Manhattan School of Music. 2011 - 2012 Course Catalog.
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Manhattan School of Music 2011-2012 Course Catalog
Manhattan School of Music
2011-2012 Course Catalog
“Those who excel, reach for the stars”
120 Claremont Avenue
New York, New York 10027-4698
phone: 212 749 2802
fax: 212 749 5471
www.msmnyc.eduAcademic Calendar July 1 Official First Day of 2011 Fall Semester Aug 24 Check-in for New Students, Residence Hall opens Aug 28 Check-in for Returning Students Sept 5 Labor Day Holiday Sept 7 First Day of Classes for the Fall Semester Sept 7-16 Add/Drop Period Sept 19 Chamber Music Begins Sept 19-Oct 5 Withdrawal Period Oct 13-16 Friends and Family Weekend Nov 9-Dec 2 Registration (2012 Spring Semester) Nov 23-25 Thanksgiving Recess Dec 1 Admissions Applications for Auditions Due (2012-2013) Dec 9 Last Day of Fall Semester Classes Dec 12-16 Final Exam Week Dec 17 10:00 AM – Andersen Hall closes Dec 19-Jan 8 Winter Recess Jan 2 Administrative Offices Reopen Jan 8 10:00 AM Andersen Hall opens Jan 9 First Day of Classes for the Spring Semester Jan 9-13 Add/Drop Period Jan 23 Chamber Music Begins Mar 3-9 Audition Period Entrance Auditions (2012 Fall Semester) Mar 5-16 Spring Recess Mar 16 Staff and Administrative Spring Holiday Apr 4-20 Registration (2012 Fall Semester) Apr 27 Last Day of Spring Semester Classes APR 30-May 4 Jury Examination Week (no classes, rehearsals, concerts or recitals) May 7-10 Final Examination Week May 11 Spring Semester Ends, Commencement May 12 Residence Hall closes at 10:00 AM for those involved in graduation 2 Academic Calendar
Table of Contents - click to navigate
President’s Message 4 Degree Programs and Curriculum 48
The School and its Programs 5 Undergraduate
Graduate
History of the School
Performance Departments by Major 50
Resident Ensembles
Community Engagement and Arts-in-Education Accompanying 50
Academic Programs Brass 51
Precollege Division Composition 53
Summer Programs Contemporary Performance 55
Conducting 56
Board of Trustees and Administration 10 Guitar 57
Harp 59
Faculty 11
Jazz 61
Office of Admission and Financial Aid 14 Orchestral Performance 64
Organ 65
Admission Procedures Percussion 66
Scholarships and Grants Piano 68
Loans and Employment Strings 70
Financial Aid Procedures Pinchas Zukerman Performance Program 71
Annual Scholarships and Awards Voice 73
Office of the Registrar 24 Woodwinds 75
Registration Procedures Professional Studies Certificate Program 77
Academic Regulations Dual Degree Program 78
Office of Student Accounts 32 Doctor of Musical Arts 79
Tuition and Fees Artist Diploma 82
Office of Student and Resident Life 33 Course Descriptions 83
International Student Advisement 42 Faculty Biographies 111
Center for Music Entrepreneurship 44 Administrative Staff 123
Facilities of the School 45 Index 124
Although every effort has been made to assure the accuracy of the information in Manhattan School of Music is fully accredited by the Middle States Association of
this Catalog, students and others who use the Catalog should note laws, rules, Colleges and Schools, the New York State Board of Regents, and the Bureau for
policies, and procedures change from time to time and these changes may alter Veterans Education.
the information contained in this publication. Furthermore, the School reserves its
All programs listed in Departments by Major are approved for the training of vet-
right, to revise, supplement, or rescind any policies, procedures or portion thereof as
erans and other eligible persons by the Bureau for Veterans Education. The HEGIS
described in the Catalog as it deems appropriate, at the School’s sole discretion and
Code number is 1004 with the exception of the BM, MM, and DMA in Composition,
without notice. The Manhattan School of Music Catalog does not constitute a con-
which is 1004.10.
tract or the terms and condition of a contract between the student and the School.
Manhattan School of Music is a member
Manhattan School of Music does not discriminate on the basis of sex, race, religion,
of the National Association of College
sexual orientation, color or national or ethical origin, parental or marital status, and
Administration Counselors (NACAC) and
age or disability in the recruitment or admission of its students, or in the admin-
complies with the NACAC Statement of
istration of its educational programs, financial assistance programs, or student
Principles of Good Practice.
activities. It is an equal opportunity employer.
Table of contentS 3Mission Statement
and President’s Message
President’s Message
Manhattan School of Music, one
of the leading conservatories in the
United States, draws talented stu-
dents from around the world to pur-
sue rigorous studies in classical music
and jazz. As our students thrive and
develop, we are inspired and encour-
aged by their accomplishments. Many
of our graduates perform as soloists
and as members of leading orchestras,
ensembles and opera companies. They
can be heard in major concert halls
and opera houses, on Broadway, in
clubs and jazz venues, in churches and
in the media. Our students also go on
to careers in teaching, administration,
music production and the business
of music. Graduates of Manhattan
School of Music are leaders who will
reimagine the music profession as
involved citizens of the international
musical community.
An internationally recognized conservatory, Manhattan
School of Music prepares musicians to be stewards of the Our distinguished teachers, joined
by visiting artists for master classes,
great music tradition and catalytic thinkers who will rei- bring world-class performing experi-
magine the profession. It is a multicultural institution that ence to Manhattan School of Music.
They hold our students to the highest
values all musical idioms and exploits the possibilities of
standards of our musical heritage and
live performance and technology to extend the reach of the foster innovation and originality. At
musical arts. Manhattan School of Music’s dynamic faculty the same time, the School is commit-
ted to a complete education, helping
of teaching artists is committed to the realization of each students grow as responsible citizens
student’s talent and human development. who understand the power and privi-
lege of a life in the arts. Our goal is
The school sits at the nexus of New York City’s academic to educate musicians who can enrich
the lives of others, and for whom the
and cultural institutions, and while a global innovator in art of music is a path toward a more
teaching and musical performance, also serves its city humane and compassionate society.
through community engagement and arts-in-education Robert Sirota
programs. Through outreach to young people, public con-
cert presentations and an interdisciplinary residence,
Manhattan School of Music expands the range of student
experience and seeks to make music a vital part of our
broader world.
4 Mission Statement and President’s MessageThe School and Its Programs
History of the School
Manhattan School of Music, a major
national and international force in
professional music education, is the
largest private conservatory in the
nation offering both classical and
jazz training. The School fulfills a
major role in society by preparing
talented men and women for careers
as performing musicians, teachers,
administrators, and involved audience
members who will keep the legacy of
great music alive.
The School was founded in 1917
by Janet D. Schenck, pianist and
philanthropist, as the Neighborhood
Music School. It was located in a
brownstone building on New York
City’s Upper East Side. Pablo Casals
and Harold Bauer were among the
first of many distinguished artists
who offered guidance to the School. John O. Crosby, founder and general The School thrives in this atmo-
Eventually, its reputation for excel- director of the Santa Fe Opera, was sphere of ideas, ideals, goals, and
lence extended throughout the greater appointed president in 1976. He was achievements. Much of its strength
metropolitan area, and its name was followed by Gideon W. Waldrop, derives from New York City itself,
changed to Manhattan School of who was appointed in 1986, Peter the leading music center of the world.
Music. C. Simon in 1989, and Marta Casals The School’s 270-member faculty is
Istomin in 1992. selected from a rich pool of resident
In 1943, the artistic and academic and visiting artists, and other inter-
growth of the School resulted in a Manhattan School of Music serves nationally acclaimed artists regularly
charter amendment to grant the the international music community, give master classes. The New York
Bachelor of Music degree. Two sub- the nation, the City of New York, as City location also gives students
sequent amendments authorized the well as the local neighborhood. At an incomparable learning labora-
offering, in 1947, of the Master of the present time, 75% of the students tory, providing an abundance of the
Music degree and, in 1974, the degree come from outside New York State highest-quality artistic offerings of
of Doctor of Musical Arts. In 1956, Dr. and 41% from outside the United classical music, jazz, theater, dance,
Schenck retired and John Brownlee, States. The School’s international rep- and cabaret. It also provides varied
noted Metropolitan Opera bari- utation is confirmed by its continuing and outstanding student performance
tone, was appointed director, a title and expanding global presence. opportunities.
later revised to president. President
Brownlee initiated the As one of the components of New In addition to the three academic
idea of relocating the School to York’s Upper West Side “Academic degrees mentioned, Manhattan
the Morningside Heights neighbor- Acropolis,” Manhattan School School of Music offers an under-
hood; his death occurred only of Music shares its neighbor- graduate non-degree diploma and
months before his efforts were hood with Columbia University, postgraduate diplomas in classical
realized. In 1969, George Schick, Barnard College, Columbia College, performance and composition, and
Metropolitan Opera conductor, Columbia Teachers College, Bank jazz performance and composition.
accompanist, and distinguished Street College, Union and Jewish The professional studies certificate
opera coach, succeeded Brownlee as Theological seminaries, the Riverside and Doctor of Musical Arts degree are
president and led the School’s move to Church, International House, and offered in classical performance and
its present location. the Cathedral of St. John the Divine. composition.
The School and Its Programs 5Performance Orchestra and Large Ensembles The Orchestra Department is also
The Manhattan School of Music host of the Kurt Masur Conducting
Performance is the key element Symphony, Philharmonia, and Seminar, a conducting workshop for
in unifying the many facets of the Chamber Sinfonia orchestras provide young conductors led by Maestro
Manhattan School of Music edu- orchestral instrumentalists with the Masur. In addition to the Orchestras,
cational experience. Each season opportunity to participate in con- other large ensembles include the
features more than 450 regularly certs, open to the public, throughout Percussion Ensemble, which performs
scheduled symphony, opera, and jazz the school year. The three orches- masterpieces of the percussion litera-
performances, as well as recitals by the tras perform repertoire from the ture, and the Claremont Ensemble,
School’s distinguished faculty and stu- standard as well as 20th and 21st which specializes in music of the last
dents, master classes, festivals devoted Century symphonic and chamber 100 years.
to specific musical subjects, perfor- orchestra literature. Assignments for
mance labs, workshops, and showcases the three orchestras are determined Jazz Ensembles
which are all presented in the School’s through screened placement audi- Three large jazz ensembles provide
facilities. MSM performances receive tions held at the beginning of every performance opportunities for stu-
national and international recognition semester. Maestro George Manahan, dents in both jazz and classical pro-
as being among the very finest events Director of Orchestral Activities at grams. The Chamber Jazz Ensemble is
presented in New York City. Manhattan School of Music, over- an innovative ensemble that performs
sees the Orchestral Department a body of work merging western and
Solo Performance and leads many concerts for each of non-western classical repertoire with
Performance of solo repertoire is the three orchestras throughout the jazz and contemporary musical styles.
an area of major concentration for year; guest conductors enrich the This genre fuses the improvisation,
MSM instrumentalists and vocal- concert season for the remainder spontaneity and rhythmic vitality
ists. Through recitals and master of the year. In recent seasons, this of jazz with the compositional pro-
classes, students in both classical and list has included such conductors as, cedures and techniques acquired in
jazz divisions of the School have the Joana Carneiro, Philippe Entremont, classical traditions. The ensemble
opportunity to perform in public and George Manahan, Lawrence Leighton performs repertoire by such compos-
to be coached by distinguished visit- Smith and Yoav Talmi. The orches- ers as Igor Stravinsky, Milton Babbitt,
ing artists. In addition, the annual tras perform in MSM’s Borden Gunther Schuller, Aaron Copland,
concerto competition provides Auditorium in addition to giving con- John Lewis, J.J. Johnson, Charles
opportunities for instrumentalists certs in various locations throughout Mingus, Jimmy Giuffre, George
and vocalists to appear as soloists in Manhattan. Recently, the orchestras Russell, etc., as well as new and origi-
orchestral concerts. MSM student from Manhattan School of Music have nal compositions written by contem-
composers have the opportunity to performed at Zankel Hall, Trinity porary composers and MSM faculty
present their works through recitals Church, the Cathedral of St. John the and students. The Jazz Philharmonic
and departmental concerts. Divine and Park Avenue Amory. performs original orchestral composi-
6 The School and Its Programstions and arrangements that combine – weekend-long celebrations of con- Mr. Zukerman works intensively with
jazz rhythms, harmonies with con- certs featuring string, piano, brass, each student approximately six times
temporary classical compositional woodwind, guitar and vocal student per semester for a total of twelve pri-
techniques, and soaring instrumental ensembles. Outstanding groups play vate lessons throughout the academic
solos. The body of work that has been in prestigious chamber venues around year. In addition, weekly lessons
created for the Jazz Philharmonic the city. are given to the Zukerman class by
bridges the gap between classical Patinka Kopec, who has been person-
and jazz literature, as well as popular Choral Music ally selected by Mr. Zukerman to be
and show music, and music for the The Manhattan School Symphonic his sole teaching associate; she is also
media. The Nu Art Ensemble is an Chorus and Chamber Chorus provide the program coordinator.
eclectic ensemble open to all students students from all majors the opportu-
who are interested in an exciting and nity to delve into the rich world of cho- Applicants from around the world
innovative musical experience. The ral literature. The Choruses perform are auditioned either in person or by
Nu Art Ensemble creates works that in concerts which sometimes feature video tape by Mr. Zukerman and Ms.
stem from the group itself, which can a single great work and other times Kopec. The class includes three to
include vocalists and non-traditional a collection of shorter works around ten students, ranging in age from
groups of instruments. The composi- a particular theme. Their repertoire fourteen years old to young career
tions are all improvised, original and ranges from a cappella pieces to large instrumentalists as well as traditional
“beyond” works developed on the spot conservatory students.
works for chorus and orchestra. The
in class and arranged “in the moment.” Choruses provide ensemble experi- Students may enroll in the School’s
The ensemble then develops pieces for ence for all interested students and as precollege, undergraduate and gradu-
performance. These works generally
well as solo opportunities by audition. ate degree or diploma programs or
feature contemporary performance
Manhattan School of Music students the Professional Studies Certificate
techniques for sung or spoken voice
have presented choral performances Program.
and instruments. There is no set
instrumentation and no auditions on campus, at the Weill Recital Hall of
Carnegie Hall, and at The Cathedral Master Classes
are necessary.
of Saint John the Devine. Each season a number of internation-
ally renowned artists are invited
Chamber Music
Opera to present master classes at
Collaborative artistry is a vital part of
MSM is nationally and internation- Manhattan School of Music. Some
study and performance at Manhattan
ally recognized for excellence in the of these artists who have recently
School of Music. Almost every clas-
field of opera. Graduate students are worked with MSM students are:
sical instrumentalist and vocalist
accepted by audition into the Opera Yuri Bashmet, Glenn Dicterow,
is required to take part in chamber
Studio and are then chosen from this Mignon Dunn, Eliot Fisk, Philip
music and ensemble performance at
program to participate in major full- Glass, Richard Goode, Thomas
some point in their degree program.
length productions and to present Hampson, Stefon Harris, Marilyn
There is a fixed band of time reserved
programs of scenes with orchestra Horne, Martin Katz, Ani Kavafian,
in the School’s daily schedule for
and/or piano during the season, as well David Liebman, Yo-Yo Ma, Robert
chamber music and ensembles, dur-
as a young people’s opera. The Opera Mann, Marian McPartland, Zara
ing which most classes cease and the
Studio offers training in stage and act- Nelsova, Ursula Oppens, Emanuel
whole school participates in instru-
ing techniques and provides musical Pahlud, Hermann Prey, Ned Rorem,
mental and vocal chamber music
coaching in role interpretation and Mstislav Rostropovich, Maria
ensembles. Ensembles range from
style. Undergraduates participate in Schneider, Janos Starker, Richard
trios to octets. Instrumentalists and
Undergraduate Opera Theater during Stoltzman, Billy Taylor, Michael Tree,
graduate singers may choose from
their junior and senior years. Dawn Upshaw, Benita Valente,
a variety of groups ranging from
Andre Watts, and Pinchas Zukerman,
the Baroque Aria Ensemble to the
Pinchas Zukerman among others. Artists who have
contemporary TACTUS ensemble.
Performance Program conducted concert programs or held
American Musical Theatre, French
The internationally acclaimed violin- readings with the MSM orchestras
Vocal Accompanying and Revealing
ist and conductor, Pinchas Zukerman, include: Roberto Abaddo, Marin
the Actor/Singer within are a few
accepts a limited number of exception- Alsop, Pierre Boulez, Leon Fleisher,
of the classes offered to singers.
ally gifted violinists and violists as pri- Kurt Masur, David Robertson,
Performance opportunities abound:
vate students at Manhattan School of Gunther Schuller, Jerzy Semkow,
a chamber music competition is held
Music each year. This Program, under Leonard Slatkin, Yuri Temerakonov,
every semester. Groups are encour-
Mr. Zukerman’s supervision, is devoted JoAnn Faletta, Phillipe Entremont,
aged to be involved in community
to the artistic and technical develop- among others.
outreach. Most students perform on
the popular Chamber Music Festivals ment of these talented students.
The School and Its Programs 7Resident Ensembles Consistently attracting a diverse audi- Manhattan School of Music. The
MSM has three distinguished ence base, the ensemble has worked School owns the rights to perfor-
ensembles in residence: tirelessly to keep the traditions of mances that are announced by or
classical music alive, to spread the take place under the supervision of
The American String Quartet, appeal of these traditions, and to the Office of the Vice President for
(Peter Winograd and Laurie Carney, revisit these traditions from a contem- Academics and Performance. By being
violins, Daniel Avshalomov, viola, porary sensibility. a student at Manhattan School of
and Wolfram Koessel, violoncello), Music consent is given for the record-
has been in residence at MSM since Windscape was created in 1994 ing and release, broadcast, use or
1984. The Quartet currently holds by five eminent woodwind soloists reproduction, now or in the future,
The Sonfield Artists in Residence and continues to delight audiences by Manhattan School of Music or
Chair for Chamber Music at MSM. throughout the US, Canada, and Asia. anyone authorized by the School, of
ASQ’s residency includes a season As Artists-in-Residence at Manhattan any material recorded at or under the
of concerts, and the supervision of School of Music, its members – Tara direction of the School that includes
an active and enthusiastic group of O’Connor, flute, Randall Ellis, oboe, the student’s name, image, likeness,
student chamber ensembles, each Alan R. Kay, clarinet, David Jolley, biography, voice or performance for
of which is coached by one of the horn, and Frank Morelli, bassoon educational, promotional, premium,
Quartet members. – are master teachers, presenting trade, advertising or commercial
a distinctive concert series hailed purposes, or any other purposes, on
The American String Quartet per- for its creative energy and musi- CD, tape, record, film, video, com-
forms throughout the Americas, cal curiosity. One of the ensemble’s puter chip, television broadcast, radio
Europe and Asia, at Chamber Music innovations is to invite exceptional broadcast, print, the World Wide
Festivals, and on television and radio. MSM students to join them for per- Web or otherwise on the Internet, or
Among the many distinguished artists formances of larger chamber works. any other form now or later known
with whom the group has collabo- The group’s other activities at MSM or developed. Manhattan School
rated are Emanuel Ax, Jonathan Biss, include coaching woodwind cham- of Music students waive any and all
Phyllis Bryn-Julson, Claude Frank, ber ensembles, conducting master rights to such material.
Richard Goode, Richard Stoltzman, classes, and teaching private lessons.
and Pinchas Zukerman. In addition Recent seasons have included per- Students are encouraged to use the
to acclaimed performances of the formances in New York at Carnegie School’s recording facilities for private
standard string quartet repertoire, the Hall, Lincoln Center Chamber projects and recitals and may have
Quartet commissions and performs Music Society and the Metropolitan the opportunity to participate in
new works. ASQ is a recipient of the Museum of Art, in Washington DC recording projects of private per-
Walter W. Naumburg Chamber Music at the Kennedy Center, and in San sons who have permission to use
Award and the Coleman Chamber Francisco, Pittsburgh, Portland, OR, the School’s recording facilities. All
Music Prize. Wolftrap in Vienna, VA and a tour of recordings in these situations are
New Zealand. They have been heard subject to a separate recording release
The Quartet’s recordings can be on NPR’s “Performance Today”, agreement that addresses the rights
heard on CRI, Musical Heritage, New Minnesota Public Radio’s “St. Paul and obligations of users of the record-
World Records, Nonesuch and RCA. Sunday”, and “Live At The Glenn ing facilities and services.
Meridian Arts Ensemble, a sextet Gould Studio” for CBC – Toronto.
consisting of five brass players and Windscape has collaborated with OUTREACH PROGRAMS
a percussionist, is America’s lead- musicians Eugene Istomin, Ruth
ing brass group exploring the music Arts-In-Education and
Laredo, André-Michel Schub, Daniel Community Engagement
of today. Founded in 1987, with nine Phillips, Anne-Marie McDermott,
commercial CD releases, over fifty Manhattan School of Music has a
David Golub, and Joanne Polk long tradition of offering community
premieres, and performances on four among others. They have recorded
continents and in forty-nine states, outreach concerts. In 1918, during its
works of Dvorák and Ravel (MRS first season as a community school,
Meridian’s devotion to contemporary Classics), and “The Roaring 20’s”
music has brought the ensemble to a students performed in a district
(Arabesque), which features music by music concert series in camps and
faculty position in MSM’s department Louis Armstrong, Kurt Weill, Paul
of contemporary performance. hospitals during World War I. Today,
Hindemith, Igor Stravinsky, Heitor Manhattan School of Music’s multi-
Meridian’s numerous commissions Villa-Lobos, and George Gershwin. faceted community engagement and
have created a balanced and broad arts-in-education programs provide
ranging repertoire for brass and Performance Release Policy MSM students training in the prac-
percussion that peers into every cor- Student performances are an integral tical and human skills required to
ner of today’s musical experience. part of the educational program at effectively communicate their artistry
8 The School and Its Programsoutside the concert hall. Students who students immerse themselves in the various instruments. There are weekly
participate in the program broaden Unified Core Curriculum, a sequence performance classes, and advanced
their perspective and role as musicians of courses especially designed to unify, students participate in recitals and in
in today’s society. These programs are coordinate, and integrate basic studies annual concerto competitions.
as follows: in Music Theory, Music History, and
the Humanities.
Music Teaches prepares Manhattan Summer Programs
School of Music students to be effec- The core sequence includes seminars
Manhattan School of Music offers
tive artist-educators through pedagog- in which students actively participate
gifted musicians summer programs
ical instruction and practical teaching through discussion and writing and
which are unique in New York City and
experience in New York City preK- lecture classes where concepts of the-
at the conservatory level nationwide.
12 schools. The program provides ory, music history, and the progression
semester-long classroom residency of Western Civilization are described.
MSM Summer Voice Festival
programs in orchestral music, opera, The undergraduate Humanities cur-
The Summer Voice Festival, started
musical theater, and jazz. Manhattan riculum educates students in the clas-
in 2009, provides intensive work for
School of Music students learn how sic humanities tradition and trains
singers of college age and older. The
to teach basic music literacy, to create them to think and write clearly and
four-week program, in the month of
an aesthetic context for music as an to analyze carefully through the read-
June, includes two weekly one-hour
art form, and to integrate music into ing of important texts of the Western
lessons with a member of the MSM
the curriculum by creating links to cultural tradition. The Unified Core
voice faculty, as well as masterclasses,
learning in other subject areas. Many Curriculum prepares the undergradu-
coachings, and daily classes in diction,
Manhattan School of Music students ate student to take specialized elective
acting, movement and other top-
are employed during the academic courses in the junior and senior years.
ics of interest for singers. All classes
year to instruct instrumental lessons Graduate students may take elective
are taught by regular MSM faculty.
or choral classes at partner schools. courses which offer a broad survey
Admission to this program is limited
of the history of music, literature,
Music Heals provides students with and interested singers are selected
art history, philosophy, and the
an opportunity to present inspira- by audition.
music business.
tional and interactive performances to
diverse audiences in hospitals, senior
MSM Summer English Study
living residences, hospices, and other Precollege Division Summer English Study is an innova-
tive eight-week immersion program
community centers in New York City,
MSM’s Precollege Division offers especially designed for students
sharing the healing power of music
professional, precollege training to entering MSM in the following fall
as medicine. For many Manhattan
children ages 5-18. The School has semester. Through intensive study and
School of Music students, the program
an experienced and highly qualified interactions with fluent students, SES
provides not only a valuable perform-
faculty who specialize in teaching participants prepare for music-specific
ing experience, but also an opportu-
young, gifted students. Each Saturday course work as they acclimate more
nity to garner firsthand the powerful
throughout the academic year, about generally to American speech and to
experience of live music-making. In
450 serious young musicians of precol- life in New York City. Non-native
many cases, performances are pre-
lege age receive intensive training in speakers of English may be assigned to
sented to underserved communities
all areas of musical performance, as SES as part of the admissions process,
and to those who are unable to attend
well as classes in theory and ear train- on the basis of the TOEFL exam.
musical performances on their own.
ing, chamber music, chorus, orchestra,
Music Reaches provides a diverse and various elective subjects. In addi- MSM Summer Music Camp
array of performance opportunities tion, the Precollege Division offers a Manhattan School of Music, in collab-
for students in public venues through- major in jazz arts, one of the few such oration with The ASCAP Foundation,
out the New York City metropolitan programs in the country. Enrollment The National Endowment for the Arts
area. Through the program, students is through audition and is limited to and The New York City Department
are able to expand their performance musically gifted individuals. of Education, offers a Summer Music
techniques for diverse audiences in Camp to New York City public school
Performance is the key element in students completing grades 5, 6, 7 and
non-traditional concert settings.
the Precollege Division curriculum. 8. The Summer Music Camp is offered
Students receive private lessons on their to approximately 130 students. Its goal
Academic Programs instrument and participate in ensem- is to provide intensive, high-quality,
bles. Performing ensembles include tuition-free musical instruction dur-
MSM’s academic program includes four symphony orchestras, choruses, ing the summer. The Summer Music
several important components. During various small ensembles, jazz ensem- Camp runs 5 days a week, for five
the freshman and sophomore years, bles, and classes in chamber music for weeks during July.
The School and Its Programs 9Board of Trustees and
Administration
Board of Trustees Artistic Advisory Board ADMINISTRATORS
Peter Robbins, Chairman Charles Bergman Wadner Auguste, Director of
Loren R. Douglass, Vice Chairman John Corigliano Residence Life
Edward Lowenthal, Treasurer Glenn Dicterow Angela Beeching, Director of Center for
and Secretary Thomas Hampson Music Enterpreneurship
Carla Bossi-Comelli Lang Lang
John Blanchard, Director of Alumni
Glenn Dicterow Ealan Wingate
Affairs and Development Operations
Lorraine Gallard Pinchas Zukerman
Kevin Boutote, Chief
Paul B. Guenther Recording Engineer
Marcia Clay Hamilton EXECUTIVE OFFICERS Peter Caleb, Director of
Thomas Hampson
Robert Sirota, President Library Services
Brian C. McK. Henderson
Marta Istomin Catherine Dorsett Schuler, Rebecca Charnow, Director of Community
Phillip Kawin Executive Assistant to the President Partnerships and Camp MSM
Linda Mercuro Paul D. Kelleher, Executive Justin DiCioccio, Associate Dean and
William R. Miller Vice President of Finance Chair, Jazz Arts Program
Noémi K. Neidorff and Administration Melanie Dorsey, Director of
Ashley Putnam Susan E. Ebersole, Vice President of Student Life
David A. Rahm, Chairman Emeritus External Affairs Susan Fink, Controller
Robert Sirota, President David Geber, Vice President for John Hagen, Director, ESL Program
Leonard Slatkin Instrumental Performance
Jeff Harris, Director of Production
Trustees Emeriti Marjorie Merryman, Vice President for
Jeffrey Langford, Assistant Dean for
Alan M. Ades Academics and Performance
Doctoral Studies
Betty Allen † Elsa Jean Davidson, Dean of Students
Michael Lockhart, Director of
Robert G. Simon
Amy A. Anderson, Associate Dean for International Student Services
The Honorable Richard Owen
Enrollment Management David L. McDonagh, Registrar
Standing Committees Frank Graupe, Director of Facilities Lynne Normandia, Manager of
Audit Committee Chamber Music and Ensembles
Budget and Finance Committee Debra Kinzler, Director of Public
Relations, Marketing and Publications Stephen O’Brien, Director of
Development Committee
Carol Matos, Director of Administration Information Technology/Web Site
Executive Committee
and Human Relations Technical Manager
Facilities Committee
Committee on Trustees and Christianne Orto, Associate Dean Gordon Ostrowski, Assistant Dean of
Nominations and Director of Recording and Opera Programs
Distance Learning Majel Peters, Director of Design
† Deceased
Kelly Sawatsky, Executive Director of Joanne Polk, Director of Strategy and
International Precollege Division Development for Precollege Division
Advisory Board Heidi Stubner, Director of Performance
Carla Bossi-Comelli, Chairman Operations and the Graduate Program
Switzerland in Orchestral Performance
Cathy Thorpe, Director of Concert
Mita Aparicio, Mexico
and Event Production
Delin Bru, United States
Alejandro Cordero, Argentina Dona D. Vaughn, Artistic Director of
Margot Alberti de Mazzeri, Italy Opera Programs
Brian C. McK. Henderson, United States Marc Wienert, Director of Piano
Carl Kanter, United States Technical Services
JeeHyun Kimg, South Korea
Daniel Ng, Hong Kong
Andrés Vogel, Mexico
10 BOARD OF TRUSTEES AND ADMINISTRATIOnFaculty
BRASS
Trumpet
Mark Gould, Department Chair
Vincent Penzarella
Thomas Smith
Horn
Michelle Reed Baker
Javier Gandara
Erik Ralske
R. Allen Spanjer
Trombone
Per Brevig
David Finlayson
Stephen Norrell, Bass
David Taylor, Bass
Tubaa
Alan Baer
Carol Jantsch
COMPOSITION
Nils Vigeland, Department Chair
Susan Botti
Richard Danielpour
Reiko Füting
Marjorie Merryman
Robert Sirota
Mark Stambaugh
COnducting
George Manahan David Krakauer, Clarinet GUITAR
David Gilbert Jacqueline Leclair, Oboe
Mark Delpriora, Department Co-Chair
Ronald Oliver Michael Lowenstern, Bass Clarinet
David Leisner, Department Co-Chair
Kent Tritle Curtis Macomber, Violin
Oren Fader
Tara Helen O’Conner, Flute
David Starobin
Christopher Oldfather, Piano/
CONTEMPORARY Harpsichord
PERFORMANCE PROGRAM Lucy Shelton, Voice HARP
Jeffrey Milarsky, Conductor, Fred Sherry, Cello Deborah Hoffman, Department Chair
Department Chair Nadia Sirota, Viola Susan Jolles
Todd Reynolds, Violin, Electronics, Raymond Stewart, Tuba
Associate Chair
Meridian Arts Ensemble KEYBOARD
Robert Black, Bass
Daniel Grabois, Horn
Anthony de Mare, Piano Piano
John Ferrari, Percussion
Paul Cohen, Saxophone Marc Silverman, Department Chair
Benjamin Herrington, Trombone
John Ferrari, Percussion Arkady Aronov
Timothy Leopold, Trumpet
Mark Gould, Trumpet Jeffrey Cohen
Jon Nelson, Trumpet
Susan Jolles, Harp Daniel Epstein
Raymond Stewart, Tuba
Martin Kuuskmann, Bassoon Donn-Alexandre Feder
Faculty 11Zenon Fishbein Duncan Patton, Percussion Isaac Malkin
Phillip Kawin Vincent Penzarella, Trumpet Robert Rinehart
Solomon Mikowsky Erik Ralske, Horn Karen Ritscher
André-Michel Schub Patricia Rogers, Bassoon Michael Tree
Joanne Polk R. Allen Spanjer, Horn
Nina Svetlanova Thomas Smith, Trumpet Cello
Thomas Stacy, English Horn Marion Feldman
Accompanying Alan Stepansky, Cello David Geber
John Forconi, Department Chair Taimur Sullivan, Saxophone Clive Greensmith
Warren Jones Stephen Taylor, Oboe Wolfram Koessel
Kenneth Merrill Liang Wang, Oboe Julia Lichten
Thomas Muraco Harriet Wingreen, Piano Fred Sherry
Heasook Rhee Alan Stepansky
Frederick Zlotkin
Organ PERCUSSION
McNeil Robinson, Department Chair Bass
Erik Charlston, Department Co-Chair
Walter Hilse Timothy Cobb
Duncan Patton, Department Co-Chair
Paul-Martin Maki David Grossman
Christopher Lamb Jeremy McCoy
Steven Schick, Consulting Artist Linda McKnight
opera in Percussion Orin O’Brien
Dona D. Vaughn, Artistic Director She-e Wu, Marimba Consultant
of Opera Programs
VOICE
Gordon Ostrowski, Assistant Dean, Pinchas Zukerman
Opera Studies/Opera Production Performance Program Maitland Peters, Department Chair
Mark Janas Edith Bers
Rhoda Levine Pinchas Zukerman, Artistic Director Joan Caplan
June Marano-Murray Patinka Kopec, Teaching Associate Mignon Dunn
LeAnn Overton and Program Director Hilda Harris
Scott Rednour Cynthia Hoffman
Elizabeth Rodgers Strings Arthur J. Levy
William Tracy, Head Coach Marlena Kleinman Malas
Violin Spiro Malas
Nicholas Mann, Department Chair Catherine Malfitano
ORCHESTRAL Stanley Bednar Patricia Misslin
PERFORMANCE PROGRAM Laurie Carney Mark Oswald
Glenn Dicterow, Violin, Glenn Dicterow Joan Patenaude-Yarnell
Department Chair Grigory Kalinovsky Ashley Putnam
Michelle Reed Baker, Horn Burton Kaplan Neil Rosenshein
Robert Botti, Oboe Patinka Kopec
Irene Breslaw, Viola Curtis Macomber Related Voice Studies
Per Brevig, Trombone Isaac Malkin Marianne Barrett, German Diction
Timothy Cobb, Bass Robert Mann Miriam Charney, British Vocal
Whitney Crockett, Bassoon Albert Markov Literature
Karen Dreyfus, Viola Maria Radicheva Kathryn LaBouff, English Diction,
David Finlayson, Trombone Lucie Robert Assistant Chair
Javier Gandara, Horn Sylvia Rosenberg Carolyn Marlow, Introduction
Mark Gould, Trumpet Laurie Smukler to Acting
Deborah Hoffman, Harp Yoko Takabe Kenneth Merrill, German Vocal
Susan Jolles, Harp Peter Winograd Literature
Lisa Kim, Violin Glenn Morton, Italian Diction
Viola Thomas Muraco, French Diction
Christopher Lamb, Percussion
Daniel Avshalomov Francis Patrelle, Movement for Singers
Robert Langevin, Flute
Irene Breslaw Gait Sirguey, French Vocal Literature
Kim Laskowski, Bassoon
Karen Dreyfus Paul Sperry, Vocal Literature
Frank Morelli, Bassoon
Lawrence Dutton Christina Stanescu, French Diction,
Stephen Norrell, Trombone
Burton Kaplan Recital Coaching
Mark Nuccio, Clarinet
Patinka Kopec
Orin O’Brien, Bass
12 FacultyWOODWINDS Percussion Lou Soloff, Visiting Artist
Samir Chatterjee, Indian Rhythm Luciana Souza, Visiting Artist
Flute and Tabla Mariah Wilkins, History
Linda Chesis, Department Chair Rogerio Bocatto, Brazilian Studies
Robert Langevin Music History
Marya Martin Piano
Michael Parloff Jeffrey Langford, Assistant Dean
Garry Dial
for Doctoral Studies, Acting
Vijay Iyer
Clarinet Department Chair
Phil Markowitz
Alan R. Kay S. Argeo Ascani
Ted Rosenthal
David Krakauer Miriam Charney
Mark Soskin
Charles Neidich Kenneth Cooper
Joan Stiles
Mark Nuccio Reiko Füting
Charles Russo Saxophone Edward Green
Dave Liebman, Artist in Residence Walter Hilse
Saxophone Sonya Mason
Paul Cohen Donald McCaslin
Richard Perry Kenneth Merrill
Oboe / English Horn Steven Slagle Gait Sirguey
Robert Botti Joseph Temperley Paul Sperry
Stephen Taylor Steve Wilson J. Mark Stambaugh
Liang Wang Peter Vinograde
Thomas Stacy, English Horn Trombone Lisa Yui
Luis Bonilla
Bassoon Jack Gale Music Theory and Aural Skills
Kim Laskowski Wycliffe Gordon
Frank Morelli Reiko Füting, Department Chair
John Mosca Peter Andreacchi
Roger Nye David Taylor
Patricia Rogers Hayes Biggs
Trumpet David MacDonald
Cecil Bridgewater J. Mark Stambaugh
Jazz Arts FACULTY Laurie Frink Christopher Vassiliades
Bass Scott Wendholt Nils Vigeland
Jay Anderson David Volckhausen
Vibraphone
Larry Ridley
Joseph Locke Keyboard Harmony
Harvie S
Violin Marjean Olson, Director of Keyboard
Composition
John Blake Skills
Michael Abene
Peter Andreacchi
Richard DeRosa Viola Christopher Vassilliades
Roy Eaton Sara Caswell David Volckhausen
Edward Green
Jim McNeely Voice
Michael Patterson Theo Bleckmann Humanities
Richard Sussman Peter Eldridge John Pagano, Department Chair
Nancy Marano Marianne Barrett
Drumset Darmon Meader Constance Colby
Justin DiCioccio, Department Chair
Related Jazz Studies David Eisenbach
John Riley
Michael Abene, Jazz/Composition Delano Greenidge-Copprue
Flute Arranging Elizabeth Isenstead
Jamie Baum Kenny Barron, Visiting Artist Tom Dale Keever
Samir Chatterjee, Indian Music R. Anthony Pedatella
Guitar Stefan Pedatella
Gerard D’Angelo, Improvisation
Rodney Jones Nicole Beth Wallenbrock
Ira Gitler, History
Chris Rosenberg Jytte R. Willumstad
Stefon Harris, Visiting Artist
Jack Wilkins
Karen Kennedy, Business of Jazz
Horn Bill Kirchner, History
John Clark Jeremy Manasia, Ensembles
Bobby Sanabria, Afro-Cuban Ensembles
Faculty 13Office of Admission and
Financial Aid
Admission to Manhattan School of Manhattan School of Music participates to our website for prescreening repertoire
Music is based primarily upon the with other U.S. conservatories in the requirements and submission instructions.
results of an applicant’s audition, the Unified Application for Conservatory
evaluation of previous academic work, Admission. This application can be The Office of Admission will notify
and the number of openings in the accessed through the School’s website at all applicants who have submitted an
major field to which the applicant is www.msmnyc.edu/admission/apply on-time prescreen recording of their
applying. Additionally, performance or directly at www.unifiedapps.org. eligibility/ineligibility for a personal
experience and extracurricular activi- This application must be electronically audition by the end of December.
ties are considered. submitted by the December 1st deadline.
Submission of prescreening materi-
als must occur through MSM’s por-
Application Fee
Educational Opportunity There is a non-refundable application
tal, ArtsApp (www.ArtsApp.com/
Policies fee of $100 if submitted on or before
msmnyc). CD Submissions will not
be considered.
Equal Educational Opportunity has the application deadline ($50 for cur-
been and will continue to be a fun- rent or former Manhattan School of
Music college students and current Please note that applicants who do
damental principle at Manhattan not submit the required prescreen
School of Music, where enrollment is precollege students). After the dead-
line, the fee is $150 ($100 for current recordings (recordings and scores for
based upon personal capabilities and Classical Composition) will not be con-
qualifications without discrimination or former Manhattan School of Music
college students and current precol- sidered for an invitation to a live audition.
because of race, color, religion, gen-
der, sexual orientation, age, national lege students). Applicants applying
to audition in more than one major Transcripts
origin, marital status, citizenship, All applicants must submit official tran-
disability, or any other characteristic will be charged an additional $100
application fee for each additional scripts in sealed school envelopes from
protected by law. every academic institution attended. If
major. Application fee(s) must be paid
by credit card (Visa, MasterCard, or necessary these must be translated into
This policy of Equal Opportunity applies
Discover). Applicants must provide the English by an official translator and
to all policies and procedures relating to
credit card information with the online notarized. International applicants may
admission and financial aid and all other
application, and it will be submitted be required to have their transcripts
terms and conditions of education.
securely. There are no fee waivers. evaluated by World Education Services
The Office of the Director of (WES) (See International Transcripts).
Administration and Human Relations Prescreening Requirements Applicants who have completed at least
maintains reporting and monitoring Many departments require that one academic year of full-time study at
procedures for these policies. Students a recording (except for Classical an accredited college/university do not
may direct their questions and con- Composition which requires a record- have to submit high school transcripts.
cerns to the Dean of Academics, ing and scores) of the required audition Accepted applicants who choose to
Dean of Students, and the Director of repertoire be submitted by the applica- enroll will be required to submit final
Administration and Human Relations. tion deadline for prescreening purposes. transcripts and proof of degree prior
Applicants to the Artist Diploma to matriculation. Proof of degree is not
Appropriate disciplinary action program must submit a full-length required for transfer students. Home
may be taken against any faculty, recital via ArtsApp for prescreen- schooled applicants are required to
staff or student for violating this ing purposes. Currently, instruments submit a full outline of the curriculum
policy after review and investigation requiring prescreening are: Classical by subject, including textbooks for
by Administration. Piano, Classical Voice, Classical Violin, each course; assessment procedures and
Orchestral Violin (graduate program grades; and evidence of official recogni-
tion by the school district and/or state
Application for only), Classical Viola, Classical Cello,
department of education as well as SAT
Admission Procedures Classical Flute, Orchestral Flute (gradu-
ate program only), Classical Clarinet, or ACT scores. Although acceptance
Required Application Materials Orchestral Clarinet (graduate program to MSM is primarily based on audition
only), Classical Percussion, Orchestral scores, academic transcripts and GPA
Unified Application Percussion (graduate program only), scores are thoroughly reviewed and
The application process begins with considered a crucial part of the accep-
Classical Composition, and all appli-
completing the online application. tance criteria.
cants to the Jazz program. Please refer
14 Office of Admission and Financial AidLetters of Recommendation with many other schools worldwide. Cornell University in Ithaca, New York.
On the Unified Application, Bachelors Students at these schools are eligible
and Masters applicants will be to become exchange students at Re-admission
required to provide the names and MSM, but they first need to be nomi- Former students wishing to re-enroll
email addresses of two recommenders; nated by their own schools to partici- (in order to complete a previous degree
Doctoral applicants will be required to pate in this program. Once a school program of study at Manhattan School
provide the names and email addresses has nominated a student, the school of Music) must schedule an interview
of three recommenders. One recom- official will inform MSM. At that with the Vice President for Academics
mendation must attest to artistic/musi- point, the student applies for this spe- and Performance to discuss re-admis-
cal abilities and one must attest to aca- cial program through MSM’s on-line sion prior to the regular application/
demic abilities. Freshman applicants admissions site. Exchange students do audition process. Re-audition will be
must use the high school guidance not need to audition in New York, and required in most cases.
counselor as the academic reference. special application procedures apply.
Professional Studies and Artist Diploma MSM’s Admissions Office will provide
applicants may submit two names and instructions to nominated students.
AUDITIONS
email addresses of references that will No applications for this program can Dates and Deadlines
attest to artistic/musical abilities only. be accepted for students who have not
already been nominated by their home Audition Period
For more information on the recom- school. Students are encouraged to March 2-March 9, 2012
mender process, please visit www. apply by March 1, though later submis-
msmnyc.edu/apply/. sions may be accepted. Application Deadline
December 1, 2011
Standardized Test Scores Exchange students are typically Notification Date
Manhattan School of Music does not undergraduate students in their April 1, 2012
require the SAT, ACT, Achievement penultimate year of study, or graduate
tests or the GRE for most applicants; students. Exchanges may be for one Confirmation (Deposit) Deadline
however it is recommended that scores semester or for a full year. Exchange April 15, 2012 (graduates)
from one or more of these tests be submit- students pay no application fees, no May 1, 2012 (undergraduates)
ted. Freshmen applicants who are home MSM fees, and no MSM tuition. They
schooled or are submitting the GED are are responsible for their own room Audition Procedures
required to submit SAT or ACT scores. and board expenses, health insurance, Every major and every degree program
incidentals and any travel expenses. requires an audition, either in person
Transfer Applicants Exchange programs at MSM gener- (as required by most departments) or
Transfer Applicants are students who ally work on the basis of one-for-one by recording. Departments that allow
are currently enrolled full time in a exchanges with the partner schools. recorded auditions are listed below.
degree program at a college or univer- Exchanges may be limited by MSM or Manhattan School of Music auditions
sity, and who will not graduate before any of its partner schools in order to bal- are held once annually, in March, in
beginning study at MSM. Individudal ance the numbers of students participat- New York City. There are no regional
department faculties adjudicate audi- ing. For further information, students auditions. Some departments pre-
tions for transfer applicants, and should seek advice from the interna- screen applications, and applicants for
the audition determines placement tional advisor at their home school. those programs will audition in New
in first, second, or third year. The York by invitation only.
academic status of a transfer student
MSM currently has international The following applicants have the option
(such as freshman, sophomore, etc)
exchange programs with the follow- of submitting an ArtsApp audition:
does not guarantee the same status at
ing schools: Royal College of Music
MSM. Evaluation of all college course
work completed prior to enrollment at
(London, England); Royal Danish • Cello, tuba, double bass and harp
Academy of Music (Copenhagen); students with the exception of
MSM, plus placement examinations
Norwegian Academy of Music (Oslo); those applying for the doctoral
given during orientation, will deter-
Sibelius Academy of Music (Helsinki, degree or artist diploma
mine final academic placement and
Finland); Musikhochschule (Stuttgart,
consequently the expected duration of
Germany); Amsterdam Conservatory; • Applicants residing outside North
the program of study. For more infor- America, with the exception of
Shanghai Conservatory; Central
mation regarding possible transfer doctoral applicants and applicants
Conservatory (Beijing, China); Sydney
credit, please refer to the Office of the for all levels of classical composition
Conservatorium; Aichi Prefectural
Registrar section of this catalogue. and classical accompanying. All
University of Fine Arts and Music
(Nagoya, Japan). MSM also has a doctoral, artist diploma, classical
Exchange Applicants domestic exchange program with composition and accompanying stu-
MSM has exchange agreements dents must audition in New York.
Office of Admission and Financial Aid 15All applicants whose programs permit specific repertoire requirements for Admitted Doctoral students may not
recorded auditions may choose instead auditions by major and program degree. defer enrollment. Students who defer
to audition live in New York. must complete the Intent to Enroll
Entrance Exams form, indicating deferment, and pay
Live Auditions Entrance exams are required at the the non-refundable $500 confirma-
Approximately one month before each time of audition for classical composi- tion fee, then contact the Office of
audition period, applicants eligible tion, jazz composition, contemporary Admission and Financial
for a live audition will be emailed an performance program and doctoral Aid prior to matriculation to
audition invitation letter, which will program applicants only. reconfirm their intent to enroll.
assign the applicant a specific date and
time. Applicants must reply to this Audition Results
email in order to confirm the sched- A successful audition does not guar- International Students
uled audition. Please note that dates antee one’s final admission status at English Language Tests
and times are assigned by the Office of Manhattan School of Music. While
Admission and are not flexible. the audition is of great importance, English Language Requirements
the Admission Committee reviews and Policies
Classical composition, jazz composition, all materials related to the applicant. All applicants auditioning for
and all Contemporary Performance An invitation to attend Manhattan Manhattan School of Music whose
Program applicants will be scheduled School of Music cannot be made with- first language is not English will
for a required entrance exam and inter- out a complete admission file, includ- be required to submit an official
view with the faculty during the regu- ing academic transcripts, transcript TOEFL (Test of English as a Foreign
larly scheduled audition periods. translations and/or evaluations, if Language) score from a test taken after
required, recommendation letters, January 1, 2010 but prior to December
Classical voice applicants (graduates 1, 2010. Please note that it can take
and official TOEFL results.
only) will be given a short diction test up to two to three months to register,
Admission results will not be given
prior to their audition. take an exam, and receive official
over the telephone. Provided all
required materials have been received, results. The Office of Admission
All Jazz applicants will take a theory
applicants are sent notification of must receive official TOEFL scores
test immediately before their audition.
their admission status via email on or no later than December 1, 2010.
Doctoral applicants need to be avail- around April 1st. Failure to submit the required TOEFL
able over several days in order to score by the February 1st deadline
accomplish all aspects of the audition Confirmation Deadlines will result in the cancellation of your
process. In addition to the audition, May 1st is the deadline for admitted scheduled audition.
there is a required 3-hour written undergraduate students, and April
Note: The Associate Dean for
exam in music history and music 15th is the deadline for admitted
Enrollment Management is able to
theory as well as an interview with graduate students to confirm
access applicants’ official TOEFL
the Doctoral Committee. their decision about enrollment
results online before they arrive in the
at Manhattan School of Music. A
mail. The applicant must send an email
Recorded Auditions non-refundable $500 confirmation
to aanderson@msmnyc.edu, indicating
Applicants who elect to submit fee is required to confirm enroll-
their TOEFL logon ID and password.
recorded auditions (for eligibility, ment. While not encouraged, there
see Where To Audition, above) should may be circumstances where an The applicant must register for the
note that the video audition mate- admitted student chooses to defer TOEFL through Educational Testing
rial must be submitted via MSM’s admission. With permission of Service (ETS). To get a schedule or reg-
portal, ArtsApp (www.ArtsApp. the Associate Dean of Enrollment istration forms, visit www.ets.org/toefl
com/msmnyc). Recorded auditions Management, admitted students in or call ETS at 609 771 7760. Manhattan
must be video recordings, not audio certain majors and/or degrees may School of Music’s code is 2396.
recordings. Applicants are advised to defer enrollment for either one or
retain original recordings. Recorded two semesters. Deferring for one Minimum Scores by Degree Program
auditions become the property of semester may cause problems with All Bachelor of Music, Master of
Manhattan School of Music and can- program sequence, thereby lengthen- Music, Professional Studies, and
not be returned. ing the time necessary to complete Artist Diploma program applicants
the degree requirements. The one- must submit an official TOEFL score.
Audition Repertoire semester deferment option is not Manhattan School of Music’s rec-
Please refer to the Academic available for undergraduate classical ommended minimum is 79 iBT (213
Department page of this catalogue strings, undergraduate and graduate computer based). Those applicants
or the website www.msmnyc.edu for voice, or undergraduate jazz majors. who are accepted but do not reach
16 Office of Admission and Financial AidYou can also read
