Curriculum

Design

Each student’s program of study is tailored individually to ensure the highest levels of focus and thorough exploration of the student’s areas of interest. Students take a leadership role in defining their programs and consult with the major applied teacher, the DMA Coordinator, and other performance and academic faculty with whom the student shares a specific area of professional interest.

Completion Time

Normal completion time for any DMA program is three years of full-time study; however, the statute of limitations is 12 consecutive semesters. If all course requirements have been completed in the first two years, the student may enroll part-time for the remaining study.

Major Applied Area

All performance and composition students must remain enrolled in MUAP 601-606 Principal Performance Area--DMA for three (3) credits during each semester of full-time study.

Recital Requirements

Performance Majors
The curriculum for the DMA program in performance includes three full doctoral-level recitals in the major area and a lecture-recital. Each recital is planned in close collaboration with the major teacher. The lecture-recital has two advisors who are both actively involved in the process: a musicology advisor and the major teacher. A student may choose to write a research document in place of the lecture recital. Repertoire from one of the first two recitals should relate substantially to the research document undertaken by the candidate.

DMA performance recitals, excepting those of Collaborative Piano majors, consist primarily of solo repertoire. At the discretion of the major teacher, one or more works may involve chamber music. The student is expected to demonstrate technical mastery of the repertoire and mature interpretative sensibilities that consider historical contexts of the periods represented. DMA vocal students, with faculty recommendation, may substitute a major role in a full opera production for one of their DMA recitals. (The first recital must have been successfully completed, and only one substitution is permissible.)

Students register for recitals along with all other courses during the normal pre-registration period toward the end of the prior semester. Recitals are awarded zero (0) credit except for a lecture-recital, which is awarded six (3) credit hours. Part-time students must be enrolled for MUAP 60*, Principal Performance Area-- DMA, during the semester in which a recital is scheduled
Composition Majors
DMA candidates in composition must present one full doctoral-level recital (minimum of 60 minutes of music) of works by the composer. The candidate must participate in at least one of these works, either as a performer or conductor. A detailed recital program must be planned with the participation of the major composition instructor during the first semester of study. The recital must be completed by the end of the third year of study. Typically, composition majors begin work on their recital programs at the outset of their studies and are expected to devote writing time commensurate with the practice demands placed upon DMA performance majors.

Students register for recitals along with all other courses during the normal pre-registration period toward the end of the prior semester. Recitals are awarded zero (0) credit except for a lecture-recital, which is awarded six (6) credit hours. Part-time students must be enrolled for the correct semester of lessons , Principal Performance Area-- DMA, during the semester in which a recital is scheduled.
Final Thesis (Composition majors only)
In addition to the composition recital, composition majors must compose a thesis comprising a substantial work (10-20 minutes). For symphony orchestra or, by petition to the DMA Committee, other large ensemble, this work is to be performed on a regularly scheduled CIM concert program. Before the project may be considered complete by the major composition instructor, the student is expected to prepare a professionally formatted score using computer technology and produce a complete set of parts. Students must enroll in MUCP 752 Final Composition--DMA for three (3) credits in the semester in which work is to begin on the thesis. Students carry a single credit of MUCP 752 for each subsequent semester until the thesis is completed and approved.

Students typically concentrate on the composition of their thesis towards the end of their program, and after they have completed successfully their composition recital. Although the DMA composition thesis will be scheduled for performance on a regular CIM concert series, it is not necessary for this performance to occur prior to the student’s graduation. In the instance of a student graduating prior to the performance of his/her thesis composition, the work is scheduled during the following academic year. Part-time composition students must be enrolled in MUAP 601-606 Principal Performance Area--DMA until the final thesis is completed and approved by the major teacher.

Academic Course Requirements

All DMA students are required to complete a minimum of 33 hours of academic coursework (typically eleven 3-credit courses) in the areas of music theory, music history, music literature in the student’s major area, research techniques, pedagogy, and related liberal arts studies. Some programs may have additional course requirements, and students should consult the curricular requirements for their specific programs. Courses must be at the 400 level or higher. Course selection is tailored individually to meet the needs of each student and is determined in part by the student’s area(s) of scholarly focus, any demonstrated deficiencies revealed in diagnostic examinations, and long-term career aspirations. Courses are selected by the student and approved by the Registrar and the DMA Coordinator.

All students are required to take MUHI 610, Research Methods in Music, as one of their one 3-credit courses. The research methods presented in this course are particularly germane to successful completion of the research document required of DMA students. MUHI 611, DMA Seminar, also is required. Additional required courses are MUTH 423, Analysis of Musical Styles; MUTH 424, Schenkerian Analysis; and MUTH 495, Seminar in Music Theory (20th C). Students must also take three courses in music history. Furthermore, students may also take courses in the literature of their instrument and/or pursue at least one independent study on a research project that supports their field of interest.

DMA Lecture-Recital Guidelines for Performers

A juried lecture-recital (6 credits) will be required of all DMA performance students in addition to their three required recitals. A student may choose to write a DMA research document instead of the lecture recital (see Research Document section that follows).

The lecture-recital will consist of a 45-minute performance preceded by a 30-45 minutes research-based lecture dealing with the musical, historical, and analytical issues relevant to the chosen repertoire.

The lecture-recital has two advisors: a musicologist named to the project and the student’s primary teacher. Lecture-recital preparation is advised actively by both the musicologist and the major teacher, and dialogue between these two advisors is encouraged and expected. Both advisors must approve the topic, the progress toward presentation, and the final shape and content of the presentation itself.

The lecture portion of the lecture-recital will be written in advance of the presentation and must be submitted and approved by both advisors and the DMA Coordinator before the recital takes place. There is an approval signature form in the back of this Handbook for the lecture portion. (Please see the Timeline for Completion of the Lecture-recital or Document for details.)

There is a separate form for approval of the presentation itself that will be signed by both advisors after the lecture-recital is presented. The student will then submit this form to the Registrar. This form is also in the back of the Handbook.

Preliminary Presentation
Prior to public presentation of the lecture-recital, a presentation must be made to both lecture-recital advisors. This preliminary presentation is made sufficiently in advance of the public presentation to permit suggestions for revisions to be incorporated.

Research document option
DMA performance majors may choose to write a historical/analytical research document in place of a lecture-recital. The document is a written embodiment of the research, analysis, and reflection that informs performance and comprises aspects of repertoire that might be presented on a recital. Please see the Research Document heading for detailed information on DMA documents.

Lecture-Recital and Document Timeline
Students should not register for their documents/lecture-recitals until they are going to write them. If they change to part time status after completing their course work, they must pay the part-time credit hour fee. This is much more expensive.

When they register, students will need to work on their lecture-recitals or documents for those two semesters in which they are receiving hours of credit for each semester. They must meet with their advisors and discuss how they will proceed and must also produce a certain amount of work.

During the first semester of document credit (3 hours), the student will confirm the specific topic and create the bibliography. During the second semester of document credit (3 hours), the student will write the document draft.

Timeline for completion of the lecture-recital
The lecture portion completion deadline is the 10th week of class for the document advisor’s approval. This applies to all DMA students. The second reader (the primary teacher) follows.

Completion of the lecture-recital is not required before the last recital can be performed.

DMA Lecture-Recital Guidelines for Composers
Composers present a one-hour chamber recital, then a subsequent composer seminar in place of a lecture recital. The composer seminar is done after the composer has recordings from the chamber recital.

DMA composition majors are required to complete an analytical research document based upon some aspect of contemporary composition. The student may choose a single substantial and significant composition, make a comparison between two works or portions of several works, or consider a group of small works. The works may be by the same composer, by several composers, by composers from a similar location or compositional tendency, or within another parameter acceptable to the student’s document advisor. The student is expected to devise an analytical methodology appropriate to the chosen work or works and capable of providing a mechanism for the student to arrive at reasonable conclusions as the basis of the document. The analysis may be formal, stylistic, harmonic, rhythmic, pitch structural, textural, sonority-based, or through another approach acceptable to the candidate’s document advisor.

The purposes of the document are to determine the parameters of a musical problem, including a holistic conception of the work in its musical environment, and to develop an appropriate methodology toward comprehension of the composer’s compositional process as manifested in the chosen work or works.

Research Document: Performance Majors

DMA performance majors who do not choose to present a lecture-recital are required to complete a historical/analytical research document. The document is a written embodiment of the research, analysis, and reflection that informs performance and comprises aspects of repertoire that might be presented on a recital. Various emphases are possible; some examples are described below.

The student meets with the CWRU Musicology Advisor to discuss possible topics and document advisors. Once a student has developed a topic, s/he should meet with the DMA Musicology Advisor to discuss the project and actual assignment of the document advisor.

The research document is written under the supervision of a document advisor. In most instances, the advisor is a CWRU musicology faculty member. In certain circumstances, permission is given for the document to be supervised by a CIM faculty member with a doctorate and having expertise in the chosen area.

After an advisor has been selected, the topic is chosen carefully and in consultation with the advisor to ensure that it is significant but not unmanageable. The length of the document depends on its subject matter; 45-50 pages is the average, but documents may be longer.

The student then provides the DMA Coordinator information about the topic and the assigned advisor. The Coordinator relays this information to the DMA Committee.

When they register for document credit, students will need to work on their documents for those two semesters in which they are receiving three hours of credit for each semester. They must meet with their advisors and discuss how they will proceed and must also produce a certain amount of work each semester.

Students typically begin working on the document concurrently with the preparation of the related recital. The document must be completed by the 10th week of the semester prior to graduation. Extension of this deadline for special circumstances such as for singers with language deficiencies must be arranged well in advance.

Examples: 1) Candidates may focus on a single work, comparing it with other important examples of the genre, exploring the music historically, analytically, and aesthetically and addressing any performance challenges. Titles could resemble “Chausson’s Poeme” or “Schumann’s Piano Quartet and Piano Quintet,” “Mahler’s Lieder eines fahrenden Gesellen” or “Stylistic Developments in Beethoven’s Violin Sonatas.” The candidate thoroughly reviews the current literature on the topic, carefully analyzes the music in question, and displays a comprehensive understanding of the works to be performed. Primary-source documentary research typically is not necessary nor is appropriate as for a Ph.D. dissertation in musicology. 2) Broader or more specialized topics may be chosen, such as wide-ranging issues of aesthetic influence (“Schumann, Chopin, and the Character Piece,” “Shakespeare in the Vocal Works of Berlioz”), or historical performance considerations (performance tradition, ornamentation, tempo, etc.).

Clarity of Presentation
Clarity of presentation is essential to the successful completion of the document. The student must develop a smooth, lucid, and grammatically correct manner, following the guidelines established in the current editions of Strunk and White’s Elements of Style and Turabian’s Manual for Writers of Term Papers, Theses, and Dissertations, derived from The Chicago Manual of Style. Proper citation of another writers’ work is required. Students are responsible to obtain copyright permission from the copyright holder for any music examples reproduced in the document that are not in the public domain.

Enrolling for document credit
After completion of the DMA Seminar (MUHI 611), students enroll in two semesters of MUGN 751 Recital Document--DMA for three (3) credits each semester and in a single (1) credit of MUGN 790 for subsequent semesters until the document is completed. During the first semester of document credit (3 hours): the student will confirm the specific topic and create the bibliography. In the second semester of document credit (3 hours), the student will write the document draft. A student can register for an addition credit for each subsequent semester until the document is completed
Document advisors will provide a summary of each student’s progress at the end of each semester. The summary will be placed in the DMA student’s file.
Document Completion Timeline and Advisor’s Semester Summary:
The student works closely with the advisor to incorporate all recommendations into the document. Upon approving the document, the advisor signs the document approval form (provided by the student) and returns it to the student. The student then gives this form with the revised document to the primary teacher. The teacher, after review and approval of the document with any new recommended changes or edits, returns the form to the student. The student provides a fully revised and edited document to the DMA Coordinator with the signed document approval form for review.
Submission to the Advisor must occur prior to the 10th week of classes in the Fall or Spring semester for graduation consideration, or prior to July 1 for graduation consideration by the end of any summer session. The Document Approval Form is submitted to the Registrar once all signatures have been obtained.
Copyright
The document is the intellectual property of the author. It must be marked clearly with a copyright symbol, the year of completion, and the name of the author. Unless the student intends the work for publication, it is not necessary to register the document with the Copyright Office. Students should consult a librarian for additional information.
Format requirements and submitting a library copy of the document
A final copy of the finished document must be submitted to the library for document binding according to the guidelines noted below.
Composition Majors
DMA composition majors are required to complete an analytical research document based upon some aspect of contemporary composition. The student may choose a single substantial and significant composition, make a comparison between two works or portions of several works, or consider a group of small works. The works may be by the same composer, by several composers, by composers from a similar location or compositional tendency, or within another parameter acceptable to the student’s document advisor.

The student is expected to devise an analytical methodology appropriate to the chosen work or works and capable of providing a mechanism for the student to arrive at reasonable conclusions as the basis of the document. The analysis may be formal, stylistic, harmonic, rhythmic, pitch structural, textural, sonority-based, or through another approach acceptable to the candidate’s document advisor.

The purposes of the document are to determine the parameters of a musical problem, including a holistic conception of the work in its musical environment, and to develop an appropriate methodology toward comprehension of the composer’s compositional process as manifested in the chosen work or works. Titles could resemble “G. Ligeti’s Use of Texture as a Formal Structural Element” or “Pitch Set Usage in A. Webern’s Cantata #2, Opus 31.” Composition documents typically are 50-90 pages in length; successful exceptions have occurred on both sides of this range.

Students enroll in MUCP 751 Composition Document--DMA for three credits during the semester in which work on the document is begun and in a single credit of MUCP 751 for subsequent semesters until the document is completed. The document must be completed by the end of year three of the program. Hallie, is this correct? Or is it two semesters of 3 credits each for them as well?

DMA Document Format and Library Copy

Once the DMA Coordinator has signed the Document Approval Form and submitted it to the Registrar, the student prepares a properly formatted copy of the document for deposit in the CIM Library. The completed document approval form will be bound with the document. Upon receipt of the final library copy to the Registrar’s Office, the CIM Registrar enters a grade of pass into the student’s record. In support of the student's work, the CIM Library arranges and pays for the binding of this archival copy of the document. Documents must be brought to the Library in a protective box, folder, or expandable file folder, complete and ready to bind.
The completed library copy of the document should be delivered to the Library Director OR dropped off at the front desk with a note indicating it should be given to the Library Director.

Document Format

All documents must be formatted for 8-1/2x11 inch pages.
A standard serif 12-point font, such as Times New Roman, should be used.
The margins on the left side of all pages must be at least 1-1/2 inches. Top, bottom, and right-hand margins must be at least 1-1/4 inches.
Body text must be double-spaced, with paragraphs indented 1/2 inch. Illustrations should be labeled according to the style manual used.
Footnotes must be single-spaced and appear at the bottom of each page. There should be a double space between each two footnotes. They should be separated from the body text by a single rule line extending one-half the width of the page.
The title page of the document should follow the format of the example below and should not be numbered, although it is considered page i, (lower-case Roman). The body of the document begins with page 1, in Arabic numerals. Page numbers should be centered at the bottom of each page.
Documents must contain a properly formatted Table of Contents, which begins on page ii.
Appendices should be clearly identified and separated from the body text by a single page labeled Appendices.
Regular printer paper may be used, but a slightly heavier paper (24 lbs - NOT card stock!) is nicer and more durable, though not at all required. Do NOT use card stock.
The completed library copy of the document should be delivered to the Library Director OR dropped off at the front desk with a note indicating it should be given to the Library Director.

Bound Personal Copy
If a student would like to have their own bound personal copy, they may plan directly with CIM’s bindery vendor: www.thesisondemand.com. The vendor provides a handy cost calculator and cost is usually around $30-$50.

Ensemble Performance Requirements

Full-time DMA students are expected to participate in all CIM ensembles and collaborative opportunities as assigned and/or as appropriate to their major applied area. These include the CIM orchestral and chamber music programs, other CIM ensembles including the New Music Ensemble, collaborative piano classes, conducting classes, and opera studies. Part-time DMA students, while not required to participate, are encouraged to do so.

Composition majors are encouraged to participate in ensembles as appropriate to their instrument and level of expertise. Composers with prior experience who have served in conducting roles for various ensembles, may choose to further their conducting studies. All DMA performance majors must earn a minimum of four (4) elective ensemble credits during their programs. Guidelines for completion of these ensemble credits are:

Orchestra DMA students whose major applied area is an orchestral instrument are encouraged to enroll in MUEN 481, CIM Symphony Orchestra, for one (1) credit for each semester of full-time study in the program.
String and Piano Chamber Music DMA students whose major applied area is a string instrument or piano must earn a minimum of two credits (of the required four elective ensemble credits) of MUEN 458, Chamber Music, during their program.
New Music Ensemble When appropriate, students in the DMA composition program are encouraged to enroll for two semesters during the course of their program in MUEN 457, New Music Ensemble (1 credit), for two of the minimum required four elective ensemble credits.
DMA students whose major applied area is Collaborative Piano are required to enroll in MUGN 461, Collaborative Piano Class for one (1) credit for two semesters, plus two (2) credits of secondary keyboard studies each semester of full-time study.
Opera Studies DMA students whose major applied area is voice are invited to participate in the CIM Opera Program. When the student’s main emphasis falls outside of the operatic sphere, the Dean of the Conservatory, in consultation with the Opera Program Director, may excuse the student from participation in the opera program. Such a release is at CIM’s discretion. Students enroll in Graduate Opera Curriculum for one (1) credits for a minimum of two semesters during the program. Students enroll in MUEN 430 Opera Production for one (1) credit for a minimum of one semester during the program.
Other Ensemble Experiences In addition to the courses listed above, DMA students may elect to fulfill their ensemble requirements by participating in other ensembles. Please consult with the registrar’s office for listing of ensembles.
Repertoire Classes DMA instrumental majors are encouraged to enroll in MURP Repertoire Class for one (1) credit during their program.
Electronic Sound Production DMA composition majors are required to take MUCP 420 and MUCP 421, Electronic Music Production I & II, for two (2) credits each. These credits count towards the 24 academic credit distribution.
Secondary Performance Studies DMA composition majors whose primary instrument is piano must successfully complete MUSP 504 by the end of their second year of full-time study. (As this is a curricular requirement, there is no additional fee involved.) Failure to successfully complete MUSP 504 by the end of the second-year results in loss of Full Academic Standing.
Other Instrumental Studies Elective secondary instrumental study is available to DMA performance majors for an additional fee. Given the time commitment needed to complete a DMA program, the student should weigh carefully the advisability of pursuing instrumental study outside of the primary area. DMA Collaborative Piano majors take secondary keyboard during each semester of full-time study. Composition majors whose primary instrument is not piano are encouraged to continue secondary study on that instrument for the duration of their full-time study; no additional fee is charged.

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