Stanford University: Department of Music Graduate Handbook 2007-2008

Department of Music Graduate Handbook 20072008
Stanford University
INTRODUCTION .............................................................................................................................................................................................4 THE HONOR CODE AT STANFORD ..................................................................................................................................................................5 SECTION ONE: THE DEPARTMENT OF MUSIC...............................................................................................................................7 GENERAL INFORMATION ..............................................................................................................................................................................8 Braun Music Center Hours Fall, Winter, and Spring Quarters ...........................................................................................................8 CCRMA Hours Fall, Winter and Spring Quarters................................................................................................................................8 Braun Music Center After-Hours Access...............................................................................................................................................8 Music Library Hours Fall, Winter, and Spring Quarters .....................................................................................................................8 Center for Computer-Assisted Research in the Humanities (CCARH) ................................................................................................9 Dinkelspiel Auditorium...........................................................................................................................................................................9 Center for Computer Research in Music and Acoustics (CCRMA)......................................................................................................9 FACILITIES ACCESS, SCHEDULING, AND USE POLICIES ................................................................................................................................9 Practice Rooms and Keys.......................................................................................................................................................................9 Instrument Lockers and Locks..............................................................................................................................................................10 Concerts/Recitals and Receptions........................................................................................................................................................10 Concert Recordings ..............................................................................................................................................................................10 Grad-Students ID Mailboxes ..............................................................................................................................................................11 Photocopying ........................................................................................................................................................................................11 Computer/Copy Room (Braun 230) .....................................................................................................................................................11 Guidelines Regarding Use of Standard Music-Department Letterhead ............................................................................................11 Important Sources of Information........................................................................................................................................................12 MUSIC DEPARTMENT PEOPLE ....................................................................................................................................................................13 Music Student Association (MSA) and the Graduate Music Student Association (GMSA)...............................................................13 Friends of Music at Stanford (FoM)....................................................................................................................................................14 Departmental Committees....................................................................................................................................................................14 Faculty...................................................................................................................................................................................................14 Mellon Fellows .....................................................................................................................................................................................15 Consulting Professors ..........................................................................................................................................................................15 Applied Music Faculty Senior Lecturers .............................................................................................................................................15 Emeriti...................................................................................................................................................................................................15 Lecturers & Applied Music Faculty.....................................................................................................................................................16 Ensemble in Residence: St. Lawrence String Quartet.........................................................................................................................17 Departmental Performing Ensembles..................................................................................................................................................17 Department Staff...................................................................................................................................................................................17 SECTION TWO: ALL ABOUT REGISTRATION ................................................................................................................................19 REGISTRATION GENERAL INFORMATION...................................................................................................................................................20 Continuous Registration.......................................................................................................................................................................21 Registration Categories........................................................................................................................................................................21
Full-Tuition Registration Year 1.......................................................................................................................................................................21 Research and Teaching Assistantships Years 2 through 5 ..............................................................................................................................21 Reduced Tuition Adjustment .................................................................................................................................................................................21 Terminal Graduate Registration (TGR).................................................................................................................................................................22 Understanding TGR................................................................................................................................................................................................22 Graduation Quarter .................................................................................................................................................................................................24
LEAVE OF ABSENCE ...................................................................................................................................................................................24 REINSTATEMENT ........................................................................................................................................................................................24 RESIGNATION .............................................................................................................................................................................................25 STUDY LISTS ..............................................................................................................................................................................................25 STANFORD/MUSIC ENROLLMENT DEADLINES ..........................................................................................................................................26 UNIVERSITY GRADING POLICIES ...............................................................................................................................................................26 MUSIC DEPARTMENT GRADING POLICIES .................................................................................................................................................26 ACADEMIC PROGRESS REQUIREMENTS .....................................................................................................................................................26 Period of Study......................................................................................................................................................................................27 Policy on Minimum Progress Requirements for Graduate Students..................................................................................................27 Course Substitution...............................................................................................................................................................................27 Changes to, and Addition of Degree Programs ..................................................................................................................................27 RESIDENCY .................................................................................................................................................................................................28
Residency Credit for Graduate Work Done Elsewhere ......................................................................................................................28 SECTION THREE: ALL ABOUT MUSIC GRADUATE DEGREE PROGRAMS.....................................................................29
GRADUATE DEGREE GENERAL INFORMATION ..........................................................................................................................................30 Language Requirements for all Graduate Students ............................................................................................................................30
German Language Examination http://language.stanford.edu/requirement/germanPhD.html......................................................................31 French Language Examination http://language.stanford.edu/requirement/frenchPhD.html..........................................................................31 Italian Examinationshttp://language.stanford.edu/requirement/italianPhD.html ............................................................................................31 Latin Examinations.................................................................................................................................................................................................32 Spanish Examinations ............................................................................................................................................................................................32 Other languages ......................................................................................................................................................................................................32
DOCTORAL DEGREES .................................................................................................................................................................................33 DOCTOR OF MUSICAL ARTS.......................................................................................................................................................................33 Course and Residency Requirements...................................................................................................................................................33 Electives ................................................................................................................................................................................................34 Language Requirements .......................................................................................................................................................................34 Examinations.........................................................................................................................................................................................34 Composition Projects ...........................................................................................................................................................................34 Application for Doctoral Candidacy ...................................................................................................................................................34 DMA Final Project ...............................................................................................................................................................................35
Final Project Proposal.............................................................................................................................................................................................35 Recommended Guidelines for Final Project Proposals.........................................................................................................................................35
Appointment of a Reading Committee .................................................................................................................................................36 Directions for Preparing the Final Project .........................................................................................................................................36 DMA Final Project Defense: Guidelines & Principles.......................................................................................................................37 DOCTOR OF PHILOSOPHY ...........................................................................................................................................................................39 Course and Residency Requirements...................................................................................................................................................39 Electives ................................................................................................................................................................................................40 Language Requirements .......................................................................................................................................................................40 Examinations.........................................................................................................................................................................................40 Application For Doctoral Candidacy ..................................................................................................................................................40 PhD Dissertation ..................................................................................................................................................................................40
Scope of the Dissertation........................................................................................................................................................................................40 PhD Dissertation Proposal .....................................................................................................................................................................................41 Recommended Guidelines for Dissertation Proposals..........................................................................................................................................41
Directions for Preparing the Dissertation...........................................................................................................................................42 Sample Dissertation Topics in Music at Stanford ...............................................................................................................................42
Musicology .............................................................................................................................................................................................................42 Computer-Based Music Theory and Acoustics.....................................................................................................................................................42
Appointment of a Reading Committee .................................................................................................................................................43 PhD RILM Abstract ..............................................................................................................................................................................43 PHD SCHEDULES (4-YEAR MODELS) .........................................................................................................................................................44 PHD SCHEDULES YOUR SCHEDULE (A WORKSHEET TO HELP YOU PLAN AHEAD!) ...........................................................................45 MULTIPLE DEGREE PROGRAMS .................................................................................................................................................................46 JOINT PHD PROGRAM IN THE HUMANITIES ...............................................................................................................................................46 GRADUATE DEGREE TIMETABLE ...............................................................................................................................................................47 SECTION FOUR: ALL ABOUT EXAMINATIONS .......................................................................................................................49
EXAMINATIONS GENERAL INFORMATION .................................................................................................................................................50 GRADUATE DIAGNOSTIC EXAM.................................................................................................................................................................50 Components of the Graduate Diagnostic Exam ..................................................................................................................................50 QUALIFYING EXAMINATION ......................................................................................................................................................................51 Procedures ............................................................................................................................................................................................52 Format for DMA Program in Composition .........................................................................................................................................52 Sample Questions Part A: Composition DMAs ..............................................................................................................................53 Format for PhD Program in Computer-Based Music Theory and Acoustics (CBMTA)...................................................................54 Sample Questions Part A: CMBTA PhDs .......................................................................................................................................54 Sample Questions Part B: Composition DMAs and CMBTA PhDs ..............................................................................................54
Format for PhD Program in Musicology ............................................................................................................................................56 Sample Questions Essays: Musicology PhDs .................................................................................................................................57 SPECIAL-AREA EXAMINATION...................................................................................................................................................................59 Format for CBMTA and Musicology PhDs .........................................................................................................................................59 Format for Composition DMAs ...........................................................................................................................................................59 SPECIAL-AREA EXAM PROCEDURES CHECKLIST FOR STUDENTS AND FACULTY .....................................................................................60 Sample Questions Part 1: Composition DMAs...............................................................................................................................61 Sample Questions Part 1: Musicology PhDs..................................................................................................................................61 Sample Questions Part 1: CBMTA PhDs........................................................................................................................................61 Sample Questions Part 2: Composition DMAs ................................................................................................................................62 Sample Questions Part 2: Musicology PhDs..................................................................................................................................62 Sample Questions Part 2: CBMTA PhDs........................................................................................................................................62 UNIVERSITY ORAL EXAMINATION.............................................................................................................................................................62 Format for CBMTA PhDs ....................................................................................................................................................................63 Format for Musicology PhDs...............................................................................................................................................................63 Registration Requirement for Candidates Taking University Oral Exams ........................................................................................63 SECTION FIVE: ALL ABOUT OTHER STUFF YOU SHOULD KNOW! .......................................................................................65 GRADUATION GENERAL INFORMATION ....................................................................................................................................................66 Conferral Of Degrees ...........................................................................................................................................................................66 Spring Commencement.........................................................................................................................................................................66 Regalia ..................................................................................................................................................................................................66 Graduation Quarter..............................................................................................................................................................................67 FINANCIAL AID OPPORTUNITIES................................................................................................................................................................67 Financial Obligations...........................................................................................................................................................................67 Discretionary Funds .............................................................................................................................................................................67 Graduate Aid Plan................................................................................................................................................................................68
Format .....................................................................................................................................................................................................................69 Monies.....................................................................................................................................................................................................................70 The teaching component of your graduate work: Privileges and responsibilities ...............................................................................................70 Graduate-Student Teaching....................................................................................................................................................................................70 TA Training Course: Music 280 ............................................................................................................................................................................71 Foreign-Student-TA English Screening ................................................................................................................................................................71
Work In Addition To Assistantship Appointment.................................................................................................................................72 Applied Music Lessons & Scholarship Support ..................................................................................................................................72 Musician-Referral Service for Off-Campus Teaching and Performing .............................................................................................73 Outside Fellowships, Post-Degree Plans, Career Planning And Placement.....................................................................................73 Exchange Scholar Program .................................................................................................................................................................74 Support Services at Stanford ................................................................................................................................................................74
INTRODUCTION Welcome to Stanford! In providing information about graduate study in music, this handbook is designed as a supplement to various other University publications, in particular the 2007-08 version of the Stanford Bulletin (THE final word on all aspects of your academic life at Stanford) and {http://registrar.stanford.edu/academic_calendar/index.htm} the Stanford University Graduate Handbook {http://www.stanford.edu/dept/DoR/GSH/}. We urge you to take the time to read the general material in the Bulletin concerning policies associated with study at Stanford (pages 6-44, as well as the Department of Musics specific section (pages 542-551). The Stanford Bulletin 2007-08: http://www.stanford.edu/dept/registrar/bulletin/ The information and tips contained in these pages should prove useful throughout your course of study in the Music Department. If youre still left with questions after having consulted it, the best way to find answers is to ask your advisor or a staff member in the main office. E-mail is the preferred mode of practical communication at Stanford. If you dont have an account by the time you read this sentence, you can obtain one by visiting ITSS at {http://www.stanford.edu/home/computing/index.html}. Contact information for the campus community may be found at Stanford.Who {http://stanfordwho.stanford.edu/lookup}, or in the Stanford Directory {http://www.stanford.edu/home/directories/}. The Center for Computer Research in Music and Acoustics (CCRMA) {http://ccrma.stanford.edu/} publishes its own Overview. {http://ccrma.stanford.edu/overview} I wish you a productive and enjoyable period of graduate education.
Steve Sano Chair
Note on the use of this handbook: This icon alerts you to particularly helpful sites (URLs) or PDFs and where to find them. You may find procedures documented here that have been changed. Please, if you discover errors, or if you have suggestions that will improve the usability of this manual, let me know! Debbie Barney Graduate Administrator
THE HONOR CODE AT STANFORD
The University formally adopted the first campus-wide honor system in the spring of 1921, after a seven-year campaign by the student body. The Code underwent various changes through the years, most recently in the spring of 1977. Modifications to these and other codes of student conduct are drafted and enacted by the Student Conduct Legislative Council in accordance with the procedures set forth in The Legislative and Judicial Charter of 1968. The standard of academic conduct for Stanford students is as follows: 1. The Honor Code is an undertaking of the students, individually and collectively: a. That they will not give or receive aid in examinations; that they will not give or receive unpermitted aid in class work, in the preparation of reports, or in any other work that is to be used by the instructor as the basis of grading; b. That they will do their share and take an active part in seeing to it that others as well as themselves uphold the spirit and letter of the Honor Code. 2. The faculty on its part manifests its confidence in the honor of its students by refraining from proctoring examinations and from taking unusual and unreasonable precautions to prevent the forms of dishonesty mentioned above. The faculty will also avoid, as far as practicable, academic procedures that create temptations to violate the Honor Code. 3. While the faculty alone has the right and obligation to set academic requirements, the students and faculty will work together to establish optimal conditions for honorable academic work. Examples of conduct which have been regarded as being in violation of the Honor Code include: Copying from anothers examination paper or allowing another to copy from ones own paper; Unpermitted collaboration; Plagiarism; Revising and resubmitting a quiz or exam for regrading without the instructors knowledge and consent; Giving or receiving unpermitted aid on a take-home examination; Representing as ones own work the work of another; and Giving or receiving aid on an academic assignment under circumstances in which a reasonable person should have known that such aid was not permitted.
In recent years, most student disciplinary cases have involved Honor Code violations; of those, the most frequent is plagiarism. The ordinary penalty for a first offense is a one-quarter suspension from the University, 40 hours of community service, and a grade of No Credit for the class in which the violation occurred. The ordinary penalty for a multiple violation (e.g. cheating more than once in the same course) is a three-quarter suspension, 40 or more hours of community service, and a grade of No Credit. For additional information about the Honor Code visit: http://www.stanford.edu/dept/vpsa/judicialaffairs/guiding/honorcode.htm
SECTION ONE: THE DEPARTMENT OF MUSIC

In this section you will find General information about the department Facilities access, scheduling, and use policies Department faculty and staff
GENERAL INFORMATION As the department has grown, it has spread out a bit over campus! The Knoll, above Florence Moore dormitory, (FloMo) was the home of the Music Department until 1984, when Braun Music Center opened. Now The Knoll houses CCRMA, while the rest of the Music Department resides amidst bustling activity in the area referred to as the Campus Center (southwest side of White Plaza) Braun Music Center Hours Fall, Winter, and Spring Quarters Mon.Fri. Sat. Sun. 8 am11 pm 9 am6 pm 12 noon10 pm
CCRMA Hours Fall, Winter and Spring Quarters Mon.Fri. 9 am5 pm
Hours during Summer Quarter, intersessions, and university holidays falling within the three academic quarters will be posted and normally include only weekday hours. Holidays closed: Thanksgiving Day, Christmas Eve, Christmas Day, New Years Eve, New Years Day, Independence Day, Labor Day. Braun Music Center After-Hours Access Undergraduate majors and graduate students who are willing and able to follow departmental policy may be issued a key allowing after-hours access to the building for practice, etc. Deposit for the building key is $50, refundable upon return of it. Please see the department receptionist or Mark Dalrymple (techie@stanford.edu) in the Music Department Office to request a building key. NOTE: this building key will not allow you access to the Music Library after hours! The Music Library (http://wwwsul.stanford.edu/depts/music/index.html) maintains a collection of writings, music, and sound recordings for use by enrolled graduate students. Borrowing privileges are granted by the Privileges/Service Desk in Green Library and vary with the status of the student. Doctoral students may apply for carrel assignments in fall quarter http://www-sul.stanford.edu/depts/music/forms_restricted/carrel.html (SUNet ID and password required). Informative tours and helpful instructions about using the Music Library are available from Ray Heigemeir (raymondh@stanford.edu). After passing candidacy, doctoral students are eligible to apply for Dissertation Room assignments in Green Library http://www-sul.stanford.edu/libraries_collections/places_to_study/index.html). Remember: to borrow anything (and/or even to enter some libraries!), youll need your ID card! Music Library Hours Fall, Winter, and Spring Quarters Mon.Thu. Fri. Sat. Sun. 9 am10 pm 9 am5 pm 1 pm5 pm 1 pm10 pm
Section One: All About the Music Department
Hours during Summer Quarter, intersessions, and university holidays falling within the three academic quarters will be posted and normally include only weekday hours. Holidays closed: Thanksgiving Day, Christmas Eve, Christmas Day, New Years Eve, New Years Day, Independence Day, Labor Day. For further details see: http://www-sul.stanford.edu/depts/music/about/index.html Employment opportunities in the Music Library are available by applying at the Music Library circulation desk. Please contact Rich Powers with questions. The Archive of Recorded Sound is located in the basement of Braun, accessible via a staircase near the main office. They are open to the public from 15 pm weekdays. Many grad students have found this an excellent resource in their research. Please contact Aurora Perez (aperez@stanford.edu). The Lange Historical Instruments and Bows Collection is housed in Braun 217. Herbert Myers (hwm@stanford.edu) is curator. We have a Stradivarius, and various other marvels; if you have interest in borrowing or just seeing instruments, get in touch with Herb. Center for Computer-Assisted Research in the Humanities (CCARH) CCARH (pronounced ka kar) (http://www.ccarh.org) is located in Braun 129, a center engaged in the development of large databases of musical and textual materials for applications in research, teaching, and performance. It has proved extremely useful to faculty and grad students in printing, analyzing, and otherwise accessing music. Don Anthony (ccarh@ccrma.stanford.edu) is their extremely helpful administrative associate. Dinkelspiel Auditorium Dinkelspiel (Dink) is open the same hours as Braun; during the summer; however, it is closed to all except workshop participants. During intersessions it is also closed. Dink houses the Universitys primary concert hall with 710 seats. Large ensemble rehearsals take place on stage and both classes and rehearsals are held in the rehearsal hall in the basement. There are also nine practice rooms and several offices in the lower level. Center for Computer Research in Music and Acoustics (CCRMA) CCRMA (pronounced karma) is open weekdays 9 a.m. to 5 p.m. {http://ccrma.stanford.edu/} FACILITIES ACCESS, SCHEDULING, AND USE POLICIES Practice Rooms and Keys On the first day of each quarter, sign-ups for practice time and space are reserved for Music majors (including Music graduate students) only. Thereafter, anyone with a valid University I.D. may sign up in Dinkelspiel, Room 1, during the first three weeks of the quarter. See the department receptionist in Braun 101 during business hours to sign up for practice times after the first three weeks of the quarter. Bring your Stanford ID. Fees may be paid using cash, checks, ID, or The StanfordCardPlan [sic] (http://www.stanford.edu/services/campuscard/cardplan.html) made payable to Stanford University. The classrooms and rehearsal/recital halls are NOT intended for use as individual practice facilities (see Chamber Groups below). Practice rooms are located in the basement of Dinkelspiel and in Room 206 in Braun Music Center, and should be reserved before use each quarter. The nominal fee charged for room use is applied toward piano and practice-room maintenance.
Keys are needed for most of the individual practice rooms in Dinkelspiel. There is a $10 deposit for the key, which is refundable when you return same. PRACTICE TIME is signed up each quarter, for the entire quarter (e.g., if you sign up for 3 hours a week in a room, your charge will be $30.00 for the entire quarter; there is a 3-hour minimum, and a 20-hr. maximum, per week). Fees are not prorated; the charge is the same whether you sign up during the first week of the quarter or the last. Therefore, you are advised to sign up early in the quarter. CHAMBER GROUPS may make arrangements in advance with the department receptionist in the Music office for rehearsal time in Rooms 103, 105, 106. DURING INTERCESSION Dinkelspiel is closed. Braun is open from 8:00 a.m. to 5:00 p.m., Monday through Friday. The practice modules in Room 206 will be available, on a first-come, first-served basis, during that time.
Instrument Lockers and Locks Lockers are available for storage of musical instruments, materials, and books. There is a rental fee charged for lockers, ($5 or $10 for the academic year, depending on the size of the instrument), and a $20 deposit is required for the locks. The deposit is returned when the lock is returned to the department. Locker fees are payable twice each year, at the start of Autumn Quarter & the end of Spring Quarter. Lockers not renewed will be cleared and reassigned, and the deposit forfeited. If you play anything but a stand-up bass, please see the department receptionist in Braun 101 to sign up for a locker. Lockers for basses are issued by Herb Myers (hwm@stanford.edu). Concerts/Recitals and Receptions Concert/recital and reception bookings are managed by Mark Dalrymple, Production Manager (techie@stanford.edu). Limited publicity support is available for Department-sponsored events including PhD and DMA project recitals. Please contact the department publicist for information regarding publicity for department-sponsored concerts. Current checklists and booking forms Music Department Concert Booking Form; Music Department Reception Scheduling Request; Student Reception Policy; Publicity Guidelines for Student Recitals are all available on the turnaround rack outside the Braun main office. The opportunity for more informal concert giving exists in the form of Wednesday- and/or Friday-Noon Recitals. Contact the department receptionist to schedule a noon concert/recital. Concert Recordings Recordings of concerts may be made for participants only copyright laws. Order forms are available in the front-hall rack. Fees are currently $15.00 for copies of archived recordings and $30 advance payment for student recitals, but may change at any time. See the department receptionist to submit completed forms and to arrange payment. The Request for Concert Recording is available on the turnaround rack outside the Braun main office.
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Grad-Students ID Mailboxes In Braun, labeled ID mailboxes are issued to grad student composers and musicologists. Student boxes are underneath the wooden faculty mailboxes in the main Music office (Braun 101). Computer-based music theorists ID mailboxes are at CCRMA on the second floor lobby area. Both MAIL and PAYCHECKS (unless you sign up for direct deposit via Axess) will be distributed to these boxes. The Music Department cannot assume the burden of forwarding subscriptions, personal mail, etc.; we therefore ask that students not use the department for anything but university-oriented correspondence; especially that they not remain on any mailing lists which generate junk mail. Please keep personal mail at home! The importance of this cannot be emphasized sufficiently: the US Post Office cannot change the address of the Music Department at Stanford and if you attempt to use OUR address as YOUR address, what it means in reality is that YOU wont be able to change your address with outside sources using the Post Offices forms: therefore, all your mail will continue to come here after you are gone! And we wont be forwarding it to you well be recycling it! Last word about addresses: please be sure to notify the University (by keeping your information up-to-date in Axess), the music department (email Debbie), of any changes in address/phone, as they occur during the academic year! Photocopying Department policy students may deposit money into their SU ID cards (the Stanford Card Plan, see link below) to finance photocopying of their personal work (this includes research, music for chamber music or lessons, etc.) The photocopier in the Music Library is available for student use. The photocopiers in the main office (Braun 101), and in the upstairs computer/printer/copier room (Braun 230) are for faculty and staff (including students currently serving as TAs) and are available only for departmental-business copying. This includes TAs copying materials for their classes syllabi, exams, handouts, etc. and non-TA seminar students copying assignments to be handed out to the entire class. Departmental-ensemble librarians or managers only will also be able to copy music for rehearsals. Visit http://www.stanford.edu/group/itss-cns/campuscard/cardplan.html for specific information about the Stanford Card Plan. Computer/Copy Room (Braun 230) The department has a room set aside for student use of Macintosh computers, a LaserWriter, an IBM Selectric typewriter (really!), and copier. The computers have Internet access and some basic software, including Finale and Microsoft Office. The key to Braun 230 is available in the Music Office see anyone! The University has lots of other computer areas for students, too (http://academiccomputing.stanford.edu/clusters/). CCRMA, of course, also has many computers please see Tricia or Fernando about their policies. Visit http://www.stanford.edu/home/computing/print_and_clusters.shtml for lots of very helpful information about computer clusters on campus. Guidelines Regarding Use of Standard Music-Department Letterhead 1. The departmental letterhead is intended for use by members of the Department of Music in conducting business of the department or university. 2. Business of the Department or University is understood to mean any concern, process, or task directly related to, or in the exercise of, a members appointment or a graduate students candidacy for an advanced degree, as it expresses the educational purposes of the department or university.
Section One: All About the Music Department 11
3. Use of departmental letterhead for personal and non-university-related business is not permitted. 4. Examples of approved uses: a. A student request for information or an order for material (such as microfilm from European libraries), in support of a credit-bearing project or a doctoral dissertation, with the approval of the students project or dissertation advisor. b. Students, faculty, or staff correspondence related to formal participation at professional meetings, when the department member is identified as representing the university. c. Correspondence or promotion related to a department-sponsored program, lecture, or concert, where the department member is assigned duties requiring such correspondence or promotion. d. Student letters related to job placement, provided that the student identifies his or her official affiliation with the department. 5. Exceptions to the above policy may be arranged by students with approval of their academic advisors and by faculty and staff with the approval of the Chair. See Debbie Barney for said letterhead and envelopes! Important Sources of Information All students are expected to obtain, from the Registrars Office, and to keep available for reference, copies of the current Stanford Bulletin (http://www.stanford.edu/dept/registrar/bulletin/) and Time Schedule (available for the entire year in Axess). All students should read, in the bulletin, both the university-wide and departmental sections relating to the particular degree they are seeking. Note: The printed time schedule is never the most up-to-date one! The online time schedule in Axess (https://Axess.stanford.edu/) is always the most current source of class information. The front- and back-hallway bulletin boards, the glassed-in board outside the Music Library, specialized boards adjacent to the Symphony and Choral offices, in CCRMA, and upstairs boards by faculty offices and in the long hallway should be checked regularly for announcements. All hard-copy gig, job, audition, and school/workshop announcements are posted on the back-hallway bulletin board across from CCARHs offices (130 Braun). Email and Email Lists: As soon as you created your SUNet ID (Stanford University Net ID) when you responded to our offer of admission, your default Stanford email address became <yourSUNetID@stanford.edu>. This email address is the one to which all department correspondence will be sent, unless you advise Debbie otherwise. In addition, every graduate student is a member of the list named musicgrads and, (using a Stanford email account) anyone with a Stanford email address may post announcements to this list by sending mail to musicgrads@lists.stanford.edu. For complete information on subscribing and unsubscribing to campus mail lists, visit: http://www.stanford.edu/services/mailman/ In addition, the department keeps a list for students interested in learning about performance gigs called in by the immediate Stanford community as well as the local communities near our campus. If you are interested in receiving and, potentially, responding to the various gig requests received by the department each year, please contact Nette (nworthey@stanford.edu) with your request to be added to this list. This is a wonderful
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opportunity to pick up some extra cash and experience as ambassadors of the Department (and, of music) to the rest of the campus and the surrounding community. The Department Office Staff are a primary source of information. If they dont know the answer, they probably know where to get it, or will try really hard to find out! (Warning! Beware or you may find yourself the object of gentle chiding if you should ask too many questions whose answers may be found by reading this manual, or by reading notices posted on the glass doors to Braun 101 (the central office) or on the fronthallway bulletin board!) Your advisor is also an important source of information such as whether or not you are fulfilling requirements and should be consulted AT LEAST once per quarter (at registration time): the more often, however, the better. The student-run Stanford Daily (http://daily.stanford.edu) and the Stanford Report (http://www.stanford.edu/dept/news/report, available to all: comes out Wednesdays and is delivered to the main office) are invaluable in many ways. The Academic Senate has a way of changing things mid-year, and announcements of such changes often appear in these publications. Besides, they list campus news and goings-onstay as informed as you can! The Registrars Office (http://www.stanford.edu/dept/registrar/) is THE source for information about graduate degree requirements and their site provides many downloadable PDF forms you will need during your careerbookmark this site, now! http://registrar.stanford.edu/shared/forms.htm Bechtel International Center (I-Center, http://www.stanford.edu/dept/icenter) is an extremely important resource for all our international students. Please visit the I-Center frequently for updated information regarding your status as an international student and the ever-changing federal requirements concerning your study here in the States. Students with physical, psychological, or learning disabilities in need of academic, housing, or other accommodations should contact the Disability Resource Center (DRC, http://www.stanford.edu/group/DRC), located at 563 Salvatierra Walk. Student requests for academic adjustments, auxiliary aids, and services are evaluated by a DRC program coordinator and appropriate accommodations are recommended which specifically address the functional limitations of the disability without substantially altering the course or program of study. Requests for accommodation need to be made in a timely manner, that is, within the first two weeks of the quarter, or as soon as a new need arises. Students must register with the DRC and provide documentation of their disability. Contact the DRC at (voice) 3-1066, (TTY) 3-1067 for questions or to request a copy of the DRC Student Guide, which contains additional information regarding specific criteria and procedures. MUSIC DEPARTMENT PEOPLE Music Student Association (MSA) and the Graduate Music Student Association (GMSA) The purpose of the MSA/GMSA is to provide an avenue through which music students communicate with faculty and administration and with each other, to focus their ideas and concerns for the improvement and enhancement of the Music program at Stanford. All music students are welcome, and indeed, encouraged to participate. MSA/GMSA sponsor a Musicology Colloquia series as well as occasional informal recitals, book/record sales, and student parties. They also provide the Chair with recommendations for student
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delegates to departmental committees. Notices of events and meetings of both groups are sent to the mail lists musicugrads and musicgrads as appropriate. Visit http://www.stanford.edu/services/mailman/ for information about Stanford mail lists. Friends of Music at Stanford (FoM) The Friends of Music (FoM) at Stanford, https://www.stanford.edu/dept/music/People/fom.html, is an extradepartmental group that provides funding for a variety of music student activities. The mission of the Friends of Music at Stanford is to support the activities of the Department of Music and to enhance musical life at Stanford and in the community. FoM is primarily involved with providing both full (to majors) and partial (to non-majors) scholarship support to students who would be unable to take private lessons without financial assistance. [See Applied Music Lessons & Scholarship Support in Section Five of this manual for details.] Funds to support these scholarships are raised by Friends members through fundraising activities and private contributions. FoM occasionally picks up fees for other musical endeavors undertaken by music students: please consult with Nette Worthey (nworthey@stanford.edu) if you think you have a project with which FoM might be interested in assisting. Departmental Committees The following is a list of departmental committees. Faculty and student membership changes from year. Please check the front hall bulletin board (outside Braun 102) for the new 200708 committee memberships (TBD Autumn Quarter). If you are interested in serving as the student representative to any of these committees, please let Debbie or Nette know. Undergraduate Studies Committee Graduate Studies Committee Library Committee Performance Committee) Music Students Association (MSA) Graduate Music Students Association (GMSA) Musicology Lecture Series Coordinator(s) Graduate Student Musicology Colloquia Wednesday-Noon Recitals Coordinator(s)
NOTE: Ad hoc committees appointed as required. A membership roster is posted annually.) Faculty For contact information, please see the Faculty, Student, and Staff Directories: http://music.stanford.edu/People/index.html or search in StanfordWho http://stanfordwho.stanford.edu/SWApp/lookup Mark Applebaum, Associate Professor: composition, theory George Barth, Professor (Teaching): piano and early piano, Ives Jonathan Berger, Associate Professor: composition, music theory, and music cognitionCCRMA Karol Berger, Professor: history of music theory and aesthetics, music of the Renaissance, Mozart, and Chopin Jindong Cai, Associate Professor (Performance), Director of Orchestral Studies Christopher Chafe, Professor: interactive composition, physical modeling of digital audio techniquesCCRMA (Director) Brian Ferneyhough, Professor: composition, theory (on leave) Thomas Grey, Professor: theory and history of German Romanticism (on leave Aut) Heather Hadlock, Professor: 19th-century opera and operetta, feminist and gender studies, French Romanticism
14 Section One: All About the Music Department
Stephen Hinton, Professor: aesthetics, early 20th-century theory; Hindemith and Weill William Mahrt, Associate Professor: performance practices of Medieval and Renaissance music, Director of Early Music Singers (on leave Win) Jesse Rodin, Assistant Professor: 15th-century Franco Flemish polyphony; Renaissance music and performance; late Medieval notation Thomas Rossing, Visiting Professor: musical acousticsCCRMA Stephen Sano, Associate Professor (Teaching) and Chair: Director of Choral Activities; conducting Julius Smith, Professor: applications of signal processingCCRMA (on leave Aut) Ge Wang, Assistant Professor (subject to PhD): real-time software; computer music; ensemblesCCRMA Leonard Ratner: musicology Leland C. Smith: composition
Mellon Fellows James Kennaway, musicology Michael Markham, musicology Consulting Professors Jonathan Abel, Consulting Professor: signal processingCCRMA David Berners, Consulting Professor: signal processingCCRMA Marina Bosi-Goldberg, Consulting Professor: digital audio technologyCCRMA Walter Hewlett, Consulting Professor: computer applications in musicologyCCARH Eleanor Selfridge-Field, Consulting Professor: computer applications in musicologyCCARH Malcolm Slaney, Consulting Professor: hearing sciences, CCRMA Applied Music Faculty Senior Lecturers Giancarlo Aquilanti, Director of Theory and of The Stanford Wind Ensemble Stephen Harrison, cello Thomas Schultz, piano Gregory Wait, voice/choral conducting Frederick Weldy, piano Emeriti Arthur P. Barnes: bands, musicianship John Chowning: composition, CCRMA Albert Cohen: musicology Marie Gibson: voice George Houle: musicology Max Mathews: computer music, CCRMA William Ramsey: choral conducting
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Lecturers & Applied Music Faculty Kumaran Arul, piano Talya Berger, theory and analysis Fredrick Berry, Jazz Ensemble Frances Blaisdell, flute Mark Brandenburg, clarinet Marjorie Chauvel, harp Tony Clements, tuba Laura Dahl, resident collaborative pianist Natasha Daniels, viola Anthony Doheny, violin John Dornenburg, viola da gamba Charles Ferguson, guitar Debra Fong, violin Claire Giovannetti, voice Dawn Harms, violin Alexandra Hawley, flute David Henderson, saxophone Melody Holmes-Schaefle, flute Robert Hubbard, oboe (Aut only) Graeme Jennings, violin Joyce Johnson-Hamilton, trumpet Chris Jones, theory and composition Jay Kadis, audio recording, CCRMA McDowell Kenley, trombone Josh Levine, composition (Aut only) Mary Linduska, voice (Sum only) Fernando Lopez-Lezcano, CCRMA Murray Low, jazz piano Janet Maestre, flute Anthony Martin, Baroque violin James Matheson, oboe (Win, Spr only) Robert Huw Morgan, organ, University Singers Bruce Moyer, contrabass Herbert Myers, Renaissance winds; instrument curator James Nadel, jazz theory, combos Rufus Olivier, bassoon Larry Ragent, French horn Amy Schneider, voice Jerome Simas, clarinet Thomas Schultz, piano Livia Sohn, violin Harold Stein, saxophone Elaine Thornburgh, harpsichord Erik Ulman, theory and composition Linda Uyechi, Taiko
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Mark Veregge, percussion Daisy You, guzheng Timothy Zerlang, piano, carillon
Ensemble in Residence: St. Lawrence String Quartet Geoff Nuttall, violin Scott St. John, violin Lesley Robertson, viola Christopher Costanza, cello Departmental Performing Ensembles Chamber Chorale Chamber Ensembles (duets, trios, quartets, jazz, etc.), as arranged through Music 171 Early Music Singers Guzheng Jazz Orchestra Mariachi Ensemble Memorial Church Choir Philharmonia Orchestra [sic] Improvisation Collective (Win only) Soundwire Ensemble (Aut only) Symphonic Chorus Symphony Orchestra Taiko Ensemble University Singers Wind Ensemble Department Staff Debbie Barney, chairmans/graduate students/academic administrative associate Pam Bergmann, stage manager Mario Champagne, administrative director Raina Cornejo, receptionist/assistant facilities manager Mark Dalrymple, facilities/production manager Sasha Leitman, technical coordinator, CCRMA Jaime Marconette, financial officer Tricia Schroeter, administrative associate, CCRMA Nette Worthey, undergraduate student services, Friends of Music liaison Jerry McBride, head, Music Library and Archive of Recorded Sound now hiring!, publicist
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SECTION TWO: ALL ABOUT REGISTRATION

In this section you will find Registration General Information TGR Registration Leave of Absence Reinstatement Resignation Study Lists Stanford/Music Enrollment Deadlines University Grading Policies Music Department Grading Policies Academic Progress Requirements Residency
REGISTRATION GENERAL INFORMATION The Registrars website is THE source for information about all things Registration at Stanford University. Registering at Stanford, http://www.stanford.edu/dept/registrar/registration/index.html and, Graduate Student Handbook, http://www.stanford.edu/dept/DoR/GSH New students will be term-activated upon acceptance to Stanford; then theyre eligible to enroll. Term activation will continue for every quarter following, unless students notify the university that theyre going on leave, until the end of their careers at Stanford. (See the Leave of Absence section for information on canceling your registration.) Photo ID cards are issued after arrival; if you returned the Stanford ID Card form included in your copy of A Guide for New Graduate Students, you may pick up your new card at the Stanford Card Office (http://www.stanford.edu/services/campuscard/cardoffice.html). Their usual office hours are 8 am5 pm. If you have any questions, call them at 498-2273. If you did not prearrange your ID, follow the instructions for obtaining a card at their website. Your university bill is issued through Student Financial Services. Questions regarding the assessed tuition should be directed to the Registrars Information window in the Harold trailer at 633 Serra Street, or by email to mailto:mailto:registrar@stanford.edu. Any other questions regarding your university bill and/or charges that appear thereon should be addressed to Student Financial Services. For tuition information, visit http://www.stanford.edu/dept/registrar/registration/tuition.html For complete billing information, visit http://financialgateway.stanford.edu/students/universbill/index.html Because almost all registration and billing processes at Stanford are accomplished in Axess, you are responsible for making sure your mailing address (along with all other addresses!) is up-to-date in Axess. All University offices will use your current contact information as you have entered it in Axess. Debbie needs to know this information, too, so if you change residences, let her know, pronto! NOTE: The specific tuition and fees (including music lesson fees!) to which a student commits will be reported to the University Student Financial Office for billing and collection together with any other separately reported charges (e.g., housing, ASSU fees, and food service). Credit toward tuition charges provided by scholarship grants, or fellowships will be shown on your University Bill, either as anticipated aid or as credit(s) to your account. Note that Teaching and Research Assistantships are salaried positions (i.e. you are an employee of the University) and these monies will NOT be reflected on your University Bill. Salaries are paid out of the Payroll Office. For complete information: http://financialgateway.stanford.edu/staff/payemployee/ Prior to completion of registration, all students must consult with their assigned Graduate Advisor in Music. If you are a new student, your advisor will discuss with you your diagnostic exams as well as your program and course planning for this and subsequent quarters of your first year. Any student who does not meet with their advisor will have a hold placed on their enrollment!
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Section Two: All About Registration
Continuous Registration Registration is required for Autumn, Winter, and Spring quarters of each academic year until the degree is conferred. Students must be registered in the current quarter to fulfill any university or departmental requirement (commonly referred to as milestones). All students must be registered in the current quarter in which a degree is conferred, a thesis or dissertation is submitted, or declaration of your intention to complete is made in Axess. Graduate students at Stanford are expected to do coursework and research on campus unless their department gives prior approval for study in absentia. Students who wish to register in absentia must have a current mailing address on file in Axess and with the department while away from campus. International students must to consult with Bechtel International Center for information concerning this registration status and to ensure that they do not fall out of compliance with US government rules regarding international student status. Bechtel International Center (I-Center): http://www.stanford.edu/dept/icenter/InternationalStudents/index.html Registration Categories Full-Tuition Registration Year 1 First-year graduate students are expected to pursue their studies on a full-time basis. Full-tuition registration entitles students to enroll in 11 to 18 units of coursework. Full-time students may register for more than 18 units; however, your financial-aid package only covers the first 18 units. Maximum registration in summer quarter is 10 units. Graduate students are expected to enroll for full tuition unless they have departmental fellowships or assistantships that require part-time enrollment. Therefore, first-year quarters should be for 1218 units each (in Music we think of 12 as full-time, but encourage 15 for a speedy transition to Terminal Graduate Registration TGR); in years two through five you should sign up for 810 units every quarter. This is important in figuring your residency and getting you to go TGR in a timely fashion (see below). Other categories: Research and Teaching Assistantships Years 2 through 5 810 units, unless otherwise specified by the department. All tuition adjustments based on student awards are administered in the Department. [Years II & IIITAs; Years IV & VRA and/or TA] Reduced Tuition Adjustment Graduate students who are within 3-7 units of achieving the required 135-unit minimum and who need only a single remaining quarter in which to complete all requirements prior to going TGR are eligible for a reduced tuition registration. This registration status is granted only once and requires department approval. Submit the Request for Graduate Tuition Adjustment (http://www.stanford.edu/dept/registrar/pdf/tuitadjreq.pdf) to the graduate administrator in Braun 101.
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Terminal Graduate Registration (TGR) A reduced-tuition registration ($2,760 per quarter, 200708 academic year) is available for eligible students who are working on a dissertation, thesis, or departmental project. Students may qualify for TGR status (http://www.stanford.edu/dept/registrar/pdf/tgrreq.pdf) only when there is a valid program objective to justify their continued access to University resources. Eligibility criteria for TGR Status are as follows: Doctoral Programs: 1. Admission to Candidacy 2. Completion of all courses, special-area exam (including the approved dissertation proposal), and any language requirements for the degree as listed on the Application for Candidacy for Doctoral Degree form (http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf). (Revisions to the plan delineated on the candidacy form must be approved by the students graduate advisor and notification (via email) from the advisor provided to Debbie.) 3. Completion of 135 academic units of graduate-level work (the Residency requirement) Do read the Stanford Bulletin, Graduate Degrees section, carefully! http://www.stanford.edu/dept/registrar/bulletin/pdf/GraduateDegrees.pdf 4. Approval of dissertation/final-project proposal (part of the special-area exam) 5. Filing of Doctoral Dissertation Reading Committee Form (http://www.stanford.edu/dept/registrar/pdf/docrdngcomm.pdf) Students applying for TGR status must complete the Request for Terminal Graduate Registration (TGR) Status form (http://www.stanford.edu/dept/registrar/pdf/tgrreq.pdf). All requirements for TGR status must be completed prior to the start of the quarter for which TGR is requested (at the latest!). A student in TGR status must enroll in the TGR course (Music 801 for DMAs; Music 802 for PhDs) with the advisor as the instructor. An N grade signifying satisfactory progress must be received each quarter to maintain registration privileges. An N grade constitutes a warning. The advisor, department chair, and student should discuss the deficiencies and the steps necessary to correct them. A second consecutive N grade will result in a hold on future registration. Future registration will only be permitted when a written plan for completion of degree requirements has been reviewed and approved by the department [upon completion of the degree, a final S is given]. Understanding TGR The following is an attempt to explain why TGR is important, and why you need to sign up for as many units as you can handle in Year I and the full amount of units allowed every quarter in Years II through V, plus the two summers you have of aid! Fellowship packages for doctoral students include: Year I Summer* Year II Year III
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Full-time tuition plus stipend 810 units tuition plus 1/2-time salary (RA) 810 units tuition plus 1/2-time salary (TA) 810 units tuition plus 1/2-time salary (TA)
Summer* Year IV Year V
810 units tuition plus 1/2-time salary (RA) 810 units tuition plus 1/2-time salary (RA or TA*) TGR tuition (0 units plus 1/2-time salary (RA)
*First summer aid occurs after Year I for DMAs and PhD CCRMAlites; after Year II for PhD musicologists; second summer aid occurs after year III for all and is intended to provide an opportunity for students to prepare for their Special Area Exam (including submission and approval of the dissertation or final project proposal), to be taken in the first quarter of year IV. Students in years IV and V may be required to TA if departmental need arises. The following chart illustrates the academic credits, which would have accrued if a student were to take the recommended number of units per quarter. (This example assumes that in Year I the student takes between 12 and 18 units.) Year I Summer II III Summer IV V Units Per Quarter 15 10 10 10 10 10 0 (TGR) Total Yearly Total 45 10 30 30 10 30 0 155
After four years plus the two summers of available aid, a grad student would thus have more than enough academic units to graduate. However, many students (especially PhD candidates who require a long time to write that dissertation) are not ready to graduate at the end of four years. Thats what TGR is for; to help students finish at a lower tuition rate than paying for 810 academic units. We require students to finish (besides the 135 units of coursework) their quals, teaching assistantships, special-area exam (including approval of the dissertation proposal), and language requirements before going TGR. Students entering with an MA may request a transfer of up to 45 units of MA credit (http://www.stanford.edu/dept/registrar/pdf/grad_res_credit.pdf). So, if we transfer the MA work done elsewhere and add that to the equation, we get: MA year 45 units 200 total*
*if student continues in regular registration, by the end of the financial-aid package
Those students who came in with an MA may be eligible to go TGR even earlier, assuming, of course, that they have completed the other requirements necessary for that step, as noted above. Students are required to go TGR as soon as possible in year IV. This means that the Special-Area Exam should be scheduled, taken, and passed no later than autumn quarter of the fourth year, including completion and approval of the dissertation or final project proposal (the final section of the Special-Area Exam).
Section Two: All About Registration 23
Graduation Quarter A reduced-tuition registration ($100 per quarter) is available for eligible students who are putting the finishing touches on a dissertation or departmental project. Students may qualify for Graduation Quarter status (http://registrar/pdf/grad_qtr.pdf) only when they have been enrolled in TGR status in the quarter immediately preceding the requested Graduation Quarter (including summer prior to autumn quarter). Graduation Quarter enrollment status may only be granted and used for a single quarter in a students career at Stanford. The intent is to provide a bit of extra time for students who are essentially ready to submit their dissertations (i.e. they have successfully defended and are deeply into the final editing process). If you miss the submission deadline in your Graduation Quarter you will need to register for any additional quarters at the normal TGR rate ($2760 in 2007-08): consider yourselves forewarned! LEAVE OF ABSENCE Students who wish to interrupt their registration may request, in advance of their departure, a leave of absence. The leave must be recommended to the Registrar by the students advisor, Department Chair, Bechtel International Center [if the student is in the U.S. on a visa], and Vaden Heath Center [if leave is requested for medical reasons]. The Registrar will act on the recommendations. Leave is normally granted for a maximum of one calendar year. Leave requested for a longer period will only be approved in exceptional circumstances and can only be approved one year at a time. However, taking a second year of leave during ones financialaid tenure runs the risk of losing subsequent aid. An extension of leave (maximum of one year) for doctoral students not yet admitted to candidacy will be approved only in very unusual circumstances. Advanced doctoral students (usually in TGR status) may expect approval of an extension of leave for a second year if a plan for degree completion, with the advisors written endorsement, is submitted to the Registrar. A request for a leave of absence beyond the expiration of candidacy must be accompanied by an Application for Extension of Candidacy form approved by the department. [N.B. University policy states that an extension of candidacy may be granted one time for one year, only!]
NOTE: GRADUATE STUDENTS MUST, IN ALL CASES, NOTIFY THE DEPARTMENT OF THEIR LEAVE.
We require the advisors consent, even though the form does not! Leave of Absence: http://www.stanford.edu/dept/registrar/pdf/leaveofabsence.pdf Application for Extension of Candidacy: http://www.stanford.edu/dept/registrar/pdf/appcandextens.pdf. . REINSTATEMENT The official line: A student who has not registered for a quarter during the academic year and who is not on an approved leave of absence ceases to have registration privileges. The reinstatement procedure is required for students who wish to return to the same degree program or to be admitted to a different degree program in the original department or in another field. The Application for Reinstatement in Graduate Study may be downloaded from the Registrars Forms website (the one youve bookmarked already, right? http://www.stanford.edu/dept/registrar/pdf/appgradreinstate.pdf). An application fee of $105 and a $150 reinstatement fee are required of students enrolled since 1980 and who are approved for reinstatement (fees subject to change annually). Supplementary credentials may be required. The decision to approve or deny reinstatement is made by the Department.
24 Section Two: All About Registration
Reality: One does lose registration privileges and needs to do the Application for Reinstatement along with the fees mentioned above. The only supplementary material usually required, however, is a timetable of the students plans for completion that should be signed off by the advisor, and any special documentation required of international students. If you fail to register or take a leave when you are TGR, all we want you to do is finish your dissertation and take your PhD orals, or give your DMA final project defense, and get your degree. If you stop out early on in your graduate career, however, there will probably be more examination of your ability to finish. International students take note! If you are unable to complete your degree requirements in the time covered by your fellowship monies, your options are pretty much dictated by federal law. You must speak with Bechtel International center regarding what is and is NOT possible concerning your registration. Please be sure to contact Bechtel early and often during your careers as graduate students so that you can keep abreast of the ever-changing regulations. RESIGNATION Students who wish to terminate study in a program should submit a letter of resignation to the Department. A student who has resigned and later wishes to return to Stanford must follow the reinstatement procedures. STUDY LISTS The study list a list of courses you are taking for the current quarter must be submitted (via Axess) prior to the second Sunday of each quarter. There is a $100 fee for filing late study lists! Section Numbers: All courses have section numbers, but section numbers may have subtly different meanings between courses. Most academic courses in Music have just one section, 01. Courses with TAs have more than one section, but students sign up in 01 [TA sections, numbered 02 and above, exist so that the TAs may receive evaluations]. Independent Lessons (e.g., piano, voice, violin etc.), which are taught by more than one faculty member have multiple sections: students sign up for the section designated for the instructor with whom they wish to study. Independent study courses (i.e. Music 199) follow the same model: students must enroll in the section corresponding to the instructor with whom they wish to work. For clarification about how to actually do this in Axess, see under Independent Study Search (near the bottom of the page) at http://registrar.stanford.edu/Axess/Studenthelp/enrollment/class_search.htm. If you are enrolling in any of the following courses, you MUST CHOOSE THE PROPER INSTRUCTOR, or you risk receiving no credit and no grade: Music 125 [not a grad-student course, however: youd use 325], 198, 199, 220D, 269B, 299, 302, 321, 325, 341, 399, 801, and 802. Axess will not allow you to register for one of these courses unless you choose to list the individual instructor sections for the course when you first search for the course. This also requires previous acceptance by the instructor, so check with your chosen faculty member first! Music 171 (Chamber Music) also requires sections, but these differ from the independent-research sections listed above theyre more like lessons, and sections are as listed in Axess. Please sign up with the proper section for the instructor/coach with whom you are working.
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NOTE: Your Official Study List must be filed with the Office of the Registrar no later than the second Sunday of the quarter (online via Axess). You are, however, encouraged to do so as soon as possible before that. See the next two pages for the official Registrars version of enrollment deadlines and grading policies. STANFORD/MUSIC ENROLLMENT DEADLINES These deadlines follow the same pattern each term. Please refer to the printed Time Schedule and/or the registrars Academic Calendar (available in hard copy on the scheduling desk in Braun, standing up in the metal book rack). http://registrar.stanford.edu/academic_calendar/index.htm UNIVERSITY GRADING POLICIES Please see both the current Stanford Bulletin, Grading Systems, http://www.stanford.edu/dept/registrar/bulletin/ and the Registrars website Records and Grades http://registrar.stanford.edu/students/grades/index.htm?id=1for up-to-date information about grading and University policies regarding same. MUSIC DEPARTMENT GRADING POLICIES Any Music course you want to count towards your degree must be for a letter grade (A or B), or an S (which is a course where everyone is pass/fail, instructor-mandated). Courses from other departments may be taken credit/no credit (C/NC): in that case, only a C will count towards the degree. Music 801 and Music 802 are considered to be continuingi.e., you sign up for them more than once, because they take more than one quarter to complete; the end-quarter grade is N until youre done with the project you agreed on at the beginning with the professor (N if youre not making satisfactory progress). So if a professor gives you an I at the end of a quarter in any of these courses, see Debbie immediately! About the N grade in Music 801 or 802: The first N constitutes a warning. A second N puts a hold on further registration until a written plan for completion of degree requirements has been submitted by the student and accepted by the department. Any Ns after that point are grounds for dismissal from the program. All N grades should be reported to advisor and department chair. (N in these courses will probably have been given by the advisor). Note: Music 314 and Music 399 may be considered as continuing courses; however, if a student is prepared to petition for TGR status, it is likely that it will be necessary for the instructor(s) to provide final grades in these courses in order for the total of 135 units to be reached. Please see the instructor and/or Debbie for clarification and assistance in this instance. ACADEMIC PROGRESS REQUIREMENTS University policy on academic progress for graduate students is well outlined in the Stanford Bulletin under the sections Graduate Degrees http://www.stanford.edu/dept/registrar/bulletin/pdf/GraduateDegrees.pdf and Academic Policies and Statements http://www.stanford.edu/dept/registrar/bulletin/pdf/AcadPoliciesStatem.pdf
26 Section Two: All About Registration
Period of Study Doctoral-degree students (PhD CCRMAlites and DMA Composers) are expected to be admitted to candidacy by the end of the first quarter of the second year. (Application for Candidacy for Doctoral Degree form is available in the office and at the Registrars website under Forms (youve bookmarked that page in your browser already, right?) http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf.) PhD Musicologists must be admitted to candidacy by the end of the first quarter of the third year. This is normally done as soon as the student passes the qualifying exams. The form is included in the letter sent out to the student notifying him/her of passing same. (NB: If it is not included in this letter, (or worse, if you dont receive a letter(!)) please download or see Debbie for a copy at your earliest convenience!) It needs to be filled out, signed by the advisor, and returned by the end of Autumn quarter of that same year. Candidacy is valid for five years. Policy on Minimum Progress Requirements for Graduate Students Please read the Universitys official policies under Policy on Minimum Progress Requirements for Graduate Students in the Stanford Bulletin in the Graduate Degrees section of the bulletin front matter. Please read the Departments official policies under Graduate Programs in the Music section of the Stanford Bulletin. http://www.stanford.edu/dept/registrar/bulletin/pdf/Music.pdf Departmental guidelines that set higher standards take precedence over the University policy. (i.e. In Music we require grades of A, B or S in order for a courses units to count toward your degree; the university only requires a B average over all courses.) Each academic year, early in the Spring quarter, a letter will be sent to students who have completed fewer units than the required University minimum, with a copy to the department chair. At the end of the academic year, students who have not met the requirements for minimal progress (24 or 18 units, as appropriate) will be reviewed on a case-by-case basis by the department. Students will have the opportunity to explain any special circumstances. Approval for continuation in the degree program will be contingent on the submission of a suitable plan by the student to the department to maintain satisfactory progress in subsequent quarters, including making up any course deficiencies. Course Substitution In exceptional cases, a student may petition the departments Graduate Studies Committee (GSC) for permission to substitute a required course with another. Normally, this would be appropriate only when the student has already taken a similar course at another institution. The petition should be approved by the students advisor before it is submitted to the committee; the results should be reported to Debbie (via email from the committee chair) for inclusion in the students file. An exception here is that PhD musicologists may substitute up to two 310s for their required complement of eight. This information must be transmitted to Debbie by the advisor so that it may be noted in the students file. Changes to, and Addition of Degree Programs Students enrolled in a graduate degree program must have departmental and Registrars approval for an additional degree program or to change the degree program for which they were originally admitted. The Graduate Program Authorization Petition (commonly referred to as a grad auth form) is available at (all together now, bookmarked site, yes? http://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf. This petition is for all programs including those doctoral students who wish to add (or, pick up after passing quals) a masters degree to their existing program. Applicants seeking degrees in a department in which they
Section Two: All About Registration 27
were not originally admitted may be required to provide additional information to the second department such as advanced subject GRE scores, letters of recommendation, or a new statement of purpose. There is no additional graduate application fee, but filing the grad auth now costs $50. Foreign students must file a new Financial Resources Certification form, available at http://www.stanford.edu/dept/registrar/pdf/finrescert.pdf, before approval will be granted. RESIDENCY In addition to minimum unit requirements, each graduate-degree program requires a specified number of academic units [45 for the MA; 135 for the doctorate] to be completed in order to graduate or enter Terminal Graduate Registration (see above). It cannot be over-stressed that residency is granted only for completed, graduate-level units: any Incompletes, Ns, or missing grades and the like will not help you a whit! Residency Credit for Graduate Work Done Elsewhere Students may request validation of graduate work done at another University for residency credit at Stanford. A maximum 45 units of coursework may be validated to meet requirements for a doctoral degree. (The 45-unit requirement for a masters degree may not be reduced. The department may validate work done elsewhere to meet course requirements above the 45-unit university minimum. Note that whether one received ones Masters degree units at Stanford or elsewhere, only 45 total units may be applied toward the doctoral program.) The Application for Graduate Residency Credit (http://www.stanford.edu/dept/registrar/pdf/grad_res_credit.pdf) for graduate work done elsewhere must be approved by the Department and the Registrar to receive residency credit for doctoral degree requirements. See Debbie for a worksheet to assist in calculating equivalencies between semester units and quarter units.
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SECTION THREE:
ALL ABOUT MUSIC GRADUATE DEGREE PROGRAMS
In this section you will find Graduate Degree General Information Doctoral Degrees Doctor of Musical Arts Doctor of Philosophy PhD Schedules (4-year models) Multiple Degree Programs Joint PhD Program in the Humanities Graduate Degree Timetable
GRADUATE DEGREE GENERAL INFORMATION Graduate programs in the Music Department at Stanford lead to three degrees: the Master of Arts, Doctor of Musical Arts, and Doctor of Philosophy. The Master of Arts degree may be conferred (picked up) after a minimum of 45 units. The Masters degree in Music History, Composition, and Computer-Based Music Theory and Acoustics is a preparatory degree (conferred only after passing the qualifying exams and entering into candidacy); the Masters in Music, Science, and Technology is a terminal degree. As a terminal degree, the Masters provides additional study beyond the Bachelors degree in the students special field of interest. As a preparatory degree, it initiates studies culminating in either the Doctor of Philosophy or Doctor of Musical Arts degree. The doctorate in the Music Department may be conferred after completion of four- or five-years, plus two summers, of study, although a longer time may be required, depending on the scope of the dissertation or final project elected by the student. The Doctor of Musical Arts degree centers on composition. In order to qualify for the DMA program, a candidate will have already achieved competence in his or her chosen field of composition. Stanfords program emphasizes writing for a variety of forces and media, all-inclusive from traditional, acoustic orchestral instruments to computer-related, digital, and multimedia work. Seminars and private study with faculty combine intensive personal work with deepening knowledge of significant movements and developments in the art. Composition faculty reviews the overall work of each student annually. Opportunities for performance are available and, if a piece is accepted by the director, through performing ensembles in the department. Less formally, the Wednesday-noon concert series may also be considered as a venue. In addition, DMA composition term projects may be submitted to the Music Library (contact Mimi Tashiro, mtashiro@stanford.edu, for details) for inclusion in the Librarys collection of circulating manuscripts. The Doctor of Philosophy degree culminates in a dissertation that is an original contribution to musical scholarship. The degree may center on either musicology, including historical, aesthetic, or theoretical perspectives, or a concentration in historical performance practices; or computer-based music theory. The first two years of study are usually devoted to learning methods of research and analysis, after which time the student concentrates on research and writing. The dissertation demonstrates scholarly method and clear exposition as well as the ability to work systematically and independently. Quality, rather than scope or length, is of prime importance. Language Requirements for all Graduate Students At the beginning of graduate study, all DMA and PhD students in the computer-based theory and acoustics program are required to demonstrate a reading knowledge of a language other than English and the ability to translate into idiomatic English (for students from a non-English-speaking country, English is their second language! but a translation from their own language into English is still required, to show ability in said second language). PhD candidates in musicology are required to demonstrate proficiency in and ability to translate idiomatically into English from German and a similar competence in a second language, chosen from French, Italian, or Latin (or another language, if it is pertinent to their specialty), before the end of the second year of doctoral study. Language exams for French, Italian, and German are given by the respective departments. Each language has a different procedure: descriptions are posted at the Language Center site (see URLs below). In order to meet these requirements, all entering graduate students should be prepared to take
30 Section Three: All About Music Graduate Degree Programs
their first language exams in October according to the schedules provided. If either exam is failed, remedial coursework is required, and the exam must be retaken as soon as possible. Demonstrating a reading knowledge in a language at the beginning of graduate study is not always doable, of course. If you arrive without any other language, we wont expect you to be reading at the doctoral level within ten weeks: in that case, you should start studying your chosen language immediately and take the exam(s) as soon as possible. Successful completion of these examinations will be reported to the department three weeks after the exam. (Departments are not informed if students do not pass the exam; students wishing to know whether they have passed should inform the examiner at the time of the examination.) NOTE: The University requires that any units graduate students wish to count towards their degree MUST be taken in courses numbered at or above the 100 level. Since most of the beginning reading language classes are offered as courses below the 100 level, the procedure for registering for these classes is as follows: Enroll for a letter grade only. You have the option of taking the course from 25 units. a) b) c) d) e) f) h) Go to Enroll in Classes in the Courses and Grades menu. Click Add Classes and then shop for a class. Hit the Independent Study option at the bottom of the page. Select subject area [language of your choice] Under Catalogue Number enter 395. Enter the [language of your choice] instructor last name and first initial, in the format: LAST, F CLICK THE SEARCH BUTTON
German Language Examination http://language.stanford.edu/requirement/germanPhD.html The exam lasts one hour and consists of translation only, with dictionary. The normal length of the passage to be translated is approximately 300 words and will include both prose and poetry. The examiner is looking for speed and accuracy. If you have not been reading regularly, you probably will not have the speed needed to finish. It is strongly suggested in this case that students take a Reading class and read independently for a quarter. The German Department is tough on accuracy: three major errors and you fail. If you are planning to take the exam, please contact the examiner, Dr. William E. Petig, at 3-0417 or at petig@stanford.edu. His office is in Pigott Hall, Building 260-248. French Language Examination http://language.stanford.edu/requirement/frenchPhD.html 1. Contact Patricia de Castries, patricia@stanford.edu, to sign up for the exam. [N.B. There is no examination during summer quarter.] Sign up TWO WEEKS BEFORE THE EXAM. N.B. Be sure to read about the exam well ahead of scheduling at: http://language.stanford.edu/requirement/frenchPhD.html Italian Examinationshttp://language.stanford.edu/requirement/italianPhD.html Contact Maria Devine (devine@stanford.edu) for details.
Section Three: All About Music Graduate Degree Programs
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Latin Examinations Please contact William Mahrt of our own department (mahrt@stanford.edu), if that is your language of primary research. Spanish Examinations Please contact Alice Miano (alimiano@stanford.edu), if Spanish is your language of primary research. Please read about the exam at: http://language.stanford.edu/requirement/spanishPhD.html Other languages See Debbie and well figure out what to do!
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DOCTORAL DEGREES Students enrolled in doctoral programs should review the requirements, procedures, and timetable for coursework, qualifying examinations, teaching and research, dissertation proposal, establishment of dissertation committee, and University oral examinations in the Stanford Bulletin and this handbook. The Department requires submission of the Application for Candidacy by the end of the first quarter of the second year (except PhDs in Musicology, who must submit immediately after passing quals at the beginning of the third year!). Candidacy is valid for five years unless terminated for unsatisfactory progress. DOCTOR OF MUSICAL ARTS The Doctor of Musical Arts (DMA) may be pursued in composition. This concentration will be given breadth through collateral studies in other branches of music and in relevant studies outside music as deemed desirable. A minimum of 135 units of credit is required for the degree. Course and Residency Requirements Remember that the Stanford residency requirement for the DMA is 135 academic units. After this unit total has been met, and after all other examinations and form requirements are successfully completed, the student may graduate. If the student has done everything except the DMA final project and the final project defense, s/he may then apply for Terminal Graduate Registration (TGR). If a student enters the university with a Masters degree, s/he may transfer up to 45 units towards this end. See the Residency section in the Stanford Bulletin. Full-time study at the graduate level is 12 units per quarter or more; however, in their second, third and fourth years students may take only 810 units per quarter. Any questions about residency requirements should be addressed to Debbie. Doctoral programs in the Music Department do not require the MA degree as a prerequisite; students may, in fact, pick up the MA after passing the qualifying examination (and advancing to candidacy) by completing the Graduate Authorization Petition and paying the $50 filing fee. [The Graduate Program Authorization Petition (commonly referred to as a grad auth form) is available at http://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf.]
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All doctoral program participants are required to take 200 280 301A/B/C 323 Graduate Proseminar [4 units]
(CCRMA PhDs exempt if they enter with an MA, having already taken the course elsewhere at the graduate level)
TA Training Course [1 unit, Spring of 1st year] Music Analysis: Modal, Tonal, and Post-Tonal [12 units]
and DMA students must take 4 quarters of DMA Seminar in Composition [16 units] Again, 135 academic units of study are required for the degree; the rest are made up in electives. Composition students commonly take Music 325 many times, and often they sign up for 399 on a continuing basis while writing their final project Electives The following may be taken as electives for graduate credit: Any course in another department numbered 100 or over (with advisors consent) Any course in the Music Department numbered 100 or over (except for courses required for the Bachelors degree, unless specifically required for both degrees; see the Stanford Bulletin) Music Department group instruction numbered 7277
Language Requirements See Language Requirements section above. Examinations All exams are described in depth later in this handbook. 1. Qualifying Exams: taken the week before classes begin in the fourth quarter of graduate study. 2. A Special-Area Examination, testing the candidates knowledge of music and research in the area of concentration, to be taken no later than the autumn quarter of the fourth year. 3. The Final Project Defense: an oral presentation given once the final project is substantially underway (often in the last quarter of residency). Composition Projects Candidates are expected to produce a number of works demonstrating their ability to compose in a variety of forms and for the common media of vocal, instrumental, and electronic music [usually in Music 325]. Insofar as possible, the works submitted will be presented in public performance prepared by the composer. DMA composition term projects may be submitted to the Music Library (contact Mimi Tashiro, mtashiro@stanford.edu, for details) for inclusion in the Librarys collection of circulating manuscripts. Application for Doctoral Candidacy Application for doctoral candidacy should be made as soon as the qualifying exams are successfully completed and must be submitted no later than the end of the fifth quarter of study. The application may be filed before the coursework, language, residency, or teaching requirements are completed; tentative dates are
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entered. Only the name of the dissertation advisor and the field of investigation are indicated on the application. Additional reading committee members and the dissertation title are submitted at a later date. The form is sent along with the congratulatory letter after the successful completion of your qualifying exam. (NB: If it is not included with this letter, (or worse, if you do not receive such a letter!), please download or see Debbie for one at your earliest convenience!) Fill it in completely, obtain the necessary signature (advisor/major professor), and return it to the office for the Chairs signature and processing through the Registrar. Application for Candidacy for Doctoral Degree: http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf. DMA Final Project Final Project Proposal A proposal for the final project should be finished no later than the end of the autumn quarter of the fourth year (as part of the special-area exam). The final project proposal should be submitted to the advisor, who will consult all available composition faculty, advise the candidate accordingly, and report the results to the chair of the Graduate Studies Committee. File copy of the signed proposal is given to the graduate administrator. NOTE: The signature of the principal advisor should be appended to the submitted copy of the proposal, or a letter expressing the advisors approval should accompany proposal. Our goal is to have all works composed here performed in our concerts. While success in this has been good, it is not always possible to get local hearings of larger pieces. Works by our composition students have been performed by all of Stanfords musical organizations at one time or another. The final project in composition will be a major work for full orchestra or chamber ensemble with chorus, instruments, voices, electronic media, or a combination of these. Typically, work on the final project will encompass several quarters. Usually, smaller works, for specific performances, will be composed at the same time. Recommended Guidelines for Final Project Proposals Passed by the Academic Council Teaching Faculty, February, 1997 A statement of c.7001000 words (23 pp.) describing the nature of the proposed composition with regard to medium (instrumental, vocal, electronic, etc.); approximate scope (length/dimensions/proportions); elements of language, style, idiom, aesthetic; (nature of text/s or textual material, if applicable); structural ideas, principles envisioned; [etc./misc.]. These aspects of the projected composition should also be put in the context of other composers work: past or present; local, national or international. How does the composition compare to the candidates previous and most recent work? In what ways does it, or might it, serve as an appropriate summation or end-point of graduate work in composition, as this has been pursued to date? In preparing the proposal, students are encouraged to think in terms of a proposal for a grant or fellowship. The aim should be to convince a knowledgeable reader of the fundamental interest and importance of the
Section Three: All About Music Graduate Degree Programs 35
topic, the candidates qualifications to pursue the project and to carry it out successfully within a stipulated period of time, reasons why this work, if successful, will be favorably regarded by the interested community of readers, listeners, and researchers. Appointment of a Reading Committee The minimum membership of the reading committee is 1) the principal dissertation advisor, 2) a second member from the department. A third member from the department is optional. All members of the committee must belong to the Academic Council (i.e., Assistant, Associate, or Full Professor, or other rank designated by the University). The notice of appointment of a DMA Final Project Reading Committee should be submitted to the department at the same time as the approved project proposal and the completion of the Special-Area Exam. It is the responsibility of the studentwith the advice of his or her advisorto approach appropriate faculty members and obtain their consent to serve on the reading committee. The composition of the committee is then presented, via the graduate administrator, to the department chair for approval. Obtain the form from the department office; fill it out; obtain committee members signatures; return to the department office. Allow several days for departmental procedures if filing near the deadline! See the graduate administrator for a copy of the DMA Final Project Reading Committee form. Directions for Preparing the Final Project NOTE: IT MUST BE STRESSED THAT ALL DMA FINAL PROJECTS IN COMPOSITION must comply with the format for written projects. Please follow the instructions dealing with format discussed below. Before beginning preparation of the final dissertation manuscript, pick up a copy of Directions for Preparing Doctoral Dissertations from the Graduate Degree Support Section of the Registrars Office. You should also obtain a copy of the Doctoral Dissertation Agreement Form and Survey of Earned Doctorates, which must be completed and turned in with your dissertation. Please follow all instructions in this pamphlet carefully, or the Registrar may not accept your dissertation. Students should make special note of the instructions for correct word hyphenations in dissertations and theses. The university requires three copies of the dissertation. Students may elect to have a maximum of two additional copies of their dissertation bound for personal use. The student must pick up such copies from the Registrar when notified. NOTE: As detailed in Directions for Preparing Doctoral Dissertations, an abstract of 350 words must be submitted with your Dissertation. DISSERTATIONS WILL NOT BE ACCEPTED WITHOUT THIS ABSTRACT. Directions for Preparing Doctoral Dissertations is available from the Registrars Office or at their website, http://www.stanford.edu/dept/registrar/pdf/docdissdir.pdf In general, DMA final projects follow the same rules as PhD dissertations.
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The following additions and variations from those instructions should be observed: 1. Paper to be used: Use 81/2 X 11, 16lb. or heavier acid-free bond paper (20-lb. preferred), whether an original or a Xerox copy [the Xerox method is specified because the copy, when done on good paper, is permanent]. Scores may be submitted on paper up to 17 high. The department has a limited supply of archival paper 11x17so you may copy onto this from an original score of 11x17. This paper is available from the graduate administrator for 8 per sheet (our cost, or slightly under). [N.B. The reference you should take with you (or maybe just print out the Socrates info to show the RO) is Juan Pampins score from the Music Library! He did a final DMA score recorded as 28 x 44 cm. which is 11 x 17. It's physically located in the oversized book locations and the call number is: ML29.1.P186 F. There have been others since then, but I'm pretty sure this set the precedent!] 2. Directions for formatting of any prose sections of final project: 11/2 or double-spacing is allowed. Please note that scores for compositions may be bound horizontally, along with the written performance notes. Be sure to leave a 11/2 left margin no matter which way your score is oriented. 3. Miscellaneous: The instructions for pagination must be followed carefully. The submitted project must not contain musical examples pasted in; instead, photocopy the examples, enter them on a computer program, or draw the examples directly on the appropriate pages. 4. Bell & Howell Microfilming: Pick up the form for this when you get the Directions for Preparing the PhD Dissertation booklet at the Registrars office in the Harold Trailer (630 Serra Street). 5. The formats on the title and signature pages must be exactly as described for the PhD dissertation in Directions for Preparing Doctoral Dissertations see URL link above. DMA Final Project Defense: Guidelines & Principles The purpose of the DMA Final Project Defense is to demonstrate the ability of the candidate to organize and present the topic of his/her final DMA project for public review. 1. The date, time, and location of the defense must be scheduled at least six weeks beforehand, and in coordination with the schedules of the individual committee members. Candidates are encouraged to schedule defenses even further in advance than the six-week deadline. 2. The defense must take place during regular daytime hours, Monday-Friday. It may not be scheduled on a holiday or during the last two weeks of any quarter. 3. The defense is a public event. The candidate must advertise the event beforehand. The candidate must directly inform all graduate composers of the date, time, and location of the defense at least one month in advance (and preferably earlier). 4. All DMA students are expected to attend every defense. If they cannot attend a colleague's defense they must provide a reasonable explanation to all members of the composition faculty. 5. The defense will consist of three parts whose total is not to exceed two hours. Parts A & B are open to the public; part C is private and involves only the committee: A. 45-minute presentation on the work by the candidate; additional time may be added to play a piece or pieces, excerpted or complete, live or recorded.
Section Three: All About Music Graduate Degree Programs 37
B. Question and answer, and discussion; the committee asks questions first and then the forum is broadened to include questions and comments of the public; C. A vote by the committee on the success of the defense (pass or fail), plus recommendations for revisions. Candidates who fail their defense must undertake an additional, remedial defense. 6. A written outline of the presentation must be presented to the candidate's mentor/advisor for approval at least one week prior to the defense.
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DOCTOR OF PHILOSOPHY The PhD in music can be pursued in two concentrations, Musicology or Computer-Based Music Theory and Acoustics. Course and Residency Requirements Remember that the Stanford residency requirement for the PhD is 135 academic units. After earning these units, and after all other examinations and form requirements are achieved, the student may graduate. If the student has done everything except the PhD dissertation and oral exams (defense), s/he may then go apply for Terminal Graduate Registration (TGR). If a student enters the university with a Masters degree, s/he may transfer up to 45 units towards this end. See the Residency section the Stanford Bulletin. Full-time study at the graduate level is 12 units per quarter or more; however, in their second through fifth years students may take only 810 units per quarter. Any questions about residency requirements should be addressed to the graduate administrator. A dissertation is also required; however, one is not required to sign up for units in Music 341 in order to complete it: the writing may take place in full or in part under the Music 802 (TGR) rubric. All doctoral program participants are required to take 200 280 301A/B/C 221 300A/B 310 312A/B 220A/B/C 220D 320 Graduate Proseminar [4 units]
(CCRMA PhDs exempt if they enter with an MA, having already taken the course elsewhere at the graduate level)
TA Training Course [1 unit, Spring of 1st year] Music Analysis: Modal, Tonal, and Post-Tonal [12 units] Topics in the History of Theory [3-5 units] Seminar in Notation [8 units, alternate years] Research Seminars in Musicology [2440 units] [The requirement is for eight seminars at 35 units; 2 can be in other departments.] Aesthetics and Criticism of Music [8 units, alternate years] Computer-Generated Music [12 units] Research in Computer Music [12 units] Introduction to Digital Audio Signal Processing [4 units]
To this core Musicology students must add
and Computer-Based Music Theory and Acoustics students must add
NOTE: The University requires that a minimum of 3 units of work be taken with each of four or more Stanford faculty members, not necessarily in the major department.
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Electives The following may be taken as electives for graduate credit: Any course in another department numbered 100 or over (with advisors consent) Any course in the Music Department numbered 100 or over except those required for the A.B. degree. A letter grade of A, B or S (in an instructor-mandated pass/fail course) is required. Music Department group instruction numbered 7277 Language Requirements For a description of the tests and procedures for taking them, see LANGUAGE REQUIREMENTS, above. Examinations All exams are described in depth later in this handbook. 1. Qualifying Exams: taken the week before classes begin in the eighth quarter of graduate study. 2. A Special-Area Examination, testing the candidates knowledge of music and research in the area of concentration, to be taken no later than the autumn quarter of the fourth year. 3. The University Oral examination: an oral presentation and defense of dissertation research methods and results, to be taken once the dissertation is substantially underway (usually the last quarter of residency). Application For Doctoral Candidacy Application for doctoral candidacy should be made as soon as the Qualifying exams are successfully completed and must be submitted no later than the end of the fifth (CCRMA) or eighth (Musicology) quarter of study. The application may be filed before the coursework, language, residency, or teaching requirements are completed; tentative dates are entered. Only the name of the dissertation advisor and the field of investigation are indicated on the application. Additional reading committee members and the dissertation title are submitted at a later date. The form is sent along with the congratulatory letter after the successful completion of your qualifying exam. (NB: If it is not included with this letter, please download or see the graduate administrator for one at your earliest convenience!) Fill it out, obtain the necessary signature (advisor/major professor), and return it to the office for the Chairs signature and processing through the Registrar. Application for Candidacy for Doctoral Degree: http://www.stanford.edu/dept/registrar/pdf/appcanddoct.pdf PhD Dissertation After the first two years of graduate study, the student concentrates on research and writing of the dissertation. The dissertation demonstrates the students ability to work systematically and independently to produce an essay of competent scholarship. Scope of the Dissertation Topics for the dissertation may be drawn from one of the following areas: study of one or more major works or a composer; translation of and commentary upon a theoretical treatise; studies of performance practice; historical aspects of music theory; an examination of style trends.
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PhD Dissertation Proposal The dissertation proposal for the PhD is part of the Special-Area Exam and must be approved by the students special-area examination committee. The steps to be taken are: 1. Discuss the proposal with your major professor. 2. Put the proposal in writing (see below), indicating the scope of your topic, the approach to it that you wish to take, and the major bibliographical sources that you will use. Submit a draft of the proposal to your special-area committee in advance of the (special-area) orals. After orals, complete any revisions recommended by the committee; submit revised draft to principal advisor and chair of special-area committee for approval. 3. After review by the Graduate Committee, give file copy of signed proposal to Debbie. Recommended Guidelines for Dissertation Proposals Passed by the Academic Council Teaching Faculty, February, 1997 A preliminary [draft] of the dissertation proposal should be finished by the end of the spring quarter of the third year. The final proposal should be submitted as part of the Special-Area Exams so that it may be approved no later than the end of the first quarter of the fourth year. Recommended length for the dissertation proposal is between 3,0006,000 words (1020 [+] pp.), including (additionally) a full bibliography. The precise format is open, but the proposal should cover the following areas: 1. Working title 2. Brief description (in abstract form) of project (c. 2 pp.), including a provisional justification of its significance and relation to existing work in the field, some indication of methodology(ies) informing this work, whether historical/ documentary, theoretical, experimental, analytical, critical, crossdisciplinary etc. 3. A more detailed summary of existing scholarship in the field (and closely related fields, as applicable). Give as clear as possible an idea which prior work will be most important for the present study, and ways in which this study will constitute a significant contribution to the field (515 pp.). An annotated bibliography might serve this purpose, up to a point; however, some contextualized discussion of the literature and its relation to the proposed topic is desirable. 4. Detail as closely as is possible, at this stage, your plans for proceeding: general methodological premises (starting point); anticipated stages of research; anticipated structure of dissertation; structure of the underlying argument/thesis (as far as this applies); order in which material will be presented, discussed, analyzed, with reference to specific compositions, primary sources, research, or other types of material to be considered. To the extent that results and conclusions remain contingent on findings of research, try to set out the nature of these contingencies, and the nature and variety of possible or foreseen results (515 pp.). If possible, include an outline of proposed sections, chapters, and subheadings for the dissertation. 5. Bibliography (with optional annotations)
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NOTE: The signature of the principal advisor should be appended to the submitted copy of the proposal, or a letter expressing the advisors approval should accompany proposal. In preparing the proposal, students are encouraged to think in terms of a proposal for a grant or fellowship. The aim should be to convince a knowledgeable reader of the fundamental interest and importance of the topic, the candidates qualifications to pursue the project and to carry it out successfully within a stipulated period of time, reasons why this work, if successful, will be favorably regarded by the interested community of readers, listeners, and researchers. At this time, Musicologists may wish to register their topic with Adkins Doctoral Dissertations in Musicology. Forms are available at the Registrars Office or may be completed online at http://www.music.indiana.edu/ddm/this_site.html). Directions for Preparing the Dissertation Before beginning preparation of the final dissertation manuscript, pick up a copy of Directions for Preparing Doctoral Dissertations from the Graduate Degree Support Section of the Registrars Office. You should also obtain a copy of the Doctoral Dissertation Agreement Form and Survey of Earned Doctorates, which must be completed and turned in with your dissertation. Please follow all instructions in this pamphlet carefully, or the Registrar may not accept your dissertation. Students should make special note of the instructions for correct word hyphenations in dissertations and theses. NOTE: As detailed in Directions for Preparing Doctoral Dissertations, an abstract of 350 words must be submitted with your Dissertation. DISSERTATIONS WILL NOT BE ACCEPTED WITHOUT THIS ABSTRACT! Directions for Preparing Doctoral Dissertations is available from the Registrars Office or at their website, http://www.stanford.edu/dept/registrar/pdf/docdissdir.pdf Sample Dissertation Topics in Music at Stanford Musicology A General Concept of Musical Time with Special Reference to Certain Developments in the Music of Anton Webern The Evolution of the Concord Sonata: A Study of Choices and Variants in the Music of Charles Ives The Performance of Coloration, Sesquialtera, and Hemiola (14501750) Computer-Based Music Theory and Acoustics Embedded Pitch Spaces and the Question of Chroma: An Experimental Approach Applying Wavefront Reconstruction and Psychoacoustic Principles to Loudspeaker Reproduction of Audio Incorporating Haptic Feedback into Interfaces for Digital Musical Instruments The vBow: An Expressive Musical Controller Haptic Human-Computer Interface
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Appointment of a Reading Committee The minimum membership of the reading committee is 1) the principal dissertation advisor, 2) a second member from the department, 3) a third member from the major department or another department. If a third member is from another institution, a fourth member must be appointed from the department. The principal dissertation advisor and all other members of the committee must belong to the Academic Council (i.e., Assistant, Associate, or Full Professor, or other rank designated by the University). The Registrar must approve all exceptions. [N.B. It is possible to have two outside readers (provided all other requirements are met); however, a letter stating that the department has approved this must accompany your dissertation at the time you submit it to the Registrar. Please see the graduate administrator for details.] The notice of appointment of a PhD Dissertation Reading Committee should be submitted as soon after the filing of the application for candidacy as is deemed appropriate by the major professor and the studentin any case, before the University Oral Examination (the dissertation defense). It is the responsibility of the studentwith the advice of his or her advisorto approach appropriate faculty members and obtain their consent to serve on the reading committee. The composition of the committee is then presented to the department chair for approval (via the graduate administrator) and recommendation to the Registrar. This form must be submitted to the Registrar no later than the end of the quarter immediately preceding the quarter in which the dissertation is to be submitted (and preferably, simultaneously with the Application for Candidacy immediately after passing quals). Obtain the form; obtain committee members signatures; return to the department office. Allow several days for departmental procedures if filing near the deadline. Doctoral Dissertation Reading Committee Form: http://www.stanford.edu/dept/registrar/pdf/docrdngcomm.pdf PhD RILM Abstract An abstract, briefer than the one for publication by UMI Dissertations Publishing, is to be prepared by the candidate for publication in RILM Abstracts of Music Literature. It will be published just as it is submitted, so the author and advisor are urged to check its contents very carefully. Please see the RILM site (and your advisor) for instructions about submitting your dissertation abstract to them, http://www.rilm.org/submit.html.
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PHD SCHEDULES (4-YEAR MODELS)

Use as a starting point and adjust according to your situation. N.B. 221 could be offered any quarter. Alternate-year courses usually occur according to the following cycle:
YEAR A B
FALL 312A
WINTER 312B 300A
SPRING 300B
Musicology Recommended Schedule 1 year 12 units min

st
FALL 200 301 A/B/C 312A or 221 221 or 312A 310
WINTER 310 301 A/B/C 312B or 300A 300A or 312B 310 1-unit elective or directed-rsch course 310 elect
SPRING 310 301 A/B/C 221 or 300B, 280 300B or 221 310 1-unit elective or directed-rsch course 310 elect
ADDL REQS Language I Language II (TA Year I)
12 units is the MINIMUM you can take up to 18 within your financial aid package!
2nd year 810 units
3rd year 810 units 4th year 810 units 5th year
310 elect (Dissertation Year)
(Quals) (TA Year II) (Special Areas)
AWSp: 199, 302, 321, or 341 in some combination totaling 810 units. sign up in 302 or 341 for the full 810 units!
TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation! CCRMA Theory Recommended Schedule
1 year 12 units min. 2nd year 810 units 3rd year 810 units 4th year 810 units 5th year
st
Fall 200 220A, 301 A/B/C elect 220D
Winter elect 220B, 301 A/B/C
Spring elect 220C, 301 A/B/C, 280
Addl Reqs Language
12 units is the MINIMUM you can take up to 18 within your financial aid package!
320 or elect elect (Quals) 220D 220D (TA Year I) 199 or 1-unit elect 199 or 1-unit elect 199, 302, 341 in some combination AWSp (TA Year II) or may take other electives (i.e., 220Ds, 252s, 420423, etc.) (Dissertation Year) (Special Areas) sign up in 321 or 341 for the full 810 units TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation!
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PHD SCHEDULES YOUR SCHEDULE (A WORKSHEET TO HELP YOU PLAN AHEAD!)
FALL 1st year 12 units min 18 units max
WINTER
SPRING
ADDL REQS
2nd year 810 units
3rd year 810 units
4th year 810 units
5th year
TGR (Dissertation Year) University Orals > Submit Dissertation > Graduation!
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MULTIPLE DEGREE PROGRAMS The requirements for each advanced degree are described in the Stanford Bulletin. Degree programs have unit and residency requirements as specified by departments. The university also determines minimum requirements for unduplicated coursework and residency for each degree and combination of degrees. Students who are enrolled in more than one degree program may obtain additional information about total requirements from the Registrar. JOINT PHD PROGRAM IN THE HUMANITIES See the Stanford Bulletin for details on this very interesting program (especially to musicologists). The Person Who Knows Everything about this program: Monica Moore, Program Administrator Graduate Programs in the Humanities, Building 250, Room 251F Phone: 5-1477 monica.moore@stanford.edu http://www.stanford.edu/group/HSP/GPH/grad.html Note: The following considerations apply to students who opt for the joint PhD: Students in the Graduate Program in Humanities (GPH) need to get the Programs approval as well as that of the Music Department on candidacy, dissertation-reading committee, and orals forms. At the time you declare candidacy, include all the GPH requirements on your list of courses, and be sure to get a Program signature (Monica Moore can provide that). Also, at that time, you will formally declare your program with the Registrar (i.e., from Music to Music and Humanities), and you will need to fill out a Grad Auth form http://www.stanford.edu/dept/registrar/pdf/gradprogauthpet.pdf to make this change to your program formally. Also, you need to have a member on both your dissertation reading and orals committees who is a representative of the Program (usually a person from whom you will have taken GPH courses; generally its the same person for both committees).
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GRADUATE DEGREE TIMETABLE

Diagnostic Exams Graduate Orientation Meet with advisor to plan study program, shortand long-range Foreign-language exams International StudentsTA English Screening Doctoral qualifying exam First year, just before registration First year, just before registration During registration every quarter!! 1st languageduring first quarter of residence; see FOREIGN LANGUAGE REQUIREMENTS. First or second quarter of study DMAs and CCRMAlitesWritten: week before beginning of 5th quarter (Year II, week before registration), orals a week later; MusicologistsWritten: week before beginning of 8th quarter (Year III, week before registration), orals a week later IMMEDIATELY upon successful completion of quals; NO LATER than 5th quarter of residence for DMAs and CCRMAlites; 8th quarter for Musicologists Should be certified no later than end of second year of doctoral study In the first quarter of the 4th year (all fields, no matter when you took quals) per advisor and timetable (part of the Special Areas, actually!); in the first quarter of the 4th year of financial aid (Musicologists: Submit topic to Adkins, Doctoral Dissertations in Musicology http://www.music.indiana.edu/ddm/this_site.html) prior to completing dissertation: usually during 4th or 5th year of residency after final project is completed (or almost), during last quarter of residency per date on current Academic Calendar (http://registrar.stanford.edu/academic_calendar/index.htm) (Submit abstract to Rilm Abstracts of Music Literature http://www.rilm.org ) (Submit completion card to Adkins, Doctoral Dissertations in Musicology http://www.music.indiana.edu/ddm/this_site.html ) on Axess: by announced date in February of anticipated graduation year, for June graduation (see time schedule or Academic Calendar for deadline in each quarter)
File for candidacy: DMA and PhD
Second foreign-language exam (Musicologists only) Doctoral special-area exam File dissertation/final-project proposal
PhD oral examination DMA lecture-demonstration PhD-dissertation/DMA-Final-Project submission
Apply to Graduate (for printed diploma at Commencement)
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SECTION FOUR:ALL ABOUT EXAMINATIONS

In this section you will find Examinations General Information Graduate Diagnostic Exam Qualifying Examination Special-Area Examination University Oral Examination
EXAMINATIONS GENERAL INFORMATION From start to finish your career at Stanford will include a series of exams, each with a specific purpose and requiring its own preparation, procedure, and reporting. GRADUATE DIAGNOSTIC EXAM All first year doctoral students are required to take diagnostic exams in the week prior to the start of classes in autumn quarter. Students must remedy any deficiencies in basic keyboard skills, and/or harmony and theory comprehension before being assigned a Teaching Assistantship at the end of spring quarter of the first year. Keyboard skills may be remediated either through private instruction or class piano (Music 12A, B, C). Deficiencies in harmony and theory comprehension may be remediated by enrolling in or auditing the appropriate level(s) of the Music 21, 22, 23 sequence. George Barth will oversee re-testing of students keyboard skills prior to the end of spring quarter of the first year. Giancarlo Aquilanti will oversee re-testing of students harmony and theory comprehension in the same time period. Components of the Graduate Diagnostic Exam The graduate diagnostic exam consists of four separate sections: 1. Piano Proficiency Graduate students are examined in piano proficiency at the beginning of their study at Stanford. If unable to perform at this level, students should discuss with their advisors taking Music 12A, B, or C, or Music 72A, depending on their level and their needs as a graduate student and musician. Any deficiencies in basic keyboard skills are to be remedied before taking the Qualifying exams. The piano proficiency exam consists of four parts: A. Scales and arpeggios: Hands separately, two octaves ascending and descending, minimum speed M.M. = 92 per each two notes: Major scales in E Major, Eb Major, F Major, F# Major; Melodic minor scales in C Minor, A Minor, F Minor; Diminished arpeggio beginning on C; Major arpeggios in E Major, Ab Major; Minor arpeggios in G Minor, B Minor B. A simple tune, to be set by the examiner: Play the tune by ear. Play a simple accompaniment along with the tune (which itself may be either played or sung). C. Performance of a composition for piano: This should be a performance, with or without score, of a piece from Schumanns Album for the Young or Bartks Mikrokosmos, vol. 2. D. Playing at sight a piece chosen by the examiner (level of difficulty as in C, above). 2. Solfge and Score Reading exam also consists of four parts: Sight singing Melodic dictation Harmonic dictation Score reading
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Section Four: All About Examinations
3. History exam (musicology students only) This is a written exam to test your knowledge of Medieval, Renaissance, Baroque, Classic, Romantic, Twentieth Century and American music. Taken over the course of 1.5 2.0 hours in the Music Library. 4. Theory exam The theory examination consists of two separate sections: A. Ear Training (Aural) examination taken in the week prior to the start of classes in the autumn quarter. B. 24-hour, take-home, written examination taken after the Ear Training Examination. The written examination consists of three sections: Sec I: Harmonization Harmonize a diatonic bass line and a chromatic modulating bass line. Sec II: ABA Modulating Chord Progression Chord progression to be embellished with non-chord tones (passing tones, suspensions, appoggiaturas) Sec III: Music Analysis Tonal and atonal music (i.e. Bach chorale, Mozart sonata, 12-tone piece)
[N.B. Any standard theory book used as an undergraduate may be used for review over the summer preceding the examination. (i.e. Tonal Harmony, Stefan Kostka, Dorothy Payne)] Advisement: The whole purpose of the above process is to determine strengths/weaknesses, to give the advisor an idea of areas to be explored, and to ensure that a student may be placed in the correct courses for his/her needs. (Students will not be dismissed from the program if they do poorly on these tests, so quell those fears!). To that end, students are counseled to speak with their advisors as soon as possible after the exams are corrected (usually after the first week of classes). QUALIFYING EXAMINATION Each prospective candidate for a doctoral degree must pass the comprehensive examination. The examination is in two sections; Qualifying Examination and Special-Area Examination. The student can become familiar with the general characteristics of the examinations through the description and sample questions given below and through conversation with faculty and grad students who have taken the exams. Status as a doctoral student is probationary until the qualifying exam is successfully passed and the candidacy form turned in, at which time the student becomes a Doctoral Candidate. The qualifying exam must be taken the week prior to the beginning of: The fifth quarter (start of Year II) of graduate study, for CCRMA PhDs and Composition DMAs The eighth quarter (start of Year III) of graduate study, for Musicology PhDs. Plan ahead and come back EARLY to take the qualifying exam! You can make arrangements with housing to return early because of departmental requirements. Do this in MAY! housingassignments@lists.stanford.edu
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Students have asked about getting photocopies of corrected, hardcopy (blue-book) exams. [This consideration is moot if exams are taken online via CourseWork.] The graduate committee has ruled that, generally, these will not be available, but the issue could be considered on a case-by-case basis: IF the student asks for this before the quals are taken, and IF the readers who are marking the papers know that they will be given back to students before they do the marking. Alternatively, students can meet with their advisors and go over their exams with them. Students may, upon request, have photocopies of the uncorrected, blue-book exams. Procedures 1. Examining committees will be established for each student, and will consist of the students graduate advisor, a chair (not the advisor) from the candidates program, and a third faculty member. The student consults with his/her adviser to draw up a committee membership, and approaches the prospective members of the committee to secure their services. When the committee is finalized, the graduate administrator should be informed who comprises the committee. Questions will be prepared for each historical period by different faculty. 2. DMA and CCRMA PhD exams: Answers for Parts B & C will first be graded by the faculty members who generate the questions; Part A is sent directly to the members of the students reading committee. Corrected exams and or correctors comments will be forwarded to the students exam committees for final assessment. PhD Musicology exams: The students reading committee and the question creators will grade answers to each of the six sections. For all students, in case of disagreement between the first and second readers, the third reader will be the tiebreaker. 3. If the written sections are passed, the committee and student together schedule the oral portion. This should happen during the first week of classes (usually the Wednesday, Thursday, or Friday of that week) or as soon as possible thereafter. If any of the first written portions of the exam are not passed, arrangements are made for a retake; the student should meet with his/her advisor to determine a strategy for remedial study in any areas of weakness. 4. After completion of the oral portion of the quals, a report, in letter format, will be sent to the student on the entire exam by his or her quals-committee chair, a copy of which will be placed in the students file. Included in all passing reports will be a candidacy form for the student to complete and return to the office. [N.B. In the event that the form is not included with the passing report letter to the student, please download one or see the graduate administrator immediately!] In case of failure, the committee may recommend that a second examination be given if it appears that additional brief preparation will enable the candidate to be qualified. Otherwise, the student is disqualified from the doctoral program. The exam will follow the format described below, according to discipline. Format for DMA Program in Composition 1. Written discussion of 20th-century examples (complete works): 3 hours. These may be selected from a reading list (repertoire list) proposed by the candidate by the end of the 1st year (spring quarter), with
52 Section Four: All About Examinations
the approval of the graduate advisor. Otherwise, they will be two pieces announced and put on reserve one month before the exam. 2. Written discussion of selected score examples, including 1 or more short complete works, covering a historical range from medieval through 19th-century: 3 hours 3. Analysis of given short composition: 2 hours [same as (C) for exams in computer-based theory] 4. 1-hour oral exam/discussion based on written exam, parts A, B, and C. The discussion could also be extended to include other works from the appointed reading list of 20th-century compositions mentioned under Section A. Sample Questions Part A: Composition DMAs Two pieces are announced a month in advance and scores and recordings are put on reserve in the Music Library. Students may study the scores in the library. The following pieces have been used in recent years: Elliott Carter, Enchanted Preludes Louis Andriessen, De Snelheid John Corigliano, Symphony No. 1 Pierre Boulez, Derive George Crumb, Vox Balaenae Luciano Berio, . . . Points on the curve to find . . . Michael Torke, The Yellow Pages Alfred Schnittke, String Quartet No. 3 Gyrgy Ligeti, Piano Concerto Elliott Carter, Esprit Rude/Esprit Doux John Adams, Chamber Symphony Pierre Boulez, Notations Morton Feldman, Coptic Light Witold Lutoslawski, Symphony #3 Gerard Grisey: Vortex Temporum Iannis Xenakis: Ikhoor Donald Martino: Notturno Giacinto Scelsi: String Quartet #6 The questions tend to be general in nature; the student is to apply them to the specific pieces. For example: Discuss the composers primary influences as reflected in each work. Also discuss the works in context of 20th-century compositional styles/aesthetics. Describe the compositional materials/processes employed. Provide a graphic representation of the works (include explanatory notes). Also, be sure to include a clear representation of the formal structure of the works. Where applicable, describe in general terms the instrumental/orchestral elements and characteristics.
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Format for PhD Program in Computer-Based Music Theory and Acoustics (CBMTA) 1. Essays and problemsolving on a choice of topics representing the core curriculum for 1st-year students in the CCRMA doctoral program: 220A, B, and possibly C. Additional material could be included to reflect the particular background and interests of individual students, at the discretion of the exam committee. 3 hours 2. Written identification/discussion of 6 score examples representing a range of historical styles, medieval through 20th century: 3 hours 3. Written analysis of a short composition from the 18th/19th-c. repertoire (e.g., a minuet or scherzo movement; a Beethoven bagatelle; a small-form piano work by Schumann, Chopin, or Brahms; a Lied by Schubert, Schumann, Faur, Wolf): 2 hours 4. 1-hour oral exam. The oral exam will entail further discussion of the material on the written exam (the essays the candidate chose to write, score examples, analysis); questioning should be limited to the specific questions and examples of the exam, or extend only to closely related material, including important scholarship in the area. Sample Questions Part A: CMBTA PhDs What sampling rate should be used for digital audio and why? What is the correct increment, in samples, for a wavetable oscillator to make it produce a fundamental frequency of 100 Hz, given that the sampling rate is fs = 10,000 Hz, and the wavetable length is N = 1000 samples? Describe the principle behind the auditory streaming illusion and propose computer-generated examples illustrating the effect for a) register and b) timbre. Spatialization involves several auditory cues and underlying percepts. Discuss the requirements of a spatialization system and its control from the point of view of a composer. Cite works that incorporate such techniques. Sample Questions Part B: Composition DMAs and CMBTA PhDs Score identification and discussion: Discuss the score excerpts given here in a few brief paragraphs (12 handwritten pages, 8x11 format) for each example. Begin by identifying the period, style, probable date and composer, genre, and (perhaps) musical form represented by each excerpt. Point to a few salient features of melody, counterpoint, motive, phrase structure, harmony, scoring (instrumental or vocal), etc. that might serve as significant indicators of the historical style, composer, formal design or process of the larger work or movement, and that contribute in some way to the expressive or (more generally) aesthetic effect of the work. Allow about a half-hour for each. CCRMA theorists have six such examples. Composers have four such examples. For their fifth example (a complete work), composers discuss as above but more in depth. Allow an hour for this piece. In addition to your general commentary, address the specific questions for each example, where indicated.
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Sample questions for the three sample pieces available at the URLs below: Example B1. What is the nature of dissonance treatment in these two short pieces? What is the nature of the contrapuntal relation of voices? Example B2. Indicate the tonality at the beginning and at the end of the excerpt. Although the sforzando markings in mm. 398403 fall on the accented beats of the measure, what generates a feeling of metrical syncopation (hemiola) across this passage? Example B5 (composers only). Translation of text: We were both silent for a long while, when suddenly speech came to us again. The angels who flew down from heaven, they brought us peace again, after war. Gods angels flew down, with them peace has returned. The angels of love come overnight, and brought peace to my breast.
In your analytical comments, include some discussion of the following: How the issue of tonic key is problematized (and for what possible reasons?) Impact the repetitive character of the text may have on the musical setting. What resonance/ramifications the passing C-flat of the penultimate measure may have elsewhere in the song. See the following downloadable files for the corresponding sample scores: Ex. B1 Ex. B2 Ex. B5 http://music.stanford.edu/Academics/downloads/gradHandbook/B1.pdf http://music.stanford.edu/Academics/downloads/gradHandbook/B2.pdf http://music.stanford.edu/Academics/downloads/gradHandbook/B5-Comp.pdf
Sample Questions Part C: Composition DMAs and CMBTA PhDs Analysis: Begin by identifying the period (approximate date), possible composer, genre, and overall form represented by this movement. Provide a written (prose) analysis of the movement, which you may supplement by any diagrammatic means you find useful (letter schemes, harmonic outline, etc.). Your analytical remarks should include some mention of the following: overall tonal design of the movement identification of the basic melodic/thematic material and its motivic components aspects of meter and phrase structure, noting in particular any striking divergences from expected norms In addition, comment specifically on the following points: the harmonic progression from m. 49 through m. 66 the function of the Coda (mm. 11927) and the use of that term in this context See the following downloadable file for the corresponding sample scores: Part C http://music.stanford.edu/Academics/downloads/gradHandbook/C-Analysis.pdf
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Format for PhD Program in Musicology The following guidelines from the Musicology Faculty are a shortened version of the 2007 revisions and clarifications to the original plan that was passed by the Academic Council Teaching Faculty in AY 19992000. Please be sure that you obtain and read the complete Guidelines for Musicology Quals Spring 2007 from the graduate administrator. [N.B. A copy of same was included in the hard copy of this manual provided to you at the start of your graduate career at Stanford.] I. Description and Schedule of the Exam The Ph.D. Qualifying Exam in musicology tests the students knowledge of repertoire and scholarly literature in six fields of music history. The student selects her/his six fields and creates a repertoire and bibliography list for each field in consultation with the advisor and musicology faculty. The exam includes a principal written portion and a one-hour oral exam (with the three committee members) following up on the written. Step 1. Choose Quals committee (advisor + 2 other musicology faculty) Examining committees will be composed of the students graduate advisor, a chair (not the advisor) from the candidates program, and a 3rd faculty member. Choose 2 fields each from the periods Pre1600, 16001830, and 1830present. [See section II. Fields of study, below.] Within each chronological period, study one field as a survey and narrow the other down to a topic. A topic should focus on a composer, genre, or scholarly problem within the field. Topic fields should complement the survey fields chosen. Repertoire should not overlap significantly with that of the larger survey fields. [See the worksheet on page 4 of the complete Guidelines document.] List of fields and committee members due to advisor end of first quarter in the first year. Advisor reviews with Committee. Advisor sends final list to Debbie, 1/31 of first year. Step 2. Create repertoire list and bibliography for each field, in consultation with advisor and musicology faculty. Topics are narrower than surveys, so the exam will test a correspondingly deeper knowledge of musicological literature. Bibliographies for the topic fields should approximate the scope of a research paper bibliography, and will constitute part of the material for examination. Bibliographies for survey fields may remain more general. See Section II. Fields of study through Section V. Recommended reading on individual composers in the complete Guidelines document. Repertoire lists and bibliographies are due first day of spring quarter, first year. They may be revised subsequently in consultation with advisors. Step 3. Propose question(s) for each field. Faculty members writing the exam may use, alter, or ignore the candidates question(s), at their discretion. Due July 15, 2nd year
Step 4. Taking the exam. The written exam will consist of six 3-hour sessions, over five daysone 3-hour session devoted to each of the six fields. Answers should demonstrate knowledge of repertoire and relevant scholarship. Candidate will write the exam over the five weekdays immediately preceding the eighth quarter of graduate study (i.e. autumn quarter of the third year). In survey fields, candidate will answer three essay questions per 3-hour session. Scores may be consulted, but not notes or other study materials. In topic fields, candidate will write one essay per 3-hour session. Scores may be consulted, but not notes or other study materials. After the written portion of the exam, the candidate and committee will schedule a one-hour oral exam on the essays and the selected fields.
A Qualifying Exam Report form, obtained from Debbie and signed by each of the exam committee members, must be returned to Debbie (regardless of outcome) following the completion of the oral portion of the exam. A letter from the advisor to the student may be provided to the student (copy to Debbie), but is not required II. Fields of Study Pre-1600 1. Plainsong (Mahrt, Rodin) 2. Early vocal polyphony, 900-1300 (Mahrt, Rodin) 3. Sacred vocal polyphony, 1300-1600 (Mahrt, Rodin, K. Berger) 4. Secular vocal music to 1600 (Mahrt, Rodin, K. Berger) 5. Instrumental music to 1600 (Mahrt) 1600-1830 6. Opera and other secular vocal music, 1600-1830 (Hadlock) 7. Sacred vocal music, 1600-1830 (Hadlock, K. Berger) 8. Solo keyboard music, 1600-1830 (Barth, K. Berger) 9. Chamber music, 1600-1830 (Barth, Grey) 10. Orchestral music, 1600-1830 (Barth, Grey) 1830-present 11. Opera, 1830-1945 (Hadlock, Grey, Hinton) 12. Choral music, 1800-1945 (Grey, Sano) 13. Solo song, 1800-1945 (Hadlock) 14. Symphonic music and concerto, 1830-1945 (all) 15. Chamber music, 1830-1945 (Grey, Barth, Hinton) 16. Piano music, 1830-1945 (Grey, Barth, Hinton) 17. Music since 1945 (Hinton, Applebaum, J. Berger) Sample Questions Essays: Musicology PhDs Early vocal polyphony: 9001300 The music of the Notre Dame school as a manifestation of Gothic style and scholastic method. Sacred vocal polyphony: 13001600 The polyphonic Mass before Dufay
Section Four: All About Examinations 57
Solo keyboard music, 1600-1830 Discuss Bachs style consciousness in the preludes of the WellTempered Clavier: his assimilation and transfer of various genres, styles, and idioms. Opera, 1830-1945 Russian musicians, critics, and intellectuals in the later 19th c. were much preoccupied with ideas of about realism and nationalism or national identity as these might be manifested in opera. In what ways (similar or contrasting) do Mussorgskys Boris Godunov and Tchaikovskys Eugene Onegin engage these critical preoccupations? Choral music: 1800-1945 Discuss the varying ways that composers of Romantic sacred choral music used archaic compositional styles and techniques, and describe the results achieved. Solo song 1800-1945 Dichterliebe: musical protagonists and cyclical techniques Music since 1945 Discuss several kinds of aleatoric techniques used by composers of the post-war period. Cite specific works and explain: 1) whether (and how) they were reacting against certain existing musical styles or languages 2) their aesthetic goals regarding the role and interaction of composer, performer, and listener. Sample Survey and Topics for Musicology Qualifying Examination
Pre1600 Survey
Choose one Survey field from each period. Plainsong
16001830
Opera
1830present
Piano music, 18301945
Topic
Define a Topic within one field from each period. Topic field should not overlap with the Survey field in the same period. Italian madrigal (topic within the field of Secular vocal music, 13001600) The Classical string quartet (Haydn, Mozart, Beethoven) (topic within the field of Chamber music) The symphonic poems of Liszt and their legacy (18501900): compositional and aesthetic issues (topic within the field of Symphonic music and concerto)
Please be sure that you obtain and read the complete Guidelines for Musicology Quals Spring 2007 from the graduate administrator. [N.B. A copy of same was included in the hard copy of this manual provided to you at the start of your graduate career at Stanford.]
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SPECIAL-AREA EXAMINATION Each prospective candidate for a doctoral degree must pass the comprehensive examination. The examination is in two sections; Qualifying Examination and Special-Area Examination. The student can become familiar with the general characteristics of the examinations through the description and sample questions given below and through conversation with faculty and grad students who have taken the exams. Format for CBMTA and Musicology PhDs A Special-Area Exam is to be taken no later than the autumn quarter of the fourth year. The exam includes the following: Part 1. Essays on special topics in the candidates field: bibliography, history, style analysis (written: 3 hours). Part 2. A take-home problem in the candidates field: may be analysis of a specific work or research on a given topic (written: 24 hours). Part 3. Translation [and commentary] of theoretical excerpts in the candidates field: ordinarily in the primary language of the candidates research but could include examination in the secondary language as well (written: 3 hours). Part 4. An oral defense of the dissertation-proposal draft in the following steps: a. Appointment of committee, normally three members, potentially the readers of the dissertation b. Submission of a draft of the proposal to committee members in advance of the oral c. A one-hour oral examination, including an oral presentation by the candidate on the subject (for up to 20 minutes), with questions and discussion by the committee d. Revision of the proposal, taking into account the discussion from the examination e. Submission of revised draft to the principal advisor and the chair of the committee for approval [The chair of the committee checks that the discussion from the examination has been incorporated. Chair of committee and advisor cosign the revised proposal, which is submitted to the chair of the Graduate Studies Committee, who takes note of it.] f. File copy of signed proposal given to the graduate administrator. Format for Composition DMAs A Special-Area Exam is to be taken no later than the autumn quarter of the fourth year. Part 1. Essays on special topics in the candidates field (written: 3 hours). Part 2. A take-home problem in the candidates field: may be analysis of a specific work or research on a given topic (written: 24 hours). Part 3. A proposal for the final composition project is submitted in writing to the advisor, who will consult all available composition faculty, advise the candidate accordingly, and report the results to the chair of the Graduate Studies Committee. File copy of signed proposal given to the graduate administrator. Any exceptions to this schedule must be requested in writing and authorized by the Department. Requests should be addressed to the departments Graduate Studies Committee.
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SPECIAL-AREA EXAM PROCEDURES CHECKLIST FOR STUDENTS AND FACULTY

__ STUDENT, in consultation with advisor, creates committee and procures agreement to serve from all members, then notifies administrator who is on the committee and when the exams are to take place. __ STUDENT also prepares for the orals [this applies to all PhDs] before the exam by submitting the draft of the dissertation proposal to the committee, as outlined in the Special-Area Examination section of the Graduate Handbook. For DMAs: the final-project proposal is the third part of the Special Areas, as outlined in the Handbook. Note: all composition faculty are to see the proposal. The approved proposal should be signed by the Advisor and Chair, and given to the graduate administrator. COMMITTEE consists of: Chair: ________________________________ Advisor: ______________________________ rd 3 Reader (in case of a split decision): ______________________________ The 3rd reader is also available for the orals section of the PhD exam. __ STUDENT arranges specific days and times during which the written exam will be administered with the graduate administrator, copying advisor. __ ADVISOR writes the questions [in conference with the chair] and gives them to the graduate administrator (at least 24 hours in advance of the prearranged time of the exam!). __ STUDENT takes the written exam as arranged with advisor and graduate administrator. __ COMMITTEE reads exams over a period of no more than a week. Each reader marks individually on a separate sheet provided by the graduate administrator [these are saved as commentary in the file]; __ CHAIR marks the report form and summarizes comments in the space provided. __ STUDENT AND COMMITTEE: Orals happen as soon as possible. [N.B. not composition students; musicologists and CCRMAlites only] The student and the committee set time for the orals. COMMITTEE CHAIR: __ writes letter to student notifying of pass/fail, commenting, etc. __ makes sure entire committee signs report form __ gives EVERYTHING back to graduate administrator, including the letter, immediately
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Sample Questions Part 1: Composition DMAs Discuss the use of sonification of complex data. Using specific examples, classify the use of auditory representation and display of data with graphic visualization of musical practices (3 hours) Discuss the use of layering in the music of Ives, with particular reference to perception. In what ways can music affect the meaning of drama? Relate to ideas of what music means in itself. Give an account of the beginnings of the spectral movement. Discuss ways in which knowledge of the microstructure of sound material has pointed towards new types of musical form. Sample Questions Part 1: Musicology PhDs Write on three of the following: Musical organization, meaning, and expressive intent as discussed and understood by theorists of the Renaissance, and the influence of these theories on the vocal and instrumental performance of the period. Styles of figured bass realization, 16001800. The relation of dance and music, both in compositions, techniques and performance techniques in France 16001720 (approximately). Discuss the violin and the violin family as they evolved as instruments-their shape or configuration, their fittings and interior braces, their strings, their bows. How did the various differences reflect the use and repertory of different eras and the technique of performance? The history of the cantata in the baroque era, with particular emphasis on the chamber cantata with solo instrumental obligato accompaniment. Technique of instrumental performance in the Renaissance and Baroque. How was articulation, phrasing, intonation conceived and applied to musical performance on keyboard, wind and stringed instruments? Sample Questions Part 1: CBMTA PhDs Elementary Signal Processing Theory What is the definition of the DFT? What is the definition of the inverse DFT? State and prove the Convolution Theorem for the DFT. What is the difference between phase delay and group delay? What is true of the spectrum of every real signal? Signal Processing Practice How fast is the DSP56001 on a dot product of two real vectors? In what ways are DSP chips better than general-purpose processors for audio work? Describe in one paragraph the process for developing and debugging DSP software. Short-Time Fourier Transform For a good spectral display of audio, what parameters should be used? Describe how to implement cross-synthesis using the STFT. Synthesis Techniques What are the characteristics of a good reverberator design? Sketch a block diagram for physical-modeling synthesis of the following: plucked strings, bowed strings, piano, clarinet, human voice
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Sample Questions Part 2: Composition DMAs Write an extensive analysis of the first movement of Bartk 3rd Piano Concerto.* Discuss the relationship of the movement to the entire work. Include some comments on the works historical context. List a bibliography of any reference material used.
*or any other work of like dimensions
Sample Questions Part 2: Musicology PhDs A = any composer B = any work C = any similar composer Option 1. Write an essay on (A)s (B). In addition to analyzing the work, place it in its historical context, showing how it differs stylistically and formally from similar works by (C) and speculating as to how their differing musical educations and experience might account for this. List a bibliography of works consulted. Option 2. Write a lecture on (A)s (B) for an advanced undergraduate class of music majors. Include pertinent historical references to musical form, style, and setting and expression of text. Touch briefly on performance problems that would necessitate a change from the printed text as found in the present edition of the works of (A). Append a bibliography of primary and/or secondary sources consulted in preparation of this lecture. Sample Questions Part 2: CBMTA PhDs Plan a syllabus/proposal for an elementary course of acoustics and psychoacoustics for musicians. UNIVERSITY ORAL EXAMINATION The University Oral Exam is generally taken near the completion of the dissertation. The student proposes four (or more) department faculty members to serve as examiners using the University Oral Examination Schedule. [These four (or more) faculty members will ordinarily include the members of the reading committee.] The Department chair must approve all examination committee members by signing off on the form. The University Orals Chair (a member of the Academic Council Teaching Faculty) is selected from another department, in consultation with the student, the students advisor and the music department chair. Unless the student of advisor is more comfortable with the role, the graduate administrator will contact the candidate for Orals Chair initially. Generally, students should not approach professors themselves for this purpose, but they should let the graduate administrator know of any preferences or ideas. It should be noted that the student, in consultation with the major professor, is responsible 1) for determining the availability and willingness to serve of all necessary department committee members, and 2) for arranging an examination time convenient to all. [Allow time for this at least a month! It can be difficult to coordinate the schedules of 4+ busy people. Remember, also, the candidate(s) for University Chair is (are) only contacted after the date is set!]. The examination may not be scheduled during the first two weeks of the quarter nor after the last day of instruction in any quarter. Students are strongly urged to schedule these exams in some quarter other than the summer quarter! When a suitable examination time has been found, fill out the University Oral Examination Schedule, including a list of the examiners names; give the form to the graduate administrator, along with an abstract (described below). The department will then reserve a room, and a University Chair found. You will receive a packet confirming date, time and location. This process should commence at least a month before the proposed date of the exam.
A one- or two-page abstract should be submitted to the Department when submitting the request for University Oral Examination. The abstract will be attached to the Orals Committee form and given to the Exam Committee as a briefing of the topic of the exam. University Oral Examination Schedule: http://www.stanford.edu/dept/registrar/pdf/oralsform.pdf An announcement of your University Oral is sent to Public Events for publication in the Stanford Report. The topic listed on this announcement is the dissertation title shown on your University Oral Examination Schedule, unless you have advised the Music Department office in writing of a change. To assure that the announcement copy is accurate, please check with the graduate administrator two weeks before your exam. Format for CBMTA PhDs 1. Open Session a. Formal presentation by the candidate (1 hour) b. Questions (30 min.) c. Intermission (15 min.) 2. Closed session a. Questions from the committee (30 min.) b. Voting by the committee (15 min.) 3. Adjournment Format for Musicology PhDs 1. Presentation of the dissertation by the candidate (50 min.) a. The student should begin by explaining how the topic of the dissertation is situated within the immediate field. Following that, the student presents a summary of the structure and content of the individual chapters, discussing also relevant points of methodology. 2. Break (10 min.) 3. Questions from the committee (50 min.) 4. Committee deliberations (10 min.) 5. Notification of Student, Adjournment Registration Requirement for Candidates Taking University Oral Exams Candidates for the PhD degree must be registered at the time the PhD oral exams are taken. A further reminder: University holds must be cleared before registration for the orals can be completed.
63
SECTION FIVE: ALL ABOUT OTHER STUFF YOU SHOULD KNOW!

In this section you will find Graduation General Information Financial Aid Opportunities Student Opportunities
GRADUATION GENERAL INFORMATION Conferral Of Degrees Students should apply to graduate on Axess just before or early in the conferral term in order to allow sufficient time for department and Graduate Degree Progress review of degree requirementspreferably in the second week of the degree quarter, but definitely before the deadline published in the Stanford Academic Calendar (http://registrar.stanford.edu/academic_calendar/index.htm) as Application deadline for _____ Quarter degree conferral. (Note that the deadline for spring commencement is at the end of the second week of the quarter!) Recommending lists of students who have applied for conferral of graduate degrees are reviewed by the Registrar and the department to verify completion of degree requirements. Students who wish to defer their conferral date must file another application for a later quarter and withdraw the one they have made previously. Application to graduate is made on Axess. Late applications and withdrawal of the Application to graduate are made by visiting the information windows at the Registrars Office and completing the appropriate paper forms. Degree certificates are sent to students who have been awarded degrees for all but Spring-quarter (see below). Transcripts verifying conferral of degrees may also be requested on Axess and obtained from the Registrars Office. Spring Commencement Commencement ceremonies are held each June for students who have received degrees in the previous Summer, Autumn, Winter, and the current Spring quarters. Students who wish to receive their diplomas at June commencement must apply, via Axess, by the deadline printed in the academic calendar to allow adequate time for preparation of the diploma. Information on commencement activities and distribution of diplomas is sent by the Registrars Office in early April to the address provided in Axess. Students indicate whether they would like to receive their diploma at commencement ceremonies or have it mailed to them. Students who expect to complete their degree requirements in Summer Quarter but wish to participate in commencement activities in advance of conferral of their degree must notify the graduate administrator via email prior to May 31. Walk-through petitions are approved for students who are in good standing and are not on the June degree list. See the official Stanford Commencement site for complete information about University commencement activities: http://commencement.stanford.edu/ Do provide the above link to parents and friends who may wish to attend! Musics departmental ceremony occurs in Campbell Recital Hall at 12:30pm on the same Sunday as the University commencement (usually the 3rd Sunday in June). This provides anyone interested in attending the Universitys stadium ceremony ample time to amble back up the hill to Braun for Musics diploma-award ceremony and gala reception immediately following in the adjacent Courtyard. Regalia Below is the last word about regalia and hoods. MA White = Arts. However, this is usually academic arts, like musicology or theory.
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Section Five: All About Other Stuff You Should Know!
Pink = Music. This is the more professional or performer-ish side. Usually composers, conductors, and the MST Masters students should get this one, unless they really want the white for whatever reason. DMA Pink. Thats right: pink. (Sorry, guys.) Ph.D. ALL (Musicology, Music & Humanities, and CCRMA) should get the darkish Philosophy blue, because youre getting a Doctor of PHILOSOPHY, even though it is in Music. (Note: This is where the bookstore often has misunderstandings.) You may order your commencement regalia at the bookstore, (http://www.efollett.com/Home/10001-14603-1?demoKey=d), if you intend to participate in the graduation ceremony(ies) in June. Deadline for ordering regalia from the bookstore is usually April 30th. There is also a cap and gown supplier that offers discounted regalia. Their site is: http://www.capgown.com/ Graduation Quarter Students who meet the requirements defined by the Registrar, and described on the form (available using the link below), may enroll in their final quarter at a special TGR tuition rate of $100. Graduation Quarter Petition: http://registrar.stanford.edu/pdf/grad_qtr.pdf FINANCIAL AID OPPORTUNITIES Financial Obligations While you are a Stanford student, whether registered or not, you will receive a University Bill containing information about all charges and credits on your account for a given quarter. The first bill of each quarter is due and payable upon receipt and becomes delinquent at closing time on the day before the start of classes. Most financial aid awarded for the quarter will appear as a credit on your bill. The aid included on your bill includes scholarships, grants, and outside awards (agency support, honors). Teaching and research assistantships are salaried positions and the monies from this employment will not appear on your University Bill. For Complete information concerning your University bill and payment procedures/options, see: http://financialgateway.stanford.edu/students/index.html Discretionary Funds A limited funding source provided annually by H&S to the department may be tapped by graduate students for a variety of purposes. Students should use the Discretionary Funds Application (available at Department Forms under the Department Info tab on Musics homepage [http://music.stanford.edu/DeptInfo/index.html#forms] to request portions of these funds to support their academic activities. Discretionary funds for an academic year are available from 9/1 through 8/31 (Stanfords fiscal year). All approved requests for discretionary funding must be submitted to Jaime Marconette (Financial Officer), including completed receipts showing payment, well prior to the 8/31 cutoff date (You will receive
Section Five: All About Other Stuff You Should Know! 67
notice in email of the exact date each year.) In the case of travel reimbursements, the trip must have been completed (and proof of same submitted to the financial officer) in order for a refund to be sent directly to you. In those rare instances when it is impossible to complete travel prior to submitting the approved request and documentation (i.e. near the end of Stanfords fiscal year on August 31), you must obtain prior approval for the travel, and realize that Stanford University policy dictates that your advance reimbursement be applied as a stipend directly to your account (not as a check to you). In this instance, you will incur federal and state tax liability and the appropriate withholding will occur. Graduate Aid Plan 1. Fellowship (1st year) The tuition grant is automatically applied to the tuition charge on your university bill. The stipend is paid as a quarterly check. Unless you make special arrangements with the Financial Office, the stipend will automatically be applied to outstanding charges on your university bill, with any balance issued as a refund check. 2. Research or Teaching Assistantships (2nd through 5th years and both summers) International Students: Note that you will need to apply for a Social Security number that is required on the I-9 form. Please see Bechtel for information about where and how to apply for the Social Security number at the start of Spring Quarter in your first year! http://www.stanford.edu/dept/icenter/new/orientation/SOCIAL_SECURITY_NUMBER.htm Students cannot receive any funding for Years II, III, IV or V without first submitting: INS I-9, plus enclosures Complete in late spring or summer of your first year; (You must complete this form in person with the appropriate form(s) of identification. See Jaime, Debbie, or Mario in the central Braun office for further information.) IRS W-4 File on-line in Axess under the employee tab (which will appear in your Axess tabs just prior to the start of your first term as a Teaching Assistant), LA-6, for international students/non-residents Complete in late spring or summer of your first year; see Jaime for this form. Note: It is STRONGLY RECOMMENDED that you sign up for Direct Deposit in Axess at your earliest opportunity. See http://co.stanford.edu/payroll_manual/online/faq_dd.html for instructions. The tuition grant associated with your assistantship is automatically applied to the tuition charge on your university bill. Your TA or RA salary is paid semi-monthly on the 7th and 22nd of each month. If those dates fall on a weekend, the checks come to the department on the preceding Friday (and will be available in your department ID mailbox), or are directly deposited to your bank account (if you have made arrangements for direct deposit: see above).
68
There are six pay periods (hence, six paychecks) in Autumn, Winter, and Spring quarters. Summer quarters are two weeks shorter than the AWS quarters, and there are only four pay periods in summer quarter. Note that for any pay period (i.e. 9/16-9/30) the paycheck for that period will be received by the student on the next scheduled pay day (i.e. 10/7). Teaching Assistantships are entered on an alternate quarter schedule and pay periods for each quarter correspond to the following calendar: Pay Period for Teaching Assistants: Autumn Quarter: 9/16 to 12/15 Winter Quarter: 12/16 to 3/15 Spring Quarter: 3/16 to 6/15 Corresponding Pay Dates on the 7th and 22nd of each month beginning: 10/7 and running through 12/22 (6 paychecks) 1/7 and running through 3/22 (6 paychecks) 4/7 and running through 6/22 (6 paychecks)
Research Assistantships (which include years 4 and 5, and the two summers of graduate aid) are entered on a standard quarter schedule that corresponds to the following calendar: Pay Period for Research Assistants: Autumn Quarter: 10/1 to 12/31 Winter Quarter: 1/1 to 3/31 Spring Quarter: 4/1 to 6/30 Summer Quarter: 7/1 to 8/31 Corresponding Pay Dates on the 7th and 22nd of each month beginning: 10/22 and running through 1/7 (6 paychecks) 1/22 and running through 4/7 (6 paychecks) 4/22 and running through 7/7 (6 paychecks) 7/22 and running through 9/7 (4 paychecks)
Please ask to see your personal account representative at the front desk in the Student Financial Office, [http://financialgateway.stanford.edu/contact/students.html] with questions you may have about your stipend checks or university bills. [N.B. If you have questions youd like to run by music administration prior to visiting the Student Financial Office, know that the graduate and department administrators have the ability to see your student bill online (as you do).] Format 1. Year I: Full fellowship and full tuition (1218 units tuition per quarter; living stipend) 2. Years II and III: Half-time TA responsibility and half-time tuition (810 units tuition per quarter; salary) 3. Years IV and V: Pre-Doctoral Research Fellow (810 units tuition per quarter; research salary) 4. Summer: Support is provided for two summers during the students aid tenure. PhD CCRMA and DMAs take their first summer of aid between years I and II; PhD Musicologists, between years II and III, both in preparation for Quals (810 units of tuition; research salary). The second summer of aid for all doctoral students is taken between years III and IV in preparation for the Special-Area Examination. Summer funds not taken during these specified times will be forfeited.
Monies 1. First-year fellowship students on full awards in 200708 will receive full tuition $34,800 per year ($11,600 per quarter), paid directly to Stanford) and a stipend of $19,725 for the academic year; that is, a check (or a direct deposit to your bank account arranged through Axess) for $6,575 (less any deductions made for housing and student fees) available to enrolled students from Student Financial Services, on each registration day Autumn, Winter, and Spring quarters. 2. Students in their second through fifth years will receive either 50% TA, or 50% RA salaries. The Teaching Assistantship salary amount for 200708 is $21,765 paid in 18 semi-monthly installments (i.e. 6 pay periods per quarter), plus half-time tuition (810 units = $22,710 or $7,570 per quarter). Pre-doctoral Research Assistantships are also for 810 units of tuition ($22,710) in 200708, and a stipend of $19,725. Fifth-year students are expected to have achieved Terminal Graduate Registration (TGR) status and will receive TGR fees of $2,760 per quarter (up to 3 units; register in 801 or 802) and a stipend of $19,725. The teaching component of your graduate work: Privileges and responsibilities Teaching is an integral part of the graduate academic program. Your dedication and commitment as a Teaching Assistant is important to your own future career path, as well as to Stanfords core teaching mission. Your success as a Teaching Assistant is crucial to completing a doctoral course of study at Stanford University. All students in the doctoral program will spend at least two years (six quarters) working half-time (20 hours/week) as Teaching Assistants (figured as an obligation of 20 hours per week for each quarterly course). In the event of departmental need, the School of Humanities and Sciences has directed departments to require students in their fourth or fifth years to serve as TAs. In the event of such an occurrence, the fifth year student would be compensated at the TA rate, rather than the RA rate, for her/his stipend; such substitutions of type of quarter are not reversible (i.e., losing a quarter of RA to TA is not compensated by an additional RA quarter later in time). TAing must be taken seriously. This includes complete collaboration with the faculty member teaching the course, course preparation, assignment and examination preparation and grading, holding regular office hours, and making yourself available to assist both the professor and all the students as needed. Each TA is required to be trained (by taking and passing both the Diagnostic Examination at the start of the first year, and the Music 280 course in spring of the first year), and to demonstrate proficiency in English sufficient to teach. Failure to pass the English proficiency exam could lead to loss of funding. (See, Foreign-Student-TA English Screening, below.) Graduate-Student Teaching Graduate-student teaching assignments are made based on enrollment size of the course and the need for additional qualified teaching assistance to the faculty charged with teaching the course. The graduate administrator in consultation with the Music Theory Coordinator and course instructors allocates assignments. In keeping with the nature of the academic job market, the department ideally tries to designate TA assignments such that most courses are in the students main area of study with some in either related fields or as general music courses. Thus, for example, a PhD in Musicology will have a core of courses in the 40 or
70 Section Five: All About Other Stuff You Should Know!
140 series and/or the general music courses; a PhD at CCRMA would be assigned to 151, the 220 or 250 series, 320, etc.; a DMA would work in the theory/analysis sequence (2123; 121122C). Graduate-student teaching is both supervised and evaluated. By supervision, we mean advice and suggestions on planning of teaching, as well clear direction on what materials need to be covered over what period of time. By evaluation, we mean a series of conferences and/or one or two classroom observations by a faculty member of the graduate student currently engaged in teaching, as well as the formal University evaluation provided to the students about the TAs teaching. A copy of the official course evaluations (completed by the students from the class via Axess) is placed in the students file. Course Evaluations are accessible to the graduate student TA in Axess. The most important purpose of such evaluations is to help the graduate student improve his or her teaching effectiveness. Teaching, as a professional communication process, should not be viewed as a private activity exempt from professional criticism. Another purpose of evaluation is to enable faculty members, when writing recommendations to possible employers, to comment usefully on the graduate students teaching qualities. Teaching Stanford undergraduates is a privilege and not a right. In the event that your work as a Teaching Assistant is deemed unacceptable due to lack of commitment you may be removed from the position and forfeit the Teaching part of your graduate stipend. Teaching is extremely rewarding when done with devotion and commitment. TA Training Course: Music 280 Course Description: TA Training Course [Music 280] Instructors: Erinn Knyt and Bruno Ruviaro; Mondays, 12: 00 noon/1 unit-S/NC grading only. TA training is required for doctoral students serving as Teaching Assistants. The course includes orientation to resources at Stanford, guest presentations on principles of common teaching activities, and supervised teaching experience, among other topics. Note: Students entering in Autumn 2007 should take Music 280 in the Spring quarter 2008. The Center for Teaching and Learning (CTL, http://www.stanford.edu/dept/CTL/TA/ index.html) is an especially valuable resource for TAs, offering workshops on techniques, etc. Notification is disseminated via e-mail to all grad students. Foreign-Student-TA English Screening Before non-native-English-speakers can TA, they must be tested for English proficiency. Non-native-Englishspeaking permanent residents are NOT necessarily nor automatically exempted. Such students should check with Tracey Riesen in the English for Foreign Students office (contact info below). If it is required and not done, the student cannot be paid as a Teaching Assistant, so this is not a soft requirement! Screening must be done well before TAing beginspreferably in the winter quarter of the first year of study at Stanford, since summer is iffy and TAing starts in the fall, along with Quals. If the student does not pass the screening, the course(s) he or she will be required to take is (are) offered in Spring quarter. Students do NOT need to prepare for this screening, which consists of a simulated office-hour situation in which a student asks questions of the TA. The EFS office in Axess will note OK to TA certification). Arrangements may be made with Tracey Riesen via e-mail: triesen@stanford.edu.
Students are asked to bring a textbook on the subject matter they will be teaching: since assignments may not be made by the time this should be done, an undergraduate text from the students specialty will do. If youre a composer, for instance, see a professor whos teaching Music 19, 21, 22, 23, or any of the 122 series; if youre a musicologist, see someone who teaches 40, 41, or 42; if youre a CCRMAlite, see the instructor of Music 151, 220A/B/C, 250A/B, or 320. Work In Addition To Assistantship Appointment As opportunities come up to make extra money (e.g., grading exams), please note the university policies on hours: Students on a 50%-time assistantship may not be employed more than an additional eight hours a week: those eight hours cannot be in another assistantship position. International students on F-1 and J-1 visas are limited to a total of 20 hours of employment per week, including their assistantship appointment. (TAships are considered to be 20 hours per week (half-time), by the way) [N.B. Foreign students: Please check with the I-Center for up-to-date information regarding summer work. http://www.stanford.edu/dept/icenter/visas/student/campus_employment.html]
Applied Music Lessons & Scholarship Support Applied music lessons for music majors and music graduate students, are currently available at the cost of $200 per quarter (these costs are in addition to fees for tuition credits). There are minimum-proficiency requirements for private study, which are posted on the front-hall bulletin board, near the Music office and may also be found at http://www.stanford.edu/dept/music/Academics/Auditions.html; acceptance into an instructors studio is by audition. Again, see the hallway bulletin boards outside the Music office during the Autumn-quarter registration period. If you sign up for lessons, either in Axess or directly with an instructor, and THEN decide that you do NOT wish to take lessons that quarter, you MUST obtain a departmental drop form (turnaround rack in front hallway of Braun), complete it, and give it to Nette Worthey BEFORE THE THIRD FRIDAY of the quarter. You must ALSO drop the course in Axess! Simply dropping the course in Axess will result in your being billed for lessons for the quarter. Failure to comply will result in your being billed for lessons! The Friends of Music (FoM) at Stanford provides both full (to music majors and grads) and partial (to nonmajors) scholarship support to students who would be unable to take private lessons without financial assistance. Funds to support these scholarships are raised by Friends members through fundraising activities and private contributions. Each recipient is required to send a thank-you note to his or her patron for the scholarship, to invite the patron to concerts in which he or she is performing, and to attend an orientation meeting and scholarship reception (if you are sent an invitation). Failure to do any of these things will result in the forfeiture of the scholarship: PLEASE read the instructions accompanying the application completely to avoid heartache later! Students who wish to apply for an applied-music award complete the Department of Music Applied-Music Awards form (available from the aforementioned hallway rack) and submit it to the FoM mailbox no later
72 Section Five: All About Other Stuff You Should Know!
than the deadlines marked on the form. Nette Worthey will inform students regarding whether or not they have received an applied-music award via e-mail. Musician-Referral Service for Off-Campus Teaching and Performing The Department receives frequent requests for musicians to perform and/or teach off-campus. If you need the income or the experience, please fill out the forms (in the gray, turning rack in front of the main office), get your teachers written recommendation, and have your name entered in the departmental list of Recommended Students. Nette keeps a gig list a list of students wishing to be informed of possible performance opportunities on and off campus. The department receives requests continually for a variety of ensemble and solo gigs, so if youre interested in picking up some extra spending money and are happy to perform for dinners, weddings, mall extravaganzas etc., contact Nette and get on the distribution list! If you are planning to give a Winter or Spring recital, or have a program in place and would like to perform for an appreciative audience, please consider performing in a local retirement home or senior center. These people enjoy music and look forward to hearing Stanford students perform. You may also wish to combine your talents with those other students. This is an opportunity to preview your recital as well as share your talent with others and gives something special back to the community. NOTE: Department facilities and instruments may NOT be used for private teaching [it is Stanford University policy that no university facilities may be used for private gain]: all such activity must take place outside the Music building! Outside Fellowships, Post-Degree Plans, Career Planning And Placement The department and the university encourage matriculated graduate students to apply for outside fellowships. Registers of sources of outside fellowships, including brief descriptions and application deadlines, are available in the Financial Aid Office, [http://www.stanford.edu/dept/finaid/graduate/3_1_options.html], and in the Bechtel International Center (http://www.stanford.edu/dept/icenter/orc/index.html) [for international fellowships]. The department also maintains listings and information on outside fellowships; current flyers are posted on the bulletin board in the back hallway, and any announcements received from H&S are sent via email to all grad students. Information about Dissertation Fellowships in the Humanities is available at the Stanford Humanities Center http://shc.stanford.edu/fellowships/dissertation.htm. There is also a wonderfully comprehensive list of external fellowships on the CASA website: http://www.stanford.edu/dept/anthroCASA/gprg/extramuralsources.html. The graduate administrator also has an on-going compilation of URLs to various outside sources that she is happy to share! Well in advance of his/her expected graduation, each student should consult with the major professor and with members of the reading committee concerning career plans and the strategies and conventions of obtaining either outside fellowships or faculty positions. Announcements of faculty job openings are posted on the back bulletin board and/or emailed to students (depending on how the information is sent to the department). A completed placement folder should be on file at Career Development Office (http://www.stanford.edu/dept/CDC). They also offer group seminars and individual counseling for job seekers.
Exchange Scholar Program Open to matriculated graduate students, this program enables students to take courses not offered at Stanford. Tuition and fees are charged and collected at Stanfords rate, by Stanford. Students do not register at Stanford, but at the exchange institution. Participating institutions include the University of California (Berkeley and San Francisco campuses), Brown University, University of Chicago, Columbia University, Cornell University, Harvard University, Massachusetts Institute of Technology, University of Pennsylvania, Princeton University, and Yale University. The student earns residency at Stanford, but the major department determines whether the work taken is to be accepted as fulfilling course requirements for the degree. At the end of the term after grades have been reported, an official transcript is sent by the exchange institution to the Stanford registrars office. Individual titles and grades for courses taken at the exchange institution are not recorded on the Stanford transcript. Please contact Trudy Carter (tcarter@stanford.edu) for details about the exchange scholar program. Support Services at Stanford Stanford has a well established history of providing a network of support services that encompasses Counseling and Psychological Services (CAPS), The Bridge Peer Counseling Center, graduate residence staff, the Office for Religious Life, the Dean of Students Office, and the Graduate Life Office. To meet the needs of a diverse student body, Stanford provides many points of contact for students seeking help. (A list of many of these resources is below.) Graduate Life Office CAPS Vaden Health Center Office of Accessible Education Office of the Dean of Students Bechtel International Center The Bridge Peer Counseling Office of Residential Education Office for Religious Life Asian American Activities Center Black Community Services Center El Centro Chicano Native American Cultural Program LGBT Community Resources Center Womens Center http://glo.stanford.edu/ http://vaden.stanford.edu/caps/ http://vaden.stanford.edu/ http://www.stanford.edu/dept/ocr/diversityaccess/ http://www.stanford.edu/dept/DOS/ http://www.stanford.edu/dept/icenter/ http://thebridge.stanford.edu/ http://www.stanford.edu/dept/resed/ http://www.stanford.edu/group/religiouslife/ www.stanford.edu/dept/DOS/asian.htm www.stanford.edu/dept/BCSC/ www.stanford.edu/group/centro/ www.stanford.edu/dept/nacc/ http://www.stanford.edu/group/QR/ http://www.stanford.edu/group/womenscntr/
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Stanford University: Department of Music Graduate Handbook 2007-2008

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Stanford University: Department of Music Graduate Handbook 2007-2008

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Department of Music Graduate Handbook 20072008

Steve Sano Chair

THE HONOR CODE AT STANFORD

SECTION ONE: THE DEPARTMENT OF MUSIC

CCRMA Hours Fall, Winter and Spring Quarters Mon.Fri. 9 am5 pm

Section One: All About the Music Department

Section One: All About the Music Department

Section One: All About the Music Department

Section One: All About the Music Department

Section One: All About the Music Department

Section One: All About the Music Department

Section One: All About the Music Department

SECTION TWO: ALL ABOUT REGISTRATION

Section Two: All About Registration

Section Two: All About Registration

Summer* Year IV Year V

Section Two: All About Registration

Section Two: All About Registration

ALL ABOUT MUSIC GRADUATE DEGREE PROGRAMS

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

To this core Musicology students must add

and Computer-Based Music Theory and Acoustics students must add

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

PHD SCHEDULES (4-YEAR MODELS)

WINTER 312B 300A

Musicology Recommended Schedule 1 year 12 units min

FALL 200 301 A/B/C 312A or 221 221 or 312A 310

ADDL REQS Language I Language II (TA Year I)

2nd year 810 units

310 elect (Dissertation Year)

(Quals) (TA Year II) (Special Areas)

Fall 200 220A, 301 A/B/C elect 220D

Winter elect 220B, 301 A/B/C

Spring elect 220C, 301 A/B/C, 280

Addl Reqs Language

Section Three: All About Music Graduate Degree Programs

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

FALL 1st year 12 units min 18 units max

2nd year 810 units

3rd year 810 units

4th year 810 units

Section Three: All About Music Graduate Degree Programs

Section Three: All About Music Graduate Degree Programs

GRADUATE DEGREE TIMETABLE

File for candidacy: DMA and PhD

PhD oral examination DMA lecture-demonstration PhD-dissertation/DMA-Final-Project submission

Apply to Graduate (for printed diploma at Commencement)

Section Three: All About Music Graduate Degree Programs

SECTION FOUR:ALL ABOUT EXAMINATIONS

Section Four: All About Examinations

Section Four: All About Examinations

Section Four: All About Examinations

Section Four: All About Examinations

Section Four: All About Examinations