0607 356 final soegradbulltxta - new york university · columbia. k-12 certified dance educator,...

Applied Psychology

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Music

G R A D U A T E 2 0 0 7 - 2 0 0 9

he Department ofMusic andPerforming ArtsProfessions offers the

finest professional training within apreeminent and internationallyacclaimed university. The graduateprograms are united by a spirit ofopenness and innovation thatencourages students to pursue theirspecializations in the performingarts in the context of the largerworld of ideas. With an outstand-ing faculty of performers, theorists,and educators supported by superbresearch and studio facilities, weoffer an unparalleled environmentfor artistic challenge and growth.

This unique vision takes manyforms. At NYU, music perform-ers, composers, and technologymajors collaborate on special pro-jects and performances throughthe New Music Ensemble and theInteractive Performance Series.Music educators take courses inmusic technology and improvisa-tion. Music therapists work collab-oratively with other creative artstherapists—both drama and art—to promote a deeper understandingof the interdisciplinary use of thearts in therapy. Performing artsadministrators and music businessprofessionals explore the common-alities of the nonprofit and com-

mercial sectors. Educational the-atre students mount productionsfor New York City schoolchildren.Instrumentalists combine tradi-tional study of solo and chamberliterature along with the investiga-tion of extended techniques,improvisation, new works by ourcomposition majors, and interac-tions with electronics. Composershave the opportunity to work withchoreographers, librettists, andfilmmakers.

Our approach to graduate studyarises out of the recognition that inaddition to substantial training inindividual specializations, today’sperformer, composer, educator,therapist, technical specialist, orexecutive needs multiple skills andbroad experiences to pursue a suc-cessful and fulfilling career.

The school’s location in NewYork City is a great advantage.Immersed in the excitement andopportunities of the world’s musicaland artistic capital, students enjoythe extraordinary cultural institu-tions and events that no other cityprovides. Our location enables us todraw on the greatest artists in theworld and allows our students tobuild networks and take advantageof abundant professional opportuni-ties. Frequently reviewed by theNew York media, over 300 perfor-

mances—from solo recitals toensemble concerts and full operaand music theatre productions—arepresented by our department eachyear. Master classes are presentedseveral times each week throughoutthe academic year.

Graduate offerings include pro-grams leading to the Master ofArts and Master of Music degrees,the sixth-year Certificate ofAdvanced Study, and the Ph.D.and Ed.D. degrees. The master’sprogram in music therapy isaccredited by the American MusicTherapy Association (AMTA).

D E P A R T M E N T O F

Music and Performing ArtsProfessionsDEGREES:

M.A., M.M.,Ed.D., Ph.D.

CERTIFICATE: Advanced Study

DIRECTOR: LAWRENCE FERRARA • 35 WEST FOURTH STREET, SUITE 777 • NEW YORK, NY 10012-1172

TELEPHONE: 212-998-5424 • FAX: 212-995-4043 • WEB SITE: www.steinhardt.nyu.edu/music

CONTENTS

Faculty . . . . . . . . . . . . . . . . . . . .84Dance Education . . . . . . . . . . . .89Educational Theatre . . . . . . . . .91Music Business . . . . . . . . . . . . . .94Music Education . . . . . . . . . . . . .95Music Performance and Music Composition . . . . . . . . . . .97Music Technology . . . . . . . . . . . .98Performing Arts Administration . . . . . . . . . . . . .99Performing Arts Therapies

Drama Therapy . . . . . . . . . . .100Music Therapy . . . . . . . . . . . .101

Courses . . . . . . . . . . . . . . . . . . .101

Notice: The programs, requirements, andschedules listed herein are subject to changewithout notice. A directory of classes is pub-lished each term with a current schedule.For the most up-to-date schedule changes,please consult ALBERT, NYU’s studentinformation Web site.

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D E PA RT M E N T O F M U S I C A N D P E R F O R M I N G A RT S P R O F E S S I O N S 83Steinhardt School of Culture, Education, and Human Development Bulletin 2007-2009

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84 D E PA RT M E N T O F M U S I C A N D P E R F O R M I N G A RT S P R O F E S S I O N SSteinhardt School of Culture, Education, and Human Development Bulletin 2007-2009

Faculty Stephanie Baer, Teacher. B.M. 1998,M.M. 2000, Mannes College of Music.

Violist who studied with WilliamPrimrose, Karen Tuttle, Michael Tree,Dorothy DeLay, and Karen Ritcher.Chamber music with Guarneri andJuilliard Quartets. Member,Metamorphosis Piano Quartet, MostlyMozart Orchestra, and Orchestra of St.Luke’s.

Barbara Bashaw, Teacher of Dance. B.S.1989, SUNY (Brockport); C.M.A. 1992,Laban/Bartenieff Institute; M.A. 1996,Columbia.

K-12 certified dance educator, New YorkState, New York City, and New Jersey.Expertise in interdisciplinary teaching andlearning and integrating Laban MovementAnalysis and Motif Description into theK-12 context. Master teacher, staff devel-oper, teaching artist for multiple NewYork City-based arts-in-education organi-zations. Featured teacher in Dance Teachermagazine, recipient of the National DanceEducation Organization EmergingVisionary Award, recipient of the BAXten“Passing It On” Arts Educator Award.

Juan Bello, Assistant Professor. B.S. 1998,Simón Bolívar; Ph.D. 2003, London.

While at Queen Mary, University ofLondon, he joined the Centre for DigitalMusic. His doctoral research concernedthe automatic transcription of recordedmusic, an issue of great relevance to cur-rent applications on computer music anddigital media distribution and retrieval.This work was an essential part of theOnline Music Recognition and Searching(OMRAS) project. After receiving hisPh.D., he worked with the Centre forDigital Music, first as a research officerand later as its technical manager.

Cathy Kassell Benedict, AssistantProfessor. B.A. 1979, Loretto HeightsCollege; M.M.E. 1987, Holy NamesCollege; M.Ed. 1996, Ed.D. 2004,Columbia.

K-12 certified music teacher, taught 15 years in both urban and privateinstitutions. Master’s degree in Kodály,Holy Names College, as well as LevelIII Orff with Grace Nash at Universityof Northern Arizona. Recent presenta-tions include “Chasing Legitimacy: The National Music Standards” and“Standards and Curriculum: TheHidden Constraints of SeeminglyInvaluable Intentions.” Currently serv-ing as vice president for a regionalchapter of the College Music Society.

Meg Bussert, Master Teacher. B.A. 1998,SUNY (Purchase); M.A.T. 1999,Manhattanville.

Actor/soprano nominated for a TonyAward for outstanding performance in herrole as Fiona in the Broadway revival ofBrigadoon. Received a Theatre WorldAward for her performance as Marianopposite Dick Van Dyke in The MusicMan. Cable Ace Award nominee for bestactress for HBO’s Camelot oppositeRichard Harris. Other Broadway creditsinclude Irene, Lorelei, Something’s Afoot,Gorey Stories, Damn Yankees, The Firefly,and New Moon. Premiered as Lucy inLucy’s Lapses for the Portland Opera.Recordings include Phantom onRCA/BMG, Sousa for Orchestra onESS.A.Y., Lost in Boston on VareseSarabande. She is a member of Actors’Equity, AFTRA, and Screen Actors Guild.

David J. Elliott, Professor. B.M. 1971,B.Ed. 1972, M.M. 1973, Toronto; Ph.D.1983, Case Western Reserve.

Joined NYU in 2002 after 25 years as aprofessor of music education at theUniversity of Toronto. Also served as vis-iting professor of music education atNorthwestern University, the Universityof North Texas, Indiana University, theUniversity of Cape Town (South Africa),and the University of Limerick (Ireland).Author of Music Matters: A New Philosophyof Music Education (Oxford, 1995) andPraxial Music Education (Oxford, 2005).Published numerous journal articles andbook chapters and, as an award-winningcomposer/arranger, also published manychoral and instrumental works withBoosey and Hawkes (New York).

Lawrence Ferrara, Director and Professor.B.A. 1971, Montclair State; M.M. 1973,Manhattan School of Music; Ph.D. 1978,New York.

Pianist and author with expertise inmusic theory, aesthetics, music researchmethodologies, and music copyright.Winner, Presidential Fellowship andDaniel E. Griffiths research awards.Author of numerous journal articles andbook chapters as well as Philosophy and theAnalysis of Music (Greenwood). Coauthorof multiple editions of Research in MusicEducation. Recordings for Orion andMusique Internationale. Forensic musiccopyright consultant for every majorrecording and publishing company andartists, including Andrew Lloyd Webber,Gloria Estefan, Billy Joel, PaulMcCartney, Mariah Carey, Elton John,James Brown, Ludacris, Kanye West, 50Cent, Eminem, Jay Z, Dr. Dre, andJennifer Lopez.

Catherine Fitterman, Clinical AssistantProfessor. B.M. 1975, East Carolina; M.A.1980, Cincinnati.

Classically trained pianist and artsadministrator with expertise in musicentrepreneurship. Concert promoter, pro-ducer, and presenter; artist manager;orchestra administrator; and major-giftsfund raiser. Founding director,Entrepreneurship Center for Music,University of Colorado, Boulder. She pro-duced the video The Ride of Your Life:Musicians as Entrepreneurs.

John V. Gilbert, Associate Professor. B.A.,Mus.B. 1960, Texas Technological College;M.A. 1962, Ed.D. 1969, Columbia.

Award winner, Texas State Council on theArts; composer of chamber music andopera. Pioneer for uses of music on theInternet.

Brian P. Gill, Clinical Assistant Professor.B.A. 1993, North Carolina (Charlotte);M.M. 1996, Colorado (Boulder); Cert. inVocology 2000, Iowa.

Tenor. Singer, voice teacher, and director.Has performed opera, musical theatre,pop, and jazz in the United States andabroad. Companies include OperaCarolina, Colorado Lyric Opera Festival,Kentucky Opera, Kentucky JazzRepertory Orchestra, CharlotteSymphony, and Festival de Rimes etAccords (Paris). Roles include Roldofo inLa Bohème, Lippo Fiorentino in StreetScene, The Magician in The Consul, LutherBillis in South Pacific, The Beast inVittorio Gianni’s Beauty and the Beast,The Witch in Hansel and Gretel, and LordEvelyn Oakleigh in Anything Goes. Playedbass and sang with Grammy-nominatedcountry band The Moody Brothers.Students currently singing at the Met,New York City Opera, on manyBroadway tours, the U.S. Army Soldiers’Chorus, and many of the Young ArtistApprentice Programs throughout theU.S. and abroad. D.M.A. candidate,University of Kentucky (Lexington).

Jonathan Haas, Professor. B.A. 1976,Washington (St. Louis); M.M. 1979,Juilliard School.

At Juilliard, studied with Saul Goodman.Director of the Peabody ConservatoryPercussion Studio for 20 years and a fac-ulty artist of the Aspen Music School;conducts the percussion ensembles atboth schools. Has presented master class-es throughout the U.S. and international-ly at the Toho Gauken, HanoiConservatory, Paris Conservatory, and theGraz Percussion School. Presented over200 concert-demonstrations with his“Drumfire” program, under the auspicesof the Lincoln Center Institute, the New


York Chamber Symphony’s Sidney WolffChildren’s Concert Series, and the AspenFestival Young Person’s Concert Series.

Dianna Heldman, Master Teacher. B.M.1982, Crane; M.M.Ed. 1990, NorthTexas; D.A. 1991, Cincinnati Conservatoryof Music.

New York City Opera mezzo-soprano,with roles in Der Rosenkavalier, Carmen,La Traviata, The Magic Flute, The Mikado,Rigoletto, Madama Butterfly, La Cenerentola,Il Barbiere di Siviglia, and La Bohème.Work with regional opera companies andorchestras includes Indianapolis Opera,Cincinnati Opera, Opera Festival of NewJersey, Birmingham Opera Theater,Sarasota Opera, Opera Memphis, LyricOpera of Dallas, Indianapolis Symphony,Cincinnati Chamber Orchestra, andArtek Early Music Ensemble. A regularguest artist with Lyric Opera of SanAntonio and the Catskill andSchenectady Symphonies. An activemember of the National Association ofTeachers of Singing, Music EducatorsNational Conference, and the AmericanGuild of Musical Artists.

Barbara Hesser, Associate Professor. B.M.1970, DePauw; B.S. 1973, M.S. 1974,Combs College of Music; C.M.T.

Has served as president, vice president,journal editor, and vice chairperson of theEducation and Training Committee ofthe American Association for MusicTherapy.

Susan Koff, Visiting Assistant Professor.B.F.A. 1977, Arizona; M.A. 1982,Columbia; Ed.D. 1995, Temple.

Over 15 years of experience teaching inhigher education. Former director of theGraduate Dance and Dance EducationProgram in the Department of the Artsand Humanities at Teachers College,Columbia University. Currently, she has asplit position between the kinesiologyfaculty and the curriculum and instruc-tion faculty at Louisiana Sate Universityin Baton Rouge. She is a visiting assistantprofessor of dance education.

Esther Lamneck, Clinical AssociateProfessor. B.M. 1973, M.M. 1974,D.M.A. 1980, Juilliard School.

Winner of Naumburg Scholarship,awarded Pro Music’s Soloist sponsorship.Performs as soloist with orchestras andchamber music ensembles. Specializationin new music performance.

Robert J. Landy, Professor. B.A. 1966,Lafayette College; M.S. 1970, Hofstra;Ph.D. 1975, California (Santa Barbara).

Development of theory and clinicalapproaches to drama therapy. Editor-in-chief emeritus of the journal The Arts in

Psychotherapy. Author of Persona andPerformance: The Meaning of Role in Drama,Therapy, and Everyday Life. Recipient,Distinguished Teaching Award, NYU.

Christina Marin, Assistant Professor. B.S.1992, Northwestern; Ph.D. 2005, Arizona.

Educator, performer, and director whosework has been conducted on an interna-tional level in Colombia, Ecuador, Mexico,Ireland, and South Africa. Recipient of the2004-2005 American DissertationFellowship.

Panayotis Mavromatis, AssistantProfessor. B.A. 1987, Dipl. AdvancedStudy in Mathematics 1988, M.A. 1991,Cambridge; M.A. 1995, Boston; Ph.D.2005, Eastman School of Music.

Interests include computational models,music perception and cognition,Schenkerian theory, post-tonal theory,Greek music. Publications in the Journalof Music Theory, Harvard Dictionary ofMusic.

David Montgomery, Visiting AssistantProfessor. B.A. 1999, MarymountManhattan College; M.A. 2001, Ph.D.2007, New York.

Specialist in drama education, theatre foryoung audiences, student teaching, andintegrated arts. His research interests arein drama pedagogy, arts partnerships, andteacher education.

Catherine Moore, Clinical AssistantProfessor. B.A. 1976, Bishop’s (Canada);Ph.D. 1991, Liverpool (United Kingdom).

Research interests include the interactionof culture and industry, international cul-tural trade policy, strategic music mar-keting, 17th-century Italian music, genreevolution, and music in the media busi-ness. Music critic and author of TheComposer Michelangelo Rossi.

Marilyn Nonken, Assistant Professor.B.M. 1992, Eastman School of Music;M.A. 1995, M.Phil. 1995, Ph.D. 1999,Columbia.

Pianist with scholarly interests in con-temporary music and performance prac-tice, music perception and cognition, andmusic and physiology. Cofounder andartist director of Ensemble 21Contemporary Music Performance Group.Recordings on New World, CRI, Mode,Lovely Music, Albany, and Metier. ASteinway artist.

Kenneth J. Peacock, Professor. B.A.1965, California (Los Angeles); M.A.1970, California (Riverside); Ph.D. 1976,Michigan.

Publication and research interests in com-puter music, acoustics, music perception

within the context of developing multi-media technologies.

Sean Scott Reed, Clinical AssistantProfessor. B.M. 1995, M.M. 1998, Rice;D.M.A. 2004, Eastman School of Music.

International performances as trombonist.Clinician and master class teacher intrombone and brass in North Americaand abroad with dozens of presentationsthroughout Asia.

Agnieska Roginska, Assistant Professor.B.M. 1996, McGill; M.M. 1998, NewYork; Ph.D. 2004, Northwestern.

Studied piano performance and computerapplications in music at McGill andmusic technology at NYU Steinhardt andNorthwestern University. Her doctoralwork focused on attention redirection fac-tors during the presentation of spatialauditory displays.

Robert Rowe, Professor. B.M. 1976,Wisconsin; M.A. 1978, Iowa; Ph.D. 1991,Massachusetts Institute of Technology.

Composer, winner of BourgesCompetition 1990. Author of InteractiveMusic Systems: Machine Listening andComposing (MIT).

Ronald Sadoff, Associate Professor. B.M.1976, North Carolina School of the Arts;M.M. 1978, Juilliard School; Ph.D. 1986,New York.

Pianist and film composer with expertisein aesthetic and historical analysis of music. Research in film music. Lecture-recitals throughout the U.S. and Europe.Premieres of solo piano works and record-ings for Capstone. Scores and thememusic composed for HBO, Cinemax,PBS, and the Discovery Channel.

Joe Salvatore, Teacher. B.A. 1995,Delaware; M.F.A. 1998, Massachusetts-Amherst.

Theatre artist and educator. Artistic/edu-cation director of Learning Stages, a non-profit youth theatre company in NewJersey. Curriculum developer for DanceTheatre Workshop’s SchooltimePerformance Series. Former education andhumanities manager for BrooklynAcademy of Music. Research interests:evaluation and assessment in performancecourses and student teaching settings,devising original works with young peo-ple, Shakespeare, and queer theatre.

David Schroeder, Clinical AssistantProfessor. B.Ed. 1983, Northern Iowa;M.M. 1986, New England Conservatory ofMusic; D.A. 1993, New York.

Director of Jazz Studies, he is also theproducer and artistic director for NYUJazz Masterclass Series and host for the


Jazz Masters Series at the Blue Note JazzClub. He has also acted as jazz educationconsultant for Verve Music Group andV.P. for Laurel Tree Records. He has per-formed with groups including theVanguard Orchestra, Combo Nuvo,Kenny Werner, and Don Friedman. Hehas produced education videos for artistsincluding Joe Lovano, Kenny Werner,Jonah Jones, and Mike Mainieri and hashad educational articles published inPhilosophy of Music Education Review,Journal of the International Society ofBassists, and Jazz Educators Journal.

Klaus Sinfelt, Visiting Assistant Professor.Ph.D. 2004, New York.

Composer and accomplished guitaristwhose research interests include phenom-enological approaches to music analysisand the pedagogy of aural comprehen-sion. His compositions have been per-formed, recorded, and broadcast aroundthe globe. He previously worked as direc-tor of academic affairs at New SchoolUniversity’s School for Jazz andContemporary Music and is a member ofthe Music Theory Society of New YorkState.

Nancy Smithner, Teacher. B.A. 1976,Antioch College; Ph.D. 2002, New York.

Performer and director with expertise in20th-century acting styles, directorialapproaches, physical theatre techniques,and original works. Research in experi-mental theatre and feminist theory withfocus on drama-in-education curricula.Teaching consultant, Circle in the Squareand New York City Department ofEducation.

Philip Taylor, Associate Professor. B.Ed.1980, Rusden State College (Australia);M.A. 1988, Ph.D. 1992, New York.

Research interests include applied the-atre, drama and arts education, qualita-tive inquiry, and reflective praxis. Booksinclude Structure and Spontaneity,Assessment in Arts Education, AppliedTheatre: Creating Transformative Encounters

in the Community, Researching Drama andArts Education: Paradigms and Possibilities,The Drama Classroom: Action, Reflection,Transformation, and Redcoats and Patriots:Reflective Practice in Drama and SocialStudies. Award winner and frequent pre-senter at worldwide conventions. Formerdirector, Centre for Applied TheatreResearch, Griffith University, Australia.

Grant Wenaus, Master Teacher. B.M.1985, Regina; M.M. 1992, Indiana;D.M.A. 1997, Michigan.

Piano accompanist and vocal coach,Canadian Opera Company, Tapestry NewOpera Works, Opera Ontario, AutumnLeaf Performance, Opera Buffa, and theMacMillan Singers at the University ofToronto. Music directing credits includeOf Thee I Sing, A Little Night Music,Jacques Brel Is Alive and Well and Living inParis, and Anything Goes as well as theInterlochen Arts Camp All-State MusicTheatre Program and the University ofMichigan Musical Theatre Program,1998-2001. Opera repetiteur for SeijiOzawa at the Tanglewood MusicFestival’s 50th Anniversary of theAmerican premiere production of PeterGrimes. The sole recipient of the SirErnest MacMillan Canadian NationalEndowment for Piano Accompanying.Recordings: R. Murray Schafer’sApocolypsis, CBC/Soundstreams.

William Wesbrooks, Clinical AssistantProfessor. B.A. 1972, Eastern New Mexico.

Director and playwright with off-Broadway credits such as TovahFeldshuh’s acclaimed Tallulah,Hallelujah! and Thomas Michael Allen’snew production of The Water Coolers.Regional and touring credits include MyFair Lady with Gary Beach; My One andOnly with Hinton Battle and JodiBenson; A Wonderful Life, Private Lives,Gypsy, and The Pirates of Penzance.Writing credits include Beulah Land(CAPS Fellowship, Ludwig VogelsteinGrant) and the libretto for Barbary Keep(1994 development grant from the

National Endowment for the Arts).Wrote History Loves Company in collabora-tion with Maury Yeston and directed theworld premiere in Chicago. A member ofthe Dramatists Guild, the Society ofStage Directors and Choreographers, andActors Equity Association.

Brann J. Wry, Associate Professor. B.A.1963, Holy Cross; J.D. 1967, Georgetown;M.B.A. 1973, California (Los Angeles).

Former executive director of the NewJersey State Council on the Arts; Fellow,National Endowment for the Arts; per-manent guest lecturer at the Utrecht(Netherlands) School of the Arts Centrefor the Arts and Media Management;served as president of the PrincetonBallet and the Association of ArtsAdministration Educators; member of thefederal, New Jersey, District of Columbia,and United States Supreme Court Bars.

Distinguished Performers andComposers-in-ResidenceMilton Babbitt (1987-1989)

Leo Kraft (1989-1991)

Anatol Vieru (1992-1993)

George Perle (1993-1994)

Leonard Rosenman (1994-1995)

Roger Reynolds (1995-1996)

Robert Craft (1996-1997)

Morton Subotnick (1996-1997)

Leo Kraft (1997-1998)

George Crumb (1997-1998)

Steven Schick (1997-1998)

Maya Beyser (1997-1998)

Sukhi Kang (1998-1999)

Violeta Di Nescu (1998-1999)

Morton Subotnick (1998-1999)

Brentano Quartet (1995-2003)

Lumina String Quartet (2003-2005)

“Prizm” Brass Quintet (2003-2005)

Tania León (2004)

Quintet of the Americas (2004- )

New Hudson Saxophone Quartet (2004-)

Full-Time and Adjunct Faculty (by specialization)

Dance EducationBarbara Bashaw, B.S., C.M.A., M.A.

Miriam Berger, B.A., D.A.

Renata Celichowska, B.A., M.A.

Patricia Cohen, M.A.

Frederick Curry, M.A.

Marcea Daiter, B.A., M.F.A.

Deborah Damast, B.F.A., M.A.

Diane Duggan, B.A., M.S., M.A., Ph.D.

Douglas Dunn, B.A.

Susan Koff, B.F.A., M.A., Ed.D.

Andrea Markus, M.A.

Lynn Martin, B.A.

Claire Porter, M.F.A.

Lars Rosager, B.A.

Carolyn Webb, B.A., M.F.A.

Educational Theatre Kevin Bott, B.A., M.A.

Edie Demas, B.A., M.A., Ph.D.

Stephen DiMenna, B.F.A.

Desiree Hamburger, B.A., M.A.

Troy Hourie, B.I.D., M.F.A.

Ralph Lee, B.A.

Christina Marin, B.S., Ph.D.

David Montgomery, B.A., M.A., Ph.D.

Evan Mueller, B.A., M.F.A.

Paul Nadler, B.A., M.A., Ph.D.

Cecily O’Neil, B.A., M.A., Ph.D.

Catherine Russell, B.A., M.A.

Joe Salvatore, B.A., M.F.A.

Nancy Smithner, B.A., Ph.D.

Nancy Foell Swortzell, B.S., M.A.,M.F.A., D.F.A.


Carmine Tabone, B.A., M.A.

Philip Taylor, B.Ed., M.A., Ph.D.

Jenni Werner, B.A., M.F.A.

Jason Zanitsch, B.A., M.A.

Music Composition Marc Adamo, B.M.

Joseph Church, B.A., M.M., D.A.

Marc Antonio Consoli, B.M., M.M.,D.M.A.

Justin Dello Joio, B.M., M.M., D.M.A.

Jason Eckhardt, B.A., M.A., D.M.A.

John V. Gilbert, B.A., Mus.B., M.A.,Ed.D.

Young Mi Ha, B.M., M.A., M.M., Ph.D.

Sonny Kompanek, B.M., M.M.

Ronald Mazurek, B.A., M.M., Ph.D.

Ira Newborn, B.M.

Steven Rosenhaus, B.A., M.A., Ph.D.

Robert Rowe, B.M., M.A., Ph.D.

Ronald Sadoff, B.M., M.M., Ph.D.

Mark Snow, B.A.

Jazz CompositionGil Goldstein, B.A., M.M., Ph.D.

Jim McNeely, B.M.

Jean-Michel Pilc

David Schroeder, B.Ed., M.M., D.A.

Rich Shemaria

Kenny Werner

PianoSeymour Bernstein, D.M.

Martin Canin

Anthony DeMare, B.M., M.F.A.

Lawrence Ferrara, B.A., M.M., Ph.D.

Fabio Gardenal, B.A., M.A., Ph.D.

Eduardus Halim, B.M., M.M.

Jose Mendes, B.A., M.A., D.M.A.

Miyoko Nakaya Lotto, B.M., M.S.

Marilyn Nonken, B.M., M.A., M.Phil.,Ph.D.

Deirdre O’Donohue, B.M., M.M., Ph.D.

Ronald Sadoff, B.M., M.M., Ph.D.

Jazz PianoMike Cochrane, B.A., M.A.

Don Friedman

Gil Goldstein, B.A., M.M., Ph.D.

Jim McNeely, B.M.

Jean-Michel Pilc

Kenny Werner

VoiceJeremy Aye, B.M., M.M.

Edith Bers, B.A., M.A.

Brian Gill, B.M., M.M.

Dianna Heldman, B.M., M.M.Ed., D.A.

Linda Larson, B.M., M.M., D.M.A.

Jeanette LoVetri

Lori McCann, B.M., M.A., D.M.A.

Scott Murphree, B.M., M.M., D.M.A.

Jane Olian, B.A.

Christine Reimer, B.M.

Michael Ricciardone, B.S., M.M.

Gregory Sheppard, B.M., M.M.

Grant Wenaus, B.A., M.M., D.M.A.

Robert C. White, Jr., B.S., M.M., Ed.D.

Jazz GuitarBruce Arnold, B.M.

Peter Bernstein, B.F.A.

Pat Cerasiello

Mordy Ferber, B.M.

Randy Johnston, B.M.

John Scofield

Music BusinessDawn Botti, B.A., J.D.

Catherine Fitterman, B.A., M.A.

Catherine Moore, B.A., Ph.D.

David Purcell, B.M., J.D.

Charles Sanders, B.A., J.D., LL.M.

George Stein, B.A., J.D.

Shirley A. Washington, J.D., M.B.A.

Ensembles Memo Acevedo, Batucada Band

Stephanie Baer, NYU Symphony Orchestra,String Ensembles

John Goodwin, B.A., M.A., D.M.A.,NYU Choral Arts Society

Michael Lankaster, NYU SymphonyOrchestra

Jonathan Haas, M.A., NYU PercussionEnsemble

Esther Lamneck, B.M., M.M., D.M.A.,NYU New Music Ensemble

Brian Lynch, B.M., M.A., Jazz RepertoireOrchestra

Roger Mahadeen, B.A., M.M., NYUCommunity Orchestra

Francisco Nunez, B.S., Grand ArtistDiploma, NYU University Singers andNYU Women’s Choir

Sean Scot Reed, B.M., M.M., D.M.A.,Brass Ensembles

David Schroeder, B.Ed., M.M., D.A.,NYU Jazz Ensembles

Ira Shankman, B.S., M.M., NYU JazzChoir

Rich Shemaria, B.M., NYU Jazz Orchestra

Matt Sullivan, B.A., Woodwind Quintets

Chris Wiljhelm, B.M., M.Ed., Ed.D.,NYU Wind Ensemble

Various faculty, Chamber Wind, String, andMixed Ensembles

Music History Lawrence Ferrara, B.A., M.M., Ph.D.

Allan Kozinn

James Oestreich, B.A.

Kent Underwood, B.A., M.A., Ph.D.

Music TheatreJohnny Anzalone, B.A., M.A.

Evalyn Baron, B.A., M.F.A.

Bill Bowers, B.A., M.F.A., Ph.D.

Meg Bussert, B.A., M.A.T.

Frederick Curry, B.A., M.A.

Andrea Markus, B.A.

Evan Mueller, B.A., M.F.A.

Cynthia Reynolds, B.S.

Frank Schiro, B.A., M.A.

John Simpkins, B.M., M.A.

William Wesbrooks, B.A.

Music TheoryJustin Dello Joio, B.M., M.M., D.M.A.

Lawrence Ferrara, B.A., M.M., Ph.D.

Panayotis Mavromatis, B.A., M.A., Ph.D.

Matthew McDonald, B.A., Ph.D.


Music EducationCathy Kassell Benedict, B.A., M.M.E.,M.Ed., Ed.D.

David J. Elliott, B.M., B.Ed., M.M.,Ph.D.

John V. Gilbert, B.A., B.M., M.A., Ed.D.

Susan Glass, B.A., M.M., Ed.D.

Amy Goldin, B.S., M.S.

John Daly Goodwin, B.A., M.A., D.M.A.

Dianna Heldman, B.M., M.M.Ed., D.A.

Jamie Jacobs, B.S., M.A.

Jerry Kerlin, B.S., M.A.

Anna Kovacs, B.S., M.A.

Barbara Murray, M.A.

Francisco Nunez, B.S., Grand ArtistDiploma

William Rayner, B.A., M.A., Ph.D.

Michael Rotello, B.S., M.A.T.

Ira Shankman, B.S., M.M.

Nancy Shankman, B.S., M.M.

Marissa Silverman, B.A., M.A., Ph.D.

Elise Sobel, B.A., M.A.

Sarah St. Onge, B.M., M.M.Ed.

Robert Susman, B.M., M.A.

Music TechnologyJuan Bello, B.S., Ph.D.

Tom Beyer, B.M., M.M.

Bill Bowen, B.A., M.A.

Sujetlana Bukvich-Nichols, B.A., M.M.

Joel Chadabe, B.M., M.M.

Rich Cirminello, B.M., M.M.

Isabel Diaz-Cassou, B.A., M.M.

Nicholas Didkovsky, B.A., M.A., Ph.D.


Tom Doczi, B.A., M.M.

Luke DuBois, B.M., D.M.A.

Gary Filadelfo, B.M.

Joshua Fried, M.M.

Paul Geluso, B.S.E.E., M.M.

Jake Glanz, B.S., M.E.

Barry Greenhut, B.M., M.M.

Dafna Naphtali, B.M., M.M.

Kenneth J. Peacock, B.A., M.A., Ph.D.

Agnieska Roginska, B.M., M.M., Ph.D.


Ron Sadoff, B.M., M.M., Ph.D.

James Sizemore, M.M.

Sascha Von Ortzen, Tonmeister

Marvin Welkowitz, B.M., M.M.

Leszek Wojcik, Tonmeister

FluteRobert Dick, B.A., M.M.

Brad Garner, B.M., M.M., D.M.A.

Suzanne Gilchrest, B.A., M.A.

Susan Glaser, B.S., M.M., D.M.A.

Kathleen Nester, B.A., M.M.

Keith Underwood, B.M., M.A.

Eugenia Zuckerman, B.A.

OboeVicki Bodner, B.M.

Rob Botti, B.M., M.M.

Jerry Reuter, B.M.

Matt Sullivan, B.A.

Trombone: ClassicalPer Brevig, B.M., M.M., D.M.A.

Tom Hutchinson

James Markey

Sean Scott Reed, B.M., M.M., D.M.A.

Trombone: JazzRobin Eubanks, B.A.

Andre Hayward, B.M.

Mark Patterson, B.A.

ClarinetStanley Drucker

Larry Guy, B.M., M.M., PostgraduateDiploma

David Krakauer, B.A., M.M.

Esther Lamneck, B.M., M.M., D.M.A.

Bass ClarinetDennis Smylie, B.M., M.M.

BassoonLaura Koepke, B.M., M.M.

Kim Laskowski, B.M., M.M.

Johnny Reinhard, B.M., M.M.

Saxophone: ClassicalPaul Cohen, B.M., M.M., D.M.A.

Tim Ruedeman, B.M., M.A.

Saxophone: JazzGeorge Garzone, B.M.

Ralph Lalama, B.M.E.

Joe Lovano, hon.: D.M.

Lenny Pickett

Dave Pietro, B.M.E., M.A.

Chris Potter, B.A.

David Schroeder, B.Ed., M.M., D.A.

French HornJoe Anderer, B.M., M.M.

Peter Gordan, B.M.

Terrence Goss, B.M., M.A.

Barbara Oldham, B.M., M.M.

OrganWilliam Entriken, B.M., M.M., D.M.A.

Trumpet: ClassicalLaurie Frink, B.M.

Mark Gould

Tim Hoyt, B.M., M.M., D.M.A.

David Krauss, B.M., M.M.

Vincent Penzarella, B.M.

Trumpet: JazzRalph Alessi, B.M., M.M.

Brian Lynch, B.M., M.A.

TubaMarcus Rojas, B.M.

PercussionSimon Boyar, B.A.

Jonathan Haas, B.A., M.M.

Jazz PercussionGuillermo Acevedo

Billy Drummond, B.M.

Anthony Moreno, B.M.

Dafnis Prieto

Antonio Sanchez, B.A.

HarpEmily Mitchell, Performer’s Certificate

ViolinMartin Beaver, Artist Diploma

Nina Beilina, B.M., M.M.

Stephanie Chase

Arturo Delmoni, B.M.

Pamela Frank, B.M., M.M.

Gregory Fulkerson, B.M., B.A., M.M.,D.M.A.

Burton Kaplan, B.M.

Anton Miller, B.A., M.M.

Laura Seaton-Finn, B.A., M.M.

Ann Setzer, B.M., M.M.

Sally Thomas

Neil Weintrob, B.M., M.M.

Chee Yun

ViolaStephanie Baer, B.M., M.M.

Lawrence Dutton, B.M.

Martha Strongin Katz

CelloMarion Feldman, B.S., M.S.

Clive Greensmith, B.A.

Double BassJoseph Bongiorno, B.M., M.M.

Jeff Curney, B.M., M.M.

Bass: JazzRichard Bona

Ron McClure, B.M.

Mike Richmond, B.A.

Martin Wind, B.M., M.M.

Performing Arts AdministrationReva Cooper, B.A.

Patrice Iacovelli, B.A., M.A., M.B.A.

Duncan Webb, B.A., M.B.A.

Brann J. Wry, B.A., M.B.A., J.D.

Performing Arts Therapies

Drama TherapyCecilia Dintino, B.A., M.A.

Alice Forrester, B.A., M.A., Ph.D.

Jonathan Fox, B.A., M.A.

Antonina Garcia, B.A., M.A., M.S.W.,Ed.D.

Maria Hodermarska, M.A.

Robert J. Landy, B.A., M.S., Ph.D.

Sara McMullian, B.A., M.A.

Anna Marie Weber, B.F.A., M.A.

Music TherapyDiane Austin, B.A., B.M.E., D.A.,L.C.A.T.

Jacqueline Birnbaum, M.A., N.R.M.T.,L.C.A.T.

Francis Bosco, B.S., M.A.

Susan Feiner, B.A., M.A., M.S.W.,L.C.A.T.

Barbara Hesser, B.M., B.S., M.S.,L.C.A.T.

Peter Jampel, B.S., M.A., D.A., L.C.A.T.

Michele Ritholz, M.A., N.R.M.T.,L.C.A.T.

Clive Robbins, hon.: D.H.L., Dr.Med.Mat.

Benedikte Scheiby, M.M.

Noah Shapiro, B.A., M.A.

Alan Turry, B.S., M.A.

Terry Watson, M.A.


Special Departmental Features

ADMISSION REQUIREMENTSFOR MUSIC PROGRAMSAn interview and, in programs whereapplicable, an audition and/or composi-tion portfolio review. See also individualprograms.

See general admission section, page 204.

SPECIAL DEGREE REQUIREMENTS FOR MUSICPROGRAMSAll incoming master’s degree students,excluding Music Business, must takeTheory, Ear Training, and Music Historyplacement examinations prior to theirfirst semester (consult the department forspecific dates and locations). All master’sprograms in music require a final project(Colloquy). See also under individualprograms.

See graduate study section, page 222.

SPECIAL SUMMER OPPORTUNITIES The Summer Composers Seminar andRecording Technology/Temmer TonmeisterStudies offer an intensive summer of studyfor composers and recording engineers. Inthis unique collaboration, music created

in the Composers Seminar is performedby a leading New York musical ensembleand recorded by the students in theRecording Technology/TemmerTonmeister Studies course. Compositionstudents study, among other topics,extended instrumental techniques andstructural analysis and compositionalprocess in classical and contemporaryworks with distinguished faculty andguests, who have included George Perleand Leon Kirchner. Stephen F. TemmerTonmeister Recording Studies studentshave access to NYU’s state-of-the-artrecording and computer studios to recordrehearsals and mix work tapes, using suchtechniques as random access digital edit-ing. For more specific information, con-sult the NYU Summer Study AbroadBulletin.

GLOBAL OUTREACHEducational Theatre offers unique interna-tional programs in Mexico, Puerto Rico,England, Ireland, and Brazil. Study withleading innovators in theatre of theoppressed, applied theatre, and dramaeducation. Students work in many of theworld’s key cultural institutions, includ-ing the Abbey Theatre, Shakespeare’sGlobe, and the Royal Shakespeare

Company, as well as travel to edgy com-munity sites where they observe appliedtheatre in action. Our legendary facultyhas involved theatre of the oppressedauthority Augusto Boal and influentialdrama educators such as Gavin Bolton,Dorothy Heathcote, and Cecily O’Neill.

NYU Music and Dance in Florence,Italy, is one of the most exciting opportu-nities for study and performance abroad.The three-week course of study, open tograduate students, offers lectures andmaster classes by distinguished NYU fac-ulty and visiting Italian professors frommajor conservatories, culminating in sev-eral student performances using technolo-gy in new music and dance.

Summer Study Abroad in ArtsAdministration takes degree and visitingstudents to the Netherlands, Germany,and France to study alternative ways ofmanaging arts organizations throughintensive examination of current practicesin Europe. The 6-point graduate courseexamines the effects of economics, poli-tics, and management on arts policy andpractice.

For further details on graduate studyabroad programs, contact the NYUSteinhardt Office of Special Programs at212-992-9380.

Dance EducationDirectorSusan Koff

35 West Fourth Street, Suite 675212-998-5400

Degrees M.A., Ed.D., Ph.D.

FacultySee pages 84-88 for a complete listing.

The mission of the Program in DanceEducation is to provide high-qualitytraining and professional development inthe theory and practice of dance educa-tion for teachers, administrators, perform-ing artists, and research scholars in thefields of dance and education. Our goal isto facilitate the development of your cre-ative and critical thinking abilities, there-by increasing your knowledge and exper-tise in dance and dance education. Ourapproach emphasizes the integration ofthe developing mind and body in thecontext of cultural practices.

Created in 1932 by the legendaryMartha Hill, dance education has thrivedat NYU because of the many exceptionalfaculty members, outstanding students,and supportive alumni who have dedicat-ed themselves to its success. We havebeen guided by a belief in movement ascentral to human development and edu-cation. From this perspective, dance andeducation are viewed as complementarydomains of knowledge. Dance representsan intelligent expression of human expe-rience and is an important source ofunderstanding that contributes to ourcognitive, emotional, and physicalgrowth in multicultural settings.Education is the means by which weincrease knowledge and develop expertise.

The master’s (M.A.) programs are inTeaching Dance in Higher Education and

the Professions, with a concentration inABT ballet pedagogy, and TeachingDance, All Grades. Doctoral (Ph.D.,Ed.D.) programs are in Dance Education.We pursue discipline-based studies andscholarly research to increase knowledgeand expertise and to transform the wayeducators understand and teach dance. Forthis reason, our distinguished facultymembers focus on creative, pedagogical,and research-based inquiries. A creative-based inquiry allows the dancer to masterhis or her craft with course work thatincludes choreography, technique, andimprovisation. Pedagogical-based inquiryenables deep understanding of learningand teaching processes with courses inteaching methods, curriculum develop-ment, and multicultural practices. Theresearch-based inquiry provides theoryand methods courses for creating newknowledge in the field of dance education.

We offer many opportunities toengage in community outreach, perfor-mance, and research in dance. Close part-nerships with national, state, and NewYork City performing arts institutionsprovide access to a wealth of informationabout innovative dance education pro-grams for exploration and research. Ourstudent ensemble group, KaleidoscopeDancers, focuses on community outreach,performing with and for New York Cityschoolchildren and conducting workshops

on learning in, through, and about dance.Our annual concerts provide opportuni-ties to learn new repertory from distin-guished faculty and develop one’s person-al voice in individual choreographicworks. In conjunction with the NewMusic and Dance Ensemble, the Programin Dance Education also sponsors a sum-mer program in Florence, Italy, withNYU and distinguished European facultyand summer study in conjunction withthe Laban/Bartenieff Institute ofMovement Studies—LIMS®, offering aunique graduate-level program in theimmersion of Laban Movement Studies.

CAREER OPPORTUNITIESGraduates of the Program in DanceEducation hold positions teaching dancein public and private elementary and sec-ondary schools and as professors andresearchers in college and universitydance and dance education programs andrelated settings.

DEGREE REQUIREMENTS

Master of Arts: Teaching Dance,All GradesThe need for qualified and certified danceeducators in our elementary and sec-ondary schools has never been greater


than it is today. For this reason, we offer anew teacher certification program,Teaching Dance, All Grades, which canlead to initial teacher certification (48points) for preservice teachers and profes-sional teacher certification (36 points) forcertified teachers who already have abachelor’s degree.

Initial Teacher Certification. The preservicecurriculum is designed to train danceeducators who will be prepared to teachall grades. A total of 48 points and 100hours of field experience are required forthis master’s program, distributed as follows:

Foundations in Dance Education (19points: 12 points required plus 7 electivepoints by advisement): Includes, but isnot limited to, Common Hour E89.1001,Introduction to Laban Movement AnalysisE89.1041, Advanced Dance Practicum(Improvisation) E89.1076, InterculturalDance E89.1541, Methods and Materialsin Teaching Dance E89.2265,Composition in Contemporary DanceE89.2291, Research in Dance EducationE89.2403, Dance for the Special ChildE89.2453, African Dance E89.2543,Seminar in Dance Education E89.2509.

General Pedagogical Core (17 points):Inquiries into Teaching and Learning IIIE27.2010, Language, LiteracyAcquisition, and Development E27.2275,Adolescent Development E63.1272,Human Development and Education inthe Arts E78.2010, TechnologyResources for Performing Arts EducatorsE78.2029, School Violence PreventionE81.1990, The Social Responsibilities ofTeachers E81.1999.

Specialized Pedagogical Core (12points): Dance Technique and Pedagogy(Secondary Schools) E89.1040, AdvancedTechnique and Pedagogy: Modern DanceE89.1075, Teaching Creative Movement(Elementary Schools) E89.1453, TeachingDance Performance and RelatedEducational Activities E89.1454,Supervised Student Teaching (Elementaryand Secondary) E89.2607,2608.

Professional Teacher Certification. The in-service curriculum is designed to provideprofessional development for educatorswith initial certification to gain profes-sional-level certification and be preparedto teach dance to all grades. A total of 36points and 50 hours of field experienceare required for this master’s program,distributed across, but not limited to, theFoundations in Dance Education andSpecialized Pedagogical Core describedabove (20 points required plus 16 electivepoints by advisement).

Master of Arts: Teaching Dance inHigher Education and theProfessionsA total of 36 points is required for theMaster of Arts Degree Program inTeaching Dance in Higher Educationand the Professions. A culminating proj-ect is required. The traditional track(DAHP) is intended for those who wishto teach in institutions of higher educa-tion or work as educational consultantsand directors of education. Studentsintending to teach in private studios, inconservatories, as teaching-artists, and incommunity settings may select a concen-tration in ballet pedagogy, offered inpartnership with the American BalletTheatre (DAHP:ABT). Both tracks pre-pare students to gain the academic expe-rience necessary to pursue doctoral study.

DAHP: Required Core (15 points):Introduction to Laban Movement AnalysisE89.2044, Research in Dance EducationE89.2403, Methods and Materials forTeaching Dance E89.2265, Jazz Dance: ACultural-Historical Approach to TeachingDance E89.2029, Teaching Performanceof Dance E89.2454, Teaching Dance inHigher Education E89.2452.

DAHP: Specialization (12 points):Intermediate Technique and PedagogyE89.2040, Advanced Technique andPedagogy E89.2075, Advanced DancePracticum (Improvisation) E89.2077,College Student Learning andDevelopment E98.2069, History ofAmerican Higher Education E55.2067,Fieldwork in Dance: Higher EducationE89.2277.

DAHP: Guided Electives (7 points):May include such courses as AlexanderTechnique E85.2260, Anatomy andKinesiology E89.2810, Dance for theSpecial Child E89.2453, Principles ofDance Movement Therapy E89.2502,Artistic Resources for Dance EducationE89.2266, African Dance E89.2022,Advanced Dance Practicum(Improvisation) E89.2077.

DAHP:ABT Required Core (14points): Introduction to Laban MovementAnalysis E89.2044, Research in DanceEducation E89.2403, Methods andMaterials for Teaching Dance E89.2265,Jazz Dance: A Cultural-HistoricalApproach to Teaching Dance E89.2029,Teaching Performance of DanceE89.2454, Teaching Creative Movementin the Studio School E89.2452.

DAHP:ABT Area of Concentration(18 points): Theory and Methodology inBallet Pedagogy E89.2267, Fieldworkand Analysis Seminar in Ballet PedagogyE89.2270, Teaching Apprenticeship inBallet Pedagogy E89.2268, AdvancedAnalysis and Teaching Apprenticeship inBallet Pedagogy E89.2269, Environmentof Performing Arts Administration

E67.2130, Principles and Practices ofPerforming Arts AdministrationE67.2131.

DAHP:ABT Guided Electives (3 to 6points): May include such courses asAnatomy and Kinesiology E89.2810,Dance for the Special Child E89.2453,Principles of Dance Movement TherapyE89.2502, Artistic Resources for DanceEducation E89.2266, African DanceE89.2022, Advanced Dance Practicum(Improvisation) E89.2077, Tap DanceE89.2023.

Doctoral ProgramsA total of 55 to 60 points beyond themaster’s degree (depending on the stu-dent’s previous academic background) isrequired for the Ph.D. or Ed.D. degree.This includes 30 points in general degreerequirements and approximately 30points in a specific area of study to beselected in consultation with a doctoraladviser. A candidacy examination, thesisproposal, and dissertation are required ofall doctoral students.

ADMISSION REQUIREMENTSAdmission to the dance education mas-ter’s degree program is offered to appli-cants who hold a bachelor’s degree orequivalent international credentials andwho show promise as dance educators.Applicants are judged on the basis of cri-teria that include academic record andperformance experience, quality of per-sonal written statement, individual audi-tion, and interview. (Note: A videotapemay be submitted in lieu of an audition.)Specific requirements for the doctoralprograms in dance education includeacceptable M.A. thesis or other writtenwork, statement of professional goals, andthe interest of at least one faculty mem-ber in the applicant’s intended area ofresearch.


ACCREDITATIONThe Steinhardt School of Culture,Education, and Human Developmentsteacher education program has beenaccredited by the Teacher EducationAccreditation Council (TEAC) for a peri-od of five years. The accreditation certi-fies that the Steinhardt teacher educationprogram has provided evidence that itadheres to TEAC’s quality principles. Theaccreditation affirms the claim that NYUSteinhardt uses evidence to develop andimprove its programs that prepare teach-ers. For more, contact TEAC, OneDupont Circle, Suite 320, Washington,D.C. 20036; 202-466-7236;http://www.teac.org.


Educational TheatreDirector Philip Taylor

Pless Annex, Room 23212-998-5868

Degrees M.A., Ed.D., Ph.D.


New York University offers the only aca-demic program in the United States ineducational theatre that leads to theM.A., Ed.D., and Ph.D. degrees. Theprogram emphasizes the uses of dramaeducation and applied theatre, withcourse work in school-based drama, theteaching artist, theatre for young audi-ences, play production, innovativeresearch, and community arts. It also pro-vides concentrations in art-based research,dramatic literature, and aesthetic educa-tion. The program has a strong social jus-tice agenda and produces plays year-round for audiences in an experimentalstudio space (the Black Box Theatre andthe venerable Provincetown Playhouse).

New York City offers opportunitiesfor internships and extensive experiencein a variety of professional settings thatinclude private and public schools,nationally prominent theatres for youngand family audiences, hospitals, medianetworks, recreational and communitycenters, and social service agencies.Qualified students may apply for intern-ships with educational theatre companiesacross New York City.

CAREER OPPORTUNITIESGraduates are employed in educationalsettings for all ages, in communications,community theatre, regional and NewYork professional theatre, and in children’sand youth theatre and as consultants andspecialists. Institutions from the preschoolto the university level seek trained special-ists to inaugurate and conduct drama pro-grams; specialists are also needed for pro-grams in social service agencies, recre-ation, and guidance centers.

Notable alumni of the programinclude playwrights and filmmakers(John Patrick Shanley, winner of the1988 Academy Award for his script forthe film Moonstruck and the 2005 PulitzerPrize for his Broadway play Doubt); direc-tors (Myrna Casas, director of her ownprize-winning company in Puerto Rico);authors (the late Dr. Nellie McCaslin,prolific author of widely employed textson drama for children); the late Dr.Lowell Swortzell, playwright, children’stheatre authority; and numerous theatreprofessionals. Three options for master’sdegrees involve teaching in colleges andcommunities and receiving teacher certi-fication in Theatre K-12 or English 7-12/Theatre K-12. The program is devel-oping a new dual certification degree inSocial Studies 7-12/Theatre K-12.

DEGREE REQUIREMENTS

Master of Arts: EducationalTheatre for Teachers in Collegesand Communities (EDTC)The M.A. Program in EducationalTheatre for Teachers in Colleges andCommunities (EDTC) is a 36-point cur-riculum that prepares students to teacheducational theatre at the higher educa-tion/college level and in diverse commu-nity settings. Graduates of this programhold teaching and administrative posi-tions in contexts where teacher certifica-tion is not required: private colleges, artsorganizations, galleries and museums,educational outreach centers, health edu-cation, housing programs, youth andadult detainment centers, and educationalprograms attached to mainstream theatrehouses. The program empowers graduatesto design, implement, and evaluate the-atre work in a wide range of communitycontexts and also prepares them for col-lege teaching.

Students take courses in the founda-tion areas of drama education, appliedtheatre, play production for artists andeducators, and research, as well as in theapplications of these content areas to avariety of community settings. The NewYork State Learning Standards for Theatreinforms the curriculum pathways.Substitutions, such as study abroadoptions, can occur by advisement.Additional courses not listed below areoffered each semester. Students shoulddiscuss their course selection with theiradviser.

Required Courses: Foundations(9 points): Key principles in the teachingand learning of educational theatre.Drama in Education I E17.2193, Dramain Education II E17.2194, TheatrePractices: Leaders in Educational TheatreE17.2151.

Research (3 points): An introduction toresearch design. Methods and Materials ofResearch in Educational TheatreE17.2077.

Content Core (12 points): The requireddiscipline courses in production, perfor-mance, criticism, and aesthetics. TheContent Core is informed by the NewYork State Learning Standards for theArts. Students who have not taken theasterisked courses (*) or their equivalentat the undergraduate level must takethem before fulfilling the Content Corerequirement, even if it means that morethan 36 points are required to completethis M.A. World Drama I and IIE17.2102,2104, Advanced DirectingE17.2097, Styles of Acting andDirecting* E17.2099,1100, CostumeDesign E17.2175, Creative Play in theArts E17.2059, Development of Theatreand Drama I, II* E17.2021,2022, Images

of Women in the Theatre E17.2023,Dramatic Criticism E17.2091,2092,Shakespeare’s Theatre E17.2171,2172,Theatre of Brecht and Beckett E17.2177.

Pathways (9 points): Students specializein an area of educational theatre that suitstheir career goals. By advisement studentsselect a pathway or create their own.Possible choices are Applied Theatre;Drama and the Curriculum; Theatre forYoung Audiences. Applied Theatre I andII, E17.2101,2102, Theatre-in-EducationPractices E17.2090, Augusto Boal’sTheatre of the Oppressed E17.2965,Creating Meaning Through CommunityDrama E17.2979. Drama and theCurriculum: Dramatic Activities in theElementary Classroom E17.2030,Dramatic Activities in the SecondaryClassroom E17.2031, Teaching ThroughDrama: Classroom Strategies E17.2951,Drama Across the Curriculum andBeyond E17.2955. Theatre for YoungAudiences: Introduction to Theatre forYoung Audiences E17.2005,2006, YouthTheatre in Education E17.2075,2076,Advanced Playwriting E17.2106,Creating Theatre with Young PeopleE17.2980,2981.

Culminating Experience (3 points):After completing Pathways, students create an individualized research project.Seminar in Applied Theatre ResearchE17.2400, Human Development andEducation in the Arts E78.2010, or thePracticum E17.2031.

Master of Arts: EducationalTheatre, All Grades (EDTA)The goal of this 48-point M.A. teachercertification program in educational the-atre, all grades (EDTA), is to educateteachers to provide opportunities for stu-dents to explore drama strategies and the-atre forms in the classroom and on stage.The curriculum provides integratedcourse offerings in drama, dramatic litera-ture, and theatre, which are tied to theNew York State Standards for the Arts.This course of study enables graduates tobe educated as teaching artists and profes-sionally certified in New York State asteachers of theatre, all grades.

ADMISSION REQUIREMENTSStudents must have earned 36 points indrama, theatre, dramatic literature, ortheir equivalent. Students with fewerthan 36 points in these areas on admis-sion will be required to take additionalcourse work in educational theatre.

DEGREE REQUIREMENTSContent Core Foundation (24 points):Development of Theatre and DramaE17.2021,2022, Drama in Education I


and II E17.2193,2194, Drama in theSpecial Education ClassroomE17.2960,2961,2962, Methods andMaterials of Research E17.2077,Educational Theatre Electives.Pedagogical Core (13 points, includes100 hours of field experience): Inquiriesinto Teaching and Learning IIIE27.2010, Human Learning andDevelopment E63.2020, Developing ArtsResources for Teachers E78.2029, TheArts in Human Development E78.2010.Specialized Pedagogical Core (11points): Drama Activities in theElementary School E17.2030, DramaActivities in the Secondary SchoolE17.2031, Supervised Student Teachingin the Elementary Drama ClassroomE17.2134, Student Teaching in theSecondary English/Drama ClassroomE17.2174, The Social Responsibilities ofTeachers: Drug and Alcohol Education,Child Abuse Identification, and SchoolViolence Prevention E81.1999.

ADDITIONAL REQUIREMENTS1. Students being recommended for NewYork State Teaching Certification via thetheatre teacher certification sequencemust have taken at least one semester of aforeign language at the college level (signlanguage is allowed).

2. Students must successfully completethe New York State Teacher Certificationexaminations. Scores must be submittedto the State Education Department beforeit will consider issuing certificates toteach in the public schools of New YorkState.

3. All students are required to complete aCulminating Experience, which consistsof a research project informed by the stu-dent’s experience in the student teachingpracticum (by advisement).

Master of Arts: EducationalTheatre with English, 7-12(ETED)This 53-point M.A. teacher certificationprogram in educational theatre withEnglish, 7-12 (ETED), responds to themany opportunities available in the NewYork City area for English teachers at themiddle and high school levels. The needfor modes of artistic expression that leadtoward literate engagements with textshas never been greater than it is today.The concern that technologies such asfilm, television, and the Internet arereplacing basic reading and writing skillscan be addressed by providing opportuni-ties for students to explore ideas and con-cepts in the novels and plays they read inthe English classroom through drama andtheatre strategies. To respond to theseconcerns, we are offering educational the-atre with English, 7-12. The curriculum

reflects an integration of course workoffered by the current faculty in theProgram in Educational Theatre, in col-laboration with the faculty in theProgram in English Education.

ADMISSION REQUIREMENTS Students must have earned 30 points inEnglish or dramatic literature or theirequivalent and 30 points of theatre oreducational theatre. Students with fewerthan 30 prerequisite points in these areason admission may be required to takeadditional course work as part of theirmaster’s program.

DEGREE REQUIREMENTSA total of 53 points are required for thismaster’s program, distributed as follows:Foundations in Educational Theatre(12 points): Development of Theatre andDrama E17.2021 or E17.2022, Methodsof Research in Educational TheatreE17.2077, Drama with Special EducationPopulations E17.2960,2961,2962,Drama in Education I E17.2193. Theoryand Methods of Educational Theatre(12 points): Drama Activities in theElementary School E17.2030, DramaActivities in the Secondary SchoolE17.2031, Drama in Education IIE17.2194, Storytelling E17.2951,Dramatic Literature (by advisement).Theory and Methods of EnglishEducation (14 points):Teaching/Learning English LanguageArts in Middle School E11.2041,Teaching/Learning English LanguageArts in High School E11.2042,Negotiating the Curriculum E11.2120,Language Development and ReadingLiterature (3 points) E11.2139 orLiterature and the Adolescent Experience(3 points) E11.2521; Foundations ofEducational Linguistics (3 points)E11.2505 or Teaching ExpositoryWriting (3 points) E11.2511.Professional Education (16 points):Social Responsibilities of Teachers: Drugand Alcohol Education, Child AbuseIdentification, and School ViolencePrevention E81.2999, Inquiries intoTeaching and Learning III E27.2010,Supervised Student Teaching: Drama inthe Elementary Drama ClassroomE17.2134, Student Teaching the EnglishLanguage Arts in the High SchoolE11.2643, Adolescent DevelopmentE63.2272.

ADDITIONAL REQUIREMENTS1. Students being recommended for NewYork State Teaching Certification via theEnglish Teacher Certification sequencemust have taken at least one semester of a

foreign language at the college level (signlanguage is allowed).

2. Students must successfully completethe New York State Teacher Certificationexaminations. Scores must be submittedto the State Education Department beforeit will consider issuing certificates toteach in the public schools of New YorkState.

3. All students are required to complete aCulminating Experience, which consistsof a research project informed by the stu-dent’s experience in the student teachingpracticum (by advisement).

Master of Arts: EducationalTheatre, All Grades, with Social Studies, 7-12Social studies and theatre have a power-ful alliance when learners are providedwith the chance to explore a period ofhistory, historical concepts, and histori-cal debates through the use of drama-based frameworks. This innovative dualcertification program is built on theschool’s teacher certification programs inEducational Theatre, All Grades, andTeaching Social Studies, 7-12. Studentsare provided with opportunities toexplore key ideas in primary source doc-uments or historical texts through theuse of interactive dramatic strategies.The dual certification program adheresto State Learning Standards for boththeatre and social studies, and the cur-riculum reflects an integration of coursework offered by the current faculty inthe Program in Educational Theatre, incollaboration with the faculty in theProgram in Social Studies Education.Each of the competencies now necessaryfor teacher certification programs aremet by the course work, fieldwork, andstudent teaching requirements in bothprograms, as well as all the faculty andinstitutional requirements.

ADMISSION REQUIREMENTSStudents must have earned 24 points intheatre and 24 points in social studies.For social studies, students must havecompleted at least 15 semester points inthe history and geography of the U.S.and the world; at least 3 points in eco-nomics; at least 3 points in governmentor political science; at least 3 points inone of the social sciences with the excep-tion of psychology and philosophy. Fortheatre, students must have earned 24points in drama, theatre, dramatic liter-ature, or their equivalent. Students withfewer than 24 points in these areas onadmission will be required to take addi-tional course work in educational theatreand/or social studies. To be recom-mended for certification in social studiesand theatre, students will have com-pleted a total of 30 content credits in


each area. Six points are included in thefollowing program of study.

DEGREE REQUIREMENTSA total of 48 points are required for thismaster’s program, distributed as follows:

Content Core in Educational Theatreand Social Studies (12 points): WorldDrama I or II E17.2103 or E17.2104,Drama in Education I or II E17.2193 orE17.2194, The Social StudiesCurriculum: U.S. History E23.2047,The Social Studies Curriculum: WorldHistory E23.2048. GeneralPedagogical Core in EducationalTheatre and Social Studies (14points): Drama with Special EducationPopulations E17.2960 or EducatingStudents with Disabilities in MiddleSchool and Adolescent SettingsE75.2162, Human Development andEducation in the Arts E78.2010, Drugand Alcohol Education/Child AbuseIdentification and School ViolencePrevention: The Social Responsibilitiesof Teachers E81.2999, Literacy andSocial Studies E23.2147, ExploringSocial Issues Through Drama E17.2976,Understanding Diversity: TeachingPluralism E17.2977, Inquiries intoTeaching and Learning III E27.2010.Specialized Pedagogical Core inTheatre and Social Studies (14points): Teaching Social Studies in theMiddle and Secondary School E23.2042,Methods and Materials of Research inEducational Theatre E17.2077, DramaAcross the Curriculum and BeyondE17.2955, Dramatic Activities in theElementary School E17.2030, DramaticActivities in the Secondary SchoolE17.2031, M.A. Seminar in SocialStudies E23.2146. Student Teachingin Theatre and Social Studies (8points): Supervised Student Teaching:Social Studies in the Secondary SchoolE23.2051, Supervised Student TeachingTheatre in the Elementary ClassroomE17.2134. Terminal Experience (0points): Social Studies and HistoryWorkshop E23.2140 or culminatingresearch project in educational theatre.

Students must successfully completethe New York State Teacher Certificationexaminations. Scores must be submittedto the State Education Departmentbefore it will consider issuing certificatesto teach in the public schools of NewYork State.

Doctoral Programs (EDTC, EDTH)A strong research focus exists in theProgram in Educational Theatre.Applications for doctoral study areaccepted from candidates with clearlydemonstrated interest in research andscholarship. Acceptance into doctoralstudy is competitive. Students are

encouraged to complete their program infive years. A satisfactorily completedmaster’s degree with a research compo-nent is expected prior to application. Atotal of 54 to 60 points beyond the mas-ter’s degree (depending on the student’sprevious academic background) isrequired for the Ph.D. or the Ed.D.degree. This includes 36 points in gener-al degree requirements and a minimumof 18 points in educational theatre to beselected in consultation with a doctoraladviser, according to the student’s area ofinterest and professional goals. Doctoralstudents must complete a minimum of36 points in residence beyond the mas-ter’s degree. A candidacy examination isgiven approximately halfway through theacademic work to determine what specif-ic course work is still required.

Upon completion of course work, stu-dents must register in a 1-point col-legium in performing arts educationresearch each semester in order to main-tain matriculation (Performing ArtsResearch Collegium E78.3400).

Both a proposal and a dissertation arerequired of all doctoral students. Ph.D.students must defend their dissertationduring an oral examination. Three full-time faculty members are required toserve on doctoral students’ dissertationcommittees.

Student should consult the handbookfor doctoral study published by theSteinhardt School for the specific require-ments of this degree. Course substitu-tions for any of the general degreerequirements must be approved by theacademic adviser, the department direc-tor, and the associate dean for academicaffairs.

DEGREE REQUIREMENTSFoundations of Education (6 points):Educational Sociology E20.2400,Educational Psychology E35.2400,Philosophy of Education E50.2400,History of Education E55.2400. CognateStudy (6 points): Electives closely relatedto and supportive of the student’s area ofspecialization. This course work must betaken outside of the student’s program,i.e., not E17 courses. DepartmentalStudy (3 points): Drama in EducationE17.2193. Research Electives (15points): Course work includes Seminar inApplied Theatre Research E17.2400,Methods and Materials of Research inEducational Theatre E17.2077. Advancedspecialized research courses should betaken after candidacy has been receivedand, preferably, as the dissertation pro-posal has been shaped to ensure thatselections are relevant to the dissertation.For instance, a student doing qualitativeinquiry, which demands extensive inter-viewing of participants, would registerfor Research Practicum in Field Settings

E25.2372. Specialized ResearchMethodology (3 points): QualitativeField Research E10.2141, Survey andCorrelation Research E10.2139,Historical Research E10.2135.Dissertation Proposal Seminar(3 points) E17.3005.

Educational theatre requirements:a minimum of 18 educational theatrepoints under advisement must be selectedfrom the following courses: Drama inEducation II E17.2194, Development ofTheatre and Drama E17.2021,2022,Dramatic Criticism E17.2091,2092,Seminar in Applied Theatre ResearchE17.2400, Advanced DirectingE17.2097,2098, Advanced PlaywritingE17.2106, Creative Play in the ArtsE17.2059, Theatre in Education PracticesE17.2090, Theatre Practices: Leaders inEducational Theatre E17.2151, Images ofWomen in the Theatre E17.2023, Farceand Comedy in the TheatreE17.2067,2068, American TheatreE17.2087,2088, Theatre of Brecht andBeckett E17.2177, World DramaE17.2103,2104.

ADMISSION REQUIREMENTSSpecific requirements for the doctoralprograms in educational theatre include(1) an acceptable M.A. thesis and othersubmitted work, (2) the statement of pro-fessional goals, and (3) the interest of atleast one faculty member in the appli-cant’s stated area of research and disserta-tion concept.


FINANCIAL AID OPPORTUNITIESThe Program in Educational Theatreoffers a graduate assistantship to studentswho prepare teaching guides and educa-tional materials for the program’s perfor-mances and dramatic activities.

See general financial aid section, page 214.

SPECIAL OPPORTUNITIESThe Program in Educational Theatreoffers a unique opportunity for concen-trated study and daily field participationin the uses of drama and theatre in educa-tion. The Summer Study Abroad pro-gram in England and Ireland, which cele-brated its 34th anniversary in 2007, isdesigned for teachers, university students,recreational leaders, librarians, languageand speech arts specialists, theatre direc-tors, actors, and integrated arts educators.The program provides training with lead-ers in British educational theatre, includ-ing, in the past, such notable authoritiesas Cecily O’Neill, Jonothan Neelands,and Gavin Bolton, as well as representa-tives from the Royal ShakespeareCompany and the Royal National


Theatre. Lectures, demonstrations, andin-service school and local communityexperiences are offered in both formal andinformal dramatic activities involvingelementary, junior high, and high schoolchildren as well as adults. Students mayearn 6 or 12 points toward the master’s ordoctoral degree in educational theatre.

The program has offered intensivegraduate study during January interses-sion in Puerto Rico, Mexico, and, duringAugust, Brazil. These courses focus onapplied theatre and community arts.Students have a unique chance of study-ing with artists and activists in edgy sitesand where there is a commitment tosocial justice and equity.

Students may also enroll inIndependent Study and Practicum inEducational Theatre in order to under-take internships and fieldwork through-out the city or to work with facultymembers on special research or creativeprojects. With leading collections forresearch in the performing arts, NewYork City affords doctoral students excel-lent sources for projects and dissertationsubjects.

ACCREDITATIONThe Steinhardt School of Culture,Education, and Human Developmentsteacher education program has been

accredited by the Teacher EducationAccreditation Council for a period offive years. The accreditation certifiesthat the Steinhardt School teacher edu-cation program has provided evidencethat it adheres to TEAC’s quality princi-ples. The accreditation affirms the claimthat NYU Steinhardt uses evidence todevelop and improve its programs thatprepare teachers.

For more, contact TEAC, One Dupont Circle, Suite 320,Washington, DC 20036; 202-466-7236;http://www.teac.org.

Music BusinessDirectorCatherine Moore

35 West Fourth Street, Suite 777212-998-5427

Degree M.A.


Founded in 1993 and located in a musicbusiness environment unique to NewYork City, the NYU Music BusinessGraduate Program (MUBG) prepares itsgraduates to be savvy idealists, ready totackle the challenges of art and commercehead on and with confidence.

The Music Business GraduateProgram harnesses the strengths of NYUSteinhardt’s Department of Music andPerforming Arts Professions and theNYU Stern School of Business by requir-ing classes in both schools. Digital andinternational opportunities with internaland external academic partners put ourstudents at the forefront of these rapidlychanging frontiers.

Students come to the NYU MusicBusiness Graduate Program because theywant to work in a music company, bepromoted in the music company wherethey already work, or start their ownbusiness. Some of our students are musi-cians, producers, or composers who wantthe tools that enable them to protect andmarket their creative work. Some stu-dents are looking for a career change.

CAREER OPPORTUNITIESThe program prepares highly skilled, dis-ciplined, and thoroughly trained manage-ment professionals for the commercial(for profit) music business sector.Graduates serve as managers, new prod-

uct developers, promoters, record admin-istrators, music publishers, marketers,distributors, entrepreneurs, producers,and in many other capacities.

DEGREE REQUIREMENTSThe program requires 54 points of coursework and can be completed in two yearsof full-time study. A part-time course ofstudy is also available. Courses in musicbusiness are offered through theSteinhardt School of Culture, Education,and Human Development; courses inbusiness administration are offeredthrough the Leonard N. Stern School ofBusiness. A supervised final project, inwhich students are encouraged to doinnovative research and analysis, is com-pleted through the required colloquycourse.

Music Business Core Courses (24points): Principles and Practice in theMusic Industry E85.2506, Law and theMusic Industry E85.2500, Environmentof the Music Industry E85.2502, ConcertManagement E85.2512, Colloquy inMusic Business E85.2606, Managing thePerforming Artist E85.2511, Productionand A&R in the Music IndustryE85.2503, Entrepreneurship for theMusic Industry E85.2516, Global MusicManagement E85.2515. Electives (byadvisement). Business Courses (15

points): Statistics I E10.2001, FinancialAccounting and Reporting B01.1306,Managing Organizations B01.1302.Entertainment media and technologycourses. Music Business ElectiveCourses (by advisement, 9-15 points):Promotion and Publicity E85.2504,Strategic Marketing in the MusicIndustry E85.2508, Ethics in theEntertainment Industry E85.2501.Internships (6 points): Students have theopportunity to work with top profession-als in the music industry in New YorkCity. These internships often lead to per-manent employment.

ADMISSION REQUIREMENTSStudents currently in the Program inMusic Business hold a variety of graduatedegrees; business, music, and humanitiesare the most common. Applicants mustsubmit at least two letters of recommen-dation attesting to their strengths, weak-nesses, potential to succeed in a rigorousacademic program, and potential formanagement. Some work experience ispreferred (relevant internships can quali-fy). Students are admitted only in the fallsemester of each year. The music businessM.A. program also participates in theEarly Decision option. See admissioninstructions for details.


Music EducationDirectorJohn Gilbert

35 West Fourth Street, Suite 777212-998-5424www.education.nyu.edu/music/meducation

DegreesM.A., Ed.D., Ph.D.

CertificateAdvanced Study


The Program in Music Education in NewYork University’s Steinhardt School seeksto develop students’ awareness of thevalue of the arts and music and theimportance of sharing these values withothers. Located in one of the most diverseurban centers in the world, we offer stu-dents a unique opportunity to experiencea broad spectrum of musical practices andpedagogy. New York University is one ofthe premier research universities in theworld, and as such it provides a contextin which studies are enriched by facultyabreast of the latest ideas and informa-tion. The Steinhardt School of Culture,Education, and Human Development,with its distinguished faculties and itslocation, is an institution engaged in themajor issues facing urban education.

The Program in Music Educationoffers opportunities for teacher certifica-tion, enrichment, and systematic explo-ration of vital issues confronting the field.A wide range of courses in applied music,theory, and pedagogy is enhanced by acurriculum that includes specializedapproaches to teaching music such asDalcroze, Orff, and Suzuki, with a fullcertification program in Kodály availablein summers. Faculty work closely withteachers, schools, and the community tospearhead new initiatives.

As an integral part of the Departmentof Music and Performing ArtsProfessions, students have opportunitiesfor extensive collaboration with other artsprofessionals. Course offerings within thedepartment enable students to developexpanded contexts for music and musiceducation. Areas for exploration includemusic synthesis, computer-assisted music,multimedia instruction, video reproduc-tion, performance and composition,music therapy, music business, dramatherapy, jazz studies, educational theatre,music theatre, and dance education.Performing ensembles, chamber groups,and solo recitals further enhance a solidacademic program.

Housed within the department arestate-of-the-art recording, computermusic, and CAI studios. The MusicEducation Resource Room supports newtechnologies and provides access to an out-standing array of music materials for allages. The Arts and Media Studio, main-tained by Interactive TelecommunicationServices, offers advanced hardware plat-forms for computer music and multime-dia. The Avery Fisher Center for Musicand Media, located in Bobst Library, fea-tures advanced technology for audio andvideo reproduction and one of the finestmusic collections available anywhere.

With such unique faculty, facilities,technologies, and interdisciplinary areas of study, NYU prepares music educatorsfor the challenges facing us now and inthe future.

CAREER OPPORTUNITIESThe program’s alumni rank among lead-ers throughout the world in public schoolteaching, college and university teaching,performance, and research. The programmeets academic requirements for NewYork State teacher certification and certi-fication in many other states in the coun-try. International students find careeropportunities enhanced in their countriesthrough the professional recognition ofgraduate degrees from New YorkUniversity. The need for teachers is at anall-time high, and salary scales have beensubstantially increased. Doctoral gradu-ates compete successfully for positions inteaching, research, and administration atmajor universities. Career opportunitiesalso exist for education officers andadministrators at cultural institutions—museums, community arts centers, con-servatories, and musical societies.

PROGRAM OF STUDYThe Department of Music andPerforming Arts Professions offers gradu-ate-level study in music education for col-lege and school settings. Each concentra-tion of study exists as a template of spe-cific components in which requirementsare established through the process ofworking with a program adviser. In addi-tion to holding the equivalent of a bache-lor’s degree in music, applicants arerequired to audition for entry into allmusic education programs. The followinggeneral categories comprise concentra-tions that graduate students in musiceducation select to further their study:

For College and University Faculty. Thisconcentration emphasizes the preparationof teachers for community colleges andsenior colleges and universities. It is alsoavailable to international students whoare currently teaching or who have oppor-tunities to teach at the college level orwho may wish to focus on specific aspectsand issues of music education and peda-gogy in the United States.

Teaching Music, All Grades. The PreserviceMaster of Arts in Teaching Music, AllGrades, is designed for applicants with amusic background who wish to teachmusic at all levels from preschool throughhigh school and are seeking initial teachercertification in New York State.Applicants must have completed a bache-lor’s degree or the equivalent in music,which includes a minimum of 36 pointsof college-level course work in music.International students may now also com-plete this program, including studentteaching, and be eligible for initial teachercertification in New York State.

The In-Service Master of Arts Program inMusic Education is designed for appli-cants already holding provisional or ini-

tial certification who wish to completethe academic requirements for Permanentor Professional New York StateCertification.

DEGREE REQUIREMENTSAuditions are required. Proficiency inmusic theory and music history isassessed during a placement examinationin the first semester of study. In addition,English proficiency is assessed throughcourse work in the first semester.

Master of Arts in Music EducationPreservice Program in TeachingMusic, All Grades (MUSA) (51 points):The curriculum consists of a pedagogicalcore (10 points), a music and music edu-cation core (18 points), a content/peda-gogical core (20) points, and a terminalexperience (3 points). To qualify, appli-cants must have completed a bachelor’sdegree or the equivalent in music thatincludes a minimum of 30 points of col-lege-level course work in music.

In-Service Program in MusicEducation (MUSE/MES) (39 points):The curriculum consists of studies ineducation (6 points), the music educationcore (9 points), music pedagogy core (6-9points), music education technology (3-6points), music specialization (9 points),and colloquy, which includes a thesisrequirement (3 points). To qualify, appli-cants must have completed a bachelor’sdegree or the equivalent in music andhold provisional or initial certification inteaching music.

Special OpportunityThe Kodály Summer Institute offers anintensive program of study for musiceducators each summer. Students matric-ulated in the department’s in-service mas-ter’s degree program in music educationmay take a three-course sequence as partof their program of study: Music forChildren: Kodály Level 1 E85.2146,Music for Children: Kodály Level 2E85.2147, and Music for Children:Kodály Level 3 E85.2148.

For College and University Faculty(MUSE:MCU) (39 points): The curricu-lum consists of studies in education (6 points), the music education core (9points), music education technology (3-6points), music in higher education (6-9points), music specialization (9 points),and colloquy, which includes a thesisrequirement (3 points).

To qualify, students must have a bach-elor’s degree or the equivalent in music.Open also to international students.

Colloquy in Music Education (ThesisRequirement): The culminating experi-ence for all students in all concentrationsof the Master of Arts Music Education


Program is the Colloquy in MusicEducation E85.2939, which requires awritten thesis on a topic related to theprogram concentration and the student’sbackground and professional goals. Thethesis can include creative componentssuch as the creation of a curriculum orcompositions and arrangements for spe-cific educational settings, or it canaddress educational policy, practices, stan-dards, teaching methods and strategies,issues, and problems. The document isdeveloped in a research context in consul-tation with a thesis sponsor and is dis-cussed at a public presentation.

Auditions: Graduate Music EducationPrograms

All applicants for the music educationprograms are required to audition in per-son or submit a videotape (VHS) (consist-ing of two contrasting styles; acceptableonly if students live a considerable dis-tance from New York City) prior toacceptance to their degree program. Callthe department office at 212-998-5424for in-person audition dates.

Doctoral ProgramsThe Doctor of Education and the Doctorof Philosophy programs require a mini-mum of 45 points beyond the master’sdegree; full-time students can completethe program in three to four years.

Study consists of the following:Foundations (6 points): Courses includeLiterature and the Arts: Experience andResponse E11.2135, AestheticFoundations of the Arts E88.2051,

Foundations of Education: EducationalSociology E20.2400. SpecializedResearch Methodology (3 points):Courses include Historical ResearchE10.2135, Survey and CorrelationResearch E10.2139, Qualitative FieldResearch: Design and Analysis I and IIE10.2140,2141. Cognates (6 points):Courses include Arts Heritage andCriticism E88.2191 and Aesthetics:Education of the Perceptions E88.2053.Advised Research (15 points): Coursesinclude Music Reference and ResearchMaterials E85.2021, Research in Musicand Music Education E85.2130,Aesthetics of Music E85.2045,Psychology of Music E85.2042, Tests andMeasurements in Music EducationE85.2060. Guided Electives (9 points).Departmental Content Seminar (3points by advisement). DissertationProposal Seminar (3 points).

Ed.D. students must complete anddefend orally an applied field researchdissertation related to music education;Ph.D. students must complete anddefend a theoretically grounded disserta-tion also related to music education.

In addition to the Steinhardt Schooladmission requirements for studentsapplying for doctoral-level degree pro-grams, students seeking admission todoctoral programs in music educationmust provide the following:

1. Performance Audition: Prepare threeselections representing three different his-torical styles (i.e., Renaissance, baroque,classical, romantic, and 20th-century. The

20th-century or contemporary categorymay be divided into the so-called main-stream 20th-century music of composerssuch as Bartók, Stravinsky, Schoenberg;the avant-garde; or the rock/pop/jazzgenre). In addition, prepare a list ofrepertoire and a list of teachers you havestudied with. If you have done arrange-ments and/or compositions, submit aportfolio of 3 to 5 works that best repre-sents this activity.

2. Music Skills: Sight reading, sightsinging, and keyboard skills will be eval-uated at the audition.

3. Examples of Writing: Submit at leastthree examples of written work thatwould best represent your ability to con-duct scholarly research and writing.

ACCREDITATIONThe Steinhardt School of Culture,Education, and Human Development’steacher education program has beenaccredited by the Teacher EducationAccreditation Council (TEAC)’for a peri-od of five years. The accreditation certi-fies that the Steinhardt teacher educationprogram has provided evidence that itadheres to TEAC’s quality principles. The accreditation affirms the claim that NYU Steinhardt uses evidence todevelop and improve its programs thatprepare teachers. For more, contactTEAC, One Dupont Circle, Suite 320, Washington, DC 20036; 202-466-7236; http://www.teac.org.


Music Performance and Music Composition35 West Fourth Street,Suite 777212-998-5424

Director, Music Composition Robert Rowe

Director, WoodwindsEsther Lamneck

Director, BrassSean Scott Reed

Director, Piano Marilyn Nonken

Director, Strings Stephanie Baer

Director, Classical Percussion Jonathan Haas

Director, Jazz David Schroeder

Director, Vocal Performance, includingMusic Theatre and Classical Voice/OperaWilliam Wesbrooks

Degrees M.A., Ph.D.


New York University is one of the fewinstitutions in the United States that offersa Ph.D. degree in music performance. Aprogram of study leading to the Master ofArts is also available.

Faculty members are leaders in researchand are internationally acclaimed artistsand composers; many are members ofrenowned music organizations, such as theNew York Philharmonic and theMetropolitan Opera Company while othersare drawn from the Broadway community,and prominent jazz ensembles includingthe Village Vanguard Orchestra.

CAREER OPPORTUNITIESMost students enter the graduate pro-grams of study in music performance andcomposition with the intention of pursu-ing a career in performance and/or com-position coupled with teaching at the col-lege or university level. Graduates of themaster’s program have found that beingin New York City during their graduatestudy was an important aspect of theirmusical education and a significant factorin building a network of contacts thatlaunched their professional careers ascomposers, arrangers, conductors, orinstrumentalists and vocalists working asfreelance artists, studio musicians, or per-formers in Broadway productions.

Alumni from the program have goneon to significant careers in opera andBroadway, with debuts at New York CityOpera, Metropolitan Opera, and numer-ous Broadway shows. Instrumental, clas-sical, and jazz performaers have solocareers and play with major ensembles.Composers write for film and music the-atre as well as traditional venues.Graduates of the doctoral programs areprofessors of music in leading institutionsin the United States and abroad.

AREAS OF STUDYMusic Performance. Within MusicPerformance, students may specialize inone of three areas:

1. Applied Instrumental Studies, directedby Professors Stephanie Baer (Strings),Esther Lamneck (Woodwinds), JonathanHaas (Percussion), and Marilyn Nonken(Piano), offers study in piano and allorchestral instruments. Students mayfocus on either solo performance or cham-ber music. Private lessons, coachedensembles, studio classes, and coursework develop performance skills andrepertoire from traditional to new musicstyles. In addition to numerous string,brass, and wind ensembles as well aschamber symphony and symphonyorchestras, students can participate in theNYU New Music Ensemble, which hasnumerous New York City appearancesduring the season. It is also in residence

in Florence, Italy, during the summerMusic and Dance Program Abroad. Inaddition, students who focus on newmusic performance are participants in theInteractive Computer Music Series andthe NYU New Music Ensemble Series.

Students are invited to perform forthe Composers’ Forum and to work withstudent composers as well as to recordsolo and ensemble CDs by music technol-ogy majors. Students have excellentopportunities to gain experience in asmany diversified areas of performance aspossible. Depending on the level of study,each student must present one or two for-mal public recitals.

2. Jazz Studies, directed by DavidSchroeder, emphasizes performance stud-ies covering the full range of today’s jazzmusic scene. Private instruction for per-formers and course work in compositionand theory provide a solid foundation.The most current music technologyapplications are available, including com-puter music synthesis, multimedia, andscoring for film and video, as well as ana-log and digital recording.

NYU’s Greenwich Village locationbrings students to the center of jazz activ-ities. Landmark jazz venues such as theVillage Vanguard and the Blue Note arewithin walking distance. At these clubs,students experience jazz luminaries inperformance on a regular basis. Studentsalso sit in at the numerous open jam ses-sions around the community. The NYUConcert Jazz Ensemble appears at thefamous Blue Note Jazz Club, located oneblock from campus, and Birdland in mid-town. Many of our other award-winningNYU jazz ensembles appear in variousjazz clubs and concert halls throughoutNew York City.

All students in jazz/contemporarymusic are required to study compositionas part of their recital requirements. Eachstudent must present a recorded recitalopen to the public and adjudicated by amaster teacher.

Performance experience in ensembleand improvisation is designed to preparestudents for the highly competitivedemands of a professional career in jazz.The department houses over 30 variousensembles providing direction in perfor-mance as well as the opportunity forcomposers to rehearse and evaluate theirworks.

An ongoing series of Jazz MasterClasses on campus Wednesday eveningsand at the Blue Note on Saturday after-noons provides accomplished studentswith the opportunity to interact directlywith the most influential contemporaryjazz artists. Each semester, preeminent jazzmusicians are brought into the classroomto share their knowledge and expertise andprovide critiques of student performance.

3. Vocal Performance, directed by WilliamWesbrooks, offers concentrations in twoareas:

Classical Voice Studies includes a com-prehensive sequence of courses in vocaltechnique and repertoire for recitals,chamber music, opera, and music theatre.Courses in opera studies are supported byOpera Workshop and two productionseach year. Students have the opportunityto study with prominent artists/teachersfrom the professional music community,including New York City Opera and theMetropolitan Opera.

Music Theatre Studies offer a compre-hensive sequence of courses that providestraining in voice, acting, dance, reper-toire, and analysis. Five fully stagedmusicals are produced each year in addi-tion to operas, workshops, and new workdevelopment projects. Music theatreworkshop classes focus on both prepara-tion of material and its presentation inaudition and performance settings.Students are taught and directed byworking professionals from the Broadwaycommunity, who provide practical insightand guidance for the student who isabout to enter the professional arena.

Music Composition. Within MusicComposition, students may take a com-prehensive sequence of courses in the fol-lowing areas:

1. Directed by Robert Rowe, GeneralComposition involves lessons, courses, andseminars aimed toward providing bal-anced training in multiple compositionalstyles. Students choose music electivesand composition courses to enhance areasof particular stylistic interests.Exceptional works are considered for per-formance in joint programs featuring stu-dent and faculty composers in New Yorkand on national and international tours ofour acclaimed performance ensembles.

2. Directed by Dave Schroeder,Jazz/Contemporary Music Compositionblends courses from the general, electro-acoustic, and computer music sequenceswith specially designed courses, seminars,and workshops. All composition studentsstudying jazz/contemporary music arerequired to be highly proficient perform-ers as well as composers. All NYU jazzensembles are laboratory/workshops forcomposition students to hear, rehearse,and evaluate their works.

3. Directed by Robert Rowe,Electroacoustic and Computer MusicComposition combines study in composi-tion with technology through the depart-ment’s 14 on-site electroacoustic musicproduction labs (including a 64-trackanalog/digital recording studio), as wellas through University-wide computingfacilities, offering students access to


mainframe, UNIX, Macintosh, PC, andmultimedia workstations.

4. Directed by Ron Sadoff, Scoring forFilm and Multimedia offers hands-ontraining in composing for film and televi-sion as well as the study of the historyand aesthetics of film scoring.

DEGREE REQUIREMENTS

Master of Arts/PerformanceThis 36-point program can be completedin three semesters of full-time study.Course work consists of the following:Applied Instrument or Voice (6-9points); Research (3 points); Ensemble(6 points); Literature/Theory (3 points);Performance Practice (3 points);Recitals (3-6 points), required; GuidedElectives (9-12 points). During thesemester of the final recital, performerswrite a comprehensive paper that pullstogether and demonstrates their com-mand of musical repertoire and styles.

Master of Arts/CompositionThis 36-point curriculum can be com-pleted in three semesters of full-timestudy. Course work consists of the fol-lowing: Composition Seminar(3 points); Composition PrivateInstruction (6-9 points); Ensemble(3 points); Literature/Theory (6 points);Orchestration (3 points); MusicTechnology (3 points); Recital (3 points); Guided Electives (6-9 points).

Doctoral ProgramsStudents in the Ph.D. program mustcomplete 49-55 points of course workbeyond the master’s degree and mustorally defend a theoretically groundeddissertation related to music performanceor music composition as appropriate.Course work consists of the following:Foundations of the Arts (6 points);Specialized Research Methodology(3 points); Cognates (6 points);Departmental Content Seminars(6 points); Applied Study (6-12 points);Advised Research (15 points);

Dissertation Proposal Seminar(3 points); Recitals (3-4 points).

ADMISSION REQUIREMENTSMusic performance majors must presentan audition. Specific repertoire require-ments for music performance are availableby contacting the respective programdirector. Students interested in musiccomposition must submit a compositionportfolio consisting of a current curricu-lum vitae, several compositions in writtenform (general score) with date of comple-tion, a complete list of works and dates,CD of performances of the works submit-ted in written form, and a letter describ-ing the composition area of interest.Those interested in jazz compositionshould submit a minimum of three writ-ten scores.


FINANCIAL AID OPPORTUNITIESSee general financial aid section, page 214.

Music TechnologyDirectorKenneth J. Peacock

35 West Fourth Street,Suite 777212-998-5431

Associate DirectorRobert Rowe212-998-5435

DegreeM.M.


Program Office212-998-5422

Music technology is a rapidly expandingand exciting field. The University’s loca-tion in New York City—the world’s cen-ter for the performing arts—offers stu-dents valuable opportunities for directexperience in their field while pursuingadvanced study. Students work in profes-sionally equipped, multitrack recordingstudios and electronic music laboratorieslocated on campus.

CAREER OPPORTUNITIESThere is a need in the music industry forindividuals who can methodically applymusical concepts, technology, and musictheory to problems that combine ele-ments of production, aesthetics, technicalexpertise, and experiential learning tocreate and develop artistic works moreeffectively. Graduates are prepared toassume responsibility in studio produc-tion and operation and may considercareer opportunities in recording, produc-ing, publishing, and the allied musicindustries, including computer softwaredesign and multimedia.

DEGREE REQUIREMENTSThe program requires 45 points for com-pletion. Music technology courses addressthe technical aspects of computer musicsynthesis, digital recording, and editing.Supportive courses add to the student’scritical and aesthetic understanding ofthe structure of artwork, the quality andcomponents of sound, and the combina-tion of computer music with other

media. Electives include an internship,participation in the composers’ forum,guided course work in computers andcomputer programming, music business,composition, performance, video technol-ogy, video art, and additional research inthe student’s area of interest.

Core Courses (18 points): Offeringsinclude Musical Technology: DigitalAudio Processing I and IIE85.2600,2601, Digitally ControlledMusic Systems E85.2603, AdvancedMusical Acoustics E85.2036, AdvancedComputer Music Synthesis E85.2047,Colloquy in Music Technology (Master’sProject Preparation) E85.2616.

Supportive Courses (15 points): includeguided course work in computers, com-position, and performance on the relatedarts. Cognate elective in arts, humanities,or computer programming.

Electives (12 points): Courses may be cho-sen from music, music business, orGraduate Internships in Music TechnologyE85.2605. Students complete a major finalproject that integrates theory and practice,E85.2616.

SPECIAL FACILITIESThe Program in Music Technology main-tains 14 recording and computer musicstudios. Two multiple-format recordingsuites allow students to gain experiencewith the latest industry-standard equip-ment, including dozens of professional-level microphones and a fully automated48-channel SSL mixing console. Students

also use an additional four Macintosh-based computer music laboratories, anA/V and film music editing studio withvideo projection and THX surroundsound systems, an analog synthesis stu-dio, a video digitizing and DVD author-ing studio, as well as two research anddevelopment facilities that use Macintoshand Windows computers, plus two com-plete 20-bit Sonic Solutions digital edit-ing rooms. The studios are all wired with100-megabit network connections, facili-tating quick file transfers between studiosand high-speed Internet2 projects. We suggest that students purchase aMacintosh laptop computer to facilitatetheir work for the program.

Music technology students also haveaccess to the arts technology facilities,maintained by NYU’s InformationTechnology Services, where they can gainexposure to advanced hardware platformsfor computer music, graphics, animation,and multimedia. Collaborative projectscan be realized by students from theProgram in Music Technology and otherNYU programs that combine the artsand technology, such as the Tisch School’sKanbar Institute of Film and Televisionand Interactive TelecommunicationsProgram.

The Program in Music Technologyhas taken a leading position in interactivemusic software implemented on personalcomputers and digital audio platforms.Students can learn programming using Cor Java or in graphic environments suchas Max/MSP. Sophisticated synthesis pos-sibilities may be realized through real-


Performing Arts Admini-strationDirectorBrann J. Wry


Degree M.A.


The master’s degree program in perform-ing arts administration was founded in1971 and is one of the oldest arts man-agement programs in the country. Theprogram educates prospective and prac-ticing administrators for positions withoutstanding arts organizations in thiscountry and abroad. It does this with acombination of courses, specificallydesigned for arts administrators, in theareas of the environment of arts adminis-tration, development for the arts, market-ing the performing arts, law and the arts,statistics, and business courses in eco-nomics, accounting, behavioral science,and marketing, which are offered throughNYU’s Leonard N. Stern School ofBusiness.

In addition, the program emphasizesthe acquisition of executive skills in theareas of organizational assessment, careerplanning, and executive presentationthrough periodic workshops offered onlyto students enrolled in the master’sdegree program.

Internships with leading arts man-agers are a required part of the programof study and enhance course work. Inrecent years, interns, who usually receivea small weekly stipend, have trained withmanagers of organizations as varied asCarnegie Hall, American Ballet Theatre,Brooklyn Academy of Music, ManhattanTheatre Club, and National Endowmentfor the Arts. In addition, guest lecturersand adjunct faculty from the field regu-larly speak at special forums.

CAREER OPPORTUNITIESGraduates hold positions as executivedirectors and presidents; directors ofdevelopment, operations, and planning;and marketing, production, and generalmanagers of such arts organizations asLincoln Center for the Performing Arts,

Metropolitan Opera Association, NewYork City Ballet, Paper Mill Playhouse,the Philadelphia Orchestra, NewarkSymphony Hall, and the Brevard MusicSchool.

DEGREE REQUIREMENTSThe master’s program requires 54 pointsfor completion and can be completed inthree to four semesters of full-time study;a part-time sequence of courses is alsoavailable. Courses in arts administrationare offered through the Steinhardt Schoolof Culture, Education, and HumanDevelopment; those in business adminis-tration are offered through the LeonardN. Stern School of Business.

Performing Arts Administration Core(27 points): Environment of PerformingArts Administration E67.2130,Principles and Practices of PerformingArts Administration E67.2131,Marketing the Performing ArtsE67.2105, Law and the Performing ArtsE67.2008, Development for thePerforming Arts E67.2132, Seminar inCultural Policy: Issues in PerformingArts Administration E67.2222,Governance and Trusteeship inPerforming Arts OrganizationsE67.2133, Planning and Finance in thePerforming Arts E67.2120, BasicStatistics E10.1085.

Management Core (15 points):Marketing Concepts and StrategiesB09.2313, Financial Accounting: A UserPerspective B09.2301, ManagingOrganizational Behavior B09.2307,Current Economic and FinancialProblems: Analyses, Philosophies, andForecasts B30.2342, Consumer BehaviorB70.2347.

Internships (6 points each): Internshipin the Administration of Performing ArtsCenters I and II E67.2001,2002.

Electives (6 points): Chosen fromConsumer Behavior B70.2347,Foundations of Finance B09.2316,Microeconomics for Global BusinessDecision Making B09.2303, and othersby advisement.

ADMISSION REQUIREMENTSApplicants must possess an in-depthbackground in one or more areas of theperforming arts as well as prior experi-ence with a cultural organization, whichmay include paid or voluntary forms ofactivity. Applicants must be recommend-ed in writing directly to the programdirector by at least two people acquaintedwith the applicant’s knowledge of art andpotential for management. Interviews areby invitation only.


SPECIAL OPPORTUNITYSummer Study Abroad in Arts Administrationtakes degree and visiting students to theNetherlands, Germany, and France tostudy alternative ways of managing artsorganizations through intensive examina-tion of current practices in Europe. The 6-point graduate course examines the effectsof economics, politics, and managementon arts policy and practice. Traveling toUtrecht, Amsterdam, Berlin, and Paris,students meet with curators, performingarts managers, and national policy makersand tour a variety of theatres, museums,and cultural institutions. The course isdesigned for both graduate students andalumni of both visual and performing artsadministration programs as well as artsadministrators with professional experi-ence in the field.

time digital signal processing, SMPTEhandling, software synthesis such asCsound, Jsyn, PD, Kyma, and an exten-sive collection of sampling, effects, syn-thesis modules, and controllers.

TONMEISTER SEQUENCESelected second-year graduate studentsmay apply for the Stephen F. TemmerTonmeister Recording Studies Sequence.Tonmeister studies emphasize a coordina-

tion of musical and technical skills,enabling participants to direct live con-cert recordings with a sensitivity to thedemands of both disciplines. The skills ofTonmeister students are honed duringintensive workshop sessions, where par-ticipants record concerts by professionalconcert artists under the supervision ofinternational recording technology spe-cialists. A final examination is required ofTonmeister students.

ADMISSION REQUIREMENTSProgram in Music Technology applicantsmust hold a B.A., preferably in music ora related program. In addition, all stu-dents entering this program must havethe experience or course work equivalentto graduates of the music technologytrack in the undergraduate program inmusic technology at NYU.



Performing Arts TherapiesDrama Therapy

DirectorRobert Landy


DegreeM.A.

FacultySee pages 84-88for a complete listing.

Drama therapy combines the aims andtechniques of drama/theatre with those ofpsychotherapy to treat individuals in cri-sis and help those with special needs toexpand their quality of life. New YorkUniversity was the first in the country todevelop an academic program leading toa Master of Arts degree in drama therapy.

The program attracts theatre profes-sionals and educators, therapists, andthose working in the fields of medicine,nursing, and special education. Studentscome from diverse cultural and academicbackgrounds to study and apprenticewith the leading professionals in the cre-ative arts therapies. Classes are small andinstruction is individualized. TheProgram in Drama Therapy has beenapproved by the National Association forDrama Therapy. (See also Music Therapyin this department and Art Therapy inthe Department of Art and ArtProfessions.) In addition, the program isapproved by the New York StateDepartment of Education and qualifiesstudents for licensure in Creative ArtsTherapy (LCAT) after graduation and1,500 hours of postgraduate supervisedpractice.

The New York metropolitan areaoffers rich opportunities for clinicalinternships in hospitals and shelters, drugrehabilitation centers, prisons, and specialfacilities for the elderly, those with devel-opmental disabilities, and the terminallyill, among others.

CAREER OPPORTUNITIESGraduates are employed in a variety oftherapeutic settings throughout theworld, including public and private hos-pitals and mental health clinics, centersfor adults with developmental disabilities,nursing homes, and drug rehabilitationcenters. Drama therapists work in medicalfacilities as well as artistic ones, in socialservices as well as private practice.

Although drama therapy is a relativelynew profession, it is practiced widely witha number of special populations: war vet-erans and those afflicted with post-trau-matic stress disorder, substance abusers,mentally ill individuals, the elderly, andchildren who have been physically and/orsexually abused. Drama therapists alsotreat dysfunctional families and, moregenerally, healthy individuals in need ofexploring significant life problems.

Master of ArtsThe Master of Arts degree programrequires 48 points for completion, includ-ing course work in drama therapy, educa-tional theatre, psychology, counseling,and related creative arts therapies. Allstudents are required to complete field-work and a 780-hour internship with twodifferent populations in selected clinicalfacilities. A master’s thesis is required.The drama therapy courses include expe-riential as well as theoretical work.

DEGREE REQUIREMENTSDrama Therapy (21-28 points):Introduction to Drama TherapyE86.2114, Drama Therapy for theEmotionally Disturbed E86.2109,Psychodrama and Sociodrama E86.2115,Advanced Practices in Drama Therapy(can be repeated for a total of 6 points)E86.2116, Projective Techniques inDrama Therapy E86.2117, AdvancedTheory and Research in Drama Therapy(including thesis preparation) E86.2119,Internship in Drama Therapy E86.2302.

Counseling and Psychology (15 points):Abnormal Psychology E63.2038 orFoundations of PsychopathologyG89.2034, Theories of PersonalityE63.2039 or Personality and BehaviorG89.2015, Survey of DevelopmentalPsychology E63.2271/G89.2020, GroupDynamics E63.2620, IndividualCounseling: Practice E63.2658.

Educational Theatre (6 points) May bechosen from the following: Developmentof Theatre and Drama E17.2021 orE17.2022, Creative Play in the ArtsE17.2059. Drama in EducationE17.2193 or E17.2194 or Theatre-in-Education Practices E17.2090.

Elective Courses (by advisement):Chosen from such courses as Masks andPuppetry E17.1079, PsychodynamicProcesses in Art Therapy E90.2038,Cross-Cultural Counseling E63.2302,Introduction to Music TherapyE85.1046.

ADMISSION REQUIREMENTSAll students should have a solid, practicalbackground in the art form of drama/the-atre, including experience in improvisa-tional drama and theatre performance.Candidates should also demonstrate astrong academic background in psycholo-gy or a related social science, includingcourse work in developmental and/orabnormal psychology. In certain excep-tional cases, alternative experience rele-vant to drama therapy will be considered.All students are required to submit threeletters of recommendation attesting totheir strengths, weaknesses, and potentialas future drama therapists. Applicants arealso required to submit an autobiographi-cal statement of four to six pages docu-menting three (3) major turning pointsin their lives and how these led to thechoice of drama therapy as a profession.Interviews are by invitation only.Students are admitted only in the fallsemester of each year.


FINANCIAL AIDThe Program in Drama Therapy offerstwo work-study positions each year forstudents to assist the program director.

See general financial aid section, page 214.


NOTES TO COURSES*Registration closed tospecial students.

†Pass/fail basis.

‡See Supervised StudentTeaching, page 223.Students must also regis-ter with the StudentTeaching Office the termbefore assigned studentteaching begins.

CoursesThe courses listed herein are to be offered in 2007-2009.

MUSIC AND PERFORMINGARTS/E78

Human Development and Educationin the ArtsE78.2010 30 hours: 3 points.Prerequisite: 15 field hours of field experience.Examines theories of human developmentin art, dance, music, and theatre, so stu-dents understand different perspectiveson the role of artistic expression in thedevelopmental process. Artistic expres-sion from diverse cultures is considered.Students have practical experiences in theconcepts introduced, as well as access tointeractive, Web-based resources.Students learn to identify and preventsubstance abuse and other forms of abuseamong children and adolescents. Methodsfor prevention of and intervention inschool violence are studied.

Technology Resources for PerformingArts EducatorsE78.2029 30 hours plus hours arranged: 3points.Applications of communication and digi-tal technology as designed for performingarts as resources for performing arts edu-cators. Special emphasis is given to theuse of the World Wide Web (WWW) asa resource for teaching and creating per-forming arts materials and developingcollaboration in the performing arts.Applications of the WWW as an archivefor performing arts materials and portfo-lios are also explored.

Performing Arts Research CollegiumE78.3400 10 hours plus hours arranged:1 point. May be repeated up to 3 points.Doctoral dissertation advisement withdissertation committee coordinated withseminars in which students present theirworks in progress and discuss researchproblems. Current researchers in the per-forming arts are invited to share researchand writing. May be repeated up to threetimes to partially fulfill advised researchrequirements.

Doctoral students in the Departmentof Music and Performing Arts Professions must register each semester after com-pleting course work to maintain activestatus in the doctoral program.

Music Therapy

DirectorBarbara Hesser

35 West Fourth Street,Room 777212-998-5452

E-mail [email protected]

DegreeM.A.


Music therapy is a rewarding career formusicians who wish to use their skillsand artistry to benefit people with a vari-ety of mental, physical, and emotionaldisabilities. Students are trained to workwith people of all ages, including chil-dren with special needs, adults with psy-chiatric illness, children and adults withphysical illness including the terminallyill, and elderly clients. The program isaccredited by the American MusicTherapy Association (AMTA) and pro-vides a unique combination of advancedclinical training and academic coursework to enable students to develop theirown individualized approach to musictherapy. Graduating students qualify toapply for certification from theCertification Board of Music Therapists(CBMT). In addition, the program isapproved by the New York StateDepartment of Education and qualifiesstudents for licensure in Creative ArtsTherapy (LCAT) after graduation and1,500 hours of postgraduate supervisedpractice.

CAREER OPPORTUNITIESMusic therapists work with a wide rangeof age groups and disability conditionsand are employed in a variety of settings,including mental health facilities, specialeducation settings, medical hospitals,nursing homes, hospices, public schools,community clinics, and private practice.

DEGREE REQUIREMENTS

Master of ArtsThe M.A. program in music therapyoffers curricula for students who seek cer-tification and New York State licensure.

The curriculum consists of course work inmusic therapy theory and methods forchildren and adults, clinical improvisa-tion, group sessions in music therapy,music therapy theory development, andclinical fieldwork and internships.

Advanced students who are alreadycertified or registered music therapistsmust complete 48 points for state licen-sure. The program is tailored to each stu-dent based upon individual assessment.

The basic Master of Arts program lead-ing to certification includes the following:

Music Therapy Courses: Music Therapy:Advanced Theory and Methods I and IIE85.2931,2932 (6 points), ImprovisationI: Clinical Improvisation in Music TherapyE85.2934 (2 points), Improvisation II:Clinical Vocal Improvisation E85.2062 (2points), Improvisation III: AdvancedPractices of Improvisation in MusicTherapy E85.2940 (3 points),Improvisation IV: Theory and Applicationof Improvisation in Music TherapyE85.2941 (3 points), Music Therapy forAdults E85.2938 (3 points), Key Conceptsin Music Therapy E85.2942 (3 points),Theory Development in Music TherapyE85.2943 (3 points), Music TherapyPracticum: Children and AdolescentsE85.2043 (3 points), Music TherapyPracticum: Adults and Elderly E85.2053(3 points), Internship in Music TherapyE85.2935,2936 (2 semesters, 10 points),Colloquium in Music Therapy E85.2947(4 semesters, 8 points), Colloquy in Music Therapy: Final Project E85.2949(2-4 points).

Other Requirements: Group DynamicsE63.2620 (3 points), Identifying andReporting Child Abuse E63.2273 (0-credit workshop). Electives (6 points):May include courses in music therapy spe-

cialization, related arts therapy (drama,art), graduate psychology electives in spe-cialization area, independent studies, andadvanced clinical supervision.

SPECIAL OPPORTUNITIESOff-Campus Clinical Placements: TheProgram in Music Therapy offers manyclinical opportunities for students at alllevels of training. Students have workedwith talented professionals in prestigiousclinical facilities throughout the NewYork City area, including BellevueHospital, Beth Israel Hospital, BethAbraham Hospital, the NYU MedicalCenter and Rusk Institute ofRehabilitation Medicine, MemorialSloan-Kettering Cancer Center, BalticStreet Outpatient Clinic and the NewYork City Board of Education.

Nordoff-Robbins Center for Music Therapy:The Nordoff-Robbins Center for MusicTherapy, located on campus, offers clini-cal opportunities for student fieldworkand internship experiences with childrenwith disabilities. The center also offers anadvanced training course in clinical tech-niques and procedures leading to certifi-cation in the Nordoff-Robbins MusicTherapy Approach.

Guided Imagery and Music: Students maypursue a special sequence of courses inguided imagery and music, offered by theProgram in Music Therapy in cooperationwith the Creative Therapies Institute.Guided imagery and music is a therapeu-tic process that combines the inherentstructure, movement, and spirit of musicwith an individual’s own creative processof imagery.

DANCE EDUCATION/E89

Intermediate Technique andPedagogy: Modern DanceE89.2040 45 hours: 2 points. Fall, spring.Intermediate skills dance techniquefocuses on continuity, phrasing, and per-formance in a modern style. Emphasis onexpanding the individual’s technical andexpressive capabilities and developinginstructional ability in modern pedagogyand practice for grades 7 and up.

Advanced Technique and Pedagogy:Modern DanceE89.2075 45 hours: 1 point. Fall, spring.Advanced skills in selected dance tech-nique with focus on movement precision,musicality, and performance. Emphasison expanding the individual’s technicaland expressive capabilities and develop-ing instructional ability in modern peda-gogy and practice for grades 7 and up.

Teaching Creative MovementE89.2452 30 hours: 2 points. Spring.Examines theories, methods, and assess-ment tools in the teaching of creativemovement to children in grades K-6.Concentrates on basics of movementlearning, developmentally appropriateactivities, lesson planning, and skill inclassroom instruction. Integration ofdance in K-6 curriculum and multicultur-al environments is discussed. Observationof dance classroom settings required.

Teaching Performance of Dance andRelated Educational ActivitiesE89.2454 30 hours: 2 points. Fall.Explores approaches to choreographing,directing, and performing in a variety ofeducational settings. Specific attentionpaid to differentiated instruction, cultural-ly and developmentally appropriate sourcematerials and activities, and the use of per-formance in developing communicationand social skills. Performance as formativeand summative assessment is discussed.

Anatomy and KinesiologyE89.2810 30 hours: 3 points. Study of the basic mechanical principlesaffecting the physiological functioningand anatomical structure of the humanbody. Dance laboratory application ofthese principles to body alignment,placement, and dynamic posture fordance.

Common Hour DanceE89.2001*† 20 hours: 1 point. Fall,spring.Weekly meeting time for graduate stu-dents, featured speakers, participation inworkshops. Emphasis on career naviga-tion, networking, placement, and supportthrough addressing professional develop-ment skills, networking with experts in

dance and education, developingresources, and utilizing peers/alumni ascareer associates.

Contemporary Dance OriginsE89.2012 30 hours: 3 points.Survey of varied forms and styles of dancein their social and cultural contexts.Lecture, laboratory, and viewing of dancein selected periods of its developmentfrom early times to the present.

Intercultural DanceE89.2021 30 hours: 2 points. Spring.Study of dance as cultural practice, explor-ing dance from a broad spectrum of cul-tures. Focus on theoretical and practicalapplication of key concepts and danceforms as they relate to cultural identity,representation, and education. Includescritical analysis of dance in the studio,film, and written materials. Implicationsfor curriculum and instruction are stressed.

African DanceE89.2022 45 hours: 3 points. Fall.A survey course in African dance withaccompanying songs, music, and simpleinstructions of the regions of West, East,Central, and South Africa.

Tap Dance E89.2023 45 hours: 2 points. Fall, spring.Basic course in jazz, tap, waltz clog, andsoft-shoe styles of tap dance. Relates thecultural and generic origins of thesestyles to their introduction to and devel-opment in theatre as performing art.Includes fundamental skills and tradi-tional steps and sequences for creatingtap dance choreography.

Jazz Dance TechniquesE89.2029 30 hours: 2 points. Fall, spring.Analysis of jazz as a dance discipline—introductory level. Includes composition.

Advanced Dance PracticumE89.2077 45 hours per point, 1-6 points.Fall, spring.Individualized advanced students in the arts.

Methods and Materials in TeachingDanceE89.2265 30 hours: 3 points. Fall.Learning in, through, and about dance.Investigates contemporary educationaltheory, curriculum development, andassessment approaches basic to the estab-lishment of a teaching method in dance.Focus on understanding dance educationin the context of general education learn-ing environments (K-12) in multiculturalsettings; incorporating the national, state,and New York City standards in danceeducation; and exploring how danceenhances social and cognitive skills criti-cal to the developing child.

Theory and Methodology in BalletPedagogyE89.2267 60 hours: 3 points.During this course, students examine amodel ballet syllabus for ages 5-18 withattention to established theory, termi-nology, and methodology. Students learnthe sequence and the common teachingand learning faults of the children’s syl-labus through a daily class as well as apedagogy seminar.

Teaching Apprenticeship in BalletPedagogyE89.2268 60 hours: 3 points.During this course, students plan, con-duct, and evaluate a teaching apprentice-ship for ages 5-12 in which they demon-strate proficiency in the use of biome-chanics, artistic imagery, musical accom-paniment, and insight on the needs ofthe developing dance student at profes-sional and recreational tracks of study.

Advanced Analysis and TeachingApprenticeship in Ballet PedagogyE89.2269 60 hours: 3 points.During this course, students plan, con-duct, and evaluate a teaching appren-ticeship for adolescents in which theydemonstrate proficiency in the use ofbiomechanics, artistic imagery, musicalaccompaniment, and insight on theneeds of the developing dance student atprofessional and recreational tracks ofstudy. Additionally, students examineand prepare a ballet choreography anddifferentiate its elements according tothe developmental needs of studentsages 5-9, 10-13, and 14-18.

Fieldwork and Analysis Seminar inBallet PedagogyE89.2270 30 hours: 3 points.This course guides students in fieldworkobservation, fieldwork assignments, anda fieldwork analysis-oriented seminar forthe express purpose of developinginformed and proficient ballet teacherswho will possess a complete understand-ing of the use of biomechanics, artisticimagery, and insight on the needs of thedeveloping dance student at professionaland recreational tracks of study.Fieldwork is conducted at the JacquelineKennedy Onassis School at theAmerican Ballet Theatre as well as atABT’s Educational Outreach Program.

Internship in DanceE89.2273 150 hours: 3 points.Supervised internships with placementsin preapproved dance and dance educa-tion settings.

Dance in Higher EducationE89.2278 30 hours: 3 points. Spring.Principles in administration, curriculum,instruction, and evaluation of dance pro-


grams in higher education. Currenttrends in college dance curricula areexplored.

Dance IntensiveE89.2288 30-45 hours: 2-3 points.Summer. Graduate students only.Concentrated daily courses in a selecteddance technique (beginner/intermediatelevel), followed by a focused improvisa-tion, application of aesthetic principles tochoreography within that style.

Dance WorkshopE89.2289 45 hours: 3 points. Fall.For advanced students in dance.Emphasis on dance production and thedevelopment of each student’s personalapproach to choreography.

Composition in Contemporary DanceE89.2291 45 hours: 3 points.Opportunity to work in advanced andexperimental form in composition. Effortis made to develop skill in interpreting,analyzing, staging, and evaluating dancecomposition. Guest artist teachers.

Independent StudyE89.2300 45 hours per point: 1-6 points.Fall, spring, summer hours to be arranged.Signature of program director required.For description, see page 210.

Research in Dance EducationE89.2403 30 hours: 3 points. Fall.Examines theoretical perspectives, modesof inquiry, methodologies, and proceduresfor conducting research in dance and edu-cation. Focus on developing qualitativeresearch and writing skills and tools inmovement assessment. Case study appli-cations in dance education are stressed.Individual project required.

Dance for the Special ChildE89.2453 45 hours: 3 points.Seminar and laboratory experiences inmultidisciplinary approaches used byleading movement specialists for workingwith a child with disabilities (intellectu-al, physical, and emotional).

Principles of Dance MovementTherapyE89.2502 30 hours: 3 points.Theories, principles, and techniques ofmovement in the dance therapy field.Topics include the symbolic aspects ofthe body; the physiological basis of emo-tion; movement from a developmentalperspective; and cultural differences inmovement behavior. The creative processas analogous to the therapeutic process isexplored. A lexicon of movement ele-ments is examined as a systematic tool forobservation and interpretation. The rela-tionship to education is emphasized.

Seminar in Dance EducationE89.2509 30 hours: 2 points. Fall.Program seminar addresses issues con-fronting dance educators. Emphasis onintegrating theory and practice and on thegeneration of new ideas, approaches, andperspectives in dance education. Requiredculminating project on dance-relatedresearch or curriculum design for elemen-tary, secondary, or postsecondary settings.Particular attention paid to report writing.

African Dance IIE89.2543 30 hours: 3 points. Spring. Prerequisite: E89.1542 or equivalent.Emphasis on dance performance skillscharacterizing the distinctive style ofdominant groups in selected Africanregions. Continuation of study of songs,music, and simple instruments thataccompany authentic dances.

Student Teaching in Dance:Elementary SchoolE89.2607 30 hours plus 20 days: 3 points.Fall.Supervised student teaching of dance onthe elementary school level (grades K-6).Weekly seminar addresses formal andinformal methods of assessing studentlearning and the means of analyzingone’s own teaching practice. Studentteachers observe, plan, teach, and evalu-ate dance activities.

Student Teaching in Dance:Secondary SchoolE89.2608 30 hours plus 20 days: 3 points.Spring.Supervised student teaching of dance onthe secondary school level (grades 7-12).Weekly seminar involves developingappropriate goals, negotiating and enact-ing appropriate learning experiences, andassessing student learning in dance activi-ties. The critical analysis of student teach-ing in the secondary classroom is designedto promote the student’s development as areflective practitioner.

Computer Studies in HumanMovementE89.2701 30 hours: 3 points.The use of computers as applied to danceand other human movement, includingsuch software as Lifeforms for choreogra-phy and Labanwriter for notation. Basiccomputer knowledge required.

EDUCATIONALTHEATRE/E17

Performance and Production

Design for the StageE17.2017 Hourie. 15-45 hours: 1-3 points.Spring.Design for today’s stage in period andmodern styles. Methods of originatingand presenting a design conception.

Practice in scene sketching. Three hoursof laboratory a week.

Styles of Acting and DirectingE17.2099,1100 Salvatore/Swortzell. 45 hours: 3 points each term. Fall, spring.Scenes from period plays (Greek, Roman,Elizabethan, neoclassical French,Restoration, 18th- and 19th-centuryEuropean) are studied and acted. A coursein performance styles and techniques foractors, directors, designers, teachers, andthose interested in theatre history andcriticism. Additional hours of rehearsal.

Beginning PlaywritingE17.2105 DiMenna. 30 hours: 2 points.Fall.Principles and methods of playwriting.Completion of several writing assign-ments is required, including a one-actplay. Plays of special merit are consideredfor program production.

Physical Theatre ImprovisationE17.2113 Smithner. 45 hours: 3 points.Fall, spring.Techniques for performing and teachingpantomime. Training in body control,gesture, and facial expressiveness. Whilebasically a performance course, the histo-ry of mime as a theatre art is examined,and significant examples of Eastern andWestern styles are studied.

Stage LightingE17.2143 Staff. 45 hours: 3-4 points.Spring.Theories of light and lighting. The prac-tice of lighting the stage. Experimentswith light as a design element. Threeadditional hours of practical laboratory a week.

Costume DesignE17.2175 Staff. 45-60 hours: 3-4 points.Spring.Costume design for the modern stage andthe history of fashion. Includes threehours of practical laboratory work a week.

Introduction to Theatre for YoungAudiences IE17.2005 Demas. 30 hours: 2 points. Fall,spring.Play and audience analysis, directingmethods, production techniques. Eachstudent plans a complete children’s the-atre production. Laboratory experiencerecommended.

Introduction to Theatre for YoungAudiences IIE17.2006 Demas. 15 hours per point: 2-4 points. Spring.Play and audience analysis, directingmethods, production techniques. Eachstudent plans a complete children’s the-atre production. Laboratory experiencerecommended.


Dramatic Activities in the ElementaryClassroomE17.2030 Montgomery. 30 hours, 15 hoursof field experience: 2 points. Fall.Methods and materials for role-playing,story dramatization, mask, puppetry, andimprovisation as applied to the elemen-tary classroom, in such areas as learningprocesses, motivation, communication,and classroom management. Relationshipof drama and theatre to the elementarycurriculum. Students use drama and the-atre to address the human developmentprocesses that impact on the K-6 child’sreadiness to learn, such as culture, nutri-tion, personal safety, and community.Laboratory experience required: 15 hours.

Dramatic Activities in the SecondaryClassroomE17.2031 Montgomery. 30 hours: 3 points.Spring.Theories and practices of dramatic art inrelation to principles and curriculum ofsecondary education. Attention given toassembly programs and creative and for-mal techniques of play production forschool, extracurricular club, camp, andplayground.

Musical Theatre: Background andAnalysisE17.2062 30 hours, 15 hours of field expe-rience: 3 points. Fall, spring.An analysis of the various forms of musi-cal theatre with emphasis on the libretto,lyrics, and production elements. Musicalspast and present are examined and criti-cally evaluated. Written critiques of cur-rent musicals are required; costs of ticketsare the responsibility of students.

Advanced DirectingE17.2097,2098 Smithner. 90 hours: 3 points each term. Fall, spring.Prerequisites: proficient work inE17.1081,1082 or equivalent and permis-sion of instructor.Direction of a one-act play for publicevening performance. Class assignmentsinclude directorial research projects andrehearsal.

Advanced PlaywritingE17.2106 DiMenna. 30 hours: 3 points.Spring.Registration by permission of instructor.Writing of a full-length play or musical.Plays of special merit considered for pro-gram production.

Shakespeare’s TheatreE17.2171 30 hours: 3 points.Examines Shakespeare in performanceand in the classroom. Dramaturgy, sceneanalysis, and youth theatre included.

Theatre Education

Dramatic Activities in the ElementaryClassroomE17.2029 Montgomery. 30 hours: 2 points.Fall.Methods and materials for role playing,story dramatization, mask, puppetry, andimprovisation as applied to the elemen-tary classroom. Relationship of dramaand theatre to the elementary curriculum.Laboratory experience required.

Theory of Creative DramaE17.2065 Zanitsch. 30 hours: 2 points.Fall.The philosophy underlying informal dra-matics; materials for conducting impro-vised dramatic activities in elementaryand secondary education and with adults.Laboratory experience recommended.

Methods of Conducting CreativeDramaE17.2067 Zanitsch. 45 hours: 3 points.May be repeated for a total of 6 points.Spring.Techniques and practice of creativedrama. Students lead classes; weekly cri-tiques. Laboratory experience required.

Creative Play in the ArtsE17.2059 Smithner. 30 hours: 3 points.Fall.Explorations of the playful element inpersonality, culture, and artistic creation.The method is experiential-participatoryand cross-cultural. Playful modes ofactivity include improvisation, mas-querading, misrule, and celebration aswell as the ritualization of simple pas-times and games. Work with the symbol-ic potential of found-objects and primarymaterials. Classwork includes movement,vocal expression, plastic construction, andenactment: the finding of various playfulpersonae like the fool, the clown, and the“philobat.”

Theatre-in-Education PracticesE17.2090 Swortzell. 30 hours: 3 points.Spring.A production course for teachers, recre-ation leaders, language specialists, actors,directors, and students of educationaltheatre. Focuses on the creation and per-formance of projects with special educa-tional content. Students survey the histo-ry of T.I.E. programs, as well as research,devise, and present their own originalproductions.

Supervised Student Teaching in theElementary Drama ClassroomE17.2134 4-8 points: 45 hours per point.Supervised student teaching in elementaryclassroom settings, followed by scheduledconferences with field supervisor. Studentteachers observe, plan, teach, and evaluatedrama activities, integrated across the ele-mentary school curriculum, N-6.

Acting: Character StudyE17.2252 2-3 points: 15 hours per point.Fall, spring.An advanced exploration into the toolsand techniques of creating characterwithin the context of the “world of theplay.” Through script analysis and atten-tion to style, students learn how to createthe imaginary world in which the charac-ter lives. Scenes are selected from bothcontemporary and classical genres.

StorytellingE17.2951 Ress. 3 points: 30 hours.This course examines the ancient art ofstorytelling as a performance form (devel-oping expressive tools, creativity, physi-cal, and vocal skills); as it has appearedthroughout history (in mythology, folk-tales, legends, fairytales, fables); and as itcan enhance curricular subject areas(math, science, social studies, literature,and history) and relate to the New YorkState Learning Standards for ArtsEducation and the Standards for Englishand Language Arts. Oral history projectsare also explored, through the telling ofpersonal stories.

Supervised Student Teaching in theSecondary English/Drama ClassroomE17.2174 4-8 points: 45 hours per point.Developing appropriate goals, negotiat-ing and enacting appropriate learningexperiences, and assessing student learn-ing. The critical analysis of studentteaching during the semester is designedto promote student’s development as areflective practitioner.

Drama in EducationE17.2193,2194 Montgomery. 30 hours: 3points each term. Fall, spring.Relationships of theories of dramatic artto general educational principles; presentpractices and potentialities of educationaldramatics at all levels of instruction. Usesof theatre and drama in education fromthe Greeks to the present day.

Practicum in Educational TheatreE17.2305 45 hours per point: 1-6 points.Fall, spring; hours to be arranged.Problems in academic theatre: researchprojects; instructional procedures; cre-ative expression in acting, directing, andwriting. Exploration of the uses of dramaat all levels of education.

Drama with Special EducationPopulations IE17.2960 Granet. 15 hours: 1 point.This practical course is designed to intro-duce drama activities to students andprofessionals who work with young peo-ple with special needs. With theincreased number of inclusion classroomsand the mainstreaming of students withspecial needs, this course is designed forboth special and general education educa-


tors. Participants review the currenttrends and classifications of special educa-tion and explore the development andimplementation of drama curricula foremotionally disturbed and learning dis-abled populations. Participants learn cur-riculum design and adaptation and effec-tive drama strategies for classroom man-agement and receive an overview of termsand definitions for special education.Appropriate for K-12 educators.

Drama with Special EducationPopulations IIE17.2961 Granet. 15 hours: 1 point.Building on the activities and strategiesshared in Part I, this course focuses onthe specific challenges faced in thedesigning arts-integrated curricula forspecial needs students in all subject areas.Participants explore the wide-rangingspecial needs of cognitively, physically,and emotionally challenged students. Thefocus is on developing lesson plans thataddress and support different learningstyles while meeting the state and nation-al learning standards. Appropriate for K-12 educators.

Drama with Special EducationPopulations IIIE17.2962 Granet. 15 hours: 1 point.This advanced course is a follow-up toPart II. In a practical setting, studentsfocus on the study of dramatic approach-es and curriculum development for spe-cific special needs classes. The courseaddresses the many ways in which youngpeople learn and process information,based on Dr. Howard Gardner’s Theory of Multiple Intelligences. Appropriate forK-12 educators.

Play Production for Artists and Educators

Development of Theatre and DramaE17.2021,2022 Staff. 30 hours: 3 pointseach term. Fall, spring.Chronological study of the evolution ofplays and production styles from ancientGreece to the off-Broadway movement.History of theatre as a performing art andaesthetic experience. Research projects inselected periods of theatre developmentare required.

Images of Women in the TheatreE17.2023 Smithner. 30 hours: 3 points.Fall.Exploration of the images of women indiverse styles of dramatic literature fromthe Hellenic period to the present.Students participate in scenes and classdiscussion and investigate women cur-rently in theatre as actresses, playwrights,directors, and critics.

Methods and Materials of Research inEducational Theatre E17.2077 Taylor. 30 hours: 3 points.Spring.An introduction to research design ineducational theatre. Students study therange of research methods appropriate tothe investigation of educational theatre.

Dramatic CriticismE17.2091,2092 Nadler. 30 hours: 3 pointseach term. Fall, spring.Historical examination of the major theo-ries of dramatic criticism from antiquityto the present. Application of theories toplays of principal periods of drama,including current offerings. Elements ofdramatic structure, play analysis, andappreciation of the drama.

World DramaE17.2103,2104 Marin. 30 hours: 3 pointseach term. Fall, spring.Modern dramas from diverse cultures not ordinarily considered in detail inother courses. The theatre of each countryas an art form, an institution, and a social force.

Theatre of Brecht and BeckettE17.2177 Taylor. 30 hours: 3 points. Fall.This course introduces students to thecontributions of Brecht and Beckett toeducational theatre. The principal notionsof dramatic form and pedagogy poweringtheir lifetime contribution are outlined.Based on selected works, both dramaticand literary, students deconstruct a vari-ety of texts and create their own dramaticwork based on the form and pedagogy ofthese dramatists. The course culminatesin a written demonstration from studentsof how their own praxis has been trans-formed as a consequence of theirencounter with these dramatists.

Acting: FundamentalsE17.2250 15 hours per point: 2-3 points.Fall.This course offers a foundation on whichto build the technique needed to do theactor’s job: to live truthfully under theimaginary circumstances of the play. Inthis Stanislavski/Uta Hagen-basedapproach, students participate in a guid-ed study of self-observation and applydiscoveries to scene work.

Acting: Scene StudyE17.2251 15 hours per point: 2-3 points.Fall, spring.In this course, students continue theexploration begun in Acting:Fundamentals with in-depth scene andmonologue preparation from the contem-porary stage. Studio work focuses on thegiven circumstances, creating a physicallife for the character and miming therelationships that drive the play.

Seminar in Applied Theatre ResearchE17.2400 Taylor. 30 hours: 3 points.Prerequisite: E17.2077.An advanced seminar examining the keyconsiderations that drive research activityin applied theatre. Students design anapplied theatre research project. Topicsinclude survey of applied theatre research;formulating research questions; data col-lection and analysis; presenting appliedtheatre research; ethics in applied theatreresearch. This course constitutes the “cul-minating experience” in the M.A. EDTCcurriculum and is relevant to all master’sand doctoral students interested inapplied theatre research.

Doctoral Proposal Seminar:Educational TheatreE17.3005 Taylor. 30 hours: 3 points.Spring.The formulation of doctoral researchstrategies in educational theatre.Planning of relevant methodology; evalu-ation of research problems in progress.

MUSIC AND MUSIC PROFESSIONS/E85

Composition

NYU Composers’ ForumAll theory/composition majors arerequired to participate in the Composers’Forum, which comprises faculty, gradu-ates, and undergraduates. The Composers’Forum coordinates performances of NYUcomposers. Participation is required everysemester until graduation. Check withthe department for dates and location ofthe monthly meetings.

Computer Music Synthesis:Fundamental TechniquesE85.2624 60 hours and hours arranged: 4 points. Fall, spring.Departmental approval required.Introduction for teachers, composers, andperformers to explore potentials of com-puter music synthesis. Basic concepts ofmusic synthesis presented through theuse of a microcomputer, keyboard, andappropriate software. System may be usedas a real-time performance instrument oras a studio composition instrument.Educators may explore potentials forclassroom application. Assigned composi-tion projects in designated analog anddigital synthesis studios (B, C, D, E, and G).

Commercial Music Styles andTechniquesE85.2627 45 hours: 3 points. Fall.An elective for music business students.A technical study of commercially struc-tured music with a creative approach toharmonic, melodic, rhythmic, and struc-tural content. Comparisons are drawn


among syntax in common practice andpopular styles. Generation of lyrics dis-cussed as content, structure, and unity.

Music for Advanced OrchestrationE85.2020 30 hours: 3 points.Prerequisites: E85.1020, E85.1025.The principles of orchestral scoring areexamined through detailed score analysisand writing projects, as well as relatedtopics, including transposition, score for-mat, and new rotation. Classical throughcontemporary styles.

The Teaching of Music in the Juniorand Senior High SchoolE85.2027 45 hours: 2 points. Spring.Music in the general curriculum.Developing an understanding and per-ception of the process of musical thoughtapplicable to youth. Students observe inselected schools.

Seminar in CompositionE85.2028 30 hours: 3 points. Fall, summer.Contemporary issues in music composi-tion examined through coordinated indi-vidual compositional projects.

Creative Performance Opportunitiesin Music EducationE85.2031 15 hours per point: 1-3 points.Spring.Students serve as a production team thatcreates, rehearses, produces, and performsa culminating musical presentation atlocal venues. Such sites may be schools,senior citizens homes, health care facili-ties, or community centers. Studentsassume the roles played by all personnelinvolved in putting on a performance, aswell as becoming familiar with repertoire(music, lyrics, and dialogue) suited to theabilities of the performers.

Song Repertoire: EnglishE85.2264 37.5 hours: 2 points. Fall.A survey and performance course on theart song repertoire. Students study theinterpretive and stylistic aspects and per-form songs in English from the genres ofAmerican and British songs.

Song Repertoire: GermanE85.2265 37.5 hours: 2 points. Spring.A survey and performance course on theart song repertoire. Students study theinterpretive and stylistic aspects and per-form songs in German from the genre ofGerman lieder.

Song Repertoire: Italian/SpanishE85.2266 37.5 hours: 2 points. Spring.A survey and performance course on theart song repertoire. Students study theinterpretive and stylistic aspects and per-form songs in Italian and Spanish fromthe genres of Italian and Latin Americansongs.

Song Repertoire: FrenchE85.2267 37.5 hours: 2 points. Spring.A survey and performance course on theart song repertoire. Students study theinterpretive and stylistic aspects and per-form songs in French from the genre ofFrench melodie.

Reference and Research in JazzE85.2271 30 hours and 15 hours arranged:3 points. Fall.Open to nonmusic majors.Focus is on the evolution of jazz musicfrom its origins to the present. Both tra-ditional and contemporary reference andresearch sources are reviewed. Theseinclude the principal tools of libraryresearch, as well as recordings, video, andlive performances.

Jazz Arranging Techniques IE85.2273 30 hours and 15 hours arranged:3 points. Fall.An introduction to the materials of jazzarranging through examination of musicscores from early 20th-century sources tothe present. Students produce their ownarrangements.

Jazz Arranging Techniques IIE85.2274 30 hours and 15 hours arranged:3 points. Spring.An extension of E85.2273 with specialemphasis on arrangements for large jazzensembles.

Composition (Private Lessons)E85.2321 15 hours: 3 points. May berepeated until a total of 12 points has beenearned. Fall, spring.Open to department graduate students major-ing in music.Composition in all forms and styles,including electronic. Electronic laborato-ry by assignment. Weekly attendance atdepartment Composers’ Forum required.

Vocal Coaching: AdvancedE85.2364 30 hours: 2-3 points. Fall,spring.Private coaching sessions in the prepara-tion of material for performance in thestudent’s graduating recital. Work isfocused on the interpretation, style, andplacing material in its appropriate cultur-al and historical context.

Film Music: Historical Aesthetics andPerspectivesE85.2550 15 hours per point: 3-4 points.Fall, spring.From silent film’s pit orchestra to today’ssynchronized high-tech productions, thiscourse explores the great film composersfrom Max Steiner to John Williamsthrough their techniques and influentialstyles. The course includes demonstra-tions within the classroom and in StudioC, an extensive music-for-video produc-tion studio.

Music Theory

Analysis of 19th- and 20th-CenturyMusicE85.2016 30 hours: 3 points. Spring.Examination and application of extantmethods of analysis appropriate to 19th-and 20th-century music.

Seminar in TheoryE85.2024 Fisher. 30 hours: 3 points. Fall,spring.Individual projects ranging from signifi-cant historical contributions in musictheoretical thought to contemporaryproblems in theory and analysis, withemphasis on the main analytical para-digms for tonal and posttonal music.

NYU Jazz EnsembleE85.2088 15-60 hours: 0/1 points.Open to the University community.Registration by audition only.Study and performance of standard danceband literature, experimental jazz compo-sitions, and student arrangements.

Instrumental Materials andTechniques in Music EducationE85.2115 30 hours, 15 hours of field expe-rience: 2 points. Spring.Instrumental materials and techniquessuited to all levels of music instruction.Students in the materials course exploreproblems and needs of the first-yearinstrumental teacher. They discuss strate-gies and utilize proven teaching methodsof successful music educators.Methodology, resources, literature, andequipment are examined through hands-on demonstration and interaction.

Analysis of Contemporary PracticesE85.2123 30 hours: 3 points. Summer, fall.Seminar in music analysis with emphasison contemporary composition. Selectedworks by Stravinsky, Bartók, Schoenberg,Sessions, Babbitt, and Carter are dis-cussed using structural and linear reduc-tive analysis.

Compositional Process in theSymphonyE85.2127 Dello Joio. 30 hours: 3 points.Fall.Study of compositional issues related tothe symphony and other large-scaleorchestral works. Selected works from thelate 18th century to the present areexamined with reference to structure,harmonic language, developmental proce-dures, and the impact of different compo-sitional aesthetics.


History and Performance Practice

Colloquy in MusicE85.2026* Baer. 15 hours per point: 2-4 points. Fall, spring, summer.$75 recital fee required.Designed primarily for master’s candi-dates in music performance and/or com-position. Synthesis of learning based onperformance. Recital and a master’s finalwritten project are required.

Chamber Music: TraditionalEnsembles for Winds, Piano, Strings,and Brass InstrumentsE85.2034.002 Lamneck. 15 to 45 hours:1-3 points. Fall, spring.The study and application of performancepractice techniques in traditional cham-ber music and new music performance,including compositions with electronictape and mixed ensemble with dancers;works utilizing improvisation as a com-positional technique; and interactive,multimedia computer music works.

Contemporary MusicE85.2039 30 hours: 3 points. Fall.In-depth study of selected topics in musicsince 1945, emphasizing developments inthe recent avant-garde.

Music CriticismE85.2046 Oestreich. 30 hours: 3 points.Fall.Explores the role of critics in the develop-ment of individual careers and in moregeneral tendencies in music and the arts.The approach is largely practical, withdiscussions of the “real world” of musicand journalism, analysis of published andunpublished reviews, examination of thecriteria that go into critical thinking, andthe writing of several reviews. Readingassignments provide historical and theo-retical contexts.

Music Literature: The Baroque PeriodE85.2067 Oestreich. 30 hours: 3 points.Spring.An examination of significant works andcomposers in the baroque era. Historicalstyle and performance practices areresearched, discussed, and presented inindividual student projects.

Music Literature: The Classical PeriodE85.2073 Gilbert. 30 hours: 3 points.Spring, summer.An examination of significant works andcomposers in the classical era. Historicalstyle and performance practices areresearched, discussed, and presented inindividual student projects.

Participation in NYU OrchestraE85.2087 15-60 hours: 0-2 points. Fall,spring.Open to the University community.Registration by audition only.Performance of orchestral literature andorchestral/vocal works in concert withNew York University Choral Arts Society.

Performance PracticesE85.2091 30 hours: 3 points. Fall, summer.Review of historically significant treatiseson performance practice. Application tomusical works through papers and classperformances.

Choral Conducting Practicum forMusic EducationE85.2093 15 hours: 1 point. Fall.Practical procedures and materials forconducting choral ensembles at all levelsof music education. Students enrolled inthis course demonstrate essential choralconducting techniques, knowledge ofappropriate instrumental repertoire, andthe ability to analyze and synthesizechamber and orchestral music scores forconception, interpretation, rehearsal, andperformance.

Principles and Appreciative Aspectsof Performance PracticeE85.2099 30 hours: 3 points. Summer.Review of methods of music analysis thatare directed toward performance practiceincluding Wallace Berry and LawrenceFerrara. Application to musical worksthrough papers and class performances.

Woodwind Practicum for MusicEducationE85.2105 15 hours: 1 points. Fall.There is a fee for renting instruments.Fundamentals of woodwind, brass, andpercussion playing in a heterogeneous sit-uation for the prospective teacher. Class-teaching procedures and equipment,methods, and materials for children andadolescents.

Strings Practicum for MusicEducationE85.2106 15 hours: 1 point. Spring.An ensemble approach to teaching andstring instruments. Each student hasexperience with three to four differentstring instruments.

Percussion Practicum for MusicEducationE85.2107 15 hours: 1 point. Fall, spring.Fundamentals of both mallet and percus-sion instruments for the prospectiveteacher. Students participate in a percus-sion ensemble and learn to write for andto conduct a percussion ensemble.

Instrumental Conducting Practicumfor Music EducationE85.2111 15 hours: 1 point. Fall, spring.Practical procedures and materials forconducting instrumental ensembles at alllevels of music education. Studentsenrolled in this course demonstrate essen-tial instrumental conducting techniques,knowledge of appropriate instrumentalrepertoire, and the ability to analyze andsynthesize chamber and orchestral musicscores for conception, interpretation,rehearsal, and performance.

Music for ChildrenE85.2113 30 hours: 2 points. Spring.Music and movement experiences for theclassroom (K-6); cognitive basis for aes-thetic sensitivity and expression.

Music for Exceptional ChildrenE85.2114 45 hours: 2 points. Fall.Music-movement experiences for individ-uals with mild to moderate impairment/dysfunction. Emphasis on learning strate-gies in heterogeneous school classrooms.Aesthetic factors in the individualizededucation program.

Instrumental Materials, Techniquesand Technology in MusicE85.2115 30 hours plus 15 hours of field-work: 2 points. Spring.Instrumental materials and techniquessuited to all levels of music instruction.Particular emphasis on assessment prac-tices, diagnosis of instrumental problems,group methods, and individualizedinstruction including computer assistedtechnology.

Teaching of Music in the ElementaryGradesE85.2119 45 hours: 2 points. Fall.Integrated music and movement experi-ences in the development of elementarycurricula for cognitive-affective growth.Means and materials, published, and self-devised.

Sonata in the 19th CenturyE85.2151 30 hours: 3 points. Spring, summer.Explores strategies for solo compositionin multimovement works using the soloinstrumental sonata of the 19th centuryas its primary focus. Works are studiedand performed with reference to theircommon and distinctive features giventhe historical and aesthetic contexts inwhich they were created.

Introduction to Piano Literature andRepertoire IE85.2185 15 hours: 3 points. Fall.A survey and performance course on key-board music from the baroque, classical,and romantic periods, focusing on reper-toire, performance practice, and theory.


Significant treatises and critical writingsare examined. Includes the music ofBach, Handel, Scarlatti, Mozart, Chopin,Schuman, Liszt, and Brahms.

Piano Literature and Repertoire IIE85.2186 15 hours: 3 points. Spring. A survey and performance course on thepiano repertoire of the late 19th, 20th,and 21st centuries, focusing on repertoire,performance practice, and theory. Theory,criticism, and reception are explored, aswill the rise of extended techniques andthe influence of technology. Includes themusic of Ravel, Debussy, Schoenberg,Ives, Stockhausen, Boulez, Rzewski,Crumb, Xenakis, Murail, and Finnissy.

Piano Literature and Repertoire IIIE85.2187 15 hours: 3 points. Spring.A course in performance practice, inwhich pianists perform for one anotherand guest artists in a masterclass environ-ment. Issues discussed include program-ming and reception, extended techniques,interpretive strategies, and historicalprecedent.

Opera WorkshopE85.2260 15 hours per point: 1-3 points.Fall, spring.Study of fundamental techniques for per-formance in opera. Performance of select-ed arias, scenes, and operas.

Wind or Percussion Instruments(Private Lessons)E85.2334 15 hours: 3 points. May berepeated until a total of 12 points have beenearned. Fall, spring.Open to department graduate students majoringin music.Private lessons on mallets and set percus-sion instruments. All styles and forms,supplemented by extra assignments. Juryexamination required at end of semester.Required attendance at percussionrecitals and master classes.

Stringed Instruments (PrivateLessons)E85.2345 15 hours: 3 points. May berepeated until a total of 12 points have beenearned. Fall, spring. Open to department graduate students major-ing in music.Private lessons covering string repertoirein all styles and forms, supplemented byoutside assignments. Jury examination atend of semester required. Required atten-dance at recitals and master classes.

Piano or Organ (Private Lessons)E85.2356 15 hours: 3 points. May berepeated until a total of 12 points have beenearned. Fall, spring. Open to department graduate students major-ing in music.Private piano or organ lessons coveringrepertoire from all styles and forms, sup-

plemented by extra assignments.Attendance at recitals and master classesrequired.

Electronic Piano (Group)E85.2359 15 hours: 2 points. Fall, spring.Group lessons in piano for nonmusicmajors and those not performing inUniversity groups (six in a group, one hourper week). Traditional and jazz sections.

Seminar in Music and MusicEducationE85.3026* 15 hours per point: 2-4 points.Fall, spring, summer.$75 recital fee required.Designed for doctoral students in gradu-ate performance program. Study directedtoward fulfillment of degree require-ments in performance and/or composi-tion. Recital required.

Composition for the Music TheatreE85.1023 30 hours: 2-3 points. Fall.Composing in the various styles and formsto be found in music theatre. Creatinglyrics and librettos. Workshops with guestartists. End-of-year performances.

Music Theatre Workshop: Techniqueand MaterialsE85.2068 15-45 hours and hours arranged:1-3 points. May be repeated up to 12 points.Fall, spring.Registration by permission of the programdirector.The Music Theatre Workshop is dividedinto specialized topics, such as voice anddiction, song analysis, audition tech-nique, and production. The emphasis ofthe workshops is performance, its tech-nique, its theory, and its reality. Coursesare taught by Broadway professionalswho are active in their disciplines andwho have extensive experience in educa-tion. Guest lecturers share their experi-ences and lead seminars. Students per-form material regularly in class.

For additional courses in music theatre,see the following courses:

Acting: Scene Study E17.2251 Ciesla. 45 hours: 2-3 points.Fall, spring.Prerequisite: Acting I, or by permission ofinstructor or program director. Not open tofreshmen.

Acting: Character Study E17.2252 45 hours: 2-3 points. Fall,spring.

Script Analysis and DramaturgicalProcessE85.2066 Allison. 45 hours: 3 points. Fall.Analysis of dramaturgical components(plot, structure, character, theme, style) ofselected musicals from the Americanrepertoire, with a historical perspective.

In the process, students develop theirown research and writing skills.

Voice (Private Lessons)E85.2363 15 hours: 3 points. May berepeated until a total of 12 points have beenearned. Fall, spring.Open to department graduate students major-ing in music.Private voice lessons covering repertoirefrom all styles and forms, supplementedby extra assignments. Attendance atrecitals and master classes required.

Dance Education

Choreography for the Musical TheatreE89.2290

Dance and Movement Design for theMusic Theatre E89.2294

Educational Theatre

Directing E17.1081

Styles of Acting and DirectingE17.2099

Music Theatre: Background andAnalysis E17.1101,1102

Stage Lighting E17.1143

Costume Design E17.1175

American Theatre E17.2087,2092

Advanced Directing E17.2097

Conducting

Advanced Instrumental ConductingE85.2096 30 hours: 3 points. Spring.Advanced study of all phases of instru-mental conducting as they apply toschool and preprofessional instrumentalgroups. Individual assignments.

Jazz/Contemporary Music Studies

New York University Jazz EnsemblesE85.2088 60 hours: 0-1 point. Fall,spring.Registration by audition only.Study and performance of selected jazzliterature for big band and small groups;experimental compositions and works byfaculty and students are performed.Concerts and recording.

Jazz Improvisation Techniques IE85.2075 30 hours: 3 points. Fall.Prerequisite: E85.0039.An introduction to concepts of modal andtonal improvisation used in both instru-mental and vocal settings. Examination ofjazz solos and performance practices.

Jazz Improvisation Techniques IIE85.2076 30 hours: 3 points. Spring.Prerequisite: E85.2075.An extension of E85.2075 with emphasison style characteristics of selected jazzartists.


The Jazz OrchestraE85.2089 Matthews. 30 hours and 15 hours arranged: 3 points. Spring.Prerequisite: E85.1120 or by permission ofinstructor.Advanced seminar focusing on historicaland current trends in jazz improvisation,composition, and arranging. Individualassignments in analysis and transcription.

Research in Music

Music Reference and ResearchMaterialsE85.2021 30 hours: 3 points. Fall.Identifying research materials andsources. Emphasis on utilizing theresources of libraries, indices, and theInternet. Development of a major bibli-ography on a specific topic and the writ-ing of a brief research paper.

Research in Music and MusicEducationE85.2130 30 hours: 3 points. Spring.Methods, techniques, principles, andtools of research. Practical applicationthrough lectures, discussion, student cri-tiques, and individual research projects.Includes essential elements of theInternet in conducting and reportingresearch.

Dissertation Proposal SeminarE85.3097 30 hours: 3 points. Fall.Development of doctoral research propos-als with strategies for articulating theo-retical grounding, relevant literature,research problems, research methods, andtools and techniques for analysis.

See also Performing Arts ResearchCollegium E78.3400, page 101.

Music Business

The Law and the Music IndustryE85.2500 30 hours: 3 points. Fall.Review and analysis of the law and agree-ments basic to the music industry.Designed to provide the student with anappreciation of legal issues as they affectmanagement and production in themusic industry.

Ethics of the Entertainment IndustryE85.2501 30 hours: 3 points. Spring.Prerequisites: E85.2500, E85.2502,E85.2504, E85.2506.The ethical practices of those in theentertainment industry affect not onlytheir industry peers but all in society.Ethical problems as they relate specifical-ly to the entertainment industry areexamined. Examples of modern lyrics andsimilar audiovisual endeavors are studiedfrom the perspective of their possibleeffect on young people in both theUnited States and other world markets.

Environment of the Music IndustryE85.2502 30 hours: 3 points. Spring.Prerequisites: E85.2500, E85.2506.An in-depth study of the music enter-tainment environment and the rapidchanges (i.e., technology, acquisitions,etc.) affecting the creation, production,business administration, and professionalstandards of the industry. Emphasis isplaced on expanding markets, new prod-ucts, future technologies, and planningfor the future. A historical overview andcase studies are explored.

Production and A&R in the MusicIndustryE85.2503 15 hours per point: 2-3 points.Spring.Examination of the processes of A&R(artists and repertoire), production, andmanufacturing. Criteria for music evalu-ation and genre categories are analyzed.The role of the studio for the producerand the artists.

Promotions and Publicity in theMusic IndustryE85.2504 30 hours: 3 points. Spring.Prerequisites: E85.2500, E85.2506.A thorough investigation of product sup-port through traditional and new media.Promotional, publicity, and marketingplans are prepared using promotionalstrategies such as cooperative advertising,merchandising, public relations, contests,sweepstakes, in-stores, television andradio appearances, and tour support. Salesapplication through retail and distribu-tion of prerecorded product are alsoexamined.

Principles and Practice in the MusicIndustryE85.2506 30 hours: 3 points. Fall. An overview of the professional structure,standards, and practices of the musicentertainment industry and its applica-tion to record product and individualcareer development. Case studies areexplored.

Strategic Marketing in the MusicIndustryE85.2508 30 hours: 3 points. Fall.Prerequisites: E85.2500, E85.2502,E85.2504, E85.2506.An in-depth analysis of how the musicindustry is developing and implementingmarket opportunities in the larger con-text of the entertainment and mass mediaindustries. The industry is examinedfrom the standpoint of what strategieswill enable it to maximize current andfuture opportunities. Topics include cor-porate strategy, international aspects ofthe market for music, market research,managing entertainment organizations,synergy and partnerships, and new mediastrategies.

Music Business Graduate InternshipE85.2510 1-6 points per semester (a total of6 required for the degree). Fall, spring, summer.Assignment to music industry compa-nies. Responsibilities include businessadministration, creative services, market-ing, production, and promotion.Midterm and final company analysisreports required.

Managing the Performing ArtistE85.2511 30 hours: 3 points. Spring.The course examines principles and prac-tices of managing a performing artist’scareer with emphasis on the promotionand planning process used in the live per-formance sector. Lectures and discussionsfocus on people and issues that shape anartist’s career.

Concert ManagementE85.2512 30 hours: 3 points. Spring.Prerequisites: E85.2500, E85.2504,E85.2506, E85.2508.Course emphasizes concert promotionand facilities management. Content toinclude large venues and club outlets,box office and crowd management, laborrelations, production techniques (i.e.,sets, lights, sound, costumes, etc.), specialevents, tour planning and coordination,contracts and riders. Case histories to dis-play investment capital pursuits, admin-istration/staffing, market identification,objectives, sequencing and strategies,budgeting, and breakeven from an entre-preneurial perspective.

Global Music ManagementE85.2515 Spring (taught in January inter-session at NYU in London).Examination of current global musicmanagement issues. Topics include inter-national market research, selection ofinternational target markets, planningand decision making, how to utilize theglobal reach of the Internet, how to mea-sure and predict global music trends, andcultural diversity issues in the musicindustry.

Entrepreneurship for the MusicIndustryE85.2516 30 hours: 3 points. Fall, spring. Prerequisite: Financial Accounting.Introduction to the discipline of entrepre-neurship and how it applies to the for-profit music industry. Explores the cre-ation, assessment, growth management,and operation of new and emerging ventures, as well as opportunities forintrapreneurial models in existing organizations.


Colloquy in Music BusinessE85.2606 30 hours: 3 points. Fall, spring,summer.Registration by advisement only.Supervised final project, by advisement.

Music Education

Music Education Technology in theClassroomE85.2055 30 hours: 3 points.Seminar explores how common com-puter applications, music educationcourseware, digital audio, multimedia,and Internet application technology canbe applied in a music education setting.

Instrumental Materials andTechniques in Music EducationE85.2115 30 hours: 2 points.Instrumental materials and techniquessuited to all levels of music instruction.Particular emphasis on assessment prac-tices, diagnosis of instrumental problems,group methods, and individualizedinstruction, including computer-assistedtechnology.

Supervised Student Teaching of Musicin the Elementary SchoolE85.2141*‡ Minimum 180 hours: 3-4 points. Fall, spring.

Supervised Student Teaching of Musicin the Secondary SchoolE85.2145*‡ Minimum 180 hours: 3-4 points. Fall, spring.

Music for ChildrenE85.2113 30 hours: 2 points. Fall, spring.Primarily for early childhood and elementaryeducation students.Music and movement experiences for theclassroom (K-6); cognitive bases for aes-thetic sensitivity and expression.

Music for Exceptional ChildrenE85.2114 30 hours: 3 points. Fall.Prerequisites: course work or experience inworking with exceptional children and permis-sion of instructor.Music-movement experiences for individ-uals with mild to moderate impairment/dysfunction. Emphasis on learning strate-gies in heterogeneous school classrooms.Aesthetic factors in the individualizededucation program.

Guitar Practicum for Music EducationE85.2103 15 hours: 1 point.A general introduction to teaching andlearning guitar as a classroom instrument.

Brass Practicum for Music EducationE85.2104 15 hours: 1 point.An ensemble approach to teaching andlearning brass instruments. Each studenthas experience with at least three differ-ent brass instruments.

Woodwind Practicum for MusicEducationE85.2105 15 hours: 1 point.An ensemble approach to teaching andlearning woodwind instruments. Eachstudent has experiences with at leastthree different wind instruments.

Strings Practicum for MusicEducationE85.2106 15 hours: 1 point.An ensemble approach to teaching andlearning string instruments. Each studenthas experience with three to four differentstring instruments.

Percussion Practicum for MusicEducationE85.2107 15 hours: 1 point.An ensemble approach to teaching andlearning percussion instruments. Studentsperform, compose/arrange, and conductusing various percussion configurations.

Vocal Practicum for Music EducationE85.2108 15 hours: 1 point.Introduction to vocal techniques andmaterials with emphasis on vocal devel-opment at all grade levels, including thechanging voice.

Instrumental Conducting Practicumfor Music EducationE85.2111 30 hours: 1 point.Development of advanced choral andinstrumental conducting techniques,including procedures for rehearsal andperformance, and appropriate repertoirefor all levels.

Fundamentals of ConductingE85.2102 15 hours: 1 point.Basic principles of conducting, patterns,cueing, score preparation, score reading,rehearsal, and performance technique.

Problems in Music Education:Computer-Assisted InstructionE85.2056 30 hours plus hours arranged: 3points.An examination of current strategies inusing the computer as an aid to learningin music education. Current music soft-ware, CD-ROM, and Internet resourcesare examined and evaluated. Studentsdesign the content for a computer-assist-ed instruction module at their level ofservice in their special areas of teachingmusic. A sample music instruction pro-gram is produced using authoring soft-ware designed for educational applica-tions at computer workstations or on theInternet.

Dalcroze EurythmicsE85.2077 30 hours: 3 points.A comprehensive introduction to the the-ory of Émile Jacques-Dalcroze usingmovement and space as the basis forexperiencing, learning, and understand-

ing technical and appreciative aspects ofmusic.

Choral Materials and TechniquesE85.2082 30 hours: 3 points.The choral rehearsal is more than justsinging. This workshop provides hands-on experience with vocal and choral tech-niques, choral arranging, and composi-tion for various ensembles, includingselection and development of repertoireand involving students in the arranging,composing, and performing process.

Basic Concepts in Music EducationE85.2139 30 hours: 3 points. Spring.Study of philosophical, psychological,and sociological concepts that form afoundation for the teaching of music.

Orff MethodE85.2149 30 hours: 3 points. Summer.Introduction to Orff Schulwerk, empha-sizing the creative involvement of chil-dren’s instincts to sing, chant rhymes,clap, dance, and keep beat on anythingnear at hand. These instincts are directedinto learning by hearing and makingmusic before reading and writing it.

Colloquy in Music EducationE85.2939 15 hours per point: 2-4 points.Fall, spring.For master’s candidates in music educationand music therapy. Section 2 for music therapystudents.Synthesis of learning theories demonstrat-ed through individual thesis projects.

Music Technology

Fundamentals of Music TechnologyE85.1801 45 hours: 3 points.A general introduction to the funda-mental concepts of music technology,including: MIDI and sequencing, thebasics of digital audio, sound recording,mixing, and sound synthesis. The coursealso briefly overviews advanced topicsand applications in the field.

Computer Programming for MusicTechnologyE85.1815 45 hours: 3 points.Introduction to the basics of computerprogramming for music technology.Students learn fundamentals of proce-dural programming in the context ofprocessing MIDI and audio information.Hands-on classes guide studentsthrough the steps necessary to create afinal project that is a complete musicapplication. No prior programmingexperience is required.

Creating with Interactive Media E85.2038 30 hours: 3 points. Spring.A study of the principles and practice ofinteractive media, surveying strategies,aesthetics, techniques, and software.


Various works are analyzed for insightinto the creative process as applied tointeractive media. Resources utilizedinclude the Yamaha Disklavier andNYU’s Multimedia facilities.

Psychology of Music E85.2042 30 hours: 3 points. Spring, summer.Considers the effect of music on thehuman mind. Issues discussed includerhythm perception, psychoacoustics,expressive performance, representations ofmusic, the relations between music theo-ry and music perception, and computa-tional models.

Advanced Computer MusicComposition E85.2047 45 hours: 3 points. Fall, summer.Advanced computer music composition,using all current means. Students areintroduced to the diverse facilities ofStudio G—a fully equipped digital studio.The focus of seminar activity is the explo-ration of various strategies for musicalcomposition with electronics. A series ofshort studies leads to an original computermusic composition as the final project.

Scoring for Film and Multimedia E85.2048 45 hours: 3 points. Fall, spring,summer. Department approval required.Required for film scoring majors in grad-uate Programs in Music Technology andMusic Composition. The creative andtechnical processes of composing musicfor moving image are accomplishedthrough film composition techniques, liverecordings, and critical assessments. Thepractical application of software addresseselectronic and live recordings, integratingkey aspects of timings, MIDI-Mockups,score preparation, and music editing.Scores are composed for graduate filmsand animated works from the TischSchool of the Arts, as well as a library ofpreexisting professional rough-cuts.

Independent Study E85.2300 45 hours per point: 1-6 points.Fall, spring. Hours to be arranged.Graduate-level projects to be arranged.

Music Editing for Film andMultimediaE85.2555 30-40 hours: 3-4 points.Registration by special permission of theinstructor.Musical, aesthetic, and technicalprocesses of assembling and shaping afilm’s soundtrack, in collaboration withthe filmmaker and composer.Collaborative projects encompassingfilm score recording sessions; an under-standing of the music editor’s position,responsibilities, and techniques in thepostproduction process of a film.

Music Technology: Digital AudioProcessing I E85.2600 30 hours: 3 points. Fall.A study of the theoretical foundations ofdigital audio processing through lectureas well as student review and discussionof the writings of prominent researchersin the field. Seminar participants researchseveral topics in this broad area that arespecifically related to their personal edu-cational interest. Short written/oralreports as well as a final presentation pro-vide students the opportunity to sharetheir discoveries with the group.

Music Technology: Digital AudioProcessing II E85.2601 30 hours: 3 points. Spring.A continuation of the study of digitalaudio processing techniques through theanalysis of digital processing systems.The seminar format of Digital AudioProcessing I is continued, with discus-sions of current literature and develop-ments. Short reports and a final presenta-tion are required.

Music Information RetrievalE85.2602 30 hours: 3 points. Spring.Comprehensive overview of research inthe multidisciplinary field of music infor-mation retrieval (MIR), which usesknowledge from diverse areas such as sig-nal processing, machine learning, andinformation and music theory.Exploration of how this knowledge canbe used to develop novel methodologiesfor browsing and retrieval of large musiccollections. Emphasis would be given toaudio signal processing techniques.

Digitally Controlled Music Systems E85.2603 30 hours: 3 points. Fall, spring,summer.Prerequisite: E85.1014 or equivalent.Programming for MIDI devices usingMAX, C, Lisp, Csound and other soft-ware is explored. Design and implemen-tation of sequencers, interface drivers, andinteractive multimedia. A basic knowl-edge of computer programming isrequired.

Audio for Games and ImmersiveEnvironments E85.2604 45 hours: 3 points. Fall, spring.This course investigates aesthetic andtechnical aspects of sound for videogames and interactive 3-D environments.Artistic implications of the technologyare also explored from the perspective ofthe electronic composer and performer.Students work with a game engine tocreate an immersive interactive environ-ment. Additional topics include Csound,Java, and other relevant technologies.Completion of a final project and classpresentation, as well as several weeklyassignments, is required.

Graduate Internships in MusicTechnology E85.2605 50-300 hours: 1-6 points. 50 hours per point. Fall, spring, summer.Assignment to studios, mastering labs, orother music technology-related firms foradvanced on-the-job training.

Digital Signal TheoryE85.2607 45 hours: 3 points. Fall.Corequisite: Digital Signal Theory I Lab.Theoretical and practical foundations fordigital signal processing. Topics coveredinclude signal representation in time andfrequency domains, Fourier transform,spectrum analysis, transfer functions, con-volution, filter theory, and implementa-tion. Lectures are reinforced with a coreq-uisite weekly lab using Matlab.

Java Music Systems E85.2608 30 hours: 3 points. Fall, spring. Explores real-time music using two newJAVA music technologies: JMSL andJSYN. Java Music Specification Language(JMSL) is a programming environmentfor experiments in music performance,algorithmic composition, and intelligentmusic design. JSYN is a software packagewith which the programmer/composercan build virtual musical instruments.JSYN delivers CD-quality stereo audio inreal-time. Students program extensivelyin JAVA and should be prepared to spendconsiderable time outside of class devel-oping their software.

Advanced Max/MSP E85.2610 30 hours: 3 points. Fall, spring.Prerequisite: working understanding ofMax/MPS or E85.1014 MIDI Tech II.As a follow-up to the MIDI II:Introduction to Max/MSP, this coursefocuses on the creation of larger and moreintricate programming projects—forbuilding useable and robust interactivemusic performance environments, algo-rithmic composition systems and soundinstallations—including live audio andvideo processing/analysis using Max/MSP/Jitter. Designed for composers, perform-ers, audio programmers, and engineers.

3D Audio E85.2613 45 hours: 3 points. Fall, spring.An interdisciplinary course about the the-ory, techniques, and applications of 3Dand spatial audio. Topics include the psy-choacoustics of directional hearing, physi-cal acoustics of spatial sound, stereo andmultispeaker sound reproduction, andspatial sound applications in virtual reali-ty and other fields.

Advanced Audio Production E85.2629 45 hours: 3 points. Fall, spring.An advanced production-oriented explo-ration into the aesthetic and technicalaspects of recording sound and mixing.Topics covered include evaluating artistic


elements of sound in audio reproductions,creating stereo and surround soundimages, capturing musical performances,signal processing, and multitrack mixing.

Master’s Project Preparation E85.2616 3 points: hours to be arranged.Fall, spring, summer.Individualized consultation, which willguide the student through the final phaseof the required Master’s Project.

Concert Recording IIIE85.2013 30 hours: 3 points. Fall, spring,summer.An exploration of advanced techniques inprofessional mastering and compact discpreparation with a focus on SonicSolution’s Digital Audio Workstation. Inaddition to hands-on experience, studentsreceive extensive training in digital signalprocessing and audio editing.

Advanced Musical AcousticsE85.2036 30 hours: 3 points. Spring, summer.A continuation of the principles coveredin E85.1035 Musical Acoustics. Thesemester is divided into three modules—Room Acoustics, Physics of Vibration,and Issues in Synthesis and SoundDesign—designed to address critical yetbroad areas concerning the science and artof producing sound in space. Students areresponsible for hands-on projects on eachmodule, quizzes on reading assignments,and a final project.

Software SynthesisE85.2037 30 hours: 3 points. Fall, spring.An introduction to Csound and Cecilia aswell as other Silicon Graphics soundapplications. Programming knowledgeacquired is then applied to sound process-ing, composition, and mixing. A finalproject is required that may include com-position or programming project.Additional topics explored include CLM(Common Lisp), PD (Pure Data), Mix (ahard disk mixer), and SND (a powerfulsound editor).

Principles in MultimediaE85.2038 30 hours: 3 points. Spring.A study of the principles and practice ofinteractive media, surveying strategies,aesthetics, techniques, and software.Various works are analyzed for insightinto the creative process as applied tointeractive media. Resources utilizedinclude the Yamaha Disklavier andNYU’s multimedia facilities.

Electronic Music PerformanceE85.2609 45 hours: 2 points. Spring, summer.Through discussions with guest perform-ers, students study the conceptualizationand production of live electronics perfor-

mance pieces. Individual proposals forseveral pieces are created, followed by afinal live performance project, in whichlive electronics are an integral part of theconcept.

Concert Recording IE85.2611 30 hours: 3 points (fall), 2 points (summer).Introduction to the concepts of the liveconcert recording. Microphone selection,characteristics, and placement, as well asthe acoustic problems encountered inconcert halls are discussed. Students havethe opportunity to apply the lecturematerial by recording undergraduaterehearsals and recitals.

Concert Recording IIE85.2612 30 hours: 2 points (spring), 3 points (summer).Advanced techniques in concert record-ing. Topics include refinement of micro-phone placement and the use of artificialreverberation techniques to enhance thenatural acoustics of concert halls.Students have the opportunity to applylecture material by recording graduateand faculty concerts.

Max Programming IE85.2614 45 hours: 3 points.Programming for MIDI, C, and otherappropriate techniques. Design andimplementation of software sequencers,interface drivers, and hardware applica-tions are the focus.

Music Technology: Master’s ProjectPreparationE85.2616 Hours to be arranged: 3 points.Fall, spring, summer.Individualized consultation, which willguide the student through the final phaseof the required master’s project.

Live Sound ReinforcementE85.2619 45 hours: 3 points. Fall, spring.A focus on basic knowledge of live soundreinforcement; applicable to interestedstudents in music, theatre, or the per-forming arts. Course topics introducemixing consoles, room EQ, speakers.

Audio for Video IE85.2620 45 hours: 2-3 points. Fall, summer.An introduction to the concepts andapplications of audio production for video,television, and film. Current productiontechniques frequently used in the postpro-duction industry are explored, with spe-cial emphasis on synchronization and theinterfacing of SMPTE time code and mul-titrack audio-sweetening techniquesincluding music editing, sound effectsdesign, foley, and dialog replacement.

Audio for Video IIE85.2621 45 hours: 3 points. Spring, summer.Prerequisite: E85.2620.A continuation of E85.2620. This is anadvanced, detailed study of the audiovi-sual production and postproductionprocess, including digital recording tech-niques with special emphasis on synchro-nization and the interfacing of SMPTEtime code. Multitrack audio-sweeteningtechniques, including music editing,sound effects design, foley, and playbackare discussed, as well as other issues thatconcern state-of-the-art postproduction.

Sound Design for the WebE85.2622 30 hours: 3 points. Spring.Aesthetics of sound design and interviewaudio are explored. Basic principles ofMIDI sequencing and digital audio arereviewed. Various audio compressioncodices and models are discussed. Addinginteractive audio to HTNL, documentsare introduced, including Real Audio,MP3, MIDI files, quicklime, JAVA,Beatnik, and Flash.

Computer Music Synthesis:Fundamental TechniquesE85.2624 60 hours: 3 points.Introduction for teachers, composers, andperformers to explore potentials of com-puter science synthesis. Basic concepts ofmusic synthesis presented through theuse of a microcomputer, keyboard, andappropriate software. System may be usedas a real-time performance instrument oras a studio composition instrument.Educators may explore potentials forclassroom application.

Recording Practicum IE85.2625 60 hours: 4 points. Fall, summer.Principles covered in RecordingTechnology I and II are put into practicewith additional theory and hands-ontraining. Students perform various dutiesjust as they would in a professionalrecording session.

Recording Practicum IIE85.2626 60 hours: 4 points. Spring, summer.Actual recording experience with livemusicians in the recording studio.Students perform various duties just asthey would in a professional recordingsession.

Aesthetics of RecordingE85.2627 30 hours: 3 points. Fall.A critical listening study of music record-ings developing the student’s ability todefine and evaluate aesthetic elements ofrecorded music, and discussion of themeans to capture artistic performances.


Audio for the WebE85.2628 30 hours: 3 points.This advanced course focuses on the tech-nical development, production, anddelivery of audio and multimedia contentfor the Internet using industry-standardtools and technologies. Topics includeWeb dynamic applications, audio for-mats, Internet protocols, audio compres-sion, broadcasting, and podcasting.

PERFORMING ARTS ADMINISTRATION/E67

Internship in the Administration ofPerforming Arts CentersE67.2001† A minimum of 450 hours: 3points. Fall, spring; hours to be arranged. Assigned, supervised, and evaluatedresponsibilities at major New York cul-tural centers, including training in pro-gramming, publicity, development, mar-keting, general management, and fiscalaffairs. Open to matriculated students inthe program.

Internship in the Administration ofPerforming Arts CentersE67.2002† A minimum of 450 hours: 3 points. Fall, spring; hours to be arranged. For description, see E67.2001.

Law and the Performing ArtsE67.2008 McClimon. 30 hours: 3 points.Spring.Issues of law that affect the arts, e.g., con-tracts, liability, copyright, and labor rela-tions. Analyzes important legal practicesthat have shaped cultural institutions inthis century and examines legal relation-ships of producers, artists, and presentersin the performing arts.

Marketing the Performing ArtsE67.2105 Guttman. 30 hours: 3 points.Fall. Investigation and application of market-ing techniques and practices for perform-ing arts organizations. The aim is todevelop students’ abilities to select andidentify effective marketing applicationsto increase earned revenue from allsources. Promotional techniques such astelemarketing, brochure and advertise-ment development, direct mail market-ing, and merchandising-related artisticproducts are examined. Participants arerequired to propose, present, and defendassigned projects.

Planning and Finance in thePerforming ArtsE67.2120 30 hours: 3 points. Spring.Techniques of strategic planning andmanagerial finance in the performing artsorganization from the perspective of itschief executive officer. Integration ofskills in organizational evaluation, strate-gic planning, mission formulation, opera-

tions management, and finance. Studentsare required to write a strategic plan for aperforming arts organization.

Environment of Performing ArtsAdministrationE67.2130 (formerly E88.2131) Wry. 30 hours: 3 points. Fall.Corequisite: E67.2131.Introduction to the controlling elementsaffecting performing arts organizations inthe United States. In addition to examin-ing the position of the artist in societyand in the labor market, the course ana-lyzes the relationship of the environmentto the production, marketing, and distri-bution of artistic services. Students studythe derivation of the present environ-ment, the relevance and import of taxexemption and nonprofit status, the orga-nizational structures for arts organiza-tions, the role of funding on all levels,and the strategies and techniques neededto manage performing arts organizationseffectively.

Principles and Practices ofPerforming Arts AdministrationE67.2131 (formerly E88.2130) Wry. 30 hours: 3 points. Fall.Corequisite: E67.2130. Covers the areas of long-range planning,application for tax exemption, programbudgeting, incorporation, demographics,board and constituency building, staffdevelopment, and community develop-ment as related to the establishment andviability of performing arts organizations.Students participate in a class project andcase studies that integrate administrative,planning, programming development,and marketing skills.

Development for the Performing ArtsE67.2132 Dorfman. 30 hours: 3 points.Spring.Revenue generation for the performingarts organization. Examines developmentand fund-raising in the performing artsorganization with a view to studentslearning strategies and acquiring skills toraise funds from disparate sources.Development is examined in its potentialfor fulfilling planning objectives, com-munity development, and stability forthe performing arts organization.

Governance and Trusteeship inPerforming Arts OrganizationsE67.2133 Wry. 30 hours: 3 points. Spring.For trustees, practicing arts administra-tors, or arts administration majors only.The roles and responsibilities of trusteesand officers who govern nonprofit, tax-exempt arts organizations. How the plan-ning, budgeting, personnel development,and marketing policies of arts endeavorsare determined.

Seminar in Cultural Policy: Issues inPerforming Arts AdministrationE67.2222 Wry. 30 hours: 3 points. Fall,spring.Prerequisites: E67.2001,2002, and substan-tial completion of the Program in PerformingArts Administration curriculum. Open only toarts administration majors.Study and preparation of papers on select-ed issues and cases in arts administration.Selected readings. Major paper required.

DRAMA THERAPY/E86

Introduction to Drama TherapyE86.2114 (formerly E17.2114) Landy. 45 hours plus hours arranged: 3 points. Fall.Prerequisite: matriculation in the Program inDrama Therapy or registration by permissionof adviser.An introduction to the theory and prac-tice of drama therapy as a means of treat-ing individuals with emotional, physical,social, and developmental disabilities.

Drama Therapy for the EmotionallyDisturbedE86.2109 (formerly E17.2109) Landy,McMullian. 30 hours plus hours arranged: 3 points. Spring.Prerequisite: E86.1114.Principles, objectives, and techniques ofdrama therapy are examined in relation-ship to the needs of emotionally dis-turbed children, adolescents, and adults.Practical applications are discussed anddemonstrated in class. Supervised field-work is arranged.

Psychodrama and SociometryE86.2115 (formerly E17.2115) Garcia.30 hours: 3 points. Fall.Prerequisite: E86.1114 or permission ofinstructor.The practice of psychodrama and socio-drama are examined as a treatmentmodality for use in drama therapy.Classroom experiences include participa-tion in the psychodramatic process, groupleadership training, and the furtherdevelopment of the aims and principlesof drama therapy.

Advanced Practices in DramaTherapyE86.2116 (formerly E17.2116) Staff. 30 hours: 3 points. May be repeated for atotal of 6 points. Fall, spring, summer.Prerequisite: matriculation in the Program inDrama Therapy.A practical application of the aims andprinciples of drama therapy to the leader-ship of groups. Focus is on selected meth-ods and theoretical frameworks.


Projective Techniques in DramaTherapyE86.2117 (formerly E17.2117) Landy. 30 hours: 3 points. Spring.Prerequisite: E86.1114, E86.2109, or per-mission of instructor.The practice of selected projective tech-niques used frequently in drama therapy,such as puppetry, mask, makeup, andvideo. Projective techniques are demon-strated in class and examined theoretical-ly. Applications to special and normalpopulations.

Advanced Theory and Research inDrama TherapyE86.2119 (formerly E17.2119) Landy. 30 hours: 3 points. Fall.Prerequisites: E63.2038, E63.2039,E86.2109, E86.1114, E63.2271.An examination of advanced drama thera-py theory and research; new approachesthat speak to the aesthetic and psycholog-ical dimensions of drama therapy.Intended for students planning researchfor the M.A. thesis.

Independent StudyE86.2300 (formerly E17.2300) 45 hoursper point: 1-6 points. Fall, spring, summer;hours to be arranged.For description, see page 210.

Internship in Drama TherapyE86.2302 (formerly E17.2302)Hodermarska. 45 hours per point: 1-6 points.Fall, spring, summer.Supervised internship at selected clinics,hospitals, and rehabilitation centers.

Collaboration Among the CreativeArts TherapiesE97.2010 Hesser, Landy. 30 hours: 3 points. Spring.Prerequisite: completion of two full-time semes-ters in any of the graduate-level creative artstherapies. Registration by permission only.An interactive approach toward clinicaltreatment through the creative arts thera-pies. Differences and similarities amongthe creative arts therapies in terms ofgoals, practices, and theory are discussedand demonstrated.

MUSIC THERAPY/E85

Introduction to Music TherapyE85.2930 45 hours: 3 points. Spring.A survey of the scope and variety of practices in the music therapy profession.Current research and methodologies.Contrasting modalities of treatment.Relationship to arts therapies, music education, special education. Of specialinterest to educators, performers, and art professionals.

Colloquium in Music TherapyE85.2947* 10 hours per point: 2-6 pointseach term. Fall, spring; hours to be arranged.Orientation to problems in clinical musictherapy situations. Offered in conjunctionwith fieldwork in various agencies andinstitutions associated with New YorkUniversity.

Music Therapy: Advanced Theoryand Methods IE85.2931 45 hours: 3 points. Fall.Theoretical and methodological founda-tions for the use of music as therapy areexplored in depth with an emphasis onwork with children and adolescents.Psychological, philosophical, and socio-logical theories of music; underlyingassumptions of pathology governingtreatment of populations with disabili-ties; and relevant therapy theories andresearch findings in music therapy arestudied.

Music Therapy: Advanced Theoryand Methods IIE85.2932 45 hours: 3 points. Spring.Theoretical and methodological founda-tions for the use of music as therapy areexplored with an emphasis on work withadults and the elderly. Established andcreative techniques of music therapy,group processes, and personal resources ofthe music therapist are explored.

Music Therapy Practicum: Childrenand AdolescentsE85.2043 135 hours: 3 points. Fall,spring.Supervised music therapy clinical practicewith children and adolescents with men-tal, physical, and/or emotional problemsin a variety of settings within the NewYork City area. A weekly seminar coverscritical issues pertaining to assessment,treatment, and evaluation of music thera-py with these populations.

Music Therapy Practicum: Adults andElderlyE85.2053 135 hours: 3 points. Spring.Supervised music therapy clinical practicewith adults and the elderly with mental,physical, and/or emotional problems in avariety of settings within the New YorkCity area. A weekly seminar covers criti-cal issues pertaining to assessment, treat-ment, and evaluation of music therapywith these populations.

Music Therapy for AdultsE85.2938 45 hours: 3 points. Spring.The study of music therapy and its appli-cations to a variety of populations. Topicsinclude definitions; areas and levels ofpractice; stages of treatment; how theclient-therapist relationship and musictherapy strategies can be applied in themajor theories of psychology.

Key Concepts in Music TherapyE85.2942 45 hours: 3 points. Fall.This course covers theory in music thera-py that derives from music-based sourcesand explores suitable research approachesfor investigating this type of theory.Students study music therapy theoristswho base their theory on music philoso-phy, psychology, musicology, and ethno-musicology.

Theory Development in MusicTherapyE85.2943 45 hours: 3 points. Spring.The historical development of theory andresearch in the field of music therapy areexamined. Students each develop an indi-vidualized theoretical framework for themusic therapy techniques and strategiesthat they have learned in their clinicalinternship.

Internship in Music TherapyE85.2935,2936 100 hours per point: 5points each term. Fall, spring; hours to bearranged.Supervised fieldwork in the student’sclinical specialization area. The intern-ship helps the student develop advancedskills in music therapy practice. Seminarand independent projects are included.

Colloquy in Music Education: FinalProjectE85.2949 10 hours per point: 2-4 points. The culminating experience for all stu-dents in the M.A. program in musictherapy. This final written documentreflects each student’s clinical specializa-tion within the field of music psychother-apy. Students integrate what they havelearned in all aspects of the program bypresenting case material from their clini-cal experiences with supportive theoryand research. After the final project issubmitted and reviewed, students presenttheir ideas to the community in a finalprogram meeting.

Independent StudyE85.2300 45 hours per point: 1-6 points.Fall, spring, summer; hours to be arranged.For description, see page 210.


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