music composition phd programs

Graduate Program in Composition

Previous handbook for those entering in 2023 or earlier

The composition program at Cornell combines private lessons and group seminars, with an emphasis on the development of the student’s personal approach to composition. The DMA blends scholarship with artistic work. We require a foreign language and a thesis analyzing the dissertation piece and contextualizing the student’s work, and we expect that all composers will take some seminars in scholarly subjects. One strength of the program is that, like all Cornell doctorates in the humanities, the DMA program in composition offers the adventurous student the opportunity to study many subjects, including topics outside the field of music, and to meld these into a highly individual course of study.

All DMA students are admitted with four full years of funding in the form of two years of fellowships and two years of teaching assistantships. Students who do not already have a master’s degree in music earn the Master of Fine Arts in the course of their study; but the MFA is not normally viewed as a terminal degree at Cornell, and those wishing to earn only the master’s degree are not admitted.

In addition to seminar work and lessons, students will be required to present a public concert of their work comprising a substantial amount of music in various media composed during their study at Cornell. As part of the DMA dissertation, students are required to complete a significant work, the scope of which will be determined in consultation with the Special Committee.

Works by doctoral composers are performed by the student-managed Experimental Sound Series (ESS), typically once per year, and at other events in collaboration with DMA performance practice students. They are also presented by groups invited under the aegis of the Steven Stucky Memorial Residency for New Music. Finally, the Festival Chamber Orchestra (FCO)—a large ensemble modeled on a standard sinfonietta configuration (with or without electronic media)—presents an annual concert of doctoral students’ scores.

Composition Admissions

Academic Requirements:

Students wishing to enroll in the D.M.A. Composition program must have a B.A., B.Mus., M.A. or an equivalent academic background.

Application Deadline:

January 15th for Fall admissions.  (The Fall semester begins at the end of August)

Application Materials:

The following materials must be submitted online via the Cornell University Graduate School  online application system :

Cornell Graduate School Online Application form

Application Fee

• Academic Statement of Purpose
• Personal Statement

Transcripts (and English translations if required)

TOEFL scores (see  Graduate School TOEFL requirements  for further details)

Three letters of recommendation from faculty members acquainted with your work

• An essay, term paper, or honors paper dealing with music composition
• Scores of two or three recent compositions, with audio/video links (no Google drive, please) or MP3 recording

Every student accepted into the DMA program in composition at Cornell receives four years of guaranteed funding, including financial support for three summers. Every student is given a Sage fellowship for the first and fourth years; the latter Sage fellowship may be deferred if outside funding is procured by the student. The remaining two years of funding are in the form of teaching assistantships. Student Health Insurance is provided under fellowship and teaching assistantships. Partners, spouses, and dependents can be included for additional charges.

Ordinarily the DMA program may be completed within four years, though some students may require more time. When possible the department may offer additional semesters of teaching, but such support is not guaranteed. Many students seek outside fellowships beginning in their third year. There are also a few dissertation fellowships available through various Cornell programs. Entering students are encouraged to apply for Javits, Mellon, or other outside fellowships as another means of extending their graduate support. For a list of external and internal graduate fellowships (searchable by keyword, program name, or deadline) see the  Graduate School Fellowship Database.

The Department of Music offers a wide variety of teaching experiences, and the faculty makes every effort to match interest and skill to course offerings.  Click here to learn more  about teaching assistantships.

Program History

The DMA program in composition is uniquely flexible and is developed in close consultation with the student’s Special Committee. Students may combine their study in the Field of Music (music and sound studies, performance) with work in other Fields at Cornell.

“Field of Music,” or “Field” for short, is the official Graduate School designation for the graduate programs and the Graduate Faculty in music. The Director of Graduate Studies (DGS), coordinates the activities of the Field, including such concerns as admissions, financial aid, advising, and job hunting, and represents the Field vis-à-vis the Graduate School. Even though it will not have much effect on your program, it is useful to know that the Department of Music and the Field of Music are not coterminous; some faculty members of the Department are not members of the Field, and most graduate Fields, like ours, include faculty members from several departments.

The nature and history of Cornell’s D.M.A. degree.

The current composition faculty includes Kevin Ernste, Elizabeth Ogonek, and Marianthi Papalexandri-Alexandri, who together offer instruction in an unusually wide range of contemporary musical practices: electroacoustic and computer music, sound art, installation, new media, improvisation, instrument building, and scored composition for traditional instruments, chamber groups, and large ensembles.

The first bona fide appointment in music at Cornell went to a composer, Arthur Farwell, who served from 1899 to 1901. The proper history of the composition program really begins in 1941, though, with the appointment of Roy Harris as Composer-in-Residence under a grant from the Carnegie Corporation. It was Harris who established the first graduate seminar in composition, and Harris who guided John Vincent to the first Cornell PhD in composition in 1942. He was succeeded in 1943 by his own student, Robert Palmer, under whose leadership for the next thirty-seven years the program came to national prominence. In 1954 Karel Husa left Paris for Cornell, replacing Hunter Johnson (1948-54), and Husa’s growing reputation in the 1970s and ’80s further secured Cornell’s prominent role in the training of American composers. Palmer retired in 1980, to be succeeded by his own student Steven Stucky, who was the Given Foundation Professor of Music until 2014; Husa retired in 1992, to be succeeded by Roberto Sierra, who was the Old Dominion Professor of Humanities, Music, until 2022. For many years, electronic music pioneer David Borden (an associate of Robert Moog and founder of the world’s first live synthesizer ensemble, Mother Mallard’s Portable Masterpiece Company) taught electronic music, mostly to undergraduate non-majors, but in 2005 Kevin Ernste came to Cornell as Director of the Cornell Electroacoustic Music Center, bringing computer and electronic music to graduate composition. In 2016, composer, performer, and sound artist Marianthi Papalexandri-Alexandri joined the composition faculty, and the program welcomed Elizabeth Ogonek in 2021.

Cornell instituted a separate doctorate in composition in 1957. At that time the faculty in music argued for the establishment of the professional degree Doctor of Musical Arts instead of the more scholarly Doctor of Philosophy. In technical terms, the DMA, being a professional degree like JD or DVM, is subject to certain requirements of the State of New York as well as to the jurisdiction of the Graduate School and the Field of Music. In practical terms, the DMA is widely looked upon as emphasizing professional and artistic skills more than scholarship or research, and during the latter part of the twentieth century it became the terminal degree for most composers in US graduate programs.

The situation at Cornell is somewhat different. Here the DMA, while still fundamentally a professional degree in composing, aims at a balanced combination of professional training and scholarly endeavor. This dual emphasis exists in part in response to Cornell’s distinguished tradition of musical scholarship, its eminent faculty in music and sound studies, and its outstanding library system, and in part to a realistic assessment of the state of the profession: composers who hope to enter college-level teaching must be competent not only at composing but also at a broad range of academic musical subjects. Thus it is in the nature of the Cornell DMA that, although each candidate will follow a different course, each will be expected to pursue excellence in both spheres, the professional and the scholarly.

The Master of Fine Arts degree.

Applicants who wish to earn only the master’s degree in composition are not admitted, but those who enter the doctoral program without having already earned a master’s do receive the MFA in the course of their study toward the DMA. The master’s degree requires a thesis consisting of a significant new work.1 The final exam for the MFA, at which the thesis is presented and defended, is combined with the doctoral Admission-to-Candidacy Examination, described below. The Cornell MFA cannot be granted to a student who has already earned any master’s degree in music at another institution.

1 In this respect, it differs from the MA awarded to PhD candidates in musicology upon the successful completion of their A exams. The latter is what the Graduate School calls a “Special Master’s” (i.e., one for which no thesis is required). The MFA awarded to composers, since it does require a thesis, is not “special.”

Program Requirements

The programs and activities in music at Cornell are rich and varied. Only certain aspects of the formal requirements are described here. For other details, and for information about anything else, you should ask your Special Committee Chair, the DGS, other professors, and fellow students. The flexible, decentralized Special Committee system means that, ultimately, the shape of your program and what you get out of it depend primarily on you. The more questions you ask of the greater number of people, the better will be your chances of formulating your own best answers.

The Special Committee.

The Special Committee of a doctoral candidate comprises three or four professors who are members of the Graduate Field. Each of the three regular members of your Committee must represent a particular “concentration,” as defined in the legislation of the Graduate School. In music, these are composition, performance practice, and music and sound studies.

Every Committee includes a chair and two or three “minor members.” The chair always represents the major subject — composition, for our purposes. Two minor members also represent official subjects or concentrations. The minors available to you include composition (again), music and sound studies, and performance practice within the Field of Music, and, of course, countless possibilities in other Fields. One minor fairly often lies outside the Field of Music; you may even elect two outside minors, but only with prior approval of the Field as a whole. (No more than three subjects are ever represented on a Special Committee. If you include a fourth professor, officially they “do not represent a minor subject.”) Retired professors with the status of Graduate School Professor may co-chair a committee if they remain in the Ithaca area.

Your Special Committee, then, will assume the following form:

Chair: composition

Minor member: composition, performance practice, or music and sound studies

Minor member: one of the above, or an outside minor

[Fourth member: Not representing a subject (optional); often used for an “extra” composer]

Other arrangements are possible. For example, you may petition the Field for permission to include as a minor member other members of the Music Department faculty who are not on the Graduate Field.

If you wish formal supervision in a discipline that is not adequately represented at Cornell, you can, with the approval of your Special Committee, petition the Graduate School to permit the appointment of an authority from outside Cornell. You must have three Cornell members on your Special Committee in any case; an outside member would thus become a fourth. All decisions regarding the composition of your Committee are subject to the approval of the entire Committee.

Note: There is understandable confusion about the difference between a “subject” and a “concentration.” As a DMA student, your major subject is “music,” your concentration “composition.” The Special Committee form that you will fill out asks for a faculty member’s “concentration.” This is a category that is recognized and tracked by New York State legislation and that represents our degree programs.

The formation of your Special Committee is an important step, not to be rushed into pro forma. During the transition period in your first year, the DGS, acting as your temporary chair, can sign the necessary forms and can offer advice about forming your Committee. You must have chosen at least a chair by the beginning of your second year; ideally, you will have formulated your entire Committee by then, since to delay this step much further would seriously jeopardize your progress toward the degree. It is important to work with all three faculty composers, if at all possible, during your first year, since before the beginning of classes in the fall of your second year you will have to invite one of them to chair your Committee. You will want to be sure that you are going to be comfortable doing the bulk of your composition study with that person for the remaining three years.

At first, almost nobody will have a clear idea about minor members and minor subjects. The most natural and effective way to get to know the professors in the Field is to take courses with them or work with them independently, and this is a powerful reason to take as heavy a load of courses and other work in your first year as you can manage. When setting up your Committee, do not take a professor’s participation for granted. Any professor may refuse to serve on any Committee. A request to serve should be preceded by extended acquaintance and prior consultation.

You may change your Committee on your own initiative. Although this is not something to be done lightly or frequently, it is a normal procedure and should be considered whenever a substantial benefit seems probable. Unless you have already passed the A exam, no special permission is required except that of the remaining and new members of the reformulated Committee. (The retiring members and the DGS must also sign the form — they may not decline to do so — so that each professor concerned and the Field as a whole understand the reasons for the change.)

From one Committee to another, the substance and style of a chair’s supervision, the relationships among the various subjects, and the extent to which the minor members take an active role, all vary widely. In these as in many aspects of your study at Cornell, it is up to you to formulate your own goals and to suggest ways of achieving them. Moreover, only you can take the initiative necessary to explore the potential connections among your subjects and to stimulate the active interest of your Committee members. You must ensure, among other things, that your Committee formally meet with you as a group at least once every semester. (This is a policy of the Field as a whole.)

The normal minimum residence requirement for the DMA is eight “residence units.” A residence unit is defined as satisfactory full-time study for one semester, with appropriate progress toward the degree. (The Special Committee is required to certify to the Graduate School at the end of each term whether your progress has been satisfactory and your work “full-time,” and to recommend whether you should receive a full residence unit for that term.) The minimum requirement is thus equivalent to eight semesters of full-time study. It is possible to earn credit “in absentia,” while studying away from Ithaca, and to earn partial credit even if you must work more than 15 hours a week. A student who comes with a master’s from another institution may petition for reduction of the minimum requirement, usually to six units. (In practice, however, it is very rare for any DMA candidate to do fewer than eight units, with or without a prior master’s degree.) At least two of the minimum eight units must be spent in consecutive semesters of full-time study in Ithaca. At least two of the eight must follow the passing of the A exam (although this requirement, too, can be waived upon petition).

The minimum Field requirement for composers is reading knowledge of one foreign language. In consultation with your Special Committee, you should settle as early as possible the question of which language or languages you are expected to know. Native speakers of other languages are a special case. Sometimes their native language is appropriate for their dissertation research, and that’s fine; if not, though, the Field or the Special Committee might insist on yet a third language more closely connected to the work at hand. The Field considers computer coding languages to be equivalent to other languages. 

The requirement should be satisfied as soon as possible, preferably during the first year of residence. (In any case, the language requirement must have been completed before you will be permitted to attempt “A’s.”) Both the usual undergraduate language courses and special courses meant for graduate students preparing for exams are available to you. The Field administers its own exams in French, German, and Spanish at the beginning of each semester, and in other languages as needed. At the end of your first year, certification that you have made satisfactory progress toward the degree will hinge in part on your having passed the language requirement by then, or at least having demonstrated that you are close to doing so.

Courses and independent work.

You and your Committee decide on your courses and other activities each term. Ideally, each semester’s decisions fit into your long-range program, whose goals become increasingly clear from term to term. Although every composition student is encouraged to take all available composition seminars, you must take at least one seminar with each composition faculty member.

You will also be expected to take Composition (Music 7111) every semester, and to attend the composers forum and all rehearsals, workshops, and conferences related to the ESS, FCO, and Stucky Residency. Whatever your stated minors, most Special Committees will expect you to do some work in music and sound studies and computer and electroacoustic music. In the Composition program, Committees often expect students to take a minimum of six to eight 4000 (or higher)-level courses outside of 7111, ensembles, and performance lessons; these might also include courses in a minor subject outside the Field of Music.

In addition to formal work in composition and analysis, Committees expect at least two formal seminars in music and sound studies, for several reasons: to create opportunities to explore the interconnections among subjects and the relationships between scholarship and creative work; to strengthen academic credentials with a view to winning a college teaching position; and to provide practice in academic thinking and writing. One of these two seminars may be taken outside of Music, with the prior permission of the Special Committee.

PhD students in music and sound studies are generally considered to carry a full-time load if they take three seminars for credit and do a modest amount of independent work. For composers, the notion of full-time load is sometimes treated more flexibly, owing chiefly to the demands of composing. Indeed, the general expectation is that you will present new work on the concerts of the Experimental Sound Series and the Stucky Residency ensemble at least twice a year, and that you will write a work for the FCO at least once during your four-year residence, and taken together these expectations already represent a formidable commitment of time and energy even before formal courses are added to your load. In general, formal participation in courses will be greatest during the first two years, when students usually sample widely within the Field, satisfy the language requirement, and explore minor subjects within the Field or outside. In later years, less and less time is spent in seminars, as students prepare for exams and write theses. Moreover, the Field feels strongly that all candidates in music, DMA and PhD alike, should have teaching experience. Other things being equal, every graduate student in music will be offered teaching assistantships beginning in the second year. A good rule of thumb for composers is to take about three courses each term in year 1, two courses each term in years 2 and 3 (always including Composition as one course every term). This pace would produce a total of eight courses besides Music 7111, and the faculty considers that to be about right.

The Field as a whole offers about three to five graduate seminars each term. Composition is offered every term. In general, Music 6201 (Introduction to Bibliography and Research) is offered every fall for first-year students. An attempt is made to offer every other “active” course at least once every second or third year. But there is no guarantee that any particular course will be offered within any given period of time, or that any particular pattern of courses will be maintained without change. At the beginning of each year, the graduate courses to be offered that year and, where possible, in succeeding years are described in a general meeting of graduate students and Graduate Faculty.

Many important topics, and even whole areas of study, are not covered by formal courses. The faculty believe that this price is worth paying for the benefits of a small, intimate program, including high-level research seminars and a great deal of individual attention. The chief responsibility for filling in the gaps lies with you. The techniques you learn in formal courses should carry over to your independent work. Your professors will expect you, on your own, to keep up with recent acquisitions in the Music Library, to read articles and reviews in current journals, to study and listen to music, to attend meetings, conferences, and festivals when feasible, and so on.

As for composing, it is impossible to generalize about what constitutes an acceptable level of productivity; this is a matter for you and your Special Committee, and it depends on many variables. But it is important that, at a minimum, you be represented (preferably by new work) on the concerts of the Experimental Sound Series and the Stucky Residency ensemble at least twice a year. Much depends on these concerts, since they provide the only opportunity for the Field as a whole to assess your progress. In your first or second year (determined by your Special Committee), you will be expected to present a new work for the Festival Chamber Orchestra (instrumentation: 1111 - 1110 - 1 percussionist - keyboard - string quintet, with the option of electronics and mixed media).

The Admission-to-Candidacy Examination

Every DMA candidate must pass a general examination in composition, analysis, and twentieth- and twenty-first-century music, called the Admission-to-Candidacy Examination, or “A exam” for short. (The term candidacy refers to acceptance into doctoral status.) The A exam may not be attempted earlier than the beginning of the third semester, nor later than the beginning of the seventh semester of full-time study. Most students take them during the fifth and sixth semesters. The date is jointly agreed between you and your Committee. For composers, the A exam comes in two stages. Stage I comprises analysis of an assigned work and the composition of a new piece, followed by an oral exam in which the student presents their analysis to the committee and the committee discusses the composition. Stage II comprises written questions in recent music history and analysis, followed by an oral exam on these questions, as well as on the student’s dissertation proposal.

Stage I of the A Exam is typically taken over 72 hours (Friday to Sunday) during the 5th semester and Stage II over 72 hours (Friday to Sunday) in the 6th semester, but there is no reason they cannot be taken closer together. You will find the dates that make the most sense with your Special Committee.

Before you can prepare for Stage II, you and your Committee must first agree in advance on a subject list, typically by the end of the 4th semester. The subject list usually consists of ten twentieth- and twenty-first-century composers distributed into three tiers:

Tier I. One composer, about whom you will become as thorough an expert as possible.

Tier II. Three composers, whose works you know in considerable detail and about whom you know the scholarly and analytical literature well.

Tier III. An additional six composers, for each of whom you know a handful of important works well and about whose work you have a good working knowledge, both of the works and the analytical and historical issues associated with them.

In consultation with your Special Committee, composer slots may be substituted by up to five general topics within the overall list.

The oral exam for Stage I will typically take 90 minutes. You will present your analysis of the assigned work for 30 minutes, then answer questions from the Committee. The second half of the oral exam will be devoted to discussion of the composition assignment.

The oral exam for Stage II will typically take two hours, and will cover your responses to the essay questions about your composer list, as well as a dissertation plan for a significant work, which is due along with the essays for Stage II. 

In principle, your subject list merely gives a framework around which you organize your study; your Committee can ask you anything it considers necessary for your professional credentials. Only the oral exam of Stage II is scheduled formally through the Graduate School, and this must be done at least one week in advance, on a form signed by your Committee and by the DGS. Any member of the Graduate Faculty is entitled to attend the orals and to ask questions, but only your Special Committee votes on your performance. A unanimous vote is required to pass; you will be informed of the result immediately. Should you fail, your Committee may choose to give you a second chance after another semester or two. Most students who prepare conscientiously pass the first time.

For students earning an MFA (i.e., any DMA candidate who does not already hold a master’s degree in music from another institution), the final exam for that degree is held concurrently with the A exam, and the student presents a master’s thesis consisting of a substantial new work.

The D.M.A. recital

At some time during your study, usually after the A exam but always before the B exam, you must present a public concert comprising a substantial amount of music (in consultation with your Special Committee) in various media composed during your study at Cornell. Selecting the program, procuring performers, and rehearsing are your responsibility.

The Department of Music provides financial support toward the cost of hiring performers. This amount must include performance fees, housing, transportation, meals, instrument rentals, and any other cost associated with the concert.

The performers must be contracted in advance of the performance using Cornell’s official artist contract. Housing is often available on campus. Receipts must be submitted for all expenses, and certain requirements must be followed for items like truck rental and travel reimbursement. The Events Manager can assist in administering these details.

The date and time of the recital and any rehearsal time should be scheduled with the Events Manager as early as possible to avoid departmental conflicts. The candidate is responsible for moving any needed instruments and equipment to and from the performance space and should coordinate those moves with the Events Manager. The Events Manager will set deadlines for the candidate to provide their program content, including any program notes, etc.

The D.M.A. presentation

In your final semester, you will deliver a public presentation on your compositional work and its intellectual and artistic context. The presentation should last between 75 and 90 minutes, and should include recordings, score excerpts, and/or other documentation as supporting material. Your talk will be followed by questions from the Committee and the audience, and should be scheduled within a week before the DMA defense (colloquially known as the “B Exam”), which is only attended by you and your Special Committee. You should coordinate the scheduling of your DMA presentation with your Committee and the Events Manager of the Department.

The D.M.A. thesis and defense

Part I of the thesis is a significant work, the scope of which will be determined in consultation with the Special Committee. Like all aspects of your thesis, the DMA composition should be discussed with your Committee well in advance.

Part II consists of a written analysis and explication of the Part I dissertation work, with historical and cultural contextualization as necessary; this document should be no longer than 10,000 words, and must be submitted to your Committee and accepted as finished before you will be allowed to schedule the final oral defense (often referred to as the “B Exam”).

On matters of general style, follow the latest edition of the University of Chicago Press Manual of Style (also available online) for Part II. Follow, too, the published instructions distributed online by the Graduate School, and consult the Thesis Secretary frequently. 4 It would be reasonable to spend a whole year doing little else but writing the thesis essay, completing and polishing the composition portfolio, presenting the DMA recital, and preparing the B Exam presentation. Thus a student who succeeds in finishing within four years will usually have followed approximately the following timetable:

• Take about four seminars (in addition to 7111 Composers Forum, for a total of about six)
• Pass the language requirement
• Compose works for the ESS, Stucky Residency ensemble, and/or FCO 5
• Take about two seminars (in addition to 7111 Composers Forum, for a total of about four)
• Propose the A exam composer list
• Compose works for the ESS, Stucky Residency ensemble, and/or FCO
• Take about two seminars (in addition to 7111 Composers Forum, for a total of about four).
• Complete the A exams
• If eligible, submit the MFA thesis composition
• Complete Parts I and II of the thesis
• Deliver the DMA presentation
• Present the DMA recital
• Complete the B exam

It is important to finish on time, because the days when an ABD (“all but dissertation”) could get a teaching job seem to be over, as do the days when additional financial aid was sometimes available for extra years of residence beyond the four-year guarantee.

4 Rules and standards change; do not simply model your format on old theses in the library.

5 Students typically compose for the FCO in their second and fourth years, but with other expectations, such as writing for the Experimental Sound Series and the Stucky Residency ensemble, available opportunities will surely continue to evolve. The basic principle is this: you are expected to write a substantial amount of music in each of your four years, covering a wide range of performing forces and formal types. The Department of Music and Field will endeavor to provide performance opportunities for many but probably not all of these projects.

The final examination (dissertation defense)

This examination is oral, based on complete and polished versions of your DMA composition (Part I) and written analysis and explication (Part II), in their final form save for minor corrections arising during the exam itself. It focuses primarily on the thesis itself, but broader issues may arise out of the thesis topic or the DMA composition(s). The examination must be passed and the thesis accepted by unanimous vote of your Committee. (The provisions for visitors are the same as for A’s: any member of the Graduate Faculty may attend and ask questions, but only your Special Committee will vote.)

The final examination must be passed within seven calendar years of the date of your matriculation. (You need not be in residence at the time, however.) If your thesis is submitted after this deadline, the B’s may not be scheduled until a petition, endorsed by your Committee and by the DGS, is approved by the Graduate School.

Composers' Forum

The Composers’ Forum is part of the 7111 composition seminar and is curated by the composition faculty. It is also often combined with masterclasses and studio critique sessions led by the guest composer. Students are expected to attend all sessions and actively participate in the forum conversations.

Forum meetings take place on select Fridays at 1:25 PM in the Alfred E. Kahn Seminar Room, room 316, within the  Sidney Cox Library of Music and Dance  (main entrance at 220 Lincoln Hall), except where noted. All meetings are open to the public.

General Program Calendar

Week before classes

• Orientation
• Language exams
• Diagnostic conversation with DGS and Department Chair
• Choose courses for the fall

Fall semester

• Seminars/composing/performances
• Language study, as necessary
• Choose courses for the spring
• Meet with the DGS at least once

Spring semester

• Begin thinking about Special Committee Chair
• Participate in prospective student visits

Second year

• Special Committee Chair must be selected by the beginning of the semester, and the rest of the committee by the end
• Complete language exams
• Meet with Special Committee at least once
• Seminars/composing/performances (double check seminar distribution requirements: one with each composer, two with other Music Field faculty)
• A Exam planning
• Choose course(s) for the fall
• A Exam preparation
• Seminar(s)/composing/performances (double check seminar distribution requirements: one with each composer, two with other Dept faculty)
• Thesis research and preparation of proposal
• Choose course(s) for spring
• A Exam; Phase II oral exam must be scheduled at least seven days in advance, and the final report must be filed within three days of completion – check with the grad field assistant for help (see  http://www.gradschool.cornell.edu/forms  for required schedule and reporting forms)
• Seminar(s)/composing/performances

Fourth year

• Possible seminar/composing/performances
• DMA recital (or Spring)
• Thesis research and writing
• Possible Randel fellowship
• DMA recital (or previous Fall)
• Possible seminar/composing/performances 
• Thesis defense; defense (B Exam) must be scheduled at least seven days in advance and the final report must be filed within three days following the defense– consult the grad field assistant for help (see http://www.gradschool.cornell.edu/forms for required scheduling and reporting forms)

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Music: Composition, PhD

• Music: Music Studies, PhD

The Ph.D. program in Composition stresses training in the craft of composition, contemporary repertory, and theory and analysis. Instruction in composition comprises much of the course requirement; such instruction takes the form of private lessons. Participation in the concert life of the department and attendance at Composers’ Forum events complement that instruction. Students are assigned to particular instructors for composition lessons by the Director of Graduate Studies on the advice of the composition faculty. Composition instructors are assigned on a rotating basis to assure that all students are exposed to a variety of approaches and have the opportunity to work with each member of the composition faculty during the period of coursework. The Department of Music at the University of Pennsylvania also offers a Ph.D. program in Music Studies, and composition students also take several courses with the music studies faculty during their coursework.

For more information: https://music.sas.upenn.edu/

View the University’s Academic Rules for PhD Programs .

Required Courses

Forum and lessons.

During their third year in the program, composition students will continue non-credit participation in both forum and lessons.

Musicianship Requirement

The musicianship requirement may be fulfilled through demonstrating facility as a performer, or through an exam administered by the faculty. Students should consult with faculty about what performance opportunities might be most appropriate for them. For instance, with faculty approval, this requirement could be met through performing at a sufficiently high level (including conducting) in a Penn Sound Collective,or similar, concert. It could also be met by participating for one academic year in a Department-sponsored ensemble. Alternatively, a student may, in consultation with the faculty, take an exam in which facility in sight-singing, dictation, and keyboard are demonstrated. This requirement must be fulfilled by the end of the second year of study.

Practicum Exam

During the first semester of study, students will work collaboratively with faculty (as part of Forum and lessons) to determine their areas of strength and opportunities for growth in repertorial knowledge. During the second semester of study, the faculty and student will outline 5 areas to be examined at the end of the first summer. These areas will be selected as follows: Faculty will select 2-3 areas; faculty and student will agree on a further 1-2 areas; the student will propose the final area. The structure of the exam should be settled and communicated to the Director of Graduate Studies during the Annual Review meeting (see below).

The exam will consist of two questions per area and students will answer 6 (one question from each area must be answered). Questions may take the form of scores, recordings, videos, and/or other objects. Answers should interact with and work toward an identification of the score, recording, or video in question. Emphasis in evaluation will be placed more on the quality of the interaction and less on exact identification. Students will sit for the exam in the week before classes resume (late August) and students will be allotted 4 hours to select and prepare their answers. 

Practicum exams will be evaluated based on the following structure:

Pass: A Pass on all portions of the examination is required for admission to the Ph.D. program.

Partial Pass: The student must take some portion of the examination again (normally at least four months later) before the question of admission to the doctoral program is decided.Failure to achieve a Pass during the second sitting may result in an offer of a terminal master’s degree(see Annual Review).

Comprehensive Review

During the third year of study, students will complete a Portfolio of Compositions and prepare a Ph.D. Essay (see below for descriptions). These materials must be submitted for review by the graduate group faculty two weeks prior to the Comprehensive Review. In April of that year (dates set by the faculty exam committee at the beginning of the Spring Semester), each student will sit for their Comprehensive Review. The faculty exam committee, along with the student’s principal advisor in composition will be in attendance. Topics of discussion will include the Portfolio of Compositions, the creative trajectory that it implies, the quality of the work, and the opportunities it suggests. The Ph.D. Essay will also be discussed, both in terms of content and also with a view toward publication.

Portfolio of Compositions

The portfolio will be made up of compositions with a combined duration of no less than thirty (30) minutes. No later than the beginning of the fall term of the second year of study, students must, in consultation with their current composition instructor, establish concrete plans for the medium, number, and scope of compositions that will comprise the portfolio. At least one of the works included in the portfolio should be a significant revision. The portfolio must be submitted for review by the graduate group faculty no later than two weeks prior to the student’s comprehensive review.

Ph.D. Essay

The Ph.D. essay is a paper on an analytical, historical, theoretical, ethnomusicological, or critical subject prepared under the supervision of two members of the faculty. The primary reader must be a member of the composition faculty. The second reader may, where appropriate, be a member of the graduate group faculty with a specialization other than composition. The essay should be an article-length (approx. 8,000 words) study of publishable quality. It may revise a paper that the student prepared for a seminar. Students will find support for their work on this essay in the Dissertation Essay/Grant Writing Workshop and from their advisors. A final draft of the Ph.D. essay must be submitted for review by the graduate group faculty no later than two weeks prior to the student’s comprehensive review. The Ph.D. Essay must also be deposited alongside the dissertation composition in the final semester of study.

Ph.D Composition

Candidates will produce a major musical composition as a PhD dissertation, the nature of which must be approved by the composition faculty, which serves as the dissertation committee. It is understood that during the two semesters leading up to completion of the dissertation the student and advisor will be in regular contact regarding the progress of the dissertation. A final draft of the PhD dissertation must be submitted for review to the composition faculty by March 1 of the last semester of study, and the completed, approved composition, incorporating any changes recommended by the faculty, must be submitted to the graduate group faculty by April 1 of the graduation term.

Public Performance of Ph.D. Composition

In consultation with the composition faculty, but no later than April 15 of the graduation term, a public performance, reading, or workshop of the dissertation composition will be scheduled. This public event constitutes the final examination in composition.

Language Requirement

Reading knowledge of two languages is required for all students in music studies and composition. Students will select their language exams in consultation with the graduate chair and faculty, with the understanding that their selections should relate clearly to their projected plan of study and proposed dissertation topic. Where appropriate, students may request approval from the graduate chair and faculty to use a computer language to complete one of the two exams.

Students for whom English is not their native language may choose their native language as one of their two language exams if they plan to conduct significant research/fieldwork in that language or in cases where a major corpus of literature pertinent to the student’s field of research exists in that language.

Language Examinations

Language examinations are given twice each year: at the beginning of the fall term and at the beginning of the spring term. Students must take an examination at each of these times until their language requirements have been met. Each language examination consists of a passage of approximately 500 words selected from a representative work of musical scholarship. The student is given two hours to write an English translation. Use of a dictionary is permitted.

Reading courses in French, Italian, and German are administered by the Graduate Division during the summer (May through June), and are available to Ph.D. students at no cost. Students may register for undergraduate language courses as a fourth course as ‘auditors.’ Graduate credit will not be granted for such undergraduate language courses.

The degree and major requirements displayed are intended as a guide for students entering in the Fall of 2023 and later. Students should consult with their academic program regarding final certifications and requirements for graduation.

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• Ph.D. in Composition

Doctor of Philosophy Degree Requirements: Composition

The five-year doctoral program in Composition at Duke includes a Master of Arts degree (A.M.) en route to the Ph.D. Admission to the Ph.D. program is not automatically granted upon the student’s completion of the requirements of the A.M. degree, but is restricted to those students who have demonstrated the ability to do substantial and original work in composition. After passing the Qualifying Examination, the student will be notified regarding acceptance into the doctoral program. Upon successful completion of the en route A.M., a diploma can be requested.

Course Requirements

• One course in Musical Analysis: MUS 560 or 562
• Seven Composition courses: Two semesters of MUS 690S-1 (Seminar), 697, 698, 699, 797, 798
• Two courses in either Ethnomusicology or Musicology: MUS 790S-1, and one course selected from MUS 551, 552, 553, 554, 555, 556, 790S-2
• Seven elective graduate courses (500 level or above , excluding Applied) NOTE: 500 and 600 level Applied Music Courses do not count towards the Ph.D.

After the first year, graduate electives can be taken outside the Department of Music as approved by the DGS, who will consider the student’s academic record within the Department and his/her reasons for enrolling in extra-departmental courses.

• Registration Requirements

The Graduate School requires six semesters of “full-time” registration regardless of the number of courses taken or residence. No more than one semester may be waived for a completed Master’s degree.

Teaching Requirement

Classroom teaching is an integral part of the doctoral program. All graduate students will be required to complete eight semesters of teaching as a Teaching Assistant or Instructor of Record.  In special circumstances students may apply to the DGS for a waiver of one or more semesters of their required teaching.    

Sample Program of Study in Composition

The following represents a typical program for students entering the doctoral program in Composition, which begins with en route A.M. requirements and then proceeds to Ph.D. requirements:

Examinations and Dissertation

• Diagnostic Examination
• Foreign Language Examination
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• Ph.D. Composition Portfolio
• Preliminary Examination
• Dissertation Article of publishable quality, submitted within six months after Preliminary Examination
• Dissertation Composition : a large-scale work
• Final Examination  (the dissertation defense in Composition will take the form of a presentation by the composer on the Dissertation Composition).
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Music PhD in Composition

Graduate Studies

Ungroomed Renaissance: Josquin’s Missa L’ami Baudichon; Songs and Motets

Fri, Apr 12, 2024 5:00 pm

Steeped in tradition and charting new pathways

at the intersection of the creation, performance, and study of music.

Our graduate program invites students to earn a Ph.D. in composition or musicology , advancing their craft and research within the inspiring interdisciplinary, immersive spirit of the Princeton University campus. With an average of 24 students in each area of study at a time, our graduate program allows for fully-funded, focused study with a stellar faculty, and within an intimate community that celebrates the intersection between the creation, study, and performance of music. Regardless of their area of concentration, all students are welcomed and encouraged to take courses with world-renowned composers, musicologists, and musicians; take instrumental or voice lessons in the private studios of top professionals; and enjoy or even participate in the vibrant performance scene across campus. As an extension of this integrative approach, graduate students can also apply for a joint doctoral degree through the Interdisciplinary Humanities program, or through the Neuroscience program .

Long at the vanguard of the art of music composition, Princeton’s Graduate Program in Composition considers it essential for composers to build their own vision based on their strengths and passions, while remaining actively open to new musical experiences shared by the community. The program embraces many kinds of musics, engaging with diverse musical languages and creative practices. At the heart of our creative endeavor is the public concert series Princeton Sound Kitchen, in which both faculty and graduate students have their new works workshopped and premiered by some of the world’s finest professional musicians and ensembles, including the Cone Artist Ensemble in Residence, Sō Percussion . The program also provides cutting edge resources for computer/electronic music research, facilitates interaction with visiting composers through the colloquium series, and supports collaborations involving dance, theater, and film through the Lewis Center for the Arts . 

With a long tradition of excellence and innovation, the musicology program at Princeton University encompasses historical, theoretical, cognitive and ethnographic approaches. Graduate students become part of a vibrant scholarly and artistic community. In addition to working closely with our renowned  musicology faculty  as seminar leaders and advisers, musicology students can explore Princeton’s rich offerings in the humanities and sciences, have access to the excellent  Mendel Music Library , and—with subsidized  private studio i nstruction  and the opportunity to participate in the Music Department’s superb  ensembles —are encouraged to make performance an integral part of their lives.  With  Sō Percussion  in residence, the  Princeton University Concerts  series,  Princeton Sound Kitchen , and the many performances by our many ensembles, musicology students can partake of a rich and eclectic concert life.  

Questions? Contact:

Gregory Deane Smith

Academic Administrator

Graduate Programs

Music and multimedia composition.

Students in the Ph.D. program in Music and Multimedia Composition produce, analyze, and perform original works that may include the use of electronic music, acoustic composition and sound in combination with video, performance, installation and text.

Students in the Ph.D. program in Music and Multimedia Composition produce, analyze, and perform original works that may include the use of electronic music, acoustic composition and sound in combination with video, performance, installation and text. They conduct advanced inquiry into the cultural, theoretical, technical and aesthetic issues surrounding music and multimedia production in close collaboration with faculty researchers strongly invested in real–time, interactive sonic and visual media, sound art, instrument design and acoustic composition. The program welcomes students working from diverse influences and methods, expanding their creative practices and underlying technical knowledge to spur artistic innovation. In addition to faculty mentorship, students can collaborate with a broad array of professional performing ensembles and visiting artists presented on the Brown University campus.

The graduate program in Music and Multimedia Composition offers an array of resources unique to Brown. Students have access to the department's Multimedia and Electronic Music Experiments (MEME) studios, and the university's Granoff Center for the Creative Arts. These specialized research facilities house recording studios, electronics shops, project studios, exhibition and performance spaces. Regular opportunities exist to interface with the larger arts and digital media communities at Brown, at the nearby Rhode Island School of Design, in Providence and the New England region. Music and Multimedia Composition students also partake in the many scholarly offerings of the Musicology and Ethnomusicology PhD program, with faculty specialties in technoculture, sound studies, copyright, improvisation and organology. A Brown doctoral degree in Music and Multimedia Composition leads to a career in college and university teaching, or to a position in applied work outside higher education.

Application Information

TOEFL/IELTS  guidelines .

Application Requirements

Gre subject:.

Not required

GRE General:

Toefl/ielts:.

As needed by foreign applicants.

Writing Sample:

Submit an online portfolio of four examples of your creative work. This can include music, videos, installations, performances, scores, or other forms of creative work. Please include brief notes about each work and anything else that may help guide us in the evaluation process. Candidates are evaluated primarily on their creative work.

Dates/Deadlines

Application deadline, completion requirements.

In addition to the courses required for the A.M., five additional courses for a total of 13. Required courses include a minimum of four graduate–level seminars offered by the Music and Multimedia Composition program. After completion of all coursework in the third year, the candidate will take a three–hour oral preliminary examination. Passing the preliminary examination authorizes the candidate to proceed to the doctoral dissertation, which is completed during the fourth and fifth years.

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Department of Music

PhD Candidate Richard Chowenhill

Our PhD degree program in composition and theory offers in-depth study in composition, theory and analysis and electro-acoustic music. We provide you with the time and means to develop a secure command of the craft of composition under the guidance of our award-winning faculty . Your compositions will be performed and recorded as part of the graduate student composers' concert series, New Music Brandeis. You may also have your compositions read by the Lydian String Quartet and by ensembles-in-residence that are invited to Brandeis by the music department.

Preparation for teaching careers is an integral part of our PhD program in composition and theory. You'll serve as a teaching assistant during your second, third, fourth and fifth years of training. As such, you'll be responsible for course preparation, lecturing, administering and grading exams and meeting individually with undergraduates.

Your culminating doctoral thesis will consist of an extensive original composition and a written analytical thesis.

Why Brandeis?

At Brandeis, you can hear your compositions performed and recorded as part of New Music Brandeis , a contemporary concert series that showcases the work of Brandeis student, faculty and alumni composers. You may also have your compositions read by the Lydian String Quartet and by ensembles-in-residence that are invited to Brandeis by the music department.

Our state-of-the-art facilities include:

• 30 pianos including the one used by Leonard Bernstein as a child!
• The Jencks Early Music Room , which contains an extensive collection of period instruments, including two harpsichords and an historic Viennese fortepiano.
• An electro-acoustic studio ( BEAMS ).
• The Creative Arts Library, with holdings in scholarly music editions, journals and microfilm reprints of original materials, as well as the Walter F. and Alice Gorham Collection of Early Music Imprints, 1501-1650.

We also belong to the Boston-area library consortium, so you can use books in major libraries in the area.

Careers and Alumni

Graduates of our PhD program have gone on to successful careers in composition and in teaching at colleges and universities throughout the country.

• Steven Mackey, PhD’85, Professor, Princeton University
• John Mallia, PhD’03, Director of Electronic Music Studio, New England Conservatory of Music
• Sally Pinkas, PhD’91, Professor, Dartmouth College

All doctoral students are awarded 5 years of full tuition, generous fellowship funding and health coverage. Additional funding is available from both the Graduate School of Arts and Sciences and the department for travel to conferences and for research-related travel. Students may apply for additional dissertation funding, including the Dissertation Year Fellowship , Provost Award and University Prize Instructorship .

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Application Deadline

The deadline for completed PhD applications is Jan. 15 .

Director of Graduate Studies in Composition and Theory

Contact Professor Yu-Hui Chang for more information about the program.

download the music graduate student handbook

Prospective Graduate Students

Questions for Admissions? 617-495-5315 [email protected]

PhD programs

The Harvard Department of Music does not discriminate against applicants or students on the basis of race, color, national origin, ancestry or any other protected classification.

Musicology at Harvard offers intensive training in historical and cultural approaches to the study of music. While our program has an emphasis on Western music, students increasingly explore wide-ranging geographies and subjects. We take an expansive view of the field and encourage our students to do the same. Most graduate courses in musicology are research seminars; many treat specific topics and theoretical approaches, while others deal with methodology and recent trends in the field. The musicology faculty also offer proseminars that are open to both graduate and undergraduate students. At the end of two years of study, graduate students take a General Examination. In year three, having passed the General Exam, students begin to teach and craft a Ph.D. dissertation proposal; subsequent years are devoted to teaching, research, writing, and professional development. An important aspect of the Harvard program in musicology is its interdisciplinary breadth, which includes training in ethnomusicology and music theory. Students often also take seminars in other departments – and are encouraged to do so. Accreditation in secondary fields is available through many programs, such as  American Studies ,  Critical Media Practice ,  Medieval Studies ,  Romance Languages and Literatures , and  Studies of Women, Gender, and Sexuality , to name a few.

Special Resources

The deep holdings of the  Eda Kuhn Loeb Music Library  include a substantial recording archive, and the  Isham Memorial Library  houses rare original books, scores, and personal archives ranging from the Randy Weston Archive to Sir Georg Solti’s annotated conducting scores. Additional resources on campus include the Special Collections at  Houghton Librar y and the  Harvard Theater Collection , one of the largest performing arts collections in the world. The department also maintains a selection of musical instruments for study and performance, including early keyboards and a consort of viols. The  Mahindra Humanities Center ,  Film Study Center ,  Minda de Gunzburg Center for European Studies , Harvard University  Center for Italian Renaissance Studies at Villa I Tatti  (Florence),  Hutchins Center  for African & African American Research,  David Rockefeller Center  for Latin American Studies,  Charles Warren Center  for the Study of American History, and several other campus institutions provide additional intellectual resources and funding for graduate student research. Faculty and graduate students hold conferences each year on a variety of topics; artists in residence and visiting artists often enrich coursework, and some courses provide opportunities for students to perform.

Language Requirements for Musicology

Two languages are required. The languages will be chosen in consultation with the program’s graduate advisor, and wherever possible should be relevant to future research. We encourage students to pass both languages before taking the general exam. In the event this is not possible, both languages need to be passed by the end of the fall semester of the third year.

Ethnomusicology at Harvard offers intensive training in ethnographic method as well as study of theories, problems, and approaches relevant to the study of any living musical tradition in its cultural setting. By the end of the second year of study, students select primary and secondary fields of specialization, which may be defined by region (for example, Turkish or West African music); by musical styles (such as jazz or popular music); or by topic or theoretical approach (organology or aesthetics). The Harvard program has particular strengths in regions stretching from the Mediterranean to India, in Africa and African diasporas, and in urban America. There are excellent resources both in the music department and across the disciplines at Harvard in critical theory. Collaborations are encouraged among ethnomusicology and  other music department programs in historical musicology, music theory, composition, and creative practice and critical inquiry. Six to eight ethnomusicology courses—usually four seminars and four proseminars or undergraduate classes—are offered each year as part of the regular curriculum. Graduate seminars explore ethnomusicological methods and theories as they are applied to the study of music, as well as a wide range of issues and materials, while proseminars focus on music styles or distinctive musical settings. An important aspect of the Harvard ethnomusicology program is that students receive training in Western music and its history as well as exposure to the methods and theories of historical musicology and music theory. A vital aspect of ethnomusicological training at Harvard is exposure to other disciplines, with particular emphasis upon anthropology, history, area studies, linguistic training, and theoretical frameworks related to the student’s specialization.

The Ethnomusicology laboratory ,  Archive of World Music , special library collections,  Peabody Museum , musical instrument collection (India, Iran, Mali, Zimbabwe), extensive sound and video archives (including the Archive of World Music and  Hiphop Archive & Research Institute ). The  Asia Center ,  Reischauer Institute ,  Center for African Studie s,  Center for Middle Eastern Studies ,  Hutchins Center  for African & African American Research, South Asia Institute,  David Rockefeller Center  for Latin American Studies, and several other campus institutions provide additional intellectual resources and funding for student research and language study. Faculty and graduate students hold conferences each year on a variety of topics; music faculty, artists in residence, and visiting artists often enrich coursework and provide opportunities for students to perform. 

Language Requirements for Ethnomusicology

The PhD in music theory is characterized both by a deep involvement in the inner workings of music and by an engagement with the wider philosophical, cultural, and psychological questions surrounding music. The program reflects this interdisciplinary interest of our students, and its structure is designed to explore the links of music theory to other areas of critical engagement. The graduate curriculum in music theory was fundamentally revised in 2018 with the view to the specific needs of professional music theorists in the twenty-first century.  The diverse dissertation projects that our doctoral students propose reflect the unique combination of interests. Recent and current PhD topics include microtonality and colonialism in the 19th century, musical forgery and forensics, the practice of recomposition in music theory, Scandinavian death metal, transformation theory and Hollywood film, and musical and visual lines in the early 20th century. Many of our students establish their interdisciplinary credentials by taking formal qualifications in a  secondary field  outside of music. Students receive a solid basis for their research by honing their musicianship and analytical skills, particularly during their first year in the program. All students take courses on Schenkerian theory and on a range of tonal and post-tonal analytical practices, as well as an introductory course to explore current issues in the field. At the same time, the program also encourages students to build a framework in which to place these techniques and to reflect on the underpinnings of music theory. Regular courses on questions in psychology, temporality, history of music theory, hermeneutics, and aesthetics round off our course offerings and often take music theory into interdisciplinary territory. In addition to studying canonic repertories, graduate courses on challenging repertoires—e.g. modal theory, non-Western music, or very recent composition—expand the field in new directions.  Our course offerings are complemented by a regular workshop in music theory, currently called Theory Tuesdays, in which faculty and students discuss current work, practice analytical techniques, or engage disciplinary and transdisciplinary questions in an informal setting. Our faculty are actively engaged in Harvard’s numerous interdisciplinary centers ( MBB ,  Medieval Studies ,  CES ,  HUCE , etc.). Harvard’s state-of-the-art  Sound Lab  provides the tools and expertise for digital and media-based research, and provides a conduit for music theory to the field of sound studies.

Language Requirement for Theory

Theorists must pass translation exams in two relevant research languages. The languages will be chosen in consultation with the graduate advisor, and should reflect, wherever possible, languages that will be useful to future research. One language requirement must normally be completed before generals, and the second must be completed in the fall semester of the third year.

Harvard’s program in composition is designed to give students the time and opportunity to develop as composers by offering general musical guidance as well as specific individual criticism of their works. The program is centered around the students’ achieving clarity of expression through developing their command of compositional technique. In addition, acquaintance with the literature of the past and present through analysis and performance is considered indispensable. Most courses are seminars and deal with specific topics or student works.PhD candidates in composition take 16 courses throughout their first two years. Students get a weekly individual composition lesson, and choose from composition and electronic music courses and other offerings within the department in theory, historical musicology, ethnomusicology, and CPCI, or graduate courses from other departments at Harvard. When needed, in the first year there is also a remedial course in harmony and analysis. Students of all years are required to attend the weekly composition colloquium.

The third, fourth, and fifth years are devoted to work on the dissertation and teaching, as well as active participation in composition colloquia and Harvard Group for New Music concerts. Composers may spend one term during their 4th year at another art institution or university if a particular research project or artistic residency can be obtained.

On the completion of preparatory training and the passing of the General Examinations (during the summer before the third year), PhD dissertations comprising a substantial portfolio of between five and seven pieces of varied scoring and length may be submitted.

Language Requirement: once enrolled, Composition students must pass a language exam in German, Italian or French unless an alternative language is approved in writing by the graduate advisor.

The program in  Creative Practice and Critical Inquiry  is designed as a special opportunity for exceptional, engaged artist-scholars. Such individuals might frame themselves as composer-performers whose work is driven by a research sensibility, or as committed scholars whose concurrent active involvement in music-making informs and propels their intellectual projects. Candidates interested in this category should clearly lay out their academic interests and musical experience, including research goals and a portfolio of creative work. They should present a clear rationale for the integrated, cross-disciplinary nature of their work.

In the first two years of coursework, students survey multiple fields of intellectual inquiry while nurturing and refining their creative work. Students in the program may take any of the graduate courses offered by the Department of Music, and occasional courses in other departments and programs with approval from the graduate advisor, as well as practice-based music-making courses (composition, improvisation, creative music, and interdisciplinary collaborations). 

During the summer after the second year of study, candidates will take three to four exams, to be determined in close consultation with the faculty. These include a preliminary portfolio of creative work, written exams on theoretical/analytical and historical/cultural topics relevant to the candidate’s individual research goals, and an oral exam encompassing all of the above.

The dissertation should offer original research and creative work that strikes a balance within this unique combination of interests.

Language Requirement: Once enrolled, CP/CI students must pass a language exam in a language relevant to their research interests, to be approved in writing by the graduate advisor.

Admission to the Graduate Program: Frequently Asked Questions

The Music Department does not require applicants to submit GRE scores. Submission of scores is permitted, and when submitted, GRE scores are taken into account during the admissions process. But those who do not submit such scores will not be penalized.

Note: Those who choose to take the GRE and submit their results do not need to take the Music GRE test, and should take the general GRE (math/language).

We take GRE scores into consideration along with the entire dossier, not as a single factor that determines the outcome of an application.

The annual deadline is usually January 2 for entrance the following fall term. Check the Harvard Kenneth C. Griffin GSAS website for each year’s deadline.

Yes. If you are accepted into our PhD program, the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences will offer you a financial package that guarantees funding for six years, and includes both tuition and living expenses. Teaching stipends may make up part of the package from the student’s third year on. There are also opportunities for additional funding. The Department (and Harvard Griffin GSAS) awards prizes, fellowships, stipends, and grants each year to graduate students for language study, dissertation completion, research assistance, and travel, among other pursuits.

Yes. You need to support your application with samples of your work, be it scholarly or creative.

Students whose native language is not English or who do not have an  undergraduate  degree from English-speaking university are required to take and pass the TOEFL. The recommended passing score is 80.

While many of our entering students do have degrees in music, backgrounds and degrees vary widely. We look at all-around preparation of our applicants and their overall excellence. As a Music Department, we do look for training and expertise in one or more music traditions and an ability to deal successfully with a curriculum that has requirements across the music subdisciplines as well as interdisciplinary studies.

The Harvard graduate program in Music is a doctoral program. The subdisciplines of musicology, ethnomusicology, composition, creative practice/critical inquiry, and music theory do not admit candidates for the Master’s Degree only.

We permit transfer of credit for no more than two courses. Students are allowed to request transfer credit if they are in good standing after the first year of coursework at Harvard and on submission of details about the course for which credit is requested. Graduate courses taken as an undergraduate student may not be presented for credit if those courses counted toward the undergraduate degree.

Our programs both require and encourage coursework in other sub-disciplines of music.

We have graduate programs in historical musicology, ethnomusicology, theory, creative practice/critical inquiry, and composition. Our programs are small, so it is important that you apply to the program closest to your major interests. If the faculty feel your application would be better served in another sub-discipline, they will direct it there.

Harvard has extraordinary course offerings across the disciplines and we encourage our graduate students to take courses that will enhance their knowledge.

You can enroll in language courses to meet the language requirements of our programs, but these courses do not count toward credit for the PhD.

The Harvard Griffin GSAS offers admitted Music students six years of full funding, in the form of stipends, teaching fellowships and finishing grants (this amount covers living expenses as well as tuition). Departmental resources include special funds for summer research and some additional fellowships.

Although we encourage performance, our graduate program is an academic one and performance activities do not count towards a degree (with the exception of creative practice/critical inquiry). As a Department of Music which does not have a performance faculty, we are not able to provide vocal or instrumental lessons. There is a lively musical scene on campus and graduate students are welcome to join many University ensembles, including those sponsored by Dudley House. Graduate student musicians sometimes perform on the special noontime University Hall Recital Series. The Harvard Group for New Music performs student compositions. Boston is home to an active musical world and many students participate as performers in music traditions ranging from early music to jazz.

No. Unfortunately, faculty are not usually available to meet with prospective students.

Prospective graduate students can email [email protected] to ask questions. If you visit the campus you may be able to talk with other students, sit in on a class, or attend a concert or lecture; email ahead to see what is possible.

Admissions Requirements

Phd program.

To apply to the PhD program in musicology, ethnomusicology, theory, composition or CPCI, you must make an application to the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences (Harvard Griffin GSAS). All applications are online, and may be found (along with all the requirements, fee information, and procedures) at  http://www.gsas.harvard.edu/apply All recipients of a four-year college degree or its international equivalent may apply (students with and without master’s degrees may apply). If you are unsure whether you are eligible, please read the Harvard Griffin GSAS guidelines. Admissions decisions are made by Music Department faculty, who weigh a combination of factors such as past academic record, strength of scholarly (or compositional or performance) work, and recommendations. The TOEFL test may be required if English is not your first language (recommended minimum score is 80). Detailed information pertaining to requirements for admission are on the Harvard Griffin GSAS site listed above. The GRE General Examination is optional for all applicants.

Samples of previous work

Applicants to the all programs must submit, along with their applications, samples of their previous scholarly work (for composition applicants, this means scores and recordings; see below). The online application will allow you to upload up to 20 pages of material.

Applicants to the Creative Practice and Critical Inquiry PhD program must also submit 20 to 30 minutes of original creative work, in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.) or links to a file download (via Dropbox or similar). You may upload or share accompanying scores in PDF format to SLATE. Students should include a one page PDF containing links to online recordings. Applicants to the composition PhD program must submit three compositions in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc). Recordings can be submitted as links to SoundCloud or other online resources. Students should include a one page PDF containing links to online recordings and PDF scores where applicable. The year of composition must be marked on all scores and recordings.

Submitting an Application

Harvard Griffin GSAS handles the admissions materials. All questions about the admissions process, as well as all application supplementary materials, should be sent to them by December 31 for candidates who seek entrance in the following fall term.

Admissions and Financial Aid Graduate School of Arts and Sciences Harvard University 1350 Massachusetts Avenue Holyoke Center 350 Cambridge, MA 02138-3654

Download an application electronically:  http://www.gsas.harvard.edu/apply You are required to upload all supporting documents (transcripts, writing samples, recommendations, etc) to the online application. If you have questions about your application, call 617-496-6100 (2-5pm EST) or write  [email protected] For financial aid questions call  617-495-5396  or email  [email protected] NOTE: Please do not call the Music Department about the status of your application or the return of your materials. Application materials only come to the Music Department at the very last stages of the process, and are held here in complete confidentiality until admissions recommendations are made.

We have a robust graduate student community, including through the Graduate Music Forum, weekly colloquia and lunch talk series, and performances ensembles in the GSAS Student Center. For more information about community activities happening in the music department, please consult the resources for graduate students page .

Visiting the Department

You are welcome to visit the Department at any time, although we in no way require or expect you to make the trip. We regret that we are not able to make appointments with individual faculty members during a pre-admissions visit.

If you do decide to make a visit prior to the admissions deadline there are optimum times to visit, such as between October and our December holiday break. If you visit at another time of the year, check the academic schedule to avoid reading/exam periods and semester breaks. It is not necessary to visit, nor should you see it as a way to improve your chances of admission.

Rather, a visit is simply a good way to learn about our Department’s intellectual environment and infrastructure. We urge you to consult the  course schedule  so that you can plan to sit in on one or more graduate seminars (please ask permission of the instructing professor first: music professors can be reached via email at [email protected]). This is the best way to get to know the professors and students.

You may also want to attend any colloquia, lectures, or faculty seminars that coincide with your visit (check our  calendar ), or to tour the Music Library and other Harvard libraries. It may also be possible to chat informally with some of our current graduate students, who are apt to be working in the department and library during the academic year.

Admitted students  are invited to visit as part of our admissions process (usually in March). At that time, admitted students meet with faculty, get to know our current students, and are introduced to other students who have also been admitted. This is not required, but is a good way for admitted students to get a sense of the program before they make their final decision.

Secondary Field in Musicology/Ethnomusicology

• Completion of a minimum of four courses in Music. • One of these courses must be an introductory course: Music 201a: Introduction to Historical Musicology, Music 201b: Introduction to Ethnomusicology, or Music 221: Current Issues in Theory. • The remaining three courses may be chosen from other graduate courses (200 level: “Primarily for Graduates”) or intermediate courses (150 level or above: “For Undergraduates and Graduates”). (No more than two courses may be chosen from the 150 or above level.) • Neither Pass/Fail nor audited courses will count towards a secondary PhD field. Contact the advisor in Ethnomusicology or in Musicology in the Department of Music for additional information on a secondary PhD field.

Declaring a Secondary Field

Students interested in declaring a secondary field in music should submit the “GSAS Secondary Field Application” to the Director of Graduate Studies as evidence of their successful participation in four appropriate courses in the Music Department. Once they obtain the approval of the DGS they and the registrar will receive certification of successful completion of secondary field requirements.

For further information contact the Director of Graduate Studies, Harvard University Department of Music, Music Building, Harvard University, Cambridge, MA 02138  617-495-2791   [email protected]

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Please submit everything required by The Graduate School  plus  the following:

• A complete list of works written, giving dates and instrumentation AND a complete list of composition performances, including dates, venues, and performers. This should be submitted as one document under Writing Sample.
• An analysis of a musical work composed no earlier than 1950. This should be uploaded to Supplemental Document Section 1.
• A second analytical or music history paper. This should be uploaded to Supplemental Document Section 2.
• A composition portfolio consisting of three to five representative compositions. These works should incorporate a variety of media and show familiarity with current trends. The works should be uploaded as one document to Supplemental Document Section 3. Recordings of the pieces, though not required, are preferred. If they are available, please provide links at the top of each score to external sites, such as a personal website, SoundCloud, YouTube, etc.

Based on a preliminary review of the composition portfolio, candidates may be invited to a final interview round. Candidates should plan to spend the entire day interviewing with the composition faculty.

Composition and Music Technology Program Coordinator: Jay Alan Yim, [email protected]

Additional Requirements for all PhD in Music Applicants:

CV or musical résumé detailing your academic and professional history, which should be uploaded within your online application to The Graduate School.

OPTIONAL  for  Fall 2024 Admission : Graduate Record Examination (GRE).   Official scores must be taken no more than five years before the intended quarter of entry and must come directly from the Educational Testing Service (ETS). Personal copies are not considered official, nor are attested or notarized copies. Please instruct ETS to send scores electronically to the Northwestern University Graduate School, code 1565.

Certifying English Proficiency (TOEFL, IELTS).  Much of your success in graduate study will rely on your ability to understand, read, write, and speak English. If your native language is not English, you must certify your proficiency in the English language in one of the following three ways:

• Provide official scores electronically for either the TOEFL or IELTS exam. The test must be taken no more than two years before the intended quarter of entry. For example, to be considered valid for Fall 2024 admission, TOEFL scores must be no older than September 2022. For the TOEFL, you must score 577 or higher on the paper-based test, or 90 or higher on the internet-based test. For the IELTS, you must receive a score of 7.0 or higher. You will be asked to scan and upload a copy of your score report (if available) while submitting your online application. This uploaded version is not considered “official” and will be used only for preliminary review purposes until your official scores have been received from ETS or IELTS.
• Provide official transcripts verifying an undergraduate degree from an accredited four-year institution or equivalent, where the language of instruction is English.

Provide official transcripts verifying a graduate degree from an accredited institution where the language of instruction is English.

Official transcripts.  Submit official transcripts from each post-secondary institution you have attended. The transcript must record all courses taken, all grades received, and all degrees earned. These must be scanned into your application—The Graduate School will not accept mailed copies of your transcript(s) during the admission process. Official mailed copies will be requested should you gain acceptance to the PhD program.

Letters of recommendation . At least two letters of recommendation are required, and you will be prompted to enter your recommender information during the online admission process.

All applicants to the PhD program must apply to The Graduate School at Northwestern University. 

Do not submit an application to the Bienen School of Music.

The Graduate School application may not accommodate large video/file uploads. If you are unable to upload a video file or large document, please contact the Office of Music Admission and Financial Aid for assistance: [email protected] or 847-491-3141

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http://music.uoregon.edu

The University of Oregon offers a Doctor of Philosophy in Data-Driven Music Performance and Composition, Music Composition, Music Education, Music Theory, and Musicology.

Program Learning Outcomes

Upon successful completion of this program, students will be able to:

• The doctoral degree program in composition stresses creative activity emphasizing the development of a personal aesthetic expressible in sound.
• Competencies also include a broad knowledge of historical and contemporary compositional practices, music theory, history and criticism, and creative approaches to relationships of these to the compositional process.

Doctor of Philosophy in Music Composition Requirements

Musicology/ethnomusicology courses.

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Here Are the 10 Best Doctorate in Music Programs in the US

The U.S. is home to some of the best music programs in the world, especially doctorate degrees. In general, students have two paths open to them: the Doctor of Musical Arts (DMA) or PhD.

The DMA program typically takes around four full-time years to complete and concentrates primarily on performance, composition, or conducting. To graduate, DMA students must complete a musical thesis, such as a performance or lecture-recital.

PhD programs in music also take about four years, but they’re more teaching and research-oriented. These programs are perfect for those interested in becoming professors in music theory, musicology, or ethnomusicology. PhD students must write and defend a dissertation in order to graduate.

These degrees are available at both conservatories and universities. (Most liberal arts colleges, since they focus on undergraduate education, don’t offer DMAs or PhDs.) Which program you choose, and where, should depend on the kind of student life and environment you prefer as well as the specific way you want to explore music.

For example, if you want to learn alongside other aspiring performers and travel the country teaching your instrument, a DMA at a conservatory would be better suited to your goals.

The cost of attending is usually offset by teaching assistantships or stipends, some of which can be very generous. There are even some tuition-free doctorate programs.

Below we’ll discuss 10 of the best doctorate programs in music, including their local ensemble affiliations, tuition costs, and everything else that makes them stand out from other doctorate programs.

Rice University Shepherd School of Music (Houston, TX)

The DMA program at the Shepherd School of Music is one of the smallest university-based music schools in the country, with 350 total students. Admission is extremely selective, ensuring a high level of musicianship among both undergraduates and graduate students.

The school is deeply affiliated with professional ensembles in Houston, like the Houston Symphony and Houston Grand Opera. DMA students will have the chance to work and learn alongside professionals in the field and get involved in the local Houston community on a greater level.

In fact, the Shepherd School and the Houston Symphony launched a new pilot program in 2021: The Shepherd School-Houston Symphony Brown Foundation Community-Embedded Musician Fellowship. The program aims to expand music education for underserved minority students in Houston, and it’s part of the school’s ongoing effort to diversify music education, especially classical music.

Indiana University Jacobs School of Music (Bloomington, IN)

The Jacobs School of Music is not only one of the largest music schools in the country with 1,600 students but also home to the largest academic music library in the world. Its facilities — 200 studios, labs, and practice rooms, and four performance halls — are reason enough to compete for a spot at Jacobs.

Because of its size and venue capacity, Jacobs is able to stage over a thousand performances a year, including seven operas and three ballets. Students can audition for numerous big band, choral, and orchestra ensembles, many of which earn renown worldwide. For example, the Philharmonic Orchestra has performed at Carnegie Hall in New York and the Bastille Opera House in Paris.

All Doctor of Music (DM) and PhD applicants are automatically considered for merit-based financial assistance, including the Graduate Tuition Award, Artistic Excellence Award, Jacobs Fellowship, and more. Students can also get a cash stipend and teaching assistantship positions that cover nearly full tuition.

Harvard University (Cambridge, MA)

PhD students at Harvard get up to six years of guaranteed funding in the form of stipends, teaching assistantships, and grants, covering tuition as well as living expenses. There are also extra funds for summer research and additional fellowships.

The program is small but very selective and prestigious. Only a handful of students are admitted every year, in the following areas of focus: musicology, ethnomusicology, theory, composition, and creative practice and critical inquiry. Harvard doesn’t have a performance faculty, but its resources for research capabilities are extensive, including a microfilm library of primary source materials, an archive of world music recordings, and a collection of early instruments.

Students interested in performance can get involved in other local university ensembles (Boston University, Berklee, New England Conservatory) or professional institutions (Boston Symphony Orchestra, Boston Public Library).

New England Conservatory of Music (Boston, MA)

NEC is the oldest independent music conservatory in the U.S. and one of the most prestigious in the world. Only eight to 12 new DMA students are accepted each year.

Since NEC is filled with top-notch musicians in every area of music, students here can find vast collaboration opportunities. In addition to DMAs in instrumental performance, the school also offers a DMA in music theory, with concentrations in pedagogy, composition, performance, or analysis.

Many NEC faculty are affiliated with the Boston Symphony or have established professional careers on stage. This includes the Borromeo String Quartet, NEC’s quartet-in-residence.

In terms of performance facilities, Jordan Hall is one of the best concert halls in the country. A block from Boston Symphony Hall, it seats over 1,000 and is the only conservatory building in the country with a National Historic Landmark designation.

University of Michigan School of Music, Theatre, and Dance (Ann Arbor, MI)

Studying at SMTD means getting a multidisciplinary education in the performing arts. With 12 performance venues and eight distinct buildings, music students share facilities with actors and dancers. Music students, in particular, can join a variety of bands and orchestras, including a Javanese gamelan ensemble. 

Almost all DMA and PhD students receive full funding for full-time study. This includes health benefits and student assistantship stipends. Students can also apply to be Graduate Student Instructors (GSIs), who teach courses while assisting faculty members in exchange for a full or partial tuition waiver. There are additional financial packages to fund research, travel, and performance. 

Cornell University (Ithaca, NY)

Getting a PhD in musicology at Cornell means five years of guaranteed funding, including funding for four summers. The breakdown consists of two years of fellowship and three years of teaching assistantships.

Cornell also offers four years of funding for their Composition and Performance Practice DMAs, including at least three summers. DMAs usually get two years of fellowship and two years of teaching assistantships.

These are three separate programs, but the students take seminars and attend symposia alongside one another as well as teach many of the same undergraduates. Thus, the department promotes an interdisciplinary approach to music that is highly customizable.

With the guidance of faculty members, graduate students develop their own course of study, which must include a minor subject of study. The Graduate Minor can be another music specialization (theory, musicology, ethnomusicology, performance, composition) or another discipline entirely (art history, mathematics, history, linguistics, psychology).

University of Southern California Thornton School of Music (Los Angeles, CA)

Not only is the Thornton School of Music one of the U.S.’s premier music institutions, but its location at the heart of Los Angeles makes it the perfect place to play and learn music in all its forms.

Whether you want to teach music in underserved communities, play in a jazz club, connect with like-minded musicians, join a local orchestra, or some combination of these, USC and the greater LA area offer limitless opportunities. 

Academically, USC offers a PhD in Musicology and a DMA in three different divisions: Classical Performance and Composition, Contemporary Music, and Research and Scholarly Studies. USC is primarily known for its specializations in orchestral studies, jazz, early music, composition, opera, and music industry.

Many faculty are affiliated with the Los Angeles Philharmonic or have had illustrious careers as solo performers, including violinist Midori Goto.

The Juilliard School (New York, NY)

The C.V. Starr Doctoral Fellows program allows students to pursue the DMA degree tuition-free for up to five years.

Juilliard produces some of the world’s best performers, so the school’s only doctorate program is the DMA. This is a highly rigorous program that requires students to give three public recitals and one lecture-recital by the end of the third year. On top of that, DMA students must write and defend a dissertation in order to graduate.

Many of Juilliard’s faculty members are affiliated with the New York Philharmonic, Metropolitan Opera Orchestra, and renowned ensembles like the Juilliard String Quartet and the American Brass Quintet. Some have also had successful solo careers, such as pianist Emanuel Ax and violinist David Chan.

Notable alumni include violinist Itzhak Perlman, soprano Renee Fleming, and composers Miles Davis and Philip Glass.

Princeton University (Princeton, NJ)

Princeton’s PhD programs in composition and musicology are completely free and include a 12-month stipend for all five years. One to two of these years must be supplemented by teaching assistantship positions, and students can apply for additional research funding or summer language study. Students are also eligible for sixth-year funding if necessary.

Although Princeton does not have a performance PhD or DMA, its research opportunities for musicology, music theory, and composition students abound. Unlike many PhD programs in music, academics are not limited to western classical music. Composers and musicologists are encouraged to explore modern music as much as the music that came before it, providing a well-rounded, readily applicable education. 

Notable alumni include composer Julia Wolfe ‘12, whose work has been commissioned by the Munich Chamber Orchestra, and producer Nathan Michel ‘07, whose band Hospitality has been featured on NPR and Wired .

Yale University School of Music (New Haven, CT)

Yale’s school of music is the only designated music school, instead of department, in an Ivy League.

The tuition-free, five-year DMA program is highly selective, with an acceptance rate below 10%. It is structured by a unique two-year residency on campus followed by a three-year dissertation period in the field. Depending on the student’s chosen area — composition, conducting, or performance — students must use this time to work and learn in a professional capacity, guided by faculty. This could mean performing in traditional recitals, conducting orchestras, getting research published, or having one’s own compositions performed by local ensembles. 

By the end of the degree, DMA students will be well-versed in all aspects of music: history, theory, composition, and performance.

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Doctor of Philosophy Music Performance and Composition: Performers

Prepare for a career in music performance and music research by working closely with our faculty of internationally recognized performing artists. With a flexible curriculum, you can personalize your program of study for your specific interests and goals. You'll also develop and complete a dissertation and perform two recitals.

Degree Details

Official degree title.

PhD in Music Performance and Composition: Performers

What You'll Learn

Academic experience, performance opportunities, is this program right for you.

PhD Students in Composition and Performance will personalize their course of study around individual research interests, taking courses that support their areas of specialization. They will be able to

• Perform artistic research by developing quantitative and qualitative research methods appropriate to their field of inquiry.
• Engage in a variety of collaborative environments with artists and professionals in related fields
• Broaden their perspectives and relate their own music-making activities to diverse cultural contexts and intellectual traditions
•  Develop foundational knowledge in disciplines applicable to yet outside their field of specialization, including psychology, performance studies, historical musicology, ethnomusicology, media, arts education and technology, and the social sciences.
• Communicate the results of their original research orally and in writing, in conference presentations and academic publications.

You’ll take a range of courses in the foundations, cognate areas, and specialized research methodology, as well as private lessons and a departmental seminar in chamber music. You’ll also take course work in neighboring fields like psychology, performance studies, historical musicology, ethnomusicology, media, arts education and technology, and the social sciences, allowing you to broaden your perspective and understand your own music-making activities in relation to a variety of cultural contexts and intellectual traditions. You’ll gain expertise not only as a top-caliber performer, but as a scholar, educator, and entrepreneur.

You must have a master's degree in order to be considered for admission to this program.

As a student in this program, you'll be an active performer, both as a soloist and in concerts with NYU performing ensembles and more. You will also have opportunities to collaborate with performers, dancers, actors, and multimedia applications. Within our department, there are very active collaborations with the Music Technology, Jazz Studies, and Music Composition programs. In addition, we have a very active collaboration with musicians and other artists throughout New York City.

Steinhardt’s research-based  PhD in Music Performance and Composition: Performers  is one of the few degree programs of its kind in the field.

“The PhD is heavily focused on research,” says Beroukhim. “Students take a range of academic courses exploring their areas of research as well as a host of research methodologies, which can be taken at Steinhardt or at other NYU schools.”

Students also take private lessons and a Departmental seminar in chamber music. They enjoy performance opportunities as soloists and ensemble players around the University, as well as access to NYU's world-class performance venues, practice facilities, and recording studios. Successful performer-scholars will write and defend a dissertation in addition to performing two degree recitals.

Steinhardt's highly selective PhD in Music Performance provides  generous support, including tuition remission and a living stipend , for full-time study. Students may also choose to pursue the part-time track, which can be taken at each student’s own pace. Due to visa regulations, students must be US citizens to pursue part-time study.

Students can choose from the following focus areas:

• Brass Studies 
• Jazz Studies 
• Percussion Studies 
• Piano Studies 
• Strings Studies 
• Vocal Performance 
• Woodwind Studies 

"After graduation, Steinhardt PhD students are highly competitive on the job market," says  Marilyn Nonken , professor of music and music education and chair of the Department of Music and Performing Arts Professions. "They are extraordinarily qualified as performers and scholars, fluent in the practices of academia as well as the concert hall."

Violinist, educator, and recording artist  Patti Kilroy  (PhD ’19) continued her studies in the doctoral program at Steinhardt after completing her undergraduate and graduate degrees in performance. She wrote her dissertation on developing terminology and frameworks to describe new performance practices in music with live processing electronics.

“I loved working with my performance instructor,  Naoko Tanaka , but I also really enjoyed the level of advisement and writing training I received from Marilyn Nonken for my dissertation,” says Kilroy, who is now an assistant professor of music at California State University, Los Angeles. “NYU really shines in that way with a large number of faculty from different disciplines. Also, the PhD in Music Performance at Steinhardt is a rare degree, which helped me stand out when I was applying for tenure-track positions.”

Compare All Post-MM Degrees

Funding for Full-Time PhD Students

NYU Steinhardt offers a competitive funding package for PhD students who study full time.  Learn more about our funding opportunities .

If you have any additional questions about our degree, please feel free to contact the Program Director for your area of study: 

Performance: Brass Studies - Wayne duMaine Jazz Studies - Dr. Dave Schroeder Percussion Studies - Jonathan Haas Piano Studies - Dr. Marilyn Nonken Strings Studies - Dr. Cyrus Beroukhim Vocal Performance - Dr. Ana Flavia Zuim Woodwind Studies - Dr. Meghan Bennett

Composition: Concert Composition - Dr. Julia Wolfe Screen Scoring - Dr. Ron Sadoff

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College of Arts and Sciences

Program description.

The Department of Music has—for decades—enjoyed a reputation as one of a handful of departments in North America dedicated to contemporary musical creation at the highest level. Composition at the University at Buffalo flourishes today, by providing a wide range of stimulating musical and intellectual experiences, within a program that allows students the space to develop and mature. In an atmosphere that encourages musical and technological experiment, cross-disciplinary collaboration, and the development of authentic creative character, graduate composers at UB take advantage of a number of resources and opportunities.

Maria Portera 380 Academic Center Buffalo, NY 14261 Email: [email protected] Phone: 716-645-6242 Fax: 716-645-3808

Instruction Method

• In Person   (100 percent of courses offered in person)

Full/Part Time Options

Credits required, time-to-degree, application fee.

This program is officially registered with the New York State Education Department (SED).

Online programs/courses may require students to come to campus on occasion. Time-to-degree and number of credit hours may vary based on full/part time status, degree, track and/or certification option chosen. Time-to-degree is based on calendar year(s). Contact the department for details.

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• Choral & Sacred Music
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Master of Music (MM), Doctor of Musical Arts (DMA)

Graduate Application Deadline

Current USC Thornton Student? Click here for additional information

Undergraduate Student? Click here for your requirements

Graduate Application Requirements

This section is for all MM and DMA applicants including current USC students applying to the Composition program.

All applicants are required to submit two separate application forms:

• USC Application for Graduate Admission
• Thornton’s SlideRoom application form

The total application fee is $115 ($90 for the USC Graduate Application and $25 for the SlideRoom Media/Materials upload). All required materials must be received by December 1 . Application materials will not be accepted via mail or email. If both required application forms are not submitted by the appropriate deadline, your application will be removed from consideration.

In most cases, as determined by the composition faculty, graduate applicant finalists under consideration for a scholarship or teaching assistantship will be called for an interview on the USC campus in Los Angeles in February or early March. You will be notified by the Composition Program in late January or early February regarding any interview invitation. The composition faculty will reserve the right to make a final decision whether or not they have interviewed a particular candidate.

Applicants experiencing hardship or extenuating circumstances due to natural disaster or public health concerns in their local area that may affect their ability to satisfy application requirements may contact the Thornton Office of Admission at [email protected] to explore possible accommodations. Though we cannot guarantee that accommodations/exceptions will be possible, applicants are encouraged to contact the Admission Office as soon as possible to allow the maximum amount of time to consider the options.

Applying For

Fall Admission

Auditions Required?

Email: [email protected] | Phone: (213)740-8986

Complete the USC Application

Applicants must complete the USC Graduate Application and submit all other application materials required by the December 1st deadline.

USC Graduate Application Fee

The application fee for the USC Graduate application is $90. Application fee waivers are available to qualified applicants, and must be requested before submitting the USC Graduate Application. If you plan to apply for a waiver of the USC Graduate Application fee, please do so at least two weeks before the application deadline . The deadline will not be extended for applicants who fail to request a fee waiver in time. Details and instructions can be found here.

Transcripts

All Thornton graduate applicants must upload transcripts into both the USC Graduate Application (Liaison) AND Thornton SlideRoom Application. The transcript submission deadline is December 1st. Please carefully read the instructions below.

Step 1 – You must obtain official transcripts from the registrar’s office of each of your prior institutions before you can complete and submit the application forms. This may take some time, please plan accordingly.

Step 2 – Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the “Academic History” section of the USC Graduate application (Liaison).

Step 3 – Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the SlideRoom application where indicated.

Unofficial transcripts or documents printed from an on-line student system will not be accepted. Failure to upload scans of official transcripts in both application forms may significantly delay the release of a final admission decision.

Program Materials Section

When completing the USC Graduate application, it is important to pay special attention to the following items that you will find in the “program materials” section of the application:

• Thornton SlideRoom portal – A link to access the Thornton SlideRoom portal will be provided in this section.
• The Documents tab – Documents submitted in this section will not be accessible to the Thornton faculty. Thornton faculty will only be able to review documents submitted via the Thornton SlideRoom portal. In order to complete this section, you must check the box indicating that you do not wish to upload documents in this section.
• The Questions tab – Enter your SlideRoom Confirmation number where indicated (you will receive your SlideRoom confirmation number upon submission of the SlideRoom form).

Click here for important additional requirements and instructions.

Complete the SlideRoom Portfolio

All applicants must complete the Thornton SlideRoom portfolio by the December 1st deadline.

All Thornton supplemental materials must be uploaded through SlideRoom, which you will access through the link provided in the “Program Materials” section of the USC Graduate Application.

SlideRoom Requirements

Slideroom application portal.

A link to the SlideRoom portal is located inside the USC Application for Graduate Admission , in the “Program Materials” Section.

The SlideRoom application fee is $25 (fee waivers are not available). Thornton supplemental materials will not be accepted via mail or email.

The SlideRoom form must be submitted before the USC Application for Graduate Admission (Applicants can start both forms and work on them at the same time). Once SlideRoom is submitted, you will need to enter your SlideRoom confirmation number into the “Questions” tab, also located in the “program materials” section of the USC Graduate application.

Scores and Recordings

Applicants in composition must submit three works that best illustrate the breadth of their artistry. Each submitted work, regardless of genre and style, must include a recording (audio and/or video documentation or demo, MIDI and proof-of-concept is acceptable) and an accompanying document as appropriate (for example: score, performance documentation, lyrics, production explanation, code, etc.).

For pieces with no notated score, it is recommended that the accompanying document briefly contextualize the work and highlight some technical and aesthetic elements involved in the creative process.

Please Note: Compositions and recordings will not be accepted via mail or email for this program. All 3 Compositions with their Recordings must be submitted online through the “Fall SlideRoom portal” by the December 1st deadline. Any application not complete by December 1 may be removed from consideration.

The résumé should list musical, professional, and academic experience and is generally 1-2 pages in length. This should specifically note conducting experience.

List of Works Created

For applicants to the composition program, a list of works you have created should be submitted instead of a traditional repertoire list.

Statement of Purpose (Optional)

Graduate applicants are encouraged to prepare a brief statement of their professional goals, as well as their purpose in applying for the Composition program. The Statement of Purpose is typically 1-2 pages in length.

Step 2 – Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the SlideRoom application where indicated.

Step 3 – Upload Scans (PDF format) of official transcripts from all post-secondary institutions you have attended into the “Academic History” section of the USC Graduate application (Liaison).

Letters of Recommendation

1-3 recommendation letters are required from graduate Composition applicants (except DMA, see below). Recommendation letters are to be submitted online through the Thornton SlideRoom portal via the “References” section by December 1. We cannot guarantee the review of any material received after December 1.

Special Instructions for DMA Applicants:  

DMA applicants , including current Thornton students, are required to submit 3 letters of recommendation, which should address not only the applicant’s musical talents but their potential to thrive in a rigorous musical and academic environment in which they will construct a path of study that includes three fields in addition to their major area.  At least one recommendation letter should be from a professor who has assessed a major research or analytical paper that the applicant has written.

Doctoral Introductory Video (DMA only)

A “Doctoral Introductory Video” must be submitted through SlideRoom by December 1st.

USC Thornton recognizes that DMA and PhD graduates are expected not only to be elite performers and scholarly experts in their fields, but also exceptional and versatile teachers, inspiring and innovative leaders, and consummate musicians with strong complementary skills. This is a tall order, and it necessitates a well-honed individualized academic portfolio. To this end, USC Thornton requires every Doctoral student to declare, in addition to the major field, an academic field and two elective fields, one of which may be a field outside of music. The purpose of this multidisciplinary approach is to support each student’s personal and artistic development in a way that will be well-aligned with her/his professional goals.

As a reflection of the individualized nature of the USC Thornton Doctoral programs, DMA and PhD applicants are required to submit a single-take, unedited, and preferably unscripted video of no more than four minutes. The DMA program at Thornton aims to nurture and build a community of Artist-Scholars and Scholar-Artists.  What does this term mean to you? And what are your goals in pursuing this degree? What academic and elective areas would you be interested in pursuing beyond your major? 

Information about the DMA curriculum, including academic and elective field options can be found here . 

Graduate Academic Admission Examination (DMA only)

DMA applicants to Composition must take Thornton’s Graduate Academic Admission Examination. The examination will be administered via an online platform on January 13, 2024 from 8:00 AM – 11:00 AM Pacific Standard Time. Applicants will receive materials to be reviewed in preparation for the exam about two weeks prior to the exam date. Additional details will be sent in mid-December to those applicants who are required to take the exam.

This written examination reflects the types of critical inquiry with which graduate-level courses at USC Thornton engage. The examination will be assessed by academic faculty as a measure of an applicant’s readiness for the academic rigors and multi-disciplinary structure of Thornton graduate programs. This assessment will be one of several important components considered by the faculty in order to reach a final admission decision for each applicant.

The examination will be administered in two sequential sections:

• Conceptual Essay: Applicants will be given an essay prompt about an issue or issues in the music profession today. Applicants will be asked to write a short essay exploring various aspects of the topic(s) introduced by the prompt, responding to specific questions and drawing on their own experience, knowledge, and opinions as appropriate.
• Analytical Essay: Applicants will be given a scholarly/literary text on a music-related topic. Applicants will be asked to respond in essay form to a series of analytical questions relating to the text provided. The analytical issues may concern basic music theory (possibly with reference to a short example in musical notation), music history, and/or aesthetics.

It is important to note that Thornton’s Graduate Academic Admission Examination is not an examination for which students are generally able to study or prepare. It is not designed to examine factual knowledge, but rather the ability to think analytically and express critical thought in academic language, as this is the type of work that is required for graduate-level academic courses at USC Thornton. While the content of Thornton’s Graduate Academic Admission Examination may be drawn from a wide range of scholarly sources, it may be helpful to refer to the following publications by our own faculty:

• Barrett, Janet & Webster, Peter: The Musical Experience: Rethinking Music Teaching and Learning.
• Brown, Bruce: W. A. Mozart: Così fan tutte (Cambridge Opera Handbook)
• Coppola, William, Herbert, David, & Campbell, Patricia: World Music Pedagogy: Teaching World Music in Higher Education.
• Demers, Joanna: Anatomy of Thought-Fiction: CHS Report, April 2214
• Foster, Kenneth J: Performing Arts Presenting: From Theory to Practice
• Garcia Corona, León: & Wiens, Kathy: Voices of the Field: Pathways in Public Ethnomusicology.
• Gordon, Stewart: Beethoven’s 32 Piano Sonatas: A Handbook for Performers
• Nye, Sean: “Sprockets + Autobahn: Kraftwerk Parodies, German Electronic Music, and Retro Dreams in Amerika.” In Dreams of Germany: Musical Imaginaries from the Concert Hall to the Dance Floor. Neil Gregor and Thomas Irvine, eds.
• Page, Tim: On Music: Views and Reviews
• Russo, Frank, Ilari, Beatriz, & Cohen, Annabel: Routledge Companion of Interdisciplinary Research in Singing
• Simms, Bryan: The Atonal Music of Arnold Schoenberg, 1908-1923
• Sloan, Nate. Switched on Pop (blog with Charlie Harding). http://www.switchedonpop.com .
• Vest, Lisa: Awangarda: Tradition and Modernity in Postwar Polish Music

Consent Form

Applicants to the Thornton School will be required to complete and upload the following form in SlideRoom:

• Parental Consent Form (if applicant is under 18 years of age by December 1, 2023)

Slideroom Media Troubleshooting Tips

For helpful Slideroom media upload troubleshooting tips, please click here .

Search this site

School of music and dance menu, school of music and dance, music composition graduate programs.

At the core of Oregon’s composition program is a thriving artistic community of forty to forty-five undergraduate, master’s, and doctoral composers. Our comprehensive approach integrates compositional studies with theory, history, ethnomusicology, intermedia technology, contemporary performance practice, multimedia collaboration, and an intensive career development seminar. Our diverse yet focused curriculum prepares each student for a future as a professional composer. 

Master's | Doctorate

Master of Music in Music Composition

 Graduates pursuing a MMus in music composition will take courses which focus in the following areas:

MMus Degree Requirements

Academic Music Areas

Course Descriptions (UO Catalog)

Graduate Specializations

Doctor of Philosophy in Music Composition

Graduates pursuing a PhD in music composition will take courses which focus in the following areas: 

PhD Degree Requirements

Course Descriptions (UO catalog)

Student Support

Have questions on your degree requirements? Need information on undergraduate scholarships and awards? Check out these resources to get the support you need.

Graduate Advising

Scholarships and Funding

Performance Opprtunities

Professional Development

Student Spotlight: Eliza Howells

How did you decide to come to Tufts and study music at Tufts? I wanted to go to Tufts for my masters because of the composition opportunities in the department, and the variety of genres I could study here. I majored in classical voice and composition in undergrad, but I also have always had a passion for pop songwriting. At Tufts I have been able to pursue studies in both, and merge elements of these genres to create my own compositional style. 

Tell us about your favorite music course so far. My favorite course thus far has been Stephan Pennington’s Music of the International Jazz Age! I went into that course with limited experience with Jazz history, but I walked away with a wealth of knowledge and an ability to think about Jazz more critically. Stephan has so much valuable insight to share; any time I’ve worked with him it has felt as though my brain is literally expanding.

What are you involved in at the music department? I sing in Opera Ensemble and Chamber Singers, and take private voice lessons with Carol Mastrodomenico through the department. I have also premiered a number of original pieces through the Tufts Composers "New at Noon" and "New Sounds Now" concert series. I’ve been working in the music office this semester, and I have also been a TA for Queer Pop and Music in Global Perspectives I & II.

What are you involved in outside of the music department? I enjoy performing in open mics and operatic productions in the Boston area! In February I performed the role of Sacharissa in Gilbert & Sullivan’s "Princess Ida" with the Sudbury Savoyards, and before that was featured in the Melodies on Tap showcase at Medford Brewing Company. This summer, I will be originating a role in a new micro-opera.

What are you listening to at the moment? Lately it has been a combination of Schubert art song and Chappell Roan’s new album "The Rise and Fall of a Midwest Princess."