Students must pass one of the two language exams prior to the completion of the A exam i. Students who have not already gained proficiency in two suitable languages are advised to begin this work during the summer before they arrive at Cornell. Exams in other languages may be requested and arranged with suitable faculty outside the music department, in consultation with the DGS. Native speakers of languages other than English may take an exam requiring translation from their native language into English to fulfill one language requirement. Graduate language exams test for reading comprehension of substantial pieces of prose and for ability to translate accurately shorter passages of prose and poetry.
Sample exams are available in the Music Library. Exams are generally offered during the Fall orientation period and, if needed, at another time during the year. During the first two years 4 semesters students are expected to take graduate research seminars with at least 6 different music faculty members, within the guidelines described below.
Need an account? Olmstead has also held three fellowships from the National Endowment for the Humanities, five writing fellowships from the Virginia Center for the Creative Arts, and ten visiting scholar residencies at the American Academy in Rome. Being a string player herself, she aims to study the interconnections of different cultures through their traditional string instruments. Having received a thorough education in both piano performance and music theory, Alex is an ardent pianist who loves keyboards of all sorts, as can be witnessed by her work with the pianoforte, baroque organ, and harpsichord. In production.
The distribution of faculty members ensures a broad grounding in topical areas and methodologies, and a sufficient number of seminar research papers from which the student will choose one to revise for the General Exam see below. This policy also allows time for students to take courses outside the music department. During the third year, students should take at least two seminars; there are no formal requirements for the fourth year and beyond, although students are encouraged to enroll in seminars of interest.
Students are required to submit what they consider to be their best seminar paper from their first year of residency at the beginning of their third semester. Students will receive written feedback on their submission and their overall performance in seminars during their first year, reflecting their progress during the first year and suggesting any areas for improvement.
Students are required to take the first part of their A Exams during the week preceding the beginning of their fifth semester of study, and the Special Areas Exam part two of the A Exams no later than the end of their sixth semester. Year 1: Seminars: 3 plus 3 may include a language; discuss with the DGS Summer 1: language study, if the language requirement is not yet satisfied. Year 3: General qualifying exam at beginning of year; Special Areas Exam at end of year.
Seminars: at least 1 plus 1; teaching. Begin to work on dissertation area as well as prepare for Special Areas Exam. Although the Field as a whole sets policies, it is the Special Committee that certifies that the various requirements for graduate degrees have been satisfied. The Special Committee of a doctoral candidate comprises three or four professors who are members of the Graduate Faculty; each student selects the members of his or her Committee, subject to their agreement. Retired professors with the status of Graduate School Professor may co-chair a committee; however, a second co-chair from the active faculty must also be chosen.
If students wish formal supervision in an area that is not adequately represented at Cornell, they may, with the approval of the Special Committee, petition the Graduate School to permit the appointment of an authority from outside Cornell. Students must have three Cornell members on the Special Committee; the outside authority serves as an additional member. All decisions regarding the composition of the Committee are subject to the approval of the entire Committee.
As a Ph. For most faculty members in the Field of Music , the concentration will be the same as the subject. Students must make sure that their committee members, whatever the Graduate Field, represent an official concentration. Students in the Field of Music are required to have one minor subject of study, represented by at least one member on the special committee, and course work in that area as deemed suitable by that committee member.
In addition to the two major subjects music and musicology the Field also includes three minor subjects: music performance, musical composition, and theory of music.
A graduate minor subject may also be taken in an area of study outside of the Field of Music, such as Comparative Literature, Psychology, History, English. Those who hold minor member status on the Graduate Faculty may only participate as a minor member of the committee.
Students may also petition the Field for permission to include as a minor member of the committee other members of the Music Department faculty who are not on the Graduate Faculty e. Kim, C. Kim, or R. Students must choose at least a Committee Chair by the beginning of their third semester ; ideally, the entire committee will be established then, which must in any case happen before the end of the third semester.
The most effective way to get to know the professors in the Field is to take courses with them or work with them independently. A professor's participation should not be taken for granted; any professor may decline to serve on any Committee. Requests to serve should be preceded by extended acquaintance and prior consultation.
Students may change the membership of their Special Committees if their academic focus changes or if other circumstances warrant a reformulation. Unless students have already passed the second part of the A exam see below , no special permission is required except that of the remaining and new members of the reformulated Committee. The DGS must also sign the form, so that the Field as a whole understands the reasons for the change. The purpose of both exams is to assure professional competency in scholarship, teaching, and public presentations. Students will be able to demonstrate their knowledge and critical skills in written and oral form, developing a body of polished scholarly work and exercising their skills at oral discussion and argument.
The purpose of the General Exam is to develop a portfolio of six topics that reflect your course work in seminars, teaching interests, and a certain breadth of knowledge of repertories and scholarly issues in order to be broadly conversant with your chosen subfield of musicology, ethnomusicology, or music theory. The purpose of the Special Area Exam is to develop special expertise in the larger area that circumscribes the dissertation topic, as well as one secondary area the minor.
Paperwork to schedule the Special Areas segment of the A Exam must be sent to the Graduate School at least 7 days in advance of the exam, and the report of the exam must be sent within 3 days of completing the exam. If a committee member must participate remotely, a petition must be filed with the Graduate School in advance of the exam. The Graduate Field Assistant is available to assist with these requirements and to ensure that forms are submitted in a timely manner. The entire cohort will take this exam at the same time, during the week prior to the start of their fifth semester.
This exam consists of 4 parts. This portion of the exam is designed to give the student practice in the kind of revision required of any peer-reviewed article, as well as potentially lead to the publication of an article prior to entering the job market. The revised seminar paper is due least two weeks prior to the Exam date. During the exam period, students will be given one question for each of the topics no later than Friday AM of the weekend period. All essays are due to all committee members usually as electronic attachments by PM Monday.
It is highly recommended that students rehearse oral exams with their peers. Students will develop bibliographies, repertoire lists, and probing topical questions for three areas under the supervision three different committee members.
At the end of a designated period of development and study, three successive weeks of one month usually August will be devoted to generating the essays. Books and notes may be used. Essays should be submitted to the committee in succession, at the end of the designated week of writing for that topic. The dissertation proposal is due at the same time as the last essay. The proposal should include at least:. After the student has written and revised a complete draft of the PhD thesis, the student must complete two portions of a dissertation defense known as the B exam in Graduate School documents.
This consists of two parts:. Both parts of the dissertation defense must be announced to the Graduate Field no later than 7 days in advance of the dates; the thesis defense must also be scheduled with the Graduate School at least 7 days in advance of the exam , and the results must be submitted within 3 days of the exam.
Ideally the public colloquium should take place during the regular departmental colloquium time as part of that series of lectures; therefore the student will need to submit a title and abstract to the Lecture Committee one semester in advance to facilitate scheduling. Exceptions due to scheduling conflicts will be accommodated.
Thus: writing in weeks of the August before the seventh semester; orals in orientation week or week 1. Also possible: Writing in weeks of May of the sixth semester; orals at end of May. This paper examines three works connected to landscape by their respective composers: North Country by Canadian Harry Somers , Symphony No. My argument is informed by theories formulated by scholars of settler-colonialism, art history, and literary studies, where scholarship on the political significance of landscape is well established Mitchell, ; Skinner, ; Veracini, These issues remain relevant today, as examples of landscape-themed music continue to be cast as unproblematic expressions of Canadian, Australian, and New Zealand national identities see, for instance, Cherney, ; Norman, Since moving to Canada in she has also become interested in exploring issues concerning music and settler-colonialism.
He mapped this onto his operatic protagonists as well and focused on the hero journey of his subjects. In so doing, Anhalt projected colonial legitimacy: immigrants and colonialists alike experience what Heidegger called Geworfenheit throwness and multiplicity, with the New World providing liberation for the composer and his musical subjects.
The goal of this study is to situate these works in post-colonial discourse and to identify the colonial dialogics at play in order to operatically investigate narratives that deny utterance to the indigenous voice. This paper thus participates in the ongoing process of problematizing inherited narratives of colonialism and colonial figures through discursive analysis of the operas, specifically engaging with the semiotics of representation, identity politics, and religion.
His dissertation will explore the intersection of opera and politics in Cold War era Hungarian language opera. His broader research interests involve the examination opera as it functions outside the mainstream centers.
In Zachary was a Fulbright scholar working as a fellow at the Hungarian Musicological Institute. He is also the co-founder of the non-profit organization the Composer Discovery Initiative, and former lecturer at the University of Alaska Anchorage.
Heroes or Villains? Cochran, McGill University Conventionally, early eighteenth-century drammi per musica present a clear distinction between enlightened castrato heroes and conspiring villains, where the primo uomo unequivocally plays the role of the hero. Along with the traditional lieto fine of these operas, this has led scholars to view these works as an expression of the ideology of absolute rulers Feldman, ; Strohm, I argue that these power dynamics change in the context of contested foreign rule. In this paper, I look at three drammi per musica set to music by Domenico Sarri and performed in Naples during a period of political instability rife with local conspiracies against Austrian rule —14; — Indeed, Sarri turns villains into serious contenders for primo uomo status: performed by castrati, they sing more arias than the other male characters Polinesso in Ginevra or as many as the heroic primo uomo Artabano in Arsace.
In the case of I gemelli rivali , all male roles for soprano voice apart from that of the evil king Parrasio were assigned to women, making him the primo and only uomo of the opera. By casting doubt on the parallel between hero and primo uomo , Sarri brings into question the heroic status of the real-life political primo uomo the absolute ruler , a powerful choice in the context of foreign rule. Zoey M.
Cochran is a PhD candidate at McGill University, where she studies the politics of early eighteenth-century drammi per musica created in Italy under Austrian domination. More generally, she focuses on the relationship between opera, Italian language and cultural history, and Italian identity. Her articles and reviews have appeared in Music and Letters and Keyboard Perspectives and she has presented on topics ranging from the madrigal and the questione della lingua to Italian fascist operas in international musicological and interdisciplinary conferences. Her research on the use of Tuscan in eighteenth-century Neapolitan comic opera won her the Proctor prize In an environment where literacy rates were high and print culture was generally becoming a force to be reckoned with, Czech critics were positioned to have considerable local reach.
However, rather than acting merely as passive recipients, audiences in Prague did much of the shaping and manipulating themselves. Eva Branda holds a Ph. She has a forthcoming article in the Journal of the Royal Musical Association. Branda has taught at the University of Waterloo and is currently a course instructor at Western University. Following his move to Europe, Prime-Stevenson self-published his music criticism, research on sexuality, and fiction for a select readership.
Although Repertory at first appears to be a conventional guide to music appreciation with the aid of phonograph recordings, a close reading of the introduction and appendices reveals that Prime-Stevenson saw the musical experience as closely tied to his views on sexuality and lifelong pursuit of a musical-sexual social network. Instead of viewing record-collecting as a largely solitary pursuit, Prime-Stevenson focuses on intimate connections forming between listeners in the present as well as across time and space. Her other research interests include early nineteenth-century mechanical music and Enlightenment politics in the operas of Antonio Salieri.
In order to render it accessible to children, Slonimsky simplifies Webern's six-measure-long score. German words are translated into English, all parts are written in non-transposing G-clefs, and, most intriguingly, drawings of each instrument appear next to their first entrances an old-fashioned metronome even sits beside the tempo marking.
Furthermore, music of and for children was nothing new for Webern; op. David H. Miller is a Ph. David studied music at Harvard University, where he graduated magna cum laude with highest honors and was awarded a Paine Fellowship for postgraduate study in Vienna, Austria. He is currently writing a dissertation on the reception of Anton Webern's music in the United States.
However, I argue that disability — filtered through the lenses of hearing loss and madness — serves as a primary factor behind that narrative.