Bassoon
Freshman Jury
Major and minor scales
Weissenborn Advanced Studies
Milde Scale Studies
Telemann Sonata in F minor; Galliard sonatas or other works of equivalent difficulty
Orchestral excerpts
Reed-making

Sophomore Jury
Major and minor scales and arpeggios
Milde Concert Studies
Kovar 24 Daily Exercises
Giampieri 16 Studies; Bozza Studies
Hindemith Sonata
Weber Concerto or other work of equivalent difficulty
Orchestral excerpts
Reed-making

Junior Jury
Orefici Bravura Studies
Pierne New Techniques of Bassoon
Piard Studies
Mozart Concerto or other work of equivalent difficulty
Orchestral excerpts
Reed-making

Senior Jury and Senior Recital
Mozart concerti
Vivaldi concerti
Hummel Concerto
Bach cello suites
Saint-Saens sonata or other work of equivalent difficulty
Orchestral excerpts from memory
Reed-making
Bassoon majors must perform a senior recital to determine fulfillment of performance requirements.

Brass Majors
Repertoire Requirements
At the end of a semester in which the student is not doing a jury (usually the fall semester), brass students are required to perform an evaluation for the brass faculty. Seniors are not required to do a fall jury. Freshmen and sophomores play for five minutes; all others play for ten minutes. The results are factored into the semester’s grade, and students receive written comments from each member of the brass faculty. This mid-year evaluation may be waived if the student is performing a recital in that semester.

Composition
Freshman and Sophomore Years
Students enrolled in PVL 110R (The Composer at the Keyboard) must take a keyboard jury at the end of the spring semester. Compositions that best demonstrate the abilities of the performer, to be determined by the teacher, are required together with improvisations as requested by the jury.

At the end of the sophomore year, each student’s record will undergo a formal review by the department. Standing in place of a jury recital, this review will take into account the student’s academic performance, especially progress in composition classes and lessons, as well as the student’s participation in and attendance at school and department activities. The results of this review will determine whether the student will be allowed to advance to junior standing.

Junior Year
Complete at least two works and see them through to performance.

Senior Year
Present either one full recital of at least 40 minutes in the final semester of work or two half-recitals within the last two semesters of work. In both years, works performed must have been completed during the time the composer was a student at the Conservatory. Presentations must be performed by or prepared under the direction of the composer.

The works presented during the last two years of study should include at least three of the following:
Work for one to four instruments, not including voice
Work for five to 25 instruments, not including voice
Work for any number of instruments and/or any number of voices
Work using electronic devices (either exclusively or in combination with acoustic instruments)
Soundtrack not less than five minutes in length using electronic sounds or instruments for film or video and created using Conservatory facilities.

Clarinet
Freshman Jury
Etudes and studies: Baermann Method for Clarinet, Third Division; Kell 17 Staccato Studies; Klose 45 Exercises on Articulation and 12 Studies in the Various Registers; Rose 32 Études for Clarinet; Thurston Passage Studies for Clarinet, Vol. 1
Solo literature: Saint-Saens Sonata, Op. 167; Schumann Fantasy Pieces, Op. 73; Mozart Concerto in A Major, K. 622; Carl Stamitz Concerto No. 3 in B-?at Major; Weber Concertino, Op. 26

Sophomore Jury
Etudes and studies: Baermann Method for Clarinet, Part 4; Gates Odd Meter Études; Rose Studies for Clarinet; Voxman Classical Studies for Clarinet (Bach and Handel); transposition study
Solo literature: Hindemith Sonata (1939); Johann Stamitz Concerto in B-?at Major; Weber Concerti in F and E-?at Major, Op. 73 and 74; Brahms Sonatas in F Minor and E-?at Major, Op. 120, Nos. 1 and 2

Junior Jury
Etudes and studies: Baermann Method for Clarinet, Part 5; Rose 20 Grandes Études after Rode; Cavallini 30 Caprices; transposition study; orchestral excerpts
Solo literature: Weber Grand Duo Concertant, Op. 48; Poulenc Sonata; Hindemith Concerto; Spohr Concerto

Senior Jury and Senior Recital
Etudes and studies: Uhl 48 Études; Sigel The Twentieth-Century Clarinetist; Jeanjean 16 Études Modernes; orchestral excerpts
Solo literature: Debussy Première Rhapsodie; Stravinsky Three Pieces for Solo Clarinet; Copland Concerto; Nielsen Concerto, Op.57; Berg Four Pieces for Clarinet and Piano, Op. 5
Clarinet majors must perform a senior recital to determine fulfillment of performance requirements.

Double Bass
On each jury examination, students are required to play one composition from each category unless otherwise noted.

Freshman Jury
Baroque works: sonatas of Bach, Birkenstock, Eccles, Handel, Marcello, Telemann, Vivaldi: Bach solo cello suites (two movements)
Concerti (one movement): Bottesini, Dittersdorf, Dragonetti, Handel, Koussevitzky, Sperger, Vanhall
Pieces: One short work by Bottesini, Dittersdorf, Dragonetti, Koussevitzky, Sperger, Vanhall
Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor.

Sophomore Jury
Baroque or classical work: sonatas or other works by composers such as Bach, Beethoven, Birkenstock, Couperin, Dittersdorf, Frescobaldi, Handel, Mozart, Sperger or three movements from the Bach solo cello suites
Concerti (complete)
Pieces: Two short works by composers such as Bottesini, Bruch,
Gliere, Koussevitzky, Hertl, Montag or Rossini
Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor.

Junior Jury
Concerti of virtuoso-type pieces
Sonatas or multi-movement works from the romantic or contemporary repertoire
Pieces: two short works from any of the representative periods
Orchestral excerpts from the standard repertoire may be substituted for category 3 at the discretion of the professor.

Senior Jury
Concerti or virtuoso-type pieces
Sonatas or multi-movement works from the romantic or contemporary repertoire, or an entire solo cello suite by Bach
Pieces: three short works from any of the representative periods
A fourth category consisting of chamber music may be included on the recommendation of the professor
For the jury, orchestral excerpts fromt eh standard prepertoire may be substituted for category 3 at the discretion of the professor. Double Bass majors must perform a senior recital to determine fulfillment of performance requirements.

Flute
Freshman Jury
Concerti: Quantz G Major, Mozart D Major or G Major
Sonatas: Hindemith, J.S. Bach, C.P.E. Bach, Poulenc
Pieces: Griffes Poème, Telemann Fantasias for solo ?ute, Chaminade Concertino, Fukushima Mei

Sophomore Jury
Concerti Vivaldi “Il Cardellino” in D Major, Op. 10, No. 3, Mozart Concerto in G major (with cadenzas)
Sonatas: Piston; Dutilleux Sonatine, Bach (any with keyboard),Sancan Sonatine
Pieces: Martin Ballade, Telemann Suite in A Minor, Hue Fantasie, Hindemith Acht Stücke, Berio Sequenza

Junior Jury
Concerti: Mozart Concerto in D Major (with cadenzas), Ibert, Nielsen
Sonatas: Martinu° , Reynolds, Prokofiev, Gaubert
Orchestral repertoire

Senior Jury and Senior Recital
Similar to junior jury, with strong concentration on orchestral repertoire. All movements of each work are required. Works need not be performed from memory.

Flute majors must perform a senior recital to determine fulfillment of performance requirements.

Guitar
Two-thirds of all juries and recitals must be performed from memory. Each jury must consist of entirely new repertoire. Written program notes are required for each jury and degree recital. Repertoire guidelines are in the Guitar Department Manual, available
on the Conservatory’s web site. At the end of the semester in which the student is not doing a jury (usually the fall semester), undergraduate guitar students are required to perform an evaluation for the guitar faculty. Freshmen and sophomores play for five minutes; all others play for ten minutes. The results are factored into the semester’s grade, and students receive written comments from each member of the guitar faculty.

Freshman Jury
Music from each of the following five periods, totaling 20 minutes: renaissance, baroque, classical, romantic and contemporary, for a 15-minute jury.

Sophmore Jury
Music from all five periods listed above, totaling 30 minutes, for a 15-minute jury.

Junior Jury
Music from at least three distinct musical periods, totaling 45 minutes, for a 30-minute jury.

Senior Jury and senior Recital
Music from at least three distinct musical periods, totaling one hour, for a 30-minute jury. Also, a recital of one hour of music, which may include some chamber music at the discretion of the major teacher.

Harp
Freshman Jury
At least one classical, one romantic or impressionistic and one contemporary work. Total length: 30 minutes. Works to be prepared during freshman year.

Sophomore Jury
At least one classical, one romantic or impressionistic, one contemporary and one chamber music work. Total length: 45 minutes. Evidence of orchestral participation must be shown. The jurors may choose to hear only part of this material.

Junior Jury
At least two each of classical, romantic or impressionistic and contemporary works, plus one piece of chamber music and one concerto or similar work for harp and large orchestral group or orchestra, such as Mozart Concerto for Flute and Harp or Ravel Introduction and Allegro. Evidence of solo performances and orchestral participation must be shown. Total length: 60 minutes. The jurors may choose to hear only part of this material. The material presented must differ from that performed the previous year.

Senior Jury and Senior Recital
Forty-five minutes of solo material and 30–45 minutes of chamber music. Evidence of solo performances and orchestral participation must be shown. The material must differ from that performed in previous years. The jurors may choose to hear only part of the program.

Harp majors must perform a senior recital to determine fulfillment of performance requirements.

Harpsichord
Freshman
A work of the English Virginal School
A work of Frescobaldi
A suite of Chambonnieres or Louis Couperin
A Bach French suite or selected sinfonias

Sophomore Jury
A work of the English Virinal School
A toccata and suite of Froberger
A suite of D’Anglebert
Two preludes and fugues from Book 1 of the Well-Tempered
Clavier

Junior Jury
An ordre of Fran?ois Couperin
An English suite or partita of Bach

Senior Jury
A suite of Rameau
One of the following major works of Bach: Italian Concerto, Overture in B Minor, Chromatic Fantasy and Figue

Sting Majors
Students are encouraged by their teachers to prepare a complete required program. It will be at the discretion of the teacher what and how much will be performed at the jury. Every category of the required program, however, should be represented, time permitting. The length of the jury performance will be either 20 or 30 minutes, as determined by the teacher.

Horn
Freshman Jury
Mozart Concerto No. 1 on natural horn, from memory
Selections from Kopprasch, Book 1; Maxime-Alphonse, Book 1
Selected orchestral excerpts

Sophomore Jury
Mozart Concerto No. 3 or comparable work, from memory
Selections from Kopprasch, Book 2; Maxime-Alphonse, Book 2
Selected orchestral excerpts

Junior Jury
Mozart Concerto No. 2 or No. 4 or comparable work, from memory
Selections from Maxime-Alphonse and Galley
Selected orchestral excerpts

Senior Jury and Senior Recital
Strauss Concerto No. 1 or comparable work, from memory A twentieth-century work for solo horn
Selected orchestral excerpts
Repertoire for this jury represents a standard orchestra audition.

Horn majors must perform a senior recital to determine fulfillment of performance requirements

Oboe
Freshman Jury
One etude by Barret or Ferling
One classical work
One impressionistic or contemporary work, all of which the student has studied during the freshman year

Sophomore Jury
One etude by Ferling
One baroque or classical work
One romantic or contemporary work, all of which the student has prepared during the sophomore year

Junior Jury
A 35- to 45-minute program of material prepared during the junior year, to be approved by the major teacher. The program should include:
One movement of a sonata or concerto, preferably with piano accompaniment
One etude from the Grand Studies by Barret or Etudes by Ferling
Three orchestral excerpts: Beethoven, “Funeral March” from the Eroica Symphony, first solo passage; Ravel Trombeau de Couperin, opening solo from Prelude; Rossini La scala di seta, fast staccato solo

Senior Jury and Senior Recital
A full program of at least 40-50 minutes, to be approved by the major teacher. Music from a variety of historical periods and genres, as well as chamber music with prominent oboe parts, is encouraged.

Oboe majors must perform a senior recital to determine fulfillment of performance requirements.

Organ
Freshman Jury
A working knowledge of the organ, its design, construction and registration
Trios, fughettas and chorale preludes from the baroque period; selected works from Bach, e.g., Little Organ Book and Eight Short Preludes and Fugues
Short compositions of Mendelssohn, Brahms, Vierne, etc.
Elements of hymn playing

Sophomore Jury
Selected Back preludes and figues
Works from older masters
At least one work each from the romantic and modern repertoire
Two hums prepared on one day’s notice before the examination
Sight-reading
Registration to be outlined for two works new to the performer

Junior Jury
A 46 to 60-minute recital demonstrating the student’s command of a variety of styles, including at least one work from memory. This recital may be played publicly at the professor’s discretion.

Senior Jury and Senior Recital
Organ majors must perform a senior jury to determine fulfillment of performance requirements. A public recital also must be performed, to include Bach works from the “mature master” period; a major French work; works by American composers; and one work in advanced style written after 1960. Ensemble music may be included. Half of this recital must be memorized.

Percussion
Freshman Jury
Timpani:
Study of basic techniques: strokes, tone, tuning, roll, muf?ing, cross-sticking
Goodman Modern Method for Timpani
Firth Solo Timpanist, elementary studies
Orchestral repertoire of classical composers and compositions performed by the Conservatory Orchestra (throughout all years)
Snare Drum:
Survey of all basic strokes, rolls
Goldenberg Snare Drum Method
Cirone Portraits in Rhythm
Peters Intermediate Snare Drum Studies
Introduction to orchestral repertoire
Mallet Instruments (xylophone, marimba, etc.):
Study of basic techniques
Goldenberg Modern School for Xylophone
Green Studies
Introduction to orchestra repertoire
Begin four-mallet technique using Bach and Van Geem Four-Mallet Democracy

Introduction to the techniques of other percussion instruments: bass drum, cymbals, tambourine, triangle, castanets, etc. This survey continues as appropriate throughout the undergraduate years, particularly as necessitated by performance in the Conservatory Orchestra.

Sophomore Jury
Timpani:
Orchestral repertoire of classical and romantic composers.
Snare Drum:
More advanced studies, with emphasis on dynamic control, especially the “pp,” the roll at all dynamics, etc.
Peters Advanced Snare Drum Studies
Cirone Portraits in Rhythm
Orchestral repertoire
Mallet Instruments:
Continued study of scales and arpeggios
Green Studies
More advanced studies
Solo material selected from modern composers and classic works transcribed for xylophone, marimba and vibraphone (Bach violin sonatas and partitas, Bach cello suites, Creston Concertino for Marimba and Orchestra). Begin multiple percussion: Stravinsky L’histoire du soldat, Milhaud Concerto for Percussion

Junior Jury
Timpani:
Orchestral repertoire of all periods, including some modern works
Solo material (Paris Timpani Concerto, Tanner Timpani Concerto)
Snare Drum:
Cirone Portraits in Rhythm
Emphasis on metric variations; orchestral repertoire
Mallet Instruments:
Continue Bach violin sonatas, partitas and cello suites
Orchestral repertoire (e.g., Gershwin Porgy and Bess, Bernstein, Stravinsky, Bartok)
More advanced four-mallet study using Van Geem Four-Mallet Democracy
Study of repertoire of complete percussion family
Dvorak Carnival Overture (tambourine)
Liszt Piano Concerto (triangle)
Mahler Symphony No. 3 (bass drum)
Tchaikovsky Symphony No. 4 (cymbals)
Continue technical studies of Green, Baily

More extensive multiple percussion studies: Dahl Duettino for Flute and Percussion; Kraft Encounters for Trumpet and Percussion.

Senior Jury and Senior Recital
Technical perfection in all areas of percussion performance
Studies in any of the previously recommended methods as indicated; other advanced methods may be used, such as Abel 20th Century Orchestral Studies (timpani); continued survey of solo works and the symphonic and operatic repertoire

The fourth year’s study should culminate in a solo jury examination with performance on all basic percussion instruments, including such works as Stout Mexican Dances, Milhaud Concerto for Marimba (or a full-length concerto transcribed for mallets) and Carter Eight Solo Pieces for Timpani. If possible, small ensemble works featuring percussion should be included. Suggestions include Bartok Sonata for Two Pianos and Percussion., Kurka Marimba Concerto, Bach sonatas (violin) and lute suites, Stockhausen Zyklus, Crumb Madrigals and Berio Circles. This jury also could include a first performance of an advanced composition student’s work for solo percussion or percussion featured in a small ensemble.

Percussion majors must perform a senior recital to determine fulfillment of performance requirements.

Piano
Freshman Jury
A prelude and figue from the Well-Tempered Clavier or another work of Bach containing a figue
An entire sonata by Beethoven, Mozart or Hadyn
A romantic work by a nineteenth-century composer or a work by a representative French composer (Debussy, Ravel or others)
A work by a twentieth-century composer genuinely representative of musical and technical concepts developed in the last 80 years

Sophomore Jury
Any compete partita, French suite or English suite, or any major work such as the Italian Concerto, or five sinfonias or two preludes and figues from the Well-Tempered Clavier by Bach
A work from the classical period
A major romantic work (corresponding in importance and difficulty to a Chopin ballade or scherzo or Brahms Eight Piano Pieces, Op. 76)
An etude or prelude by Debussy
A twentieth-or twenty-first century work

Junior Jury
A program of completely new material of not less than 60 minutes in length, to be approved by the major professor and the piano department, including etudes by two different composers (Chopin, Debussy, Rachmaninoff, Scriabin, etc.)

Senior Jury and Senior Recital
Piano majors must perform a senior jury to determine fulfillment of performance requirements. A public recital also must be performed, with repertoire approved by the major professor and the piano department.

Concerto Requirement
At any time during an undergraduate’s residency, a one-time concerto performance requirement must be satisfied at an additional concerto jury. This requirement may be waived by permission if the residency is one year or less. Finalists in the Conservatory’s annual concerto competition are also excluded from this requirement.

Trombone
Freshman Jury
Works selected from the following: a solo agreed upon by the professor and student; etudes
Legato studies by Rochut

Sophomore Jury
A solo work agreed upon by professor and student
Orchestral excerpts
Etudes

Junior Jury
A solo work agreed upon by professor and student
Orchestral excerpts

Senior Jury
A solo work agreed upon by professor and student
Orchestral excerpts

Senior Recital
Balanced program from solo and ensemble repertoire for trombone. Trombone majors must perform a senior recital to determine fulfillment of performance requirements.

Trumpet
Freshman Jury
Emphasis on fundamentals
Selected studies from Arban, Clarke, Saint-Jacome, Schlossberg
Studies by Concone, Davidson, Getchell, Hering, Leonard, Sachse, Voxman; Mager Nine Grand Solos; Haydn and Hummel
Orchestral excerpts

Sophomore Jury
Selected studies from Bordogni, Brahms, Brandt, Clarke, Gates, Hickman, Voisin, Webster, Williams
Solos of Arban, Arutunian, Giannini, Goedicke, Hindemith, Riisager; piccolo trumpet (Purcell, Telemann Heroic Music, Torelli or equivalent)
Orchestral excerpts

Junior Jury
Selected studies from Andre, Broiles, Charlier, Nagel, Reynolds, Smith
Solos of Clarke, Enesco, Honegger, Kennan, Neruda, Stevens; piccolo trumpet (Albinoni, Fasch, Handel, Hertel, L. Mozart, Tartini, Telemann, Viviani)
Orchestral excerpts

Senior Jury and Senior Recital
Continuation of above, with additional emphasis on French and contemporary etudes
Review of major solo repertoire and further study of French (Chaynes, Jolivet, Tomasi), contemporary (Davies or equivalent), solo trumpet (Arnold, Friedman, Henze, Ketting, Persichetti, Weiner, Whittenberg, Wolpe), piccolo trumpet (Bach, M. Haydn, Querfurth) and jazz repertoire
Intensive review of chamber music and orchestral repertoire, including mock auditions
Full program

Trumpet majors must perform a senior recital to determine fulfillment of performance requirements.

Tuba
Freshman Jury
Legato studies by Rochut
Technical studies by Kopprasch
Mastering the Tuba by Bobo
Solo literature

Sophomore Jury
Legato studies by Borgogni
Technical studies by Kopprasch and Blazhevich I
Solo literature
Orchestral excerpts

Junior Jury
Solo literature
Orchestral excerpts

Senior Jury and Senior Recital
CC and F tubas
Complete orchestral repertoire
Solo literature

Tuba majors must perform a senior recital to determine fulfillment of performance requirements.

Viola
During a four-year course of study, a student will be required to perform the following:

A minimum of four concerti chosen from the following: Bartok, Berio, Berlioz, Bloch, Feldman, Handel, Handoshkin, Hindemith, Hoffmeister, Mozart, Nixon, Piston, Pleyel, Stamitz, Schnittke, Telemann, Walton, Vaughan Williams. With the approval of the professor, other concerti may be selected. At least one concerto shall be performed at the end of each school year.
At least three of the six cello suites, or the violin sonatas and partitas, or the gamba sonatas of Bach, transcribed, and at least one from the unaccompanied repertoire of Stravinsky, Reger or Hindemith. One is to be performed at the end of each school year.
At least four sonatas from the representative periods, one to be performed at the end of each school year.
A fourth category may be included on the recommendation of the professor and could include etudes; the standard chamber music for viola, such as the duos of Mozart or Beethoven or the trio of Debussy; and the standard orchestral studies, such as Strauss Don Quixote or Don Juan.

Concerti must be memorized. Memorization in other categories shall be at the discretion of the professor.

Variations in the required repertoire may be made only with the consent of the string department.

Viola majors must perform a senior recital to determine fulfillment of performance requirements.

Violin
During a four-year course of study, a student will be required to learn the following:
A minimum of four standard concerti, such as Barber, Bartok, Beethoven, Berg, Brahms, Bruch, Dvor?ak, Glazunov, Lalo, Mendelssohn, Mozart, Paganini, Prokofiev, Saint-Saens, Sibelius, Stravinsky, Tchaikovsky, Vieuxtemps or Wieniawski. During the four years, no composer shall be represented by more than one concerto.
Two of the six partitas or sonatas for solo violin by Bach.
Four classical, romantic or contemporary sonatas for violin and piano, one to be performed at the end of each school year.
Four short virtuoso pieces—or works in a similar style—by any of the following composers: Kreisler, Paganini, Saint-Saens, Wieniawski.

Students will be required to perform three works from contrasting periods for their jury examination. Concerti must be memorized. Memorization in other categories shall be at the discretion of the professor. Variations in the required repertoire may be made only with the consent of the string department. Violin majors must perform a senior recital to determine fulfillment of performance requirements.

Violoncello
During a four-year course of study, a student will be required to perform the following:

A minimum of four concerti chosen from the following: C.P.E Bach, Barber, Beethoven Triple Concerto, Bloch Schelomo, Boccherini, Brahms Double Concerto, Dvor?ak, Elgar, Haydn D and C concerti, Hindemith, Lalo, Milhaud, Prokofiev, Saint-Saens, Schoenberg, Schumann, Shostakovich, Walton. At least one concerto shall be performed at the end of each school year.
At least three of the six cello suites or the gamba sonatas by Bach, and at least one from the unaccompanied repertoire of Bloch, Britten, Hindemith, Kodaly or Reger. One is to be performed at the end of each school year.
At least four sonatas from the representative periods, one to be performed at the end of each school year.
A fourth category will be chosen with the advice of the professor and may include etudes, virtuoso pieces, the standard chamber music for cello, such as duos of Ravel and Kodaly, trios of Schoenberg and Webern, or the standard orchestral studies, such as Strauss Don Quixote.
Concerti must be memorized. Memorization in other categories shall be at the discretion of the professor.
Variations in the required repertoire may be made only with the consent of the string department.
Violoncello majors must perform a senior recital to determine fulfillment of performance requirements.

Voice
Evaluation and Jury Examinations
A jury examination is required of all voice students during the second semester of each year. At the end of the semester in which students are not doing a jury (usually the fall semester), voice students are required to perform a piece chosen by the voice faculty for an evaluation. Evaluation and jury repertoire is to be chosen from the required repertoire specified in the voice department handbook. Students will receive written comments on both evaluation and jury performances.

Freshman Requirements
Repertoire requirements for the first semester: (Evaluation)
One early Italian song or aria, written in the seventeenth or eighteenth century
One song in English; must not be a translation
Two pieces of the student’s choice (to be approved by the major teacher)
Repertoire requirements for the second semester: (Jury)
One early Italian song or aria, written in the seventeenth or eighteenth century
Two songs or arias originally in English. Translations from other languages are not acceptable. (The word “aria” in this context bears in mind particularly the works of Handel, though not exclusively.)
Two pieces of the student’s choice (to be approved by the major teacher)
The freshman jury will consist of a performance of two pieces from the required second semester freshman repertoire: one piece chosen by the student, the second by faculty jury members.

Sophomore Requirements
Repertoire requirements for the first semester: (Evaluation)
Two compositions from the works of such composers as Handel, Vivaldi, Haydn or Mozart, but not by the same composer. One composition may be a song; the other must be an aria from an oratorio or an opera.
One song by any of the composers represented in The Reliquary of English Song, e.g., Arne, Dowland, Morley, Purcell, etc.
One song by Beethoven, Mendelssohn, Schubert or Schumann
One piece of the student’s choice (to be approved by the major teacher)
Repertoire requirements for the second semester: (Jury)
Two songs by Beethoven, Bellini, Donizetti, Hensel, Mendelssohn, Mozart, Rossini, Schubert or Schumann. The two songs may not be by the same composer.
One song by Purcell
One aria from an oratorio or an opera from the works of such composers as Bach, Handel, Haydn, Mozart or Vivaldi
One piece of the student’s choice (to be approved by the major teacher)
The sophomore jury will consist of a performance of two pieces from the required second semester sophomore repertoire: one piece chosen by the student, the second by faculty jury members.

Junior Requirements
Repertoire requirements for the first semester: (Evaluation)
One song by a composer of the earlier romantic period such as Brahms, Dvor?ak, Liszt, Mussorgsky, C. Schumann, Wolf
One song by a French romantic composer such as Berlioz, Bizet, Chabrier, Chausson, Duparc, Faure, Massenet
One song originally in English (no translations) by an American or British composer of the twentieth or twenty-first century
A song from the musical theater/jazz/American standard song repertoire, by a composer such as Berlin, Bernstein, Cahn, Gershwin, Mercer, Porter, Rodgers, Sondheim, etc.
Two pieces of the student’s choice (to be approved by the major teacher)
Repertoire requirements for the second semester: (Jury)
One song by a composer of the later romantic period, such as Berg, Mahler, Strauss, Wolf, early Stravinsky, early Schonberg
One song by a French composer such as Debussy, Hahn, Satie, Poulenc, Ravel, Milhaud, Messiaen, Roussel
One composition from the works of J.S. Bach, in the original language of composition
One aria from an oratorio or opera from the works of nineteenth, twentieth, or twenty-first century composers
One song in English by an American composer such as Argento, Bacon, Barber, Carpenter, Copland, Duke, Heggie, Musto, Ives, Pasatieri, Persichetti, Rorem
One piece of the student’s choice (to be approved by the major teacher)
The junior student in voice is required to perform a public solo recital of 25–30 minutes of music prior to the second-semester junior jury. The recital may not include any material prepared in previous years and is to be chosen from required junior repertoire enumerated in the Voice Department Handbook. It should include various styles, e.g., romantic, impressionistic, contemporary, American, and at least three languages, one of which must be English by an American composer.

The junior jury will consist of a performance of two pieces from
the required second-semester junior repertoire: one piece chosen by the student, the second by faculty jury members.

Senior Requirements
The senior student in voice is required to perform a public solo recital of 50–60 minutes of music. The recital may not include any material prepared in previous years and should include pieces in Italian, German, French and English, from the baroque or classical, romantic, impressionistic or neo-classical and contemporary (twentieth and twenty-first centuries) periods. Two of the contemporary compositions must be by American composers and be drawn from settings of English words. The remaining contemporary pieces may be drawn from the works of such composers as Berg, Britten, Schonberg, etc.

The program must be approved by the major voice teacher, and a portion of the recital may be presented to the voice faculty at least four weeks prior to the recital date during
a recital preview. The voice faculty will either approve the memorized recital or ask for a second preview. If the second preview is not approved, the recital must be rescheduled for a
later date.

Materials for the program must be turned in to the major teacher and voice faculty for their review. This must include the recital repertoire (including opus numbers and composers’
dates), translations, program notes (limited to 150 words per piece on the program) and an optional biography of the singer (limited to 150 words or less).

Repertoire requirements:
The repertoire must be equally balanced among the Italian, German, French and English languages. Other languages may be included only after the 50-minute minimum of the
preceding four languages has been satisfied. The following periods and styles are to be represented:
Baroque and/or classical
Romantic
Impressionistic, neo-classical, post-romantic, etc. This category includes any works from or comparable to the works of the following suggested composers: Debussy, Ravel, Satie, Roussel, Milhaud, Poulenc, Messiaen, Stravinsky, etc.
Twentieth or twenty-first century. Two of these compositions must be by American composers such as Argento, Barber, Copland, Ives, Pasatieri, Persichetti, Rorem, etc.

Operatic and oratorio arias may be programmed in fulfillment of any of the above requirements. They are not to make up a significantly large portion of the senior recital, however.

Song cycles: Although parts of cycles may have been performed in previous years, the major portion of the repertoire must be prepared during the senior year. Songs chosen for encores must be approved by the major teacher in advance of the recital date.

At the discretion of the major teacher, an optional piece/set from the music theatre/jazz/American standard song repertoire by a composer such as Berlin, Bernstein, Cahn, Gershwin, Mercer, Porter, Rodgers, Sondheim, etc. may be included. This does not replace any required repertoire.

The recital preview will be the senior jury; an exit evaluation will be required at the end of the semester, consisting of one piece chosen by the student.

All recital and jury materials are to be prepared under the guidance
and with the approval of the major voice teacher.