well as from varying
modern forms. Study of style, content, and
format of modern and classical roles and
ballets, and the historical context of their devel-
opment. Study and development of rehearsal
skills and techniques, including the roles of the
ballet master and others involved in the process
of preparing concert dance for the stage. The
exploration and execution of partnering tech-
niques. Prerequisite for DFA 462: DFA 363
or permission of instructor. Prerequisite for
DFA 463: DFA 462 or permission of instructor.
DFA 470 Dance Administration [1] Overview
of the non-dance aspects of management of
the private dance studio or school. Seminar
topics include financial planning, marketing,
public relations, community involvement,
recruitment, and admissions. Prerequisite: Per-
mission of instructor.
DFA 474 Dance Production [2] An introduc-
tion to the major areas of technical production
for dance: costume and set construction, materi-
als, lighting, and stage design. Basic technical
literacy and communication skills to enable
effective production communication. Prerequi-
site: Permission of instructor.
DFA 480, 481 Independent Study in Dance
[1–3, 1–3] An independent study project con-
ducted under the direction of an assigned facul-
ty member. Credit determined by scope and
nature of project. Prerequisite: Permission of
chair and faculty.
DFA 484, 485 Student Internship [2, 2] Prac-
tice teaching in various community programs.
Student intern is assigned his/her own class
for the semester to plan, develop, and teach un-
der the supervision of the intern’s assigned
mentor/teacher. Additional responsibility is
assumed for determining the direction of the
development of class material. Prerequisite for
DFA 484: DFA 385 or permission of instructor.
Prerequisite for DFA 485: DFA 484 or permis-
sion of instructor.
DFA 190, 191, 290, 291, 390, 391, 490, 491
[1–3] Selected topics in dance, varying yearly
with the needs of the curriculum and availability
of particular faculty. Credit is determined by the
scope and nature of the topic. Prerequisite:
Permission of instructor.
Vocal Performance
For Undergraduate Students
DRM 120-121 Acting for Singers I [1-1] This
is a yearlong course that examines beginning
acting techniques through the exploration of
Meisner- and Stanislavski-based exercises and
readings. There is an emphasis on movement
training, which encompasses some techniques
of Balinese dance, and an introduction to Anne
Bogart’s Viewpoints. The lessons are then ap-
plied to contemporary American scene work.
Two hours weekly.
DRM 220-221 Acting for Singers II-III [1-1]
This is a yearlong course that builds on and con-
tinues to examine the acting techniques of
Meisner and Stanislavsky. Exercises move to
encompass formal, nonrealistic approaches to
performance. There is a strong emphasis on
Anne Bogart’s Viewpoints and the theatre of
Robert Wilson. Lessons in text analysis begin
and are applied to contemporary scene work.
Two hours weekly. Voice majors only. Prereq-
uisites: DRM 120-121.
DRM 320-321 Acting for Singers IV-V [1-1]
This is a yearlong course that builds on the
work of DRM 220-221, with an emphasis on
period movement and proper text analysis. The
lessons are applied to classical scene work and
monologues (e.g., restoration comedies, Shake-
speare, Molière, Ibsen, Chekov, Strindberg).
Two hours weekly. Voice majors only. Prereq-
uisites: DRM 120-121 and 220-221.
OPR 160 Opera Stagecraft I [1] In this begin-
ning course, students develop a basic under-
standing of stagecraft, theatrical makeup,
costume application, and stage terminology.
Students function as crew and other support
staff for both the junior/senior and graduate
blackbox performances. Various skills that are
taught in successive semesters, such as theatre
games, body movement, character research, and
audition techniques, are introduced at this time.
Laboratory format.
OPR 161 Opera Stagecraft II [1] This course
expands upon the content of APR 160. Students
function as crew for the mainstage production.
The practical application of skills such as thea-
ter games, body movement, character research,
442 / The Hartt School
and audition techniques is continued. Laborato-
ry format. Prerequisite: OPR 160 or permission
of instructor.
OPR 260 Acting/Movement for Singers I [1]
This course expands upon the objectives of
OPR 160 and OPR 161 with the addition of
body movement and specific dance forms used
in opera. Monologue and scene work are intro-
duced in preparation for work in subsequent
semesters. Two and one-half hours weekly. Pre-
requisites: OPR 160 and OPR 161, or permis-
sion of the instructor.
OPR 261 Acting/Movement for Singers II [1]
This course expands upon the objectives of the
previous semester of OPR 260 with the addition
of singing while dancing, monologue, and scene
work, coupled with musical scene and aria per-
formances. Two and one-half hours weekly.
Prerequisites: OPR 160, OPR 161, and OPR
260.
OPR 360 Opera Blackbox I [1] In this inter-
mediate-level course, students use skills learned
in the OPR sequence to rehearse and present a
blackbox performance consisting of scenes cho-
sen from vocally appropriate repertoire. The
class is conducted in a laboratory format, and
the scenes are performed for students and facul-
ty of The Hartt School. Prerequisites: OPR 260-
261, or permission of the instructor.
OPR 420-421 Opera Scenes [2-2] The culimi-
nation of three years of acting, the Opera Scenes
class provides students with additional skills to
prepare a role for performance and to take stage
direction in performing scenes with others. Two
hours per week in class; individual and group
coachings as required. Prerequisites: DRM 120-
121, DRM 220-221, and DRM 320-321.
OPR 460 Opera Blackbox II [1] Students use
the skills learned in the OPR sequence to re-
hearse and present a blackbox performance
consisting of scenes chosen from vocally ap-
propriate repertoire. The class is conducted in a
laboratory format, and the final performance is
open to the public. Prerequisite: OPR 360 or
permission of instructor.
OPR 461 Opera Mainstage Performance [1]
Students use stagecraft, voca, and musical skills
to rehearse in laboratory format and present a
mainstage production with orchestra, costumes,
makeup, sets, and lighting. The piece to be per-
formed is chosen from vocally appropriate rep-
ertoire. Performances are open to the public.
The class is open to sophomores, juniors, and
seniors by audition and voice teacher approval.
This class may be repeated for credit. Prerequi-
sites: OPR 160 and OPR 161, or permission of
audition committee.
OPR 480, 481 Special Studies in Opera* [1–3,
1–3] Special projects assigned on an individual
basis. May be repeated for additional credit.
Credits determined by department chair based
on scope and depth of project.
For Undergraduate and Graduate Students
OPR 580, 581 Special Studies in Opera* [1–2,
1–2] Special projects assigned on an individual
basis. May be repeated for additional credit.
Chamber Ensembles and
Performing Organizations
All ENS, CPO, and IPO courses may be repeat-
ed for additional credit. For more complete de-
scriptions, see the section on Student
Performing Organizations.
For Undergraduate Students
ENS 400, 401 Mixed Ensemble [0–1]
ENS 402, 403 Jazz Combo Ensemble [0–1]
ENS 404, 405 Concert Jazz Ensemble [0–1]
This organization prepares music in the jazz
style, with both functional and artistic objec-
tives. Three hours weekly.
ENS 408, 409 String Ensemble [0–1]
ENS 410, 411 Woodwind Ensemble [0–1]
ENS 412, 413 Brass Ensemble [0–1]
ENS 414, 415 Percussion Ensemble [0–1]
ENS 420, 421 Collegium Musicum [0–1]
Three hours weekly.
ENS 422, 423 Guitar Ensemble [0–1]
ENS 426, 427 Contemporary Players [0–1]
Four hours weekly.
For Undergraduate and Graduate Students
ENS 518, 519 Baroque Ensemble [0–1]
ENS 530, 531 Special Studies in Ensemble [1,
3] Special ensembles assigned on an individual
basis. Credits determined by department chair
based on number of hours of ensemble playing
assigned.
ENS 540 Contemporary Music Performance
Practices [2] Study and performance of music
composed since circa 1950. Repertory, forms,
styles, notation; new instrumental techniques,
including multiphonics, range extension, new
timbral effects; improvisation.
*Students electing OPR 480-481 or 580-581 for credit in productions must be available for all rehearsals and performances.
Vocal Performance / Chamber Ensembles and Performing Organizations / 441
historical approach to the understanding of listservs, current search engines, library cata-
CPO 404, 405 Music Theatre Chorus Lab
[1, 1] Training in choral ensemble for music
theatre. Over a four-year period, choral music
from a variety of theatre composers, periods,
and styles will be covered. Principles learned in
Ear Training I and II will be developed into
practical techniques. Prerequisite: Open only to
music theatre and actor training majors.
CPO 420, 421 Choral Ensembles [0–1] Audi-
tions for placement in choral ensembles take
place during the first week of classes in the fall.
The audition consists of singing a prepared
piece, sight reading, and some musicianship
testing. Based on the audition, the educational
needs of the students, and the artistic needs of
the department, students are assigned to four
hours per week in appropriate choral ensembles.
Choral ensembles are open to all University of
Hartford students as well. The two main choral
ensembles are the Hartt Chorale and the Hartt
Choir.
IPO 400, 401 Orchestra [0–1.5] Six hours
weekly.
IPO 404, 405 Symphony Band [0–1] Three
hours weekly.
IPO 406, 407 Flute Choir [0–1] Three hours
weekly.
IPO 410, 411 Capitol Winds [0–1] Capitol
Winds is a symphonic band comprising students
from the University of Hartford as well as
members of the Greater Hartford community.
The group plays standard band literature written
by such composers as Holst, Grainger, Shosta-
kovich, and Milhaud and has premiered works
by Hartt composers. The band presents on-
campus concerts as well as special concerts in
the Hartford area. Two hours weekly.
IPO 412-413 Trombone Ensemble [0–1] An
ensemble of homogeneous instruments that
performs music composed for trombones as
well as appropriate transcriptions. Repertoire
from different periods and styles for four to
12 trombones is investigated. Students have the
opportunity to play lead, bottom, and inner
parts as well as alto and bass trombone. By
permission of instructor only.
History and Literature of Music
HLM 020 Information Literacy in the
Performing Arts [0] Introduction to searching
and evaluative techniques necessary for infor-
mation literacy. Knowledge of general reference
materials; subject-specific and primary sources;
Internet resources, including FirstSearch,
logs, and data bases. Successful completion of
course required for all undergraduate students.
HLM 100 Introduction to Music [3] Designed
primarily for students with no previous formal
training in music, to provide a foundation for in-
telligent and appreciative listening. Elements of
musical form and style, with relevant historical
background, are presented.
HLM 110/MUB 110 Music Perspectives [3]
This course provides an approach to perceptive
listening and an introduction to musical ele-
ments, form, style periods, composers’ styles,
and representative works drawn from the whole
world of music making. The goal is to stimulate
curiosity in and enrich the appreciation of what
we call a ―musical experience.‖ Laboratory fee.
HLM 111 History of Music Theatre [3]
This course is an in-depth study of the evolution
of the American musical from the late 19th
century to the present. With special focus on the
contributions of major theatre composers, lyri-
cists, and librettists, topics include European
operetta, revue, musical comedy, musical dra-
ma, political satire, the director-choreographer
―progressive‖ musical theatre, and the ―theatri-
cal pop event.‖ Prerequisite: Open to music the-
atre majors or by permission of instructor.
HLM 200/MUB 200 World Music Survey [3]
This is an introductory course to world musics
and some of the basic issues important for an
understanding of music in culture and music as
culture, including discussion of major musical
cultures throughout the world, with various lis-
tening, reading, and writing assignments. Three
hours weekly.
HLM 212 Perspectives on Music History [3]
An introductory course designed to help stu-
dents develop the skills necessary for studying
music in a variety of historical and cultural con-
texts. The course begins with the study of films
in which music figures prominently, followed
by a general overview of music of the Medieval,
Renaissance, and Baroque periods. Prerequisite:
TH 111.
HLM 213 Classicism to the Present [3] A
historical survey of Western music from the
Classical period to the present. Prerequisites:
TH 112 and HLM 212.
HLM 216 History of Popular Music in the
United States [3] This course examines the
sociological, technological, business, and musi-
cal trends of the growth and development of
popular music in the United States. It takes a
444 / The Hartt School
the composers, performers, technological inno-
vations, and sociological changes that have
affected popular music in the United States.
HLM 312 Guitar Literature I [1] Introduction
to the guitar, lute, and vihuela music of the Re-
naissance and Baroque periods. This course also
explores the stylistic problems inherent in per-
forming music from these periods. One hour
weekly.
HLM 313 Guitar Literature II [1] Overview
of the guitar literature written during the Classi-
cal, Romantic, and 20th-century periods; stylis-
tic problems inherent in performing music from
these periods. One hour weekly.
HLM 315 Guitar Tablature [1] This is an
introductory course designed to acquaint the
student with the performance, history, and nota-
tional aspects of Baroque guitar music. This is
accomplished through the transcription and
arranging of Baroque guitar music for the clas-
sical guitar. One hour weekly.
HLM 316 Medieval through Baroque [3] A
historical survey of Western music from the
Middle Ages through the 17th century. Prereq-
uisite: HLM 213 or permission of instructor.
HLM 322 Vocal Literature I [2] This course
involves a careful examination of German Lied-
er in the 19th and early 20th centuries. In sur-
veying representative works of the major Lied
composers, emphases are on the styles, forms,
and poetry that characterize this body of music.
Prerequisite: HLM 213.
HLM 323 Vocal Literature II [2] This course
involves a careful examination of French Art
Song in the 19th and early 20th centuries. In
surveying representative works of the major
French Art Song composers, emphases are on
the styles, forms, and poetry that characterize
this body of music. Prerequisite: HLM 213.
HLM 324 The Symphony [3] Historical and
analytical study of selected symphonies from
the 18th, 19th, and 20th centuries. Prerequisites:
HLM 212 and HLM 213, or equivalent.
HLM 325 Chamber Music Literature [3]
A survey of the chamber music literature in
its social context from the 18th through the
20th century. Three hours weekly. Prerequisite:
HLM 213.
HLM 430-431 Keyboard Literature [3-3] A
survey of keyboard music from the 14th century
to the present, tracing forms and styles as well
as the development of principal keyboard in-
struments and performance techniques. Some
attention is given to less common literature,
such as one- and two-piano duets. Prerequisites:
HLM 212 and HLM 213.
HLM 445/545 Tone Poem and Concert Over-
ture [3] An in-depth study of programmatic or-
chestral music of the 19th and 20th centuries.
Emphasis is placed on the genres of tone poem
and concert overture, with additional repertory
taken from related genres. Prerequisites: HLM
212 and 213, or permission of instructor.
HLM 460-461 History of Opera [3-3] A study
of the form from its forerunners to the 20th cen-
tury. Representative works are studied for musi-
cal style in the context of sociological
influences. Three hours weekly. Offered alter-
nate years.
HLM 462 History of Music in America [3]
The sacred and secular music activity in the
United States from the early colonists to 1920.
Both the cultivated and vernacular traditions.
Three hours weekly.
HLM 463 Music Literature of the 20th
Century [3] An in-depth study of 20th-century
music literature and its connection with socio-
logical and political events, aesthetic and
philosophical movements, and key works of
the related arts. Analysis of key works of music.
Three hours weekly.
HLM 466, 467 Advanced Music Literature
[1.5–3, 1.5–3] An in-depth study of the opus
and bio-bibliographic materials of a selected
major composer, such as Josquin, Bach, Mozart,
Beethoven, Wagner, or Stravinsky. May be
repeated.
HLM 468, 469 Advanced Music Literature
[3, 3] An extension of HLM 466, 467. May be
repeated. Offered alternate years.
HLM 470, 471 Seminar in Music History [3,
3] Undergraduate seminars in selected phases of
music history. Normally assigned in the third
and fourth years of the music history curricu-
lum. Maximum credits: 9.
HLM 473 Seminar in Performance Practices
[3] The investigation of unwritten performance
traditions from the Renaissance to the 20th
century. Areas of study include ornamentation,
improvisation, tempo, pitch, Besetzung, and
tone production. Grade is determined by two
research papers and class participation. Students
are encouraged to choose topics related to their
fields of specialization. Prerequisites: HLM 212
and HLM 213, or equivalent.
HLM 474 String Quartet Literature [3] This
course helps string players to develop and syn-
thesize their historical, analytical, and rehearsal
444 / The Hartt School
aural sensitivity and an appreciation of the
skills through guided sight reading of the quar-
tet literature. Stylistic problems encountered
while reading the course repertory initiate class
discussion of topics such as historical context,
notational practice, phrase structure, and articu-
lation. Individual practicing of repertoire is not
required. Open to undergraduates majoring in
violin, viola, or violoncello.
HLM 480, 481 Independent Study in Music
History [1–3] An independent study project
conducted under the direction of an assigned
faculty member. Credit determined by scope
and nature of project.
HLM 490, 491 Special Topics in Music
History [2–3, 2–3] Selected topics in music his-
tory, varying yearly with needs of curriculum
and availability of particular faculty.
For Undergraduate and Graduate Students
Theatre
HTA 110 Voice I [3] The beginning-level voice
class establishes a technique and vocabulary for
breathing, vocal placement, and the articulation
of sounds in standard American speech. Stu-
dents learn using a studio format with individual
tutorials as needed. Prerequisite: Acceptance to
Hartt School Theatre Division.
HTA 111 Voice II [3] This course is a continu-
ation of HTA 110, focusing on the expressive
use of the vocal instrument. Prerequisites: Act-
ing training major: HTA 110, 120, and 130;
music theatre major: HTA 110 and 130.
HTA 120 Movement I [3] Beginning stage
movement for the actor, including physical
awareness, flexibility, spatial awareness, body
composition, and physical characterization.
Study of the Alexander technique is introduced.
Prerequisite: Acceptance to the B.F.A. Actor
Training program.
HTA 121 Movement II [3] This course is a
continuation of the objectives of HTA 120. Pre-
requisites: HTA 110, 120, and 130.
HTA 130 Acting I [3] This beginning acting
class establishes a basic approach toward under-
standing and creating human behavior. Students
learn how to motivate action, pursue objectives,
confront obstacles, and create subtext. Through
exercises and play readings, students study
dramatic form and learn the basics of script
analysis. A studio format is used. Prerequisite:
Acceptance to Hartt School Theatre Division.
HTA 131 Acting II [3] This class continues the
objectives of HTA 130, with a shift of emphasis
placed on application of principles and tech-
niques acquired in the first semester. Particular
attention is focused on techniques of partnering
and scene study. Students are expected to
present scenes from contemporary material. A
studio format is used. Prerequisites: Actor train-
ing major: HTA 110, 120, and 130; music thea-
tre major: HTA 110 and 130.
HTA 140 Rehearsal and Performance I [1] In
this beginning course, students develop a basic
appreciation of the technical aspects surround-
ing a performance. Students in the first year of
training function as crew and other support staff
for the productions of the fourth-year students.
This includes the building of sets, locating
properties, and other duties related to the front
of the house and promotion of the productions.
Students learn to use tools and equipment as re-
quired. Students hold technical responsibilities
for at least one Hartt School presentation or
production during the semester. A laboratory
format is used.
HTA 141 Rehearsal and Performance II [1]
This course expands on the objectives of
HTA 140, with an emphasis on developing
skills in a different area of technical theatre
from HTA 140. Such areas include lighting de-
sign, property management, set design, set
building, etc. A laboratory format is used. Pre-
requisite: HTA 140.
HTA 200-201/ENG 201-202 Text Analysis I
and II [2-2] This yearlong class explores in
depth the key playwrights and plays that have
shaped the theatrical genre today. Prerequisite
for music theatre majors: Permission of
instructor.
HTA 210 Voice III [3] The goal of the course
is a free voice in a free body. The voice and
speech training begun in the first year is rein-
forced, extended, and deepened, with continued
attention to the free release of sound and the de-
velopment of power, stamina, accuracy of artic-
ulation, and sensitivity to impulse. The course
seeks to integrate the elements of vocal tech-
nique for the actor with an exploration of lan-
guage. A studio format is used. Prerequisites:
Actor training major: HTA 111, 121, and 131;
music theatre major: HTA 111 and 131.
HTA 211 Voice IV [3] This course is a contin-
uation of the objectives of HTA 210. A concen-
trated review of the essential techniques of
voice production and the International Phonetic
Alphabet (IPA) serves as a ridge to the student
into exercises that develop a deeply visceral ap-
proach to the speaking of text while expanding
Theatre / 445
structure of language. Prerequisites: Actor train-
ing major: HTA 210, 220, and 230; music thea-
tre major: HTA 210 and 230.
HTA 220 Movement III [3] Specialized activi-
ties in character types and T’ai Chi, exposure
to major trends in movement as diagnostic and
performance material, additional study of the
Alexander technique. Prerequisites: HTA 111,
121, and 131.
HTA 221 Movement IV [3] This class is a con-
tinuation of the objectives of HTA 220, with
advanced study of character types and T’ai Chi,
further exposure to major trends in movement
as diagnostic and performance material, and ad-
ditional study of the Alexander technique. Pre-
requisites: HTA 210, 220, and 230.
HTA 230 Acting III [3] Students work on
truthful moment-to-moment work, playing ob-
jectives, listening and responding, and working
from impulse. Students develop skills for text
analysis. A studio format is used. Prerequisites:
Actor training major: HTA 111, 121, and 131;
Music theatre major: HTA 111 and 131.
HTA 231 Acting IV [3] This class continues
the objectives of HTA 230 while applying the
work to character development and scenes from
contemporary material. A studio format is used.
Prerequisites: Actor training major: HTA 210,
220, and 230; music theatre major: HTA 210
and 230.
HTA 240 Rehearsal and Performance III [1]
Students use the skills learned during the first
year to rehearse and present at least two plays
chosen from the repertoire of 20th-century
American realism. The class is conducted in a
studio format, and plays are performed for
students and faculty of The Hartt School. Open
only to second-year B.F.A. in Theatre students.
Prerequisites: HTA 140 and 141.
HTA 241 Rehearsal and Performance IV [1]
Students use the skills learned during the first
year to rehearse and present a play chosen from
the repertoire of early modern drama. The class
is conducted in a studio format, and plays are
performed for students and faculty of The Hartt
School. Prerequisite: HTA 240.
HTA 300/ENG 301 The Shakespearean Con-
text [3] The course provides an overview of the
language, poetics, and cultural context of 16th-
and 17th-century English literature, with special
emphasis on theatre, particularly Shakespeare.
Prerequisite: Actor training major.
HTA 305 Study in England [6] Prerequisites:
HTA 310, 320, and 330.
HTA 310 Voice V [3] Concentration is on the
delivery of classical material, with a focus on
heightened language. The works of William
Shakespeare are included. The course includes
the study of American Southern, Brooklynese
and various European accents. A studio format
is used. Prerequisites: HTA 211, 221, and 231.
HTA 320 Movement V [3] Training in period
movement styles: manners, mores, dance forms
in movement; training in stage violence/combat.
Prerequisites: HTA 211, 221, and 231.
HTA 321 Movement VI [3] This class is a con-
tinuation of the objectives of HTA 320, with
more advanced training in period movement
styles: manners, mores, dance forms in move-
ment; and stage violence/combat. Prerequisites:
HTA 310, 320, and 330.
HTA 325 Movement for the Music Theatre
Actor [3] This course focuses on the study of
period styles, stage combat, and Alexander
technique; and the development of personal
physical awareness. Prerequisite: Successful
completion of the second year in music theatre
program.
HTA 330 Acting V [3] This advanced acting
class introduces the student to an exploration of
the works of Shakespeare and his contemporar-
ies. The course uses the methods explored in the
preceding four acting courses as a springboard
to acting in verse and period language. A studio
format is used. Prerequisites: Actor training
major: HTA 211, 221, and 231; music theatre
major: HTA 211 and 231.
HTA 331 Acting VI [3] Students concentrate
on acting problems presented by the genre of
comedy of manners. The material covers both
high and low comedy and spans various centu-
ries in theatre history. Students work on scene
study and presentation of material from the
leading playwrights in this style, typically Mo-
lière, Sheridan, Wilde, and Shaw. A studio for-
mat is used. Prerequisites: Actor training major:
HTA 305, 310, 320, and 330; music theatre ma-
jor: HTA 330.
HTA 360 Projects I [3] This class teaches stu-
dents how to coordinate a presentation showing
work done in all major acting areas: voice,
movement, and acting. Instruction includes the
selection of scenes, the selection and consisten-
cy of a theme, and a determination of the best
scenes, given each student’s strengths and
weaknesses as an actor. Students are required to
present their work in class. Open only to third-
year B.F.A. in theatre students.
446 / The Hartt School
HTA 361 Projects II [3] This course helps stu-
dents develop a sensitivity to a playwright’s in-
tentions through interaction with playwrights.
This interaction helps students become aware of
the creative process of writing a play. Students
perform a new play under the guidance of the
author and a director of the author’s choice.
Open only to third-year B.F.A. in theatre stu-
dents. Prerequisite: HTA 360.
HTA 400/ENG 401 Shakespeare in Text and
Performance [3] The course focuses on a de-
tailed reading of one or two of Shakespeare’s
plays, normally those to be presented by the
senior actor training students during the spring
semester. Additional readings in Shakespeare
and in the work of other writers of the age
will set these plays in context. Emphasis falls
on moving Shakespeare’s text from writing to
speaking and on exploring how the written text
relates to dramatic performance. Prerequisite
for actor training major: HTA 300. Prerequisite
for music theatre major: Permission of instruc-
tor.
HTA 410-411 Voice VII-VIII [2-2] These
courses take the student into an extensive study
of the accents and dialects most often used on
the English-speaking stage. The course begins
with a review of the International Phonetic
Alphabet (IPA), introduces different options for
achieving accents, introduces accent analysis
systems, and culminates with a comprehensive
study of the accents of the British Isles (typical-
ly, Standard British, Irish, Cockney, and West
Country). During the spring semester students
continue the work of Voice VII. In addition, the
course explores Scottish and Welsh and intro-
duces a variety of international accents (typical-
ly, Italian, French, German, and Russian).
Prerequisites: HTA 305, 310, and 321.
HTA 412 Acting for the Camera [4] Instruc-
tion and practical experience in performing for
the camera. Class stresses process and terms
used in television and film production from the
standpoint of the performer. Regular on-camera
experience enables students to study themselves
and others on the monitor in order to observe
their progress. Differences between film and
stage work are emphasized, giving the acting
student an overview of the two forms from a
production standpoint. Prerequisite: HTA 331.
HTA 430 Acting VII [3] Students work on
scenes leading into song from four or five dif-
ferent periods in musical theatre history, typi-
cally operetta, early musicals (pre-Oklahoma!),
mid-century musicals, Bernstein and Sondheim,
and currently playing musicals. A studio format
is used. Prerequisites: Music theatre major, sen-
ior standing, and HTA 331.
HTA 440 Rehearsal and Performance V [6]
The advanced class in rehearsal and perfor-
mance provides students with the opportunity to
rehearse and perform under professional cir-
cumstances following union guidelines. Teach-
ing occurs within the rehearsal context, and
special skills and problems are dealt with in
one-on-one situations with faculty coaches.
Fourth-year students have a variety of experi-
ences in blackbox and main-stage settings. A
studio format is used, and students present a
repertoire of four fully mounted plays through-
out the fall and spring semesters. These plays
are presented to the public. Open only to fourth-
year B.F.A. in theatre students.
HTA 441 Rehearsal and Performance VI [3]
The advanced class in rehearsal and perfor-
mance provides students with the opportunity to
rehearse and perform under professional cir-
cumstances following union guidelines. Teach-
ing occurs within the rehearsal context, and
special skills and problems are dealt with in
one-on-one situations with faculty coaches.
Fourth-year students have a variety of experi-
ences in blackbox and main-stage settings. A
studio format is used, and students present a
repertoire of four fully mounted plays through-
out the fall and spring semesters. These
plays are presented to the public. Prerequisite:
HTA 440.
HTA 451 Career Preparation I [3] This
course provides students with the tools needed
to market themselves as actors and manage their
careers. Specific instruction is provided in such
areas as the preparation of a résumé, the im-
portance of photographs, and audition tech-
niques, as well as the functions of managers,
agents, and casting directors. Prerequisites: Ac-
tor training major: HTA 331 and 410; music
theatre major: HTA 430.
HTA 461 Projects IV [1] The advanced Pro-
jects course focuses on the development of the
student’s ―showcase‖ for presentation during
the senior year in New York City. The show-
case is presented to an invited audience of
agents, managers, casting directors, and artistic
directors, and is developed to demonstrate the
student’s versatility of acting in a wide range of
dramatic literature. Prerequisites: Actor training
major and senior standing.
448 / The Hartt School
Music Theatre
For Undergraduate Students
HTA 490, 491 Independent Study in Theatre
[.5–3, .5–3] Advanced independent research
and/or learning in areas not covered by con-
ventional HTA, DAN, or DRM offerings. May
not be used in lieu of a conventional course.
Usually taken after having successfully com-
pleted a substantial number of courses in the
department. Requires submission of a proposal
and prior arrangement with the prospective
instructor. Prerequisite: Permission of division
director.
HTC 104-105 Music Theatre Chorus [1-1] In
this course first-year music theatre majors put
ear-training skills into practical use in the exe-