Contents
- GRADUATE MUSIC PROGRAMS AND AREAS OF STUDY
- APPLICATION PROCEDURES
- AUDITION REQUIREMENTS
- GRADUATE MUSIC DIAGNOSTIC EXAMINATION
- CERTIFICATE OF GRADUATE STUDY IN MUSIC PERFORMANCE
- MASTER’S DEGREES
- DEGREE PROGRAMS
- CHAMBER MUSIC
- MASTER’S COMPREHENSION ASSESSMENT
- ENSEMBLE REQUIREMENT
- FOREIGN LANGUAGE AND/OR RESEARCH METHODS REQUIREMENT
- INTERRUPTED GRADUATE STUDY
- JURY PERFORMANCES
- MAXIMUM PERIOD ALLOWED
- PROGRAM OF STUDY
- RECITALS OF MUSIC
- THESIS
- TRANSFER CREDIT
- SECOND MASTER'S DEGREE FROM USC
- VOTING PROCEDURES FOR MASTER'S RECITALS AND EXAMINATIONS
- MASTER'S DEGREE FLOW CHART
- DOCTORAL DEGREES
- COURSE REQUIREMENTS
- DEGREE PROGRAMS
- DOCTORAL MINOR
- CANDIDACY
- CHAMBER MUSIC
- DMA EXAMINATIONS IN MUSIC HISTORY AND MUSIC THEORY
- COMPREHENSIVE EXAMINATION IN COMPOSITION
- COMPREHENSIVE EXAMINATION IN MUSIC EDUCATION
- COMPREHENSIVE EXAMINATION IN PIANO PERFORMANCE AND PIANO PEDAGOGY
- DISSERTATION IN MUSIC EDUCATION
- DMA DISSERTATION REQUIREMENT
- DOCTORAL COMMITTEES
- ENSEMBLE REQUIREMENT
- FOREIGN LANGUAGE AND/OR RESEARCH METHODS REQUIREMENT
- INTERRUPTED GRADUATE STUDY
- JURY PERFORMANCES
- MAXIMUM PERIOD ALLOWED
- ORAL DISSERTATION EXAMINATION (DEFENSE)
- PROGRAM OF STUDY
- TRANSFER COURSES
- RESIDENCY
- VOTING PROCEDURES FOR DOCTORAL RECITALS AND EXAMINATIONS
- DOCTORAL DEGREE FLOW CHART
- OTHER INFORMATION FOR STUDENTS
- ACADEMIC RESPONSIBILITY
- STUDENT GRIEVANCES, APPEALS and PETITIONS
- CENTERS, INSTITUTES, AND OTHER PROGRAMS
- COMMUNITY ENGAGEMENT AND EXPERIENTIAL LEARNING
- DISMISSAL FROM A GRADUATE PROGRAM
- FEES (SCHOOL OF MUSIC)
- FINANCIAL AID
- FULL-TIME STUDY
- GRADING POLICIES
- HEALTH INSURANCE
- HOUSING
- REGISTRATION
- STUDENT RESPONSIBILITIES
- CONCERTO-ARIA COMPETITION
- INFORMATION FOR FACULTY
Graduate Music Programs and Areas of Study
The School of Music offers the Certificate of Graduate Study in Music Performance;
the Master of Music degree in composition, conducting, jazz studies, music history,
music theory, opera theater, performance, piano pedagogy and violin/viola pedagogy;
the Master of Music Education degree; the Master of Arts in Teaching; the Doctor of
Musical Arts degree in composition, conducting, performance (selected areas) and piano
pedagogy; and the Doctor of Philosophy degree in music education. The Certificate
of Graduate Study and all master’s programs are available to applicants who have developed
skills or knowledge in the major area beyond that expected of a typical undergraduate
student. The Doctor of Musical Arts degree, appropriate for those who desire to teach
at the college level, is available to applicants who evidence not only exceptional
abilities in the major area but well-developed musical intelligence and on-going scholarly
interest as well. The Doctor of Philosophy degree in music education is a research-oriented
program, and applicants are expected to demonstrate a record of successful teaching
experience in elementary or secondary schools, to offer evidence of academic excellence
and on-going scholarly inquiry, and to demonstrate the ability to conduct independent
research. All master’s and doctoral programs require a comprehensive, functional knowledge
of music history, music literature, and music theory. Additional information is available
from:
Music Graduate Admissions
School of Music
University of South Carolina
Columbia, SC 29208
(803) 777-4106
FAX: (803) 777-6508
(E-Mail: gradmusic@mozart.sc.edu)
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Graduate Application Procedures
Current application procedures may be found here.
An applicant may be fully admitted to a graduate program, admitted to a graduate program
with conditions admitted on probation, or declined admission. Students admitted with
conditions or on probation are expected to complete all required courses and remove
all deficiencies. The Graduate Music Diagnostic Examination must be taken before initial
enrollment.
If born after 1956, proof of immunization against measles (Rubeola) and German measles
(Rubella); this may be provided any time before initial enrollment.
Graduate Audition Requirements
Current audition requirements may be found here.
Graduate Music Diagnostic Examination
Prior to initial registration, students in the following degree programs must take the following parts of the Graduate Music Diagnostic Exam:
- music history - all MM, MME, MAT, DMA, and PhD applicants (Certificate students who want to take music history courses or who think they may want to pursue a master’s should take this exam as well.)
- music theory - all MM, MME, MAT, DMA, and PhD applicants (Certificate students who want to take music theory courses or who think they may want to pursue a master’s should take this exam as well.)
- piano literature - applicants for the MM and DMA programs in piano performance or pedagogy
- diction skills - all applicants in voice, choral conducting, and opera theater
- keyboard skills - applicants in choral conducting, composition, jazz studies, elementary music education, or choral music education (upon request by area faculty if needed)
Students are advised to prepare carefully for all portions of the examination, since
the results are used to determine not only their admission status but also whether
they will be required to take certain courses. Any student who changes areas after
admission to a particular graduate degree program will be required to complete parts
of the Diagnostic Examination applicable to the new area. All requirements resulting
from the examination must be completed as stipulated by the School of Music.
Additional information about the exams can be found here.
Certificate of Graduate Study in Music Performance
Graduate Studies Bulletin Information
The Certificate of Graduate Study in Music Performance requires the successful completion of an approved program of study that provides a minimum of eighteen (18) semester hours of graduate study. At least one-half of the total credit hours must be in courses numbered 700 or above, exclusive of recital credit. The remaining hours may be taken from courses numbered 500 or above when registered as graduate credit. No credits may be transferred from another institution. At the time of graduation, the student’s cumulative grade point average (GPA) must be at least 3.00. Students enrolled in the certificate program should prepare and submit a Program of Study proposal for approval by the academic advisor and the Music Graduate Director within the first twelve (12) months of matriculation. All courses must be completed within six years of enrollment. With the permission of the student’s advisor and the Graduate Director, a student may request revalidation of USC graduate courses over six years old for inclusion in the certificate program of study. With the approval of the appropriate music faculty and the Music Graduate Director, a student will be allowed to transfer to either the Master of Music or Doctor of Musical Arts degree in performance if all admission requirements for the desired degree have been met in full. Except for recitals, all appropriate courses taken as part of the certificate program may be transferred to the desired degree.
Two semesters of MUSC 734A–V are required for students studying orchestral strings, percussion, voice, or winds; one semester of MUSC 735A–U is required of students studying orchestral strings or winds. These courses may be taken for 0 credit or taken for credit and applied to electives. Electives cannot include more than four credits of MUSC 734A-V and/or MUSC 735A–U in total.
Students pursuing the Certificate of Graduate Study in Music Performance or are required to present two full-length solo recitals of 50 to 65 minutes of music. The recitals will be adjudicated by at least a three-member committee selected from the area faculty. Because some members of the recital committee may not be available, a student should first consult the Music Graduate Director before scheduling the recital for presentation during the summer months. A recital may not be presented unless the student has officially enrolled in recital credit. In order to receive applied lessons, a student must be enrolled for applied credit.
Recital programs are the responsibility of the student and applied professor. Students must access the online degree recital processing system to submit recital information for approval at least 3 weeks in advance of their recital. The online system will also generate a recital prospectus and notify the professors on the recital committee. Upon faculty approval of the submitted program info, recital programs are forwarded automatically to the music office for printing. Approved programs receive no further proofing. All accuracy of program information is the responsibility of the student and applied professor at the time of submission and approval. All recitals (including those presented off campus) must be scheduled through the Music Office and should be presented when classes are officially in session. Each graduate recital is to be recorded and a copy archived in the Music Library (a video recording is required of all conducting recitals).
With the approval of the area faculty and the Music Graduate Director, a student pursuing the Certificate of Graduate Study in Music Performance may substitute a chamber music or concerto recital or a major opera role for one of the required solo recitals. The literature performed should have been learned during the student’s study at USC. The following pertain:
- Opera Role (MUSC 793) – The approved role, which is to be presented and adjudicated in a public performance, must be considered a major (i.e., not supporting) role in an opera. With the approval of the Music Graduate Committee, the opera role may be presented outside the Columbia metropolitan area if the performance is video-recorded and at least one member of the area faculty is present.
- Concerto Recital (MUSC 794) – The work chosen for the concerto recital should come from the standard concerto repertory of the student’s performance medium. Public performance with an orchestra (or the appropriate original "accompanying" instrumentation) is required. With the permission of the Music Graduate Committee, the concerto recital may be presented outside the Columbia metropolitan area if the performance is video-recorded and at least one member of the area faculty is present.
- Chamber music Recital (MUSC 795) – The works should be chosen from the standard chamber music repertory of the student’s performance medium, though one recently composed work that may not have become a "standard" repertory item may be included.
Master's Degrees
Both the Master of Music and the Master of Music Education degrees require the successful completion of an approved program of study that provides a minimum of thirty-two (32) semester hours of graduate study. At least one half of the total credit hours must be in courses numbered 700 or above, exclusive of recital or thesis credit. The remaining hours may be taken from courses numbered 500 or above when registered as graduate credit.
Within the first twelve (12) months of matriculation, each student should prepare and submit a Program of Study proposal for approval by the academic advisor and the Music Graduate Director. The candidate must satisfactorily complete all courses and studies required by the School of Music. An average grade of B (3.0) is required for all courses taken in the major program, and a grade point average of not less than B for all graduate work is required for graduation. In addition, an accumulation of grades of C+ or below on 12 credits of graduate course work taken at the University within a six-year period will disqualify a student for a master's degree (see the University Graduate Studies Bulletin for further information). No more than six hours of workshop credit (PD courses) may be applied toward any master's degree, and no more than three credits of ensemble and chamber music (MUSC 734 and 735) may be counted as electives. For students matriculating after May 2010, MUSC 523-Techniques and Materials for Tonal Music (3) may not be used for degree credit. For further information about academic regulations see the Graduate Studies Bulletin.
DEGREE PROGRAMS
Master of Music in Composition
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
MM-composition students must submit to the composition faculty an annual composition portfolio and attend a weekly Composition Seminar (no credit) while enrolled in MUSC 716 during the academic year. In addition, composition students are expected to attend master classes, lectures, and performances sponsored by the composition faculty. Normally the degree is completed within two years; in extenuating circumstances, however, the composition faculty may allow a third year of degree work.
Three 3-credit semesters of MUSC 716 (private composition study) are required. With the permission of the composition faculty, students may replace one semester of MUSC 716 with two summer terms of study (1 credit each term) and one elective credit. Students are encouraged to study with different teachers during their degree work.
The thesis for the Master of Music Composition degree must be a chamber work at least 15 minutes in length. (A work for large ensemble may be substituted provided its duration is at least 15 minutes.) A composition prospectus, describing the instrumentation, general scope and resources of the work must be approved by the thesis committee before the student enrolls in MUSC 799 or begins composition of the work.
Music Technology courses to be chosen in consultation with the student’s advisor after a review of the results of the Music Diagnostic Examination.
Electives to be chosen from advanced courses in music composition (not including MUSC 716 or MUSC 799), music theory, music history, performance, and music technology, depending upon the background, interests, and needs of the student. A master’s student may not have more than 6 elective credits in any one area.
Prerequisites: Bachelor’s degree in music; applicants must demonstrate experience and promise as a composer through the submission of appropriate materials; applicants without a bachelor’s degree in music must take the Graduate Music Diagnostic Examination before admission
Master of Music in Conducting
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
CHORAL MUSIC
Diction Proficiency: MM Choral Conducting students must attain a general phonetic knowledge and skills in Latin, Italian, German, French, and English that can be related to other languages. The MM Choral Conducting Diction Proficiency Exam must be passed by MM Choral Conducting students to assert that they have acquired language competencies sufficient to understand texts in the repertory.
Prerequisites: Bachelor's degree in music or music education (or the equivalent), including keyboard skills and proficiency in either voice, piano, or organ equivalent to the completion of the third year of undergraduate instruction at USC
INSTRUMENTAL MUSIC
Prerequisites: Bachelor's degree in music or music education (or the equivalent), including keyboard skills and proficiency in either a keyboard or orchestral instrument (for orchestral conducting) or a wind or percussion instrument (for winds conducting) equivalent to the completion of the third year of undergraduate instruction at USC
Master of Music in Jazz Studies
Graduate Studies Bulletin Information
JAZZ COMPOSITION
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisites: Bachelor's degree in jazz studies (or the equivalent), including keyboard skills and proficiency in a keyboard, orchestral, wind, or percussion instrument equivalent to the completion of the third year of undergraduate instruction at USC; documentation of significant jazz experience
JAZZ PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisites: Bachelor’s degree in jazz performance (or the equivalent), including keyboard skills
Master of Music in Music History
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Foreign language requirement (to be satisfied before enrollment in thesis credit): Reading proficiency in German. Substitution of another language must be approved in writing by both the student’s major professor and the Music Graduate Director.
Prerequisite: Bachelor’s degree in music (or the equivalent)
Master of Music in Music Theory
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Bachelor’s degree in music (or the equivalent).
Master of Music in Opera Theater
Graduate Studies Bulletin Information
PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Diction Proficiency Requirement: diction proficiency in French, German and Italian (one proficiency must be satisfied at the end of one semester of full-time study, one must be satisfied before the completion of two semesters of full-time study, and the remaining must be satisfied before the Master’s Comprehensive Assessment)
Foreign language requirement: reading proficiency in any two of French, German or Italian (one proficiency must be satisfied before the completion of two semesters of full-time study and the other before the Master’s Comprehensive Assessment)
Successful completion of two credits of MUSC 781 includes the presentation of two significant opera roles and one minor role.
Prerequisites: Admittance into the Master of Music degree in Performance (Voice)
STAGE DIRECTING
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Diction proficiency requirement: diction proficiency in French, German, and Italian (one proficiency must be satisfied at the end of one semester of full-time study, one must be satisfied before the completion of two semesters of full-time study, and the remaining must be satisfied before the Master’s Comprehensive Assessment)
Foreign language requirement: reading proficiency in any two of French, German, or Italian (one proficiency must be satisfied before the completion of two semesters of full-time study and the other before the Master’s Comprehensive Assessment)
Prerequisites: Bachelor’s degree in music or music education, including keyboard skills and proficiency in either voice or keyboard equivalent to the completion of the fourth year of undergraduate instruction at USC; applicants must also be able to document extensive singing or acting experience
Master of Music in Performance
Graduate Studies Bulletin Information
GUITAR PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
As part of their graduate program, all students pursuing the MM-performance degree in guitar are required to present a public performance of a concerto from the standard guitar repertory or, with permission of the instructor, present a chamber music program featuring appropriate guitar literature. The concerto must have been learned during the student’s study at USC. This noncredit requirement is in addition to the degree recital. Because some members of the area faculty may not be available, a student should first consult the Music Graduate Director before submitting a prospectus or planning to fulfill the concerto requirement during the summer months.
Prerequisite: Bachelor’s degree (or the equivalent) in guitar performance
MULTIPLE WOODWINDS PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
At least two semesters of study (at one credit per semester) are required in two minor instruments; a minimum proficiency level equivalent to the completion of the junior level of undergraduate study is required. With the consent of the woodwind faculty, three minor instruments may be studied; a minimum proficiency level equivalent to the completion of the junior level of undergraduate study is required for one of the instruments and the completion of the sophomore level for the two other instruments. Minimum proficiency levels on all minor instruments must be met before registering for recital credit.
One-half of the master’s recital will be performed on the major instrument and one-half on the minor instruments.
Prerequisite: Bachelor’s degree (or the equivalent) in performance in the major wind instrument;
The applicant must perform at the graduate level on the major instrument (flute, clarinet,
oboe, bassoon, saxophone) in order to be accepted into the master's program in multiple
woodwinds.
ORGAN PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Bachelor’s degree (or the equivalent) in organ performance
PERCUSSION PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet
for prior years, please reach out to the Graduate Director.
PIANO PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Chamber Music Requirement: Minimum of one semester of chamber music (MUSC 735)
STRINGS PERFORMANCE (Violin, Viola, Violoncello, String Bass)
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Bachelor’s degree (or the equivalent) in performance in the major instrument
VOICE PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Bachelor’s degree (or the equivalent) in voice performance, including keyboard skills,
and one year of college-level study in each of two languages, French, German or Italian
with a grade of B or above. In lieu of enrolling in undergraduate courses, students
may take the language department's Foreign Language Placement Test. Those who place
into French 122, German 122 or Italian 221 will be considered to have satisfied the
prerequisite requirement in a given language
WINDS PERFORMANCE (Flute, Clarinet, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium)
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Bachelor’s degree (or the equivalent) in performance in the major instrument
PERFORMANCE with CONCENTRATION IN COMMUNITY ENGAGEMENT
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
One recital must occur outside of the School of Music in a community venue involving elements of community engagement and audience interaction. The off-campus, community recital may include all or part of the repertoire presented in the solo recital, however the inclusion of chamber music is encouraged, and the performance must utilize methods and best practices learned in MUSC 595.
Prerequisite: Bachelor's degree (or the equivalent) in performance in the major instrument
Master of Piano Pedagogy (Recital or Thesis Track)
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Master of Violin/Viola Pedagogy
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Master of Arts in Teaching
Graduate Studies Bulletin Information
Three concentrations are offered to meet the teaching certification standards and educational needs of the students who will enroll in the proposed M.A.T. (Music). Those three concentrations are (1) Choral, (2) Instrumental (Orchestra) and (3) Instrumental (Band). Students may be required to fulfill undergraduate prerequisites appropriate for their areas of concentration.
Degree Requirements:
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisites: Students must satisfy prerequisite skills in secondary string instruments, wind pedagogy, conducting and piano
Master of Music Education (Thesis, Recital or Project Tracks)
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Ensemble Requirement for choral and instrumental majors in all tracks.
Prerequisites: Bachelor’s degree in music or music education (or the equivalent), including teacher certification and (for applicants elementary music, choral music/conducting or orchestral /conducting) keyboard skills
CHAMBER MUSIC
Experience in chamber music is integral to the development of important skills and knowledge for certain musicians. Performance majors in jazz studies (performance track), multiple woodwinds, strings, or winds are therefore required to enroll in and satisfactorily complete at least two semesters of chamber music (MUSC 735), and piano majors are required to complete at least one semester. Chamber music is considered to be music written for an unconducted ensemble of 3 to 9 musicians, with one performer per part (examples: string quartets by Mozart; piano trios by Beethoven; wind quintets by Nielsen).
MASTER’S COMPREHENSIVE ASSESSMENT
The following requirement applies to students entering Fall 2026 and later. Students who entered prior to that semester may choose either the requirements listed below, or to take an oral comprehensive exam as defined in the archived Graduate Handbook.
All candidates for a master’s degree must pass a comprehensive assessment in the major field of study that is distinct from program course requirements, and which usually occurs during the last semester of enrollment. A comprehensive assessment is one that requires a student to synthesize and integrate knowledge acquired in coursework and other learning experiences and to apply theory and principles in a situation that approximates some aspect of professional practice or research in the discipline.
Students must complete the Master’s Comprehensive Assessment Form no later than the Graduation Application Deadline for the semester they intend to graduate. In general, due to the varied nature of the assessment types, the Graduate Office will not be scheduling Master’s Comprehensive Assessments. Students must work with their major professor to determine a committee and secure an assessment due date before submitting the form. (Students who entered before Fall 2026 will need to complete the Request to Schedule Form.)
Students who do not pass the assessment may attempt it again only once. In extenuating circumstances, however, and with the approval of the Music Graduate Committee, the assessment may be taken a third time. Failure to pass the assessment will result in removal from the degree program.
Because faculty are generally unavailable in the summer, students must get the approval of all members of their assessment committee before planning on completing the assessment during the summer.
The options for master’s comprehensive assessment, distinct for each degree program, are given below.
Composition
Students pursuing the Master of Music with emphasis in Composition must pass a one-hour oral comprehensive exam. The student will be provided questions in advance to prepare their responses. The exam will also serve as a defense of the master’s thesis.
The assessment committee will be the master’s thesis committee.
Conducting
Students pursuing the Master of Music with emphasis in Conducting must pass a one-hour oral comprehensive exam. The content of the exam will be determined by the major professor, with input from the other committee members.
The assessment committee will be three major area faculty, to include the major professor.
Jazz Studies
Students the Master of Music with emphasis in Jazz Studies must pass a one-hour oral comprehensive exam in one of the following formats: (1) students respond to questions drawn from a list of topics that have been provided in advance; or (2) students present on a topic related to their study, followed by Q&A.
The assessment committee will be three major area faculty.
Music History
Students pursuing the Master of Music with emphasis in Music History have three options to choose from for the master’s comprehensive assessment.
- One-Hour Thesis/Project Defense
Students will make a prepared presentation of up to 30 minutes summarizing the content of their thesis or project and its finding to the committee, followed by a period of question and answer about the presentation with the committee led by the chair that lasts up to 20 minutes. - Thesis/Project Presentation at Colloquium
Students will make a formal presentation of up to 30 minutes summarizing the content of their thesis or project and its findings at the Peake Music & Culture Colloquium Series in front of a public audience. The candidate will be expected to answer any questions posed by the public. After the conclusion of the Colloquium, the student will meet privately with the committee for additional questions that may last to up to 20 minutes. - Alternative Format Presentation
Students will consult with the chair of their committee to develop an alternative-format presentation of the thesis topic and rubrics for assessing their work. This may include, but is not restricted to, producing an episode of a podcast, preparing a video lecture, or putting on a lecture recital. Students who complete a project rather than a thesis to fulfill degree requirements may choose this option, but the format for the master’s comprehensive assessment must be clearly different than the format of the project, and this format must be approved by the chair of the committee.
The assessment committee will be three major area faculty and one member from outside the music history area.
Music Theory
Students pursuing the Master of Music with emphasis in Music Theory must pass a one-hour thesis defense. The defense will begin with an oral presentation (15–20 minutes), followed by Q&A.
The assessment committee will be the thesis committee.
Opera Theater
Students pursuing the Master of Music Performance whose applied instrument is voice must pass a one-hour oral comprehensive exam. Students will present, using a visual aid, for 20–25 minutes on a topic related to their field of study, followed by Q&A. By the end of semester prior to the exam, students must have selected a three-member committee, and the committee must approve a written prospectus on the presentation topic.
The assessment committee will be three major area faculty, to include the major professor.
Piano Pedagogy
Students pursuing the Master of Music with emphasis in Piano Pedagogy must pass a one-hour oral comprehensive exam. The exam will cover piano pedagogy questions drawn from course subjects; piano literature questions drawn from lessons and recital repertoire; and music history and music theory questions related to lessons and recital repertoire.
The assessment committee will be three major area faculty (including the major professor), one music history faculty member, and one music theory faculty member.
Performance (Brass)
Students pursuing the Master of Music Performance whose applied instrument is brass must pass a one-hour oral comprehensive exam. Students will respond to questions drawn from a list of topics that have been provided to them in advance from each of the three committee members. Each set of questions will be allotted a 15-minute time-period; within each segment the student will begin with 5 to 10 minutes of presentation on the set of questions, followed by a period of Q&A.
The assessment committee will either be three major area faculty (to include the major professor) or two major area faculty (to include the major professor) and an additional music faculty member to be chosen according to a special interest of the student, in coordination with their major professor.
Performance (Guitar)
Students pursuing the Master of Music Performance whose applied instrument is guitar must pass a one-hour oral comprehensive exam.
The assessment committee will be three major area faculty, to include the major professor.
Performance (Organ)
Students pursuing the Master of Music Performance whose applied instrument is organ must pass a one-hour oral comprehensive exam.
The assessment committee will be three major area faculty, to include the major professor.
Performance (Percussion)
Students pursuing the Master of Music Performance whose applied instrument is percussion have two options to choose from for the master’s comprehensive assessment.
- Written examination
Students must pass a two-hour written exam will cover percussion history, literature, and pedagogy. - Recording Portfolio
Students must successfully prepare a compilation video of performances produced and ready for public view as described below:
-
- Minimum length of 25 minutes
- May not include repertoire or recordings from a degree-applicable solo recital
- Must include solo repertoire but may include chamber music
- Program notes for each piece are also required
The assessment committee will be three major area faculty, to include the major professor.
Performance (Piano)
Students pursuing the Master of Music Performance whose applied instrument is piano have two options to choose from for the master’s comprehensive assessment.
1. Oral Examination
Students must pass a one-hour oral comprehensive exam. The exam will cover pertinent
information related to the study of the instrument. Topics of discussion may include
(but are not limited to) music history, theoretical analysis, piano literature, basic
instrument technology, and musical interpretation. Questions will not be provided
in advance of the exam. The exam may not be scheduled any later than two weeks before
the last day of classes.
The assessment committee will be three major area faculty, to include the major professor.
Degree Recital Program Notes
Students will write program notes for each piece on their degree recital and make
the notes available to the public at their recital. The format for the notes is the
student’s choice (print or digital formats acceptable). The notes are to demonstrate
an understanding of their repertoire that runs deeper than performance alone by synthesizing
knowledge from other areas at their discretion. These other areas may include (but
are not limited to) music history, theoretical analysis, piano literature, basic instrument
technology, and musical interpretation. The student is to adopt a professional tone
and provide informative, accurate, and polished notes of a length commensurate with
those of other concert-presenting organizations. The student should write with the
general concert-going public in mind as their audience.
The notes should be emailed to their applied instructor one calendar month before the date of the recital. All revisions requested by the applied instructor must be made and finalized at least one week before the recital. If the notes are not prepared in time or to the quality necessary for a public event, the applied instructor has the right to reject them and bar them from being shared publicly, at which point the student must complete an oral comprehensive exam instead (see option 1).
The assessment committee will be the same as the jury that assesses the recital itself. The adjudicating faculty is encouraged to share their feedback and final assessment on the notes in their recital ballot. In the event that the student fails the comprehensive assessment, they will have one attempt to revise their work and resubmit the notes by email to the jury within two weeks of the decision.
Performance (Strings)
Students pursuing the Master of Music Performance whose applied instrument is strings must pass a one-hour oral comprehensive exam.
The assessment committee will be three major area faculty, to include the major professor.
Performance (Voice)
Students pursuing the Master of Music Performance whose applied instrument is voice must pass a one-hour oral comprehensive exam. Students will present, using a visual aid, for 20–25 minutes on a topic related to their field of study, followed by Q&A. By the end of semester prior to the exam, students must have selected a three-member committee, and the committee must approve a written prospectus on the presentation topic.
The assessment committee will be three major area faculty, to include the major professor.
Performance (Woodwinds)
Students pursuing the Master of Music Performance whose applied instrument is woodwinds must pass a one-hour oral comprehensive exam. Prior to the exam, students will assemble a digital portfolio, with specific guidelines supplied by the applied teacher. The portfolio is due at least one month prior to the oral exam. The exam will cover the student’s prepared portfolio and any ancillary material requested in advance and in writing by the applied teacher. The main areas to be covered in the exam are instrument history/acoustics/makers, essential repertoire and composers in historical context, pedagogy (including how to teach fundamental concepts, which may not be part of the portfolio), schools of pedagogy and playing, and theory/analysis.
The assessment committee will be three major area faculty, to include the major professor.
Violin Pedagogy
Students pursuing the Master of Music Performance whose applied instrument is strings must pass a one-hour oral comprehensive exam.
The assessment committee will be three major area faculty, to include the major professor.
Master of Arts in Teaching and Master of Music Education
Students pursuing the MAT or MME degrees must pass a one-hour oral comprehensive exam in either the traditional or the optional format. In the traditional format, all questions are presented by the committee members and answered during the exam period. MME students who complete a thesis must complete this format. In the optional format, which is available to all other students, the major professor assembles a question from each committee member for the student to research and prepare a response prior to the assessment date. Each of the written questions should require no more than a five-page response (double spaced, 12 point Times Roman), excluding references. APA writing style is recommended. The procedure for the optional format is given below.
- The examination chair will solicit a researchable question (or series of related questions) from each committee member who wishes to participate in this format. The chair will provide the solicited question(s) to the student 3 weeks (March 31) prior to the oral examination date. The responses for each professor should require no more than a five-page response (double spaced, 12 point Times Roman), excluding references. APA writing style is recommended.
- Students will have 2 weeks from the date of receiving the questions to research and compose their responses.
- Student will submit their written answers, complete with page numbers and references, to the committee chair one week prior to the exam date. Responses to all questions can be compiled into sufficient spiral bound copies to be distributed to the committee by the committee chair or submitted as a compiled pdf (with page numbers and references).
- Committee members will lead the discussion for the responses to their question during the exam time. Those committee members who are not directly responsible for selection of questions are not obligated to read the answers or participate in the discussion specifically related to the written question but may choose to do so.
- Those committee members who do not choose to provide a researchable question will ask the students questions on their discipline during the oral exam time. Committee members will use the rubric posted in the Graduate Student Music Handbook to inform their votes.
- Voting will occur in the normal fashion at the end of the oral examination period.
The assessment committee will be as follows: MAT – three major area faculty; MME Thesis – the thesis committee; MME Recital Track – two major area faculty (to include the major professor) and the applied professor; and MME Project – three major area faculty (to include the project advisor).
A rubric for rating the oral comprehensive examination is given below.
| Criteria | Excellent | Acceptable | Marginal | Fail |
| Professional Disposition and Delivery |
Student portrays confidence in overall demeanor. Student communicates an appropriate sense of gravitas during the exam. Speaking reflects organization and flexibility of thought. Speech is clear. Pace of speech is appropriate. Body language reflects sense of ease and control. Conversational flow is maintained when responding. |
Student communicates an appropriate sense of gravitas during the exam. Speaking reflects organization of thought. Speech is clear. Pace of speech is appropriate. Body language reflects sense of ease and control. Minimal interruption to conversational flow occurs when responding. |
Student does not communicate an appropriate sense of gravitas during the exam. Speaking reflects inconsistent organization of thought. Speech is somewhat clear. Pace of speech is occasionally appropriate. Body language reflects lack of personal awareness. Several interruptions to conversational flow occur when responding. |
Student does not communicate an appropriate sense of gravitas during the exam. Speaking often reflects lack of organized thought. Speech is unclear. Body language reflects lack of personal awareness. Several interruptions to conversational flow occur when responding. |
| Depth (Detail and accuracy of knowledge) |
Conceptual principles are comprehensively discussed, accurate, and presented with detail. Specific terms and definitions are presented to support descriptions of general principles. Representative important figures are discussed. Exemplar research studies are discussed with accuracy and are appropriate to the topic at hand. Knowledge of authors and specific lines of research demonstrates deep internalization of knowledge. Implications of the topic for pedagogy are clearly presented. |
Conceptual principles are accurate and presented with detail. Representative important figures and current authors are discussed. Exemplar research studies are discussed with accuracy and are appropriate to the topic at hand. Implications of the topic for pedagogy are clearly presented. |
Conceptual principles are inaccurate and/or lack detail. Knowledge of at least one
representative figure and current author is lacking. Exemplar research studies discussed
are not appropriate to the topic at hand and/or reflect lack of depth or inaccuracy. Implications of the topic for pedagogy are poorly conceived and/or are not clearly presented. |
Conceptual principles are inaccurate and lack detail. Knowledge of at least one representative figure and current author is lacking. Exemplar research studies are not discussed, are not appropriate to the topic at hand, and/or reflect lack of depth or inaccuracy. Implications of the topic for pedagogy are poorly conceived and/or are not clearly presented. |
| Breadth |
Synthesis of coursework is clearly evident. Ideas from multiple courses are brought to bear on an important issue in the field. Synthesis reveals a critical perspective as well as organization. Knowledge bases from multiple courses are presented with depth and detail as well as breadth. Connections between course topics and issues demonstrate an understanding of how scholarship can inform professional problems. Personal perspectives are grounded in scholarly works and are clearly evident in the organization and synthesis of knowledge. |
Synthesis of coursework is clearly evident. Ideas from multiple courses are brought to bear on an important issue in the field. Connections between course topics and issues demonstrate an understanding of how scholarship can inform professional problems. |
Synthesis of coursework is unclear. Ideas from very few courses are brought to bear on an important issue in the field. Connections between course topics and issues do not demonstrate an understanding of how scholarship can inform professional problems. |
Synthesis of coursework is unclear. Ideas from courses are not brought to bear on an important issue in the field. Connections between course topics and issues do not demonstrate an understanding of how scholarship can inform professional problems. |
ENSEMBLE REQUIREMENT
A minimum of two semesters of major ensemble (MUSC 734) is required of all master’s students majoring in conducting, jazz studies, multiple woodwinds, opera theater, percussion, strings, voice, winds, choral music education or instrumental music education.
FOREIGN LANGUAGE
Reading proficiency in at least one foreign language is required for the Master of Music degree in music history. This proficiency, which must be demonstrated prior to registration for recital or thesis credit, may be satisfied by earning a grade of at least "B" in a foreign language reading course (e.g. GERM 615) or by successfully completing an examination given by the appropriate USC foreign language faculty. Reading proficiency in any two of French, German, or Italian is required for the Master of Music degree in Opera Theater (see degree requirements). One proficiency must be satisfied before the completion of two semesters of full-time study and the other before the Oral Comprehensive Examination. Opera Theater degree candidates will complete a proficiency exam given by the Opera Theater faculty.
INTERRUPTED GRADUATE STUDY
The University of South Carolina does not require continuous study for graduate students, and students may choose not to register for and attend classes for one or more semesters between admission and graduation. When the period of non-attendance reaches two years, the appropriate School of Music area faculty will confirm the fitness of the student to continue in a particular degree program through audition, interview, oral examination, or other means. For example, a student pursuing a performance degree whose last semester of attendance was the Fall 2016 semester, and who intends to return in the Spring 2019 semester, may need to perform a successful audition before the area faculty before being permitted to register for classes.
JURY PERFORMANCES
All students taking applied music at the 511 or 711 level must complete a performance jury before the area faculty at the end of each regular academic semester (fall and spring). If a student receives an “Incomplete” in an applied course because of failure to take a jury examination, the incomplete may be removed through either of the following methods: 1) passing a special jury examination; or 2) enrolling in the same course again the following semester for additional credit and taking a double jury exam, the grade of which will be used in determining the grade for both semesters. At the discretion of the teacher, a student who is to present a degree recital may be exempted from a jury in the semester that the recital is presented.
All students taking graduate-level composition or jazz composition will present their work to the composition or jazz faculty at the end of each regular academic semester (fall and spring). Students may be quizzed on any aspect of their composition(s). Those enrolled in composition-thesis credit are exempted from this requirement unless the composition teacher indicates otherwise.
MAXIMUM PERIOD ALLOWED
Six years is regarded as the maximum time allowed for graduate course credits to count
toward a master’s degree. Should more time be needed to complete a degree program,
special arrangements may be made with the Graduate School for the revalidation of
outdated credits in courses given by the University, if approved by the Music Graduate
Director (see the current Graduate Studies Bulletin for information concerning the revalidation fee). For revalidation of USC courses,
the student must demonstrate a contemporary knowledge of the course content by passing
an examination administered by a music faculty member who currently teaches the course.
Any student who fails to complete the program in the period allowed becomes subject
to changes in degree requirements adopted up to a date six years prior to graduation.
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PROGRAM OF STUDY
Within the first twelve (12) months of matriculation, all master’s students must submit to the Music Graduate Director a Program of Study proposal that has been approved by the student’s academic advisor. The electronic form is found here. The master’s comprehensive assessment cannot be scheduled until the Program of Study has been approved.
RECITALS
Students pursuing the Master of Music degree in performance, conducting, jazz performance, opera performance, or piano pedagogy (recital track), and those pursuing the Master of Music Education (recital track) are required to present a full-length solo recital of 50 to 65 minutes of music; students in jazz composition must present a 50-65 minute recital of works composed or arranged since beginning graduate work at USC. All recitals will be adjudicated by at least a three-member committee selected from the area faculty. Because some members of the recital committee may not be available, a student should first consult the Music Graduate Director before submitting an online prospectus or planning to schedule a degree recital for presentation during the summer months. In addition, a degree recital may not be presented unless the student has officially enrolled in recital credit and is enrolled at the University during the term the recital is presented. In order to receive applied lessons, a student must be enrolled for applied credit.
Recital programs are the responsibility of the student and applied professor. Students must access the online degree recital processing system to submit recital information for approval at least 3 weeks in advance of their recital. The online system will also generate a recital prospectus and notify the professors on the recital committee. Upon faculty approval of the submitted program info, recital programs are forwarded automatically to the music office for printing. Approved programs receive no further proofing. All accuracy of program information is the responsibility of the student and applied professor at the time of submission and approval. All recitals (including those presented off campus) must be scheduled through the Music Office and should be presented when classes are officially in session. Each graduate recital is to be recorded and a copy archived in the Music Library (a video recording is required of all conducting recitals).
A master's recital judged unsatisfactory by the area faculty may be repeated once. The repeated recital may contain any or all of the contents of the unsatisfactory program. If two masters recitals (including a repeated recital) are judged unsatisfactory, the student's status as a master's candidate will be terminated, and he or she will need to fulfill all of the requirements for admission then in effect in order to be readmitted to the master's program. A student may appeal to the Music Graduate Committee regarding a decision to discontinue master's status.
With the prior approval of the area faculty and the Music Graduate Director, a student pursuing the Master of Music degree in performance may count a chamber music or concerto recital or a major opera role as elective credit (such a presentation cannot replace the required solo recital). The literature performed should have been learned during the student’s study at USC. The following pertain:
- Opera Role (MUSC 793) — The approved role, which is to be presented and adjudicated in a public performance, must be considered a major (i.e., not supporting) role in an opera. With the approval of the Music Graduate Committee, the opera role may be presented outside the Columbia metropolitan area if the performance is video-recorded (one member of the area faculty should be present for the video-taping).
- Concerto Recital (MUSC 794) — The work chosen for the concerto recital should come from the standard concerto repertory of the student’s performance medium. Public performance with an orchestra (or the appropriate original “accompanying” instrumentation) is required. With the permission of the Music Graduate Committee, the concerto recital may be presented outside the Columbia metropolitan area if the performance is video-recorded (one member of the area faculty should be present for the video-taping).
- Chamber music Recital (MUSC 795) — The works should be chosen from the standard chamber music repertory of the student’s performance medium, though one recently composed work that may not have become a “standard” repertory item may be included.
THESIS
Students pursuing the Master of Music degree in piano pedagogy (thesis track), music history, music theory, and those pursuing the Master of Music Education degree (thesis track) are required to write a thesis; composition majors should consult information available from area faculty. In consultation with the student and the student’s advisor, the Music Graduate Director will appoint a three-member thesis committee, one of whom will be the director of the thesis. The thesis director will advise the student in the preparation of both the prospectus and the thesis. Any student who wishes to use University facilities or submit a thesis must be officially enrolled, and those who wish to confer with the faculty on thesis or composition work must be officially enrolled for thesis credit. All theses are approved by the student’s thesis committee, the Dean of the School of Music, and the Dean of the Graduate School. Because some members of the thesis committee may not be available, the student should first consult the Music Graduate Director before submitting a prospectus or thesis during the summer months.
Prospectus —One copy of the prospectus, approved by the appropriate faculty, is to be submitted to the Music Graduate Office. If corrections are required, a corrected copy is to be filed in that office within one month. Guidelines for preparing the prospectus are available from room 101K or online.
Thesis — After the thesis director has approved the paper but no fewer than 60 days before the degree is to be conferred, the student should submit three typewritten copies of the thesis for consideration by the thesis committee. Each copy is to have the thesis director’s signature of approval in the upper right-hand corner of the title page. The thesis director is responsible for making sure that the corrections and suggestions from the thesis committee are integrated into the document. No later than 30 days before the degree is to be conferred, the student should submit one copy of the corrected thesis to the Music Graduate Office for final approval by the thesis committee and the Dean. At least 20 days before the date of graduation, three signed copies are to be submitted to the Graduate School for approval and binding. Guidelines for preparing the thesis are available from room 101K.
Composition Thesis —The thesis for the Master of Music Composition degree must be a chamber work at least 15 minutes in length. (A work for large ensemble may be substituted provided its duration is at least 15 minutes.) A composition prospectus, describing the instrumentation, general scope and resources of the work must be approved by the thesis committee before the student enrolls in MUSC 799 or begins composition of the work.
TRANSFER CREDIT
No more than 12 semester hours of graduate credit with grades of B of better may be
transferred from another accredited institution into a master’s program that requires
30-36 hours. Course work transferred for credit toward a master's degree must be no
more than six years old at the time of graduation, must be relevant to the program,
and must have course content and a level of instruction equivalent to that offered
by the University’s own graduate programs. All transfer credits must be approved by
the Music Graduate Director, Graduate Music Committee, and the Dean of the Graduate
School. There is no revalidation mechanism for transfer credit that does not fall
within the six-year time limit. Grades earned on credits transferred from other institutions
do not count in the USC grade point average. Transfer credit is not posted to the
student's official academic transcript until the term of graduation.
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SECOND MASTER’S DEGREE FROM USC
In general, when applying for a second master’s degree from USC, a student must meet the requirements of the second degree in full. However, with approval of the program and the dean of the Graduate Studies, up to 12 semester hours from the program of study of a previous USC graduate degree may be applied toward the second USC degree. Students are advised to seek approval for the inclusion of hours from the previous degree before applying to a second master’s degree program
VOTING PROCEDURES FOR MASTER’S RECITALS AND COMPREHENSIVE ASSESSMENTS
Voting on all graduate recitals and comprehensive assessments will employ written ballots. A two-thirds (2/3 or 66.6%) majority positive vote of the examining committee is required to pass a recital or comprehensive assessment. A “no” vote must be accompanied by a written justification (courteous wording is expected). If not passed on the first attempt, a recital or comprehensive assessment (or a portion of the exam) may be repeated once. A student may petition the Music Graduate Committee to undertake a failed recital or comprehensive assessment a third time, but a favorable ruling will require a 2/3 majority of the voting members of the committee.
All master’s oral examinations are to be chaired by the student’s major professor.
Ballots for the comprehensive examination will be available at the conclusion of the
oral examination, and discussion may precede voting. The student will be informed
of the results (but not the precise spread) of the vote. If a faculty member is not
present for the entire oral examination, that faculty member should not cast a vote
on the portions of the questioning that were not observed.
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MASTER'S DEGREE FLOW CHART |
| ADMISSION TO DEGREE PROGRAM |
| USC GRADUATE SCHOOL PROGRAM OF STUDY (submit within first twelve months of matriculation) |
| CONCERTO REQUIREMENT (MM-performance in guitar only) |
| FOREIGN LANGUAGE (MM-conducting in choral or orchestral music; MM in music history, MM in Opera Theater) |
| RECITAL OR THESIS (all but MME-nonthesis/nonrecital track) |
| ORAL COMPREHENSIVE EXAMINATION (after approval of the program of study, usually in the last semester of study) |
| Application for graduation should be made early in the semester. |
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DOCTORAL DEGREES
Course Requirements
The DMA requires the successful completion of an approved program of graduate-level study (minimum of 48 credits beyond the master's degree), including twelve (12) hours of dissertation credit or the equivalent. The PhD requires the successful completion of an approved program of graduate-level study (minimum of 60 credits beyond the master's degree), including twelve (12) hours of dissertation credit or the equivalent. Unless prescribed in the bulletin description of a doctoral degree or minor, all credits taken beyond the master’s degree must be at the 700 level or higher. To include any additional courses at the 500 or 600 levels on their Doctoral Program of Study (D-POS), students must petition the Graduate Director, who will seek the approval of the Graduate Committee. At least half of the hours on the D-POS must be in courses numbered 700 or higher, exclusive of recital or dissertation credit. Transfer of appropriate post-master's credits from another institution (maximum of 12 credits) may be permitted as long as the final 36 credits of doctoral work (including all credit for the dissertation or dissertation requirement) are taken on the Columbia campus. All doctoral students must submit a Program of Study, approved by advisor and Graduate Director, within the first 24 months of matriculation. The Program of Study form is located here. Doctoral students cannot be admitted to candidacy until the Program of Study has been submitted. Doctoral students must spend one year in candidacy before graduation. After a student has been admitted to candidacy, the candidate must satisfactorily complete all courses and studies as specified by the School of Music. In addition, an average grade of B (3.0) is required for all courses numbered 700 or above as well as for all courses taken in the major area. Grades earned on credits transferred from other schools do not count in the grade-point average. An accumulation of grades of C+ or below on 12 credits of graduate course work taken at the University within a ten year period will disqualify a student for a doctoral degree (see the University Graduate Studies Bulletin for further information). For further information about academic regulations see the Graduate Studies Bulletin.
Degree Programs
The curricula given below outline normal expectations for the successful completion of the chosen degree and emphasis. A doctoral degree can be earned in as few as two years of work beyond the master’s degree, though the usual time is three or more years. It is expected that all students in DMA performance, piano pedagogy, and conducting degree programs will include at least two 700-level music history courses (one of which must be MUSC 744, 745 or 749) and at least two 700-level music theory courses in their programs of study. No more than four credits of ensemble and chamber music (MUSC 734 and 735) may be included under “Cognate Studies.” Area literature courses do not substitute for required music history courses. Students who have developed extensive research and writing skills may petition the Music Graduate Committee to exempt MUSC 747 (for further information contact the Music Graduate Director).
DMA in Composition
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet
for prior years, please reach out to the Graduate Director.
Under no circumstances may the Comprehensive Examination be taken before the Residency requirement and all coursework (exclusive of the dissertation requirement) have been completed.
Foreign Language and/or Research Methods Requirement
DMA Composition students with weaknesses in counterpoint, orchestration, score reading, conducting or keyboard skills should remedy these deficiencies before taking the Comprehensive Examination. Note that these courses may not be applied toward the 48 credits needed to complete the DMA degree. DMA Composition students must have their compositions represented every semester on program-approved concerts. In addition, composition students are expected to attend master classes, lectures and performances sponsored by the composition faculty.
Unless taken elsewhere, advanced courses in post-tonal analysis, tonal analysis, computer music and Music Bibliography/Research (MUSC 707) must be included in a composition student's doctoral studies.
MUSC 890 – All DMA students in composition must present a public performance of at least 30 minutes of original work written during their course of study. These works should demonstrate compositional mastery in a variety of media. The recital may be scheduled anytime after the candidacy examinations have been successfully passed.
MUSC 897 – The doctoral document is a 25-40 page analytical, historical, or theoretical paper developed in conjunction with the dissertation advisor.
MUSC 898 – The treatise is a composition or group of compositions totaling at least 20 minutes for large forces. It is allowable to register for MUSC 897 and 899 before passing the Comprehensive Exam, but the Comprehensive Exam must be passed before the candidate can begin work on the dissertation project and research document. Approval to begin work is obtained by submitting both a dissertation project and research document prospectus to the student's dissertation committee. Guidelines for preparing the dissertation project and research document prospectus, dissertation composition, and research document are available from the Music Graduate Office.
Prerequisite: Master of Music degree in composition (32 credits)
DMA in Conducting
Graduate Studies Bulletin Information
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet
for prior years, please reach out to the Graduate Director.
Foreign Language and/or Research Methods Requirement
CHORAL CONDUCTING
Diction proficiency (to be satisfied before admission to doctoral candidacy): proficiency in two foreign languages (French, German, Italian) not passed during the admission process
Prerequisite: Master of Music degree in choral conducting or the equivalent (32 credits)
Prospective doctoral students in choral conducting may have a master’s degree in either voice or choral music education, but applicants must demonstrate the equivalent of the master’s degree in choral conducting, including proficiencies in the following: choral conducting, applied music (equivalent to the completion of the junior year of voice, piano, or organ instruction), diction (Church Latin and any one of French, German, or Italian), keyboard skills, and foreign language (reading proficiency in French, German or Italian).
INSTRUMENTAL CONDUCTING
Prerequisite: Master of Music degree in orchestral or winds conducting or the equivalent (32 credits)
Prospective doctoral students in orchestral conducting may have a master’s degree in a related performance area (e.g., in violin performance), but they must demonstrate the equivalent of the master’s degree in orchestral conducting, including proficiencies in the following: conducting, applied music (equivalent to senior-level proficiency in a keyboard or orchestral instrument), keyboard skills, and foreign-language (the equivalent of one year of college-level study in French, German, or Italian).
Prospective doctoral students in winds conducting may have a master’s degree in a related performance area (e.g., in trumpet performance) or in music education (recital emphasis), but they must demonstrate doctoral-level conducting abilities as well as senior-level proficiency in a keyboard or band instrument.
DMA in Performance
Graduate Studies Bulletin Information
Foreign Language and/or Research Methods Requirement
GUITAR PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet
for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in the guitar performance or the equivalent (32 credits)
ORGAN PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in organ performance or the equivalent (32 credits)
PERCUSSION PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in percussion performance or the equivalent (32 credits)
PIANO PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in piano performance or the equivalent (32 credits)
STRINGS (VIOLIN, VIOLA, CELLO, DOUBLE BASS) PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in violin, viola, violoncello or double bass performance or the equivalent (32 credits)
VOICE PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Foreign language requirement to be satisfied before the comprehensive examination can be scheduled. Candidates for the DMA in Voice will demonstrate reading proficiency in French, German and Italian through a translation exam provided by the voice area faculty.
Prerequisite: Master of Music degree in voice performance or the equivalent (32 credits)
Demonstration of diction proficiency in English, French, German and Italian and documentation of one year of college-level study in each of three languages, French, German and Italian with a grade of B or above. Applicants who have studied languages other than those listed may petition the voice faculty to accept a substitute. The language requirement must be met before the end of the third semester of study.
WINDS (FLUTE, OBOE, BASSOON. CLARINET, SAXOPHONE, TRUMPET, HORN, TROMBONE, EUPHONIUM OR TUBA) PERFORMANCE
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prequisite: Master of Music degree in performance or the equivalent (32 credits)
DMA in Piano Pedagogy
Graduate Studies Bulletin Information
Foreign Language and/or Research Methods Requirement
PIANO PEDAGOGY RECITAL/TREATISE TRACK
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
PIANO PEDAGOGY DISSERTATION TRACK
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music degree in piano performance or piano pedagogy or the equivalent (32 credits)
PhD in Music Education
Graduate Studies Bulletin Information
Foreign Language and/or Research Methods Requirement
Degree Requirements (pdf) (doc)
These requirements are effective as of the 2026–2027 bulletin year. For a degree sheet for prior years, please reach out to the Graduate Director.
Prerequisite: Master of Music Education degree or the equivalent (32-35 credits)
DOCTORAL MINOR
Doctoral students are encouraged to develop an area of musical expertise outside the doctoral major with the addition of a doctoral minor. The requirements for doctoral minors are given below. Students are encouraged to review the requirements of those minors they are interested in early in their doctoral study and to discuss the possibilities with their advisor, major professor, and point of contact. Admission to a doctoral minor requires a grade point average of at least 3.0 from doctoral study at USC, and approval of the advisor, the doctoral minor area faculty, and the Graduate Director. While students cannot officially declare a minor until their second semester of study, they may begin to take coursework related to a minor in their first semester of study with advisor approval. At least nine credits of the minor must be completed at USC. Credits from the doctoral minor may also count toward the completion of a doctoral degree. During the Comprehensive Examination students who have been approved for a doctoral minor will be tested in that area.
To apply for a doctoral minor, send a signed letter of interest to the Assistant Director of Graduate Studies, who will generate a doctoral minor approval form to be signed by the advisor, point of contact, and Graduate Director. Doctoral minor approval forms require review by the area faculty. Minors marked with an asterisk include applied study (MUSC 711), which requires an audition. Audition requirements vary by area. The signature of the point of contact on the doctoral minor approval form serves as confirmation that a successful audition took place (if required), and that the area faculty have reviewed and approved the student’s application. Faculty availability may be a factor in the approval decision process.
Points of contact for each minor are given below:
| Minor | Point of Contact |
| Community Engagement | Prof. Bryant |
| Composition | Area Coordinator of Composition |
| Conducting* | Band – Dr. Cannon Choral – Dr. Walker Orchestra – Dr. Weiss |
| Contemporary Performance | Dr. Harley |
| Jazz* | Area Coordinator of Jazz |
| Music History | Area Coordinator of Music History |
| Music Theory | Area Coordinator of Music Theory |
| Piano Pedagogy | Dr. Price |
| Music Education | Area Coordinator of Music Education |
| Opera Theatre | Prof. Schlaefer |
| Performance* | MUSC 711A (Flute) – Dr. Parker-Harley MUSC 711B (Oboe) – Prof. Anderson MUSC 711C (Clarinet) – Prof. Eller MUSC 711D (Bassoon) – Dr. Harley MUSC 711E (Saxophone) – Dr. Leaman MUSC 711F (French Horn) – Prof. Shaw MUSC 711G (Trumpet) – Prof. Richardson MUSC 711H (Trombone) – Dr. Wilkinson MUSC 711I (Euphonium) – Prof. Davis MUSC 711J (Tuba) – Prof. Davis MUSC 711K (Percussion) – Dr. Herring MUSC 711N (Guitar) – Prof. Ulmer MUSC 711O (Organ) – Area Coordinator of Organ MUSC 711P (Piano) – Area Coordinator of Piano MUSC 711R (Violin) – Dr. Terwilliger or Dr. Streisfeld MUSC 711S (Viola) - Dr. Sweaney MUSC 711T (Cello) – Prof. Bryant MUSC 711U (Bass) – Dr. Butterfield MUSC 711V (Voice) – Area Coordinator of Voice |
| Sacred Music* | Dr. Walker |
*If taking MUSC 711 as part of these minors, an audition is required.
Community Engagement Minor - The doctoral minor in Community Engagement will allow students to hone skills that are important to developing a mutually productive relationship with an audience. Students interested in this minor are encouraged to take MUSC 595, only offered in Fall semesters, as early in their program of study as possible. This minor requires MUSC 718, which is only offered every fourth semester. This course may also count in the theory requirement of the cognate.
Conducting Minor - The doctoral minor in Conducting offers doctoral students in music an opportunity to engage more deeply with conducting.
Contemporary Music Performance Minor - The doctoral minor in Contemporary Music Performance will allow students to hone those skills that are important to performing in modern musical styles.
Jazz Studies Minor - The doctoral minor is Jazz Studies offers doctoral students in music an opportunity to engage more deeply with jazz studies.
Music Composition Minor - The doctoral minor in Music Composition offers doctoral students in music and opportunity to engage more deeply with music composition.
Music Education Minor - The doctoral minor in Music Education offers doctoral students in music an opportunity to engage more deeply with the field of music education. Advisor in this context refers to the faculty member advising the doctoral minor.
Music History Minor - The doctoral minor in Music History offers doctoral students in music an opportunity to engage more deeply with music history. Non-credit bearing requirement: Written exam in Music History at the candidate’s comprehensive exam.
Optional Choices
Candidates who have been approved are strongly encouraged to also pursue any or all of the following options that offer additional practical training in music history:
- Research
- Attend at least (2) Peake Colloquium events each semester.
- Make a 20- to 30-minute Research Presentation at Peake Colloquium as part of the Graduate Student Showcase
This can be material from a 744 seminar, or material from DMA document project.
The presentation will be planned and coordinated with the Music History Area Coordinator, the student’s major area professor, and the Colloquium coordinator
For a Fall Colloquium presentation, topic and date must be finalized by Aug. 1; for Spring Colloquium presentations, topic and date must be finalized by Dec. 1
- Pedagogy
- Teach one (1) MUSC 110 Introduction to Music (Music Appreciation/non-majors) class meeting in consultation with and facilitated by the 110 Coordinator
- Teach one (1) undergraduate music history class meeting for SOM majors in consultation with and facilitated by the Music History Area coordinator and instructor of record for the chosen course
Music Performance Minor - The doctoral minor in Music Performance offers doctoral students in music an opportunity to engage more deeply with music performance. Advisor in this context refers to the faculty member advising the doctoral minor.
Music Theory Minor - The doctoral minor in Music Theory offers doctoral students in music an opportunity to engage more deeply with music theory.
Opera Theater Minor - The doctoral minor in Opera Theater offers doctoral students in music an opportunity to gain more experience with stage direction and other aspects of opera production. Students may pursue a Stage Directing Track or an Opera Performance Track. Advisor in this context refers to the faculty member advising the doctoral minor.
Piano Pedagogy Minor - The doctoral minor in Piano Pedagogy offers doctoral students in music an opportunity to engage more deeply with piano pedagogy. Credits from a doctoral minor may also count toward the completion of a doctoral degree.
Sacred Music Minor - The doctoral minor in Sacred Music will further equip DMA students who are highly likely to hold positions in places of worship.
CANDIDACY
All recommendations for admission to doctoral candidacy are approved by the area faculty [defined as a panel of no fewer than three members of that area], Music Graduate Director, and the Dean of the Graduate School. A student must have been fully admitted as a degree student before attempting to fulfill any doctoral candidacy requirements (examination and hearing). Admittance to degree candidacy indicates that the student is fully qualified to pursue the desired doctoral degree. Students who have not been admitted to doctoral candidacy after the equivalent of three semesters of full-time study may not be permitted to continue doctoral studies. Doctoral students must spend one year in candidacy before graduation.
A candidate for the doctoral degree in conducting or performance is expected to have acquired a level of knowledge in the major area beyond that expected of one who has completed a master’s degree in the area. A candidate for the doctoral degree in piano pedagogy is expected to have acquired a level of knowledge in both piano pedagogy and piano literature (elementary, intermediate, and advanced levels) beyond that expected of one who has completed a master’s degree in piano pedagogy.
The following are required before doctoral candidacy can be considered:
1. Completion of the equivalent of one semester of full-time study
2. Successful completion of the written Doctoral Candidacy Examination
Each doctoral student must take a three-hour written examination in the major area no later than the third semester of full-time study (or the equivalent). The examination may be passed, passed with conditions or failed. If failed, the exam may be retaken only once. The following guidelines pertain to specific doctoral majors:
Composition — See your major professor for more information.
Conducting or Performance — The Written Candidacy Examination in conducting or performance covers the areas listed below. Emphasis varies from area to area on each aspect.
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- The candidate should exhibit a functional knowledge of literature, composers, and performance practices of various historical periods as they relate to the candidate’s specific conducting or performance medium.
- The candidate should exhibit a functional knowledge of notation and ornamentation, particularly that from historical periods that contain outstanding literature for the student’s particular medium (e.g., Baroque ornamentation, avant-garde notation).
- The candidate should display an understanding of the history of the chosen conducting or performance medium as well as past and present artisans of distinction. (Instrumentalists, for example, should exhibit a functional knowledge of prominent manufacturers and builders of their particular instrument, its physical characteristics, and so forth.)
- The candidate should show an ability to relate the conducting or performance medium to its role in various performance situations (e.g., vocal solo recitals, opera, choir).
Piano Pedagogy — The Written Candidacy Examination in piano pedagogy covers the following areas:
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- Sequencing of concepts and literature
- Performance analysis, including musical interpretation, style, level of complexity, practice procedures
- History of piano instruction
- Relationship of learning theories to piano study
- Literature, composers, and performance practices of various historical periods as they relate to the piano
Music Education —Within the three-hour written examination period, the student will answer selected questions concerning general knowledge in music education. In addition, the student will review a research article using the template designated by music education faculty. Students will be expected to follow the writing standards established by music education faculty. Faculty will read and submit evaluations within 10-14 days after receiving the materials.
3. Successful completion of the candidacy hearing for students in performance, piano pedagogy, or conducting.
In addition to the audition required for admission to graduate study, a doctoral student in conducting, piano pedagogy, or performance is required to give a candidacy hearing that is judged to be satisfactory by area music faculty. A doctoral candidacy hearing judged unsatisfactory by a student’s area faculty may be repeated once. The repeated hearing may contain any or all of the contents of the unsatisfactory program. If two doctoral candidacy hearings are judged to be unsatisfactory, the student will not be permitted to continue in the degree program.
Performance and Piano Pedagogy — The literature for the hearing should reflect the breadth of styles appropriate to the given performance medium and may include part or all of that learned for some other performance (e.g., a master’s recital) or works from the applicant’s performing repertoire.
The area faculty may recommend to the Music Graduate Committee that the student’s doctoral candidacy hearing consist of the on-campus audition and a recording of a public performance given no more than three calendar years before the audition. Taken together, the audition and recorded public performance should reflect the breadth of styles appropriate to the given performance medium.
The music for the candidacy hearing must be proposed in a prospectus (submitted no less than four weeks prior to the hearing) and must be approved by the area faculty. The candidacy hearing must consist of a minimum of a half-recital of music (25-30 minutes), and a minimum of three faculty from the area will adjudicate the hearing. The length of the hearing will be at least twenty (20) minutes in length, although it may be longer at the discretion of the area faculty.
Conducting — The candidacy hearing in Conducting may consist of one of the following: 1. A video recording of a public conducting concert or recital given within eighteen months prior to the student’s first semester of doctoral-level conducting studies at USC; 2. A video of a 30-minute recital from a Master of Music degree in Conducting that occurred within four (4) years of beginning the Doctoral program at USC; or 3. A 30-minute rehearsal format of at least 20 minutes of music. Students in choral conducting must also demonstrate diction proficiency in the two foreign languages not tested or passed during the admission process (see under Degree Programs).
Normally a student may not register for research or recital credit (MUSC 890-899, MUED 890) or complete more than the equivalent of two regular semesters of full-time work until candidacy has been approved. At the time a student is admitted to doctoral candidacy, the Music Graduate Committee may require specific courses to be included in the candidate’s program of study and possibly also additional teaching/professional experience prior to either the final recital or the Oral Dissertation Examination.
CHAMBER MUSIC
Experience in chamber music is integral to the development of important skills and knowledge for certain musicians. Performance majors in percussion, strings, or winds are therefore required to enroll in and satisfactorily complete at least two semesters of chamber music (MUSC 735), and piano majors are required to complete at least one semester. Chamber music is considered music written for an unconducted ensemble (3 to 9 musicians), with one performer per part (examples: string quartets by Mozart or Beethoven; wind quintets by Reicha or Nielsen).
DMA EXAMINATIONS IN MUSIC HISTORY AND MUSIC THEORY
After entering candidacy, but before taking the Written and Oral Comprehensive Exams,
students in the DMA in Conducting, Performance, and Piano Pedagogy degrees must successfully
complete the DMA Examinations in Music History and Music Theory as follows: DMA Performance
students in brass, percussion, and voice must pass either the history or the theory
exam; all other students must pass both exams. Portions of the DMA Examinations in
Music History or Music Theory that are not passed may be retaken only once unless
an exception is approved by the Music Graduate Committee.
Music History Exam (3 hours)
Part I: Historical Period Exam (120 minutes)
The exam will be divided into five sections corresponding to major stylistic periods
of Western art music: 1) Medieval/Renaissance, 2) Baroque, 3) Classical, 4) Romantic,
5) Modernism and Beyond). Students are required to take all five sections.
Part II: Essay (60 minutes)
The Music History Area will prepare a set of essay prompts based on the specific courses
students have taken, including ethnomusicology, sound studies, and historical musicology.
Each student will write an essay based on the prompt of their choice. Model prompts
will be available before the exam. The essay prompts that students see on the day
of the exam may differ from the model prompts. Students are encouraged to consult
individual professors in advance of the exam for further information.
Students are required to pass at least three sections of the historical period exam
and the essay in order to pass the Music History Exam.
Music Theory Exam (3 hours)
The music theory exam is an analysis exam. Students will be expected to analyze one of the five pieces relevant to their major. Students will know the five pieces in advance but will not know which one they will be asked to analyze until the beginning of the exam.
Each exam will be graded by two theory/composition faculty members. In the event of a split decision, a third reader from the theory/composition faculty would evaluate the exam and that evaluation would determine whether the student passes or not.
If a student does not pass, they will receive specific feedback about what knowledge was lacking and advice about what to focus on for a future attempt. Retakes will not include pieces students have already written about.
COMPREHENSIVE EXAMINATION IN COMPOSITION
At least sixty days before the desired date of graduation, all doctoral candidates must satisfactorily pass both written and oral comprehensive examinations. Prerequisite to taking the exams are the following: 1) admission to doctoral candidacy; 2) completion of all coursework except for the dissertation requirement; and 3) satisfaction of the foreign language requirement or completion of an advisor-approved research course. Both the written and oral comprehensive examinations must be passed before the student may begin work on the dissertation requirement.
The Comprehensive Examination is divided into a written examination and an oral examination as defined below. The written component must be taken first and is followed by the related oral component no later than one month thereafter. The request for scheduling the examination should be submitted through the Music Graduate Office at least 60 days in advance of the requested examination date by way of this hyperlink to this fillable form.
The examination will cover the major area, music history/literature, and music theory. The examination committee will consist of five members — three in the student’s major area, one in music history, and one in music theory. A failed examination may be retaken only once. The Comprehensive Examination is divided into a written examination and an oral examination as defined below. The written component must be taken first and is followed by the related oral component no later than one month thereafter. Scheduling of the exams must be done through the Music Graduate Office.
Written Examination - The Written Examination lasts (3) three days, and takes place on campus. The exam may include questions, exercises, and/or problems in any or all of the following areas: counterpoint, orchestration, tonal harmony, and post-tonal analysis, as well as questions about music history and the doctoral minor. Students have up to 8 hours for each day. Questions on music history may pertain to any period before 1900, but will focus on 20th-century and 21st-century composition, history, literature (including score identification), and theory. The committee chair will solicit questions from committee members and assemble the examination into the multiple-day format. The committee member representing the doctoral minor will contribute the doctoral minor question(s).
Oral Comprehensive Examination - The Oral Examination, which may last up to two hours, begins with questions referring to material covered in the Written Comprehensive Examination. The examination then proceeds to questions about 12 compositions selected by the candidate. About one year prior to taking the Written Comprehensive Examination, the candidate, in consultation with the committee chair, chooses 12 compositions to focus on intensely. The 12 compositions must be chosen as follows: four pieces before 1900 (drawn from a range of periods, Medieval to late 19th century), four pieces spanning the period from 1900 to 1960, and four pieces from 1960 to the present. For each work, the candidate should be able to provide a detailed and thorough analysis, citing the work's historical importance as well as its place in a broader social/historical context and any important scholarly or analytical literature written about the work. In addition, the student should be able to relate the compositions to each other.
COMPREHENSIVE EXAMINATION IN CONDUCTING AND PERFORMANCE (EXCEPT PIANO)
At least sixty days before the desired date of graduation, all doctoral candidates must satisfactorily pass both written and oral comprehensive examinations. Before taking these exams, the student must 1) be admitted to doctoral candidacy; 2) have completed or be currently enrolled in all non-dissertation coursework listed on the Program of Study; 3) have completed the DMA Examinations in music history and music theory as required by their degree program. The examination committee will include three faculty from the major area (to include the major professor) and one representative from each minor area. In the event the student is not enrolled in a minor, they will choose one faculty member outside the major area to complete the committee. The request for scheduling the examination should be submitted through the Music Graduate Office at least 60 days in advance of the requested examination date by way of this fillable form.
Decisions about whether a student has passed are to be based on questions that were asked in the examinations only and may not be based on additional work or testing. If any portion of a written or oral examination is failed, it may be retaken only once unless an exception is approved by the Music Graduate Committee.
Written Comprehensive Examination — Doctoral candidates are required to take a written examination in their major area as follows: brass, conducting, percussion, and woodwinds – three hours; strings and voice – six hours. Students will also take one three-hour exam for each doctoral minor in which they are enrolled. The major professor will compile the exam in consultation with the other major area faculty and the minor area representative(s) if applicable and provide it to the Program Coordinator one week before the exam date. Students who do not have a doctoral minor will not have any additional written examinations. The three major area faculty and the minor area faculty, if applicable, will grade the entire written exam.
Oral Comprehensive Examination — The oral examination usually lasts one hour. While the committee may address material from the written exam in the oral exam, students must demonstrate knowledge of topics that were not part of the written exam. All members of the committee will grade the exam in its entirety.
COMPREHENSIVE EXAMINATION IN MUSIC EDUCATION
At least sixty days before the desired date of graduation, all doctoral candidates in music education must satisfactorily pass both written and oral comprehensive examinations. Prerequisites to taking the exams are the following: 1) admission to doctoral candidacy; 2) completion of all coursework except for recital or research credit; and 3) satisfaction of the foreign language requirement. If any portion of a written or oral examination is failed, it may be retaken only once unless an exception is approved by the Music Graduate Committee. All portions of the Comprehensive Examination must be passed without provision for additional work or testing. The request for scheduling the examination should be submitted through the Music Graduate Office at least 60 days in advance of the requested examination date by way of this fillable form.
The committee for the comprehensive examination must comprise no fewer than four members, with at least one from outside music education. The Ph.D. candidate will select his/her four-member comprehensive exam committee and a three-week written exam period with the assistance of his/her advisor. If the candidate has elected to have a minor area, there must be a faculty member from that area on the committee, and the exam period may extend four weeks.
Each of the three major area professors will submit researchable questions to the advisor. If a minor exists, the designated faculty member may submit 1) a researchable question or 2) a three-hour written exam. The advisor will compile and forward the questions to the administrative assistant in the Graduate Music Studies Office. The committee will establish the deadline for exam completion before the questions are given to the candidate.
At the conclusion of the three week (or four weeks, if a minor area is tested) exam period, the Ph.D. candidate will submit a pdf of each of the three (or four) papers, and written responses as applicable to the music graduate studies office. The music graduate studies office will maintain copies of the papers and written responses in pdf format and forward them to the committee members upon receipt. Committee members may request a copy of each paper and/or written response in an alternative version (e.g., MS Word, MS Word link, GoogleDoc, GoogleDoc link) from the Ph.D. candidate via email cc’d to the music graduate studies office and the candidate’s advisor. If the Ph.D. candidate has a minor, the designated minor faculty member will be responsible only for assessing the minor portion of the exam.
Each paper must contain a title page and references. The candidate must state the style manual used for each paper on the title page of each paper. The response for each question should be approximately 20 pages, but not more than 30 pages, including the title page, figures, tables and reference list.
The oral examination will be scheduled no less than two and not more than three weeks
after the submission of the written comprehensive exam papers to the committee. Oral
exam questions may include material not included in the written exam, but pertinent
to the student’s program of study. In the absence of a minor, the outside comprehensive
exam committee member will read each paper written in response to each researchable
question or each written response to each three-hour exam as applicable to each candidate.
The outside comprehensive exam committee member will offer comments about writing
and the logic proposed in the papers and/or written responses and pose questions about
the work from a non-specialist’s perspective. A rubric for rating the oral comprehensive
examination may be found below.
Oral Comprehensive Exam Rubric
| Criteria | Excellent | Acceptable | Marginal | Fail |
|---|---|---|---|---|
| Professional Disposition and Delivery | Student portrays confidence in overall demeanor. Student communicates an appropriate sense of gravitas during the exam. Speaking reflects organization and flexibility of thought. Speech is clear. Pace of speech is appropriate. Body language reflects sense of ease and control. Conversational flow is maintained when responding. |
Student communicates an appropriate sense of gravitas during the exam. Speaking reflects organization of thought. Speech is clear. Pace of speech is appropriate. Body language reflects sense of ease and control. Minimal interruption to conversational flow occurs when responding. |
Student does not communicate an appropriate sense of gravitas during the exam. Speaking reflects inconsistent organization of thought. Speech is somewhat clear. Pace of speech is occasionally appropriate. Body language reflects lack of personal awareness. Several interruptions to conversational flow occur when responding. |
Student does not communicate an appropriate sense of gravitas during the exam. Speaking often reflects lack of organized thought. Speech is unclear. Pace of speech is inappropriate. Body language reflects lack of personal awareness. Several interruptions to conversational flow occur when responding. |
| Depth (Detail and accuracy of knowledge) | Conceptual principles are comprehensively discussed, accurate, and presented with detail. Specific terms and definitions are presented to support descriptions of general principles. Representative important figures are discussed. Exemplar research studies are discussed with accuracy and are appropriate to the topic at hand. Knowledge of authors and specific lines of research demonstrates deep internalization of knowledge. Implications of the topic for pedagogy are clearly presented. | Conceptual principles are accurate and presented with detail. Representative important figures and current authors are discussed. Exemplar research studies are discussed with accuracy and are appropriate to the topic at hand. Implications of the topic for pedagogy are clearly presented. |
Conceptual principles are inaccurate and/or lack detail. Knowledge of at least one
representative figure and current author is lacking. Exemplar research studies discussed
are not appropriate to the topic at hand and/or reflect lack of depth or inaccuracy. Implications of the topic for pedagogy are poorly conceived and/or are not clearly presented. |
Conceptual principles are inaccurate and lack detail. Knowledge of at least one representative figure and current author is lacking. Exemplar research studies are not discussed, are not appropriate to the topic at hand, and/or reflect lack of depth or inaccuracy. Implications of the topic for pedagogy are poorly conceived and/or are not clearly presented. |
| Breadth | Synthesis of coursework is clearly evident. Ideas from multiple courses are brought to bear on an important issue in the field. Synthesis reveals a critical perspective as well as organization. Knowledge bases from multiple courses are presented with depth and detail as well as breadth. Connections between course topics and issues demonstrate an understanding of how scholarship can inform professional problems. Personal perspectives are grounded in scholarly works and are clearly evident in the organization and synthesis of knowledge. |
Synthesis of coursework is clearly evident. Ideas from multiple courses are brought to bear on an important issue in the field. Connections between course topics and issues demonstrate an understanding of how scholarship can inform professional problems. |
Synthesis of coursework is unclear. Ideas from very few courses are brought to bear on an important issue in the field. Connections between course topics and issues do not demonstrate an understanding of how scholarship can inform professional problems. |
Synthesis of coursework is unclear. Ideas from courses are not brought to bear on an important issue in the field. Connections between course topics and issues do not demonstrate an understanding of how scholarship can inform professional problems. |
COMPREHENSIVE EXAMINATION IN PIANO PERFORMANCE AND PIANO PEDAGOGY
At least sixty days before the desired date of graduation, all doctoral candidates must satisfactorily pass both written and oral comprehensive examinations. Before taking these exams, the student must 1) be admitted to doctoral candidacy; 2) have completed or be currently enrolled in all non-dissertation coursework listed on the Program of Study; 3) have completed the DMA Examinations in music history and music theory as required by their degree program. Prerequisite to taking the exams is the following: 1) admission to doctoral candidacy; 2) completion of all coursework except for recital or research credit; and 3) satisfaction of the foreign language requirement. The written portions of the Comprehensive Examination are to be taken during one four-day examination period. Three hours will be allotted for each examination. The oral portion of the Comprehensive Examination must be scheduled within one week following completion of the written portions of the Comprehensive Examination. The examination committee will include three faculty from the major area (to include the major professor) and one representative from each minor area. In the event the student is not enrolled in a minor, they will choose one faculty member outside the major area to complete the committee. The request for scheduling the examination should be submitted through the Music Graduate Office at least 60 days in advance of the requested examination date by way of this fillable form. If any portion of a written or oral examination is failed, it may be retaken only once unless an exception is approved by the Music Graduate Committee. All portions of the Comprehensive Examination must be passed without provision for additional work or testing.
The three major area faculty and the minor area faculty, if applicable, will grade the entire written exam. All members of the committee will grade the oral exam in its entirety. If any portion of a written or oral examination is failed, it may be retaken only once unless an exception is approved by the Music Graduate Committee. Decisions about whether a student has passed are to be based on questions that were asked in the Examinations only and may not be based on additional work or testing.
Written Comprehensive Examination — The comprehensive examination in piano performance will consist of two written examinations – one each in piano literature, music history, music theory, and a piano literature score identification examination. The comprehensive examination in piano pedagogy will consist of two written examinations – one each in piano pedagogy, music history, music theory, and a written piano literature examination including a piano literature score identification examination. Prior to the scheduling of the written portions of the Comprehensive Examination, students are encouraged to contact the members of their committee to determine subject areas of study. Brief study guides are available from the Coordinator of the Piano Area.
Piano Literature Score Identification Examination – Students are required to pass the Piano Literature Score Identification Examination with a minimum score of 75%. A complete listing of piano literature examples contained in the Piano Score Identification Examination is available from the Piano Area Coordinator. Students are encouraged to begin study for this portion of the Comprehensive Examination upon full admission to the degree program. In addition, the piano literature score identification portion of the Doctoral Comprehensive Examination will contain three one-page excerpts from solo piano works not on this list. Students are expected to suggest a composer and style period for each based on an analysis of these excerpts, and to provide written commentary justifying their answers.
Doctoral Minor Written Examination — Students will take a three-hour written examination for each doctoral minor in which they are enrolled.
Oral Comprehensive Examination — The oral examination usually lasts one hour. While the committee may address material from the written exam in the oral exam, students must demonstrate knowledge of topics that were not part of the written exam. These may include piano literature or piano pedagogy (as applicable), music history/literature, music theory, and score analysis/identification (especially in the context of the major area) as well as questions in the minor area, if applicable. All members of the committee will grade the exam in its entirety. The candidate must pass all portions of the Oral Comprehensive Examination (major area, piano literature score identification examination, and minor area, if applicable).
DISSERTATION IN MUSIC EDUCATION
No later than five years after completion of the Comprehensive Examination, a PhD candidate in music education must present a dissertation that has been approved by the student’s dissertation committee, the Dean of the School of Music, and the Dean of the Graduate School. The dissertation should demonstrate a level of scholarship appropriate for the doctoral level. Guidelines for preparing both the prospectus and the actual dissertation are available on-line. Because some members of the dissertation committee may not be available, the student should first consult the Music Graduate Director before planning to submit a prospectus or dissertation during the summer months.
Prospectus — Prerequisite to submitting a dissertation prospectus are the following: 1) appointment of the dissertation committee; 2) completion of at least one semester of statistics; and 3) completion of MUED 890. With the help of the project’s director, the candidate must prepare a prospectus for approval by the student’s dissertation committee. Once the prospectus has been successfully defended and approved by the committee and the Music Graduate Director, a corrected copy of the prospectus is to be filed in the Music Graduate Office within one month of approval. The prospectus should include a clear statement of the purpose(s) of the study, an outline of chapter headings or their equivalents, specific procedures and methods to be followed, and a basic bibliography.
Dissertation — When the project’s director has fully approved the dissertation, the student will submit a copy to each committee member. Upon the approval of the project’s director and no fewer than seven weeks before the degree is to be conferred, the student will submit a list of available dates for the oral defense examination to the Music Graduate Office. The dissertation examination (defense) and the format check by the USC Graduate School should occur no later than 30 days before the degree is to be conferred. After making all necessary changes resulting from the oral dissertation examination or the format check, the student should submit the correction (marked) copy as well as one copy of the correct version of the research project to the Music Graduate Office for final approval by the dissertation committee and the Dean of Music. The document must be submitted electronically through the USC Graduate School Office at least 20 days prior to the end of the semester. Pertinent deadlines are posted on the USC Graduate School website.
DMA DISSERTATION REQUIREMENT
The dissertation requirement for the Doctor of Musical Arts degree varies according to the area of emphasis. Candidates in composition should consult information available on-line. Candidates in performance must present four public recitals in the major area as well as submit a research document. Candidates in conducting must present three public recitals as well as submit a research document. With prior approval of the piano faculty, candidates in piano pedagogy have two options: 1) the presentation of two public recitals and the submission of a research treatise; or 2) the submission of a research dissertation. Any student who wishes to use University facilities or submit a doctoral research project must be officially enrolled, and those who wish to confer with the faculty on research or composition work must be officially enrolled for research credit (MUSC 897, 898, 899). All portions of the dissertation requirement must have been completed and approved by the student’s doctoral committee, the Dean of the Music School, and the Dean of the Graduate School no later than five years after completion of the Comprehensive Examination. Because some members of the doctoral committee may not be available, the student should first consult the Music Graduate Director before planning to schedule a recital or submit a prospectus or research project during the summer months.
Composition — See information available on-line.
DMA Research Project — The DMA research project (document, treatise, dissertation) should demonstrate scholarly research, organization, and presentation appropriate for the doctoral level. All doctoral research projects are approved by the student’s dissertation or research committee, the Dean of the School of Music, and the Dean of the Graduate School. Guidelines for preparing both the prospectus and the research project are available on-line.
Prospectus — After the appointment of the dissertation or research committee, the candidate must prepare, with the help of the project’s director, a prospectus for approval by the student’s dissertation/research committee and the Music Graduate Director. A corrected copy of the prospectus is to be filed in that office within one month of approval. The prospectus should include a clear statement of the purpose(s) of the study, an outline of chapter headings or their equivalents, specific procedures and methods to be followed, and a basic bibliography.
Research Project — Each doctoral candidate must successfully defend a dissertation or document before the appointed doctoral committee. For candidates in conducting, performance, or piano pedagogy (recital track), this may also include questions concerning any historical, stylistic, or technical aspect of the works performed in recital. The examination, which will be arranged through the Music Graduate Office, may not be scheduled until the Comprehensive Examination and all recitals have been completed.
Upon the approval of the project’s director and no later than the second week of the semester in which the degree is to be conferred, the student will submit the Request to Schedule fillable form to the Music Graduate Office. The completed paper is due to the project’s director no less than six weeks prior to the defense deadline. When the project’s director has fully approved the research document, the student will submit a copy to each committee member no less than three weeks before the defense deadline.
At the conclusion of the oral dissertation examination, each committee member will vote to pass or fail the student’s oral dissertation examination. At that time, the committee also has the following options with regards to the written research document:
- Pass and sign the Dissertation Signature Form at the conclusion of the defense hour. When only minor revisions are required, the committee may elect to sign the Dissertation Signature Form for the document. In this case, any and all final revisions are to be supervised and approved the project’s director
- Pass pending revisions to be approved by the dissertation committee. In the case where more substantial revisions are required, the committee will delay signing the Dissertation Signature Form until a corrected copy of the research document has been submitted and approved by the committee
- Fail. If the research project lacks fundamental academic rigor, the committee may decide to fail the project.
Once all final revisions have been approved by the project’s director, the student should submit the signed Dissertation Signature Form to the Music Graduate Office by the submission deadline for final approval by the Graduate Director of the School of Music. All pertinent deadlines for the format check, oral defense examination, and final document submission are posted on the USC Graduate School website each semester.
Recitals — Recital programs are the responsibility of the student and applied professor. Students must access the online degree recital processing system to submit recital information for approval at least 3 weeks in advance of their recital. The online system will also generate a recital prospectus and notify the professors on the recital committee. Upon faculty approval of the submitted program info, recital programs are forwarded automatically to the music office for printing. Approved programs receive no further proofing, all accuracy of program information is the responsibility of the student and applied professor at the time of submission and approval. All recitals (including those presented off campus) must be scheduled through the Music Office and should be presented when classes are officially in session. Each graduate recital is to be recorded and a copy archived in the Music Library (a video recording is required of all conducting recitals). The prospectus for a lecture-recital should include a detailed outline of the proposed lecture as well as time estimates for both the lecture and the performance. All recitals (including those presented off campus) must be scheduled through the Music Office and should be presented when classes are officially in session. Because some members of the Recital Committee may not be available, a student should first consult the Music Graduate Director before submitting an online recital prospectus or planning to schedule a recital for presentation during the summer months. A student must be officially enrolled during the term in which a graduate degree recital is presented. A copy of each degree recital program is to be bound with the doctoral research project. Each degree recital is to be recorded and a copy archived in the Music Library (a video recording is required of each conducting recital).
Doctoral degree recitals are adjudicated by the student’s major professor and at least two other members of the area faculty. Lecture, chamber music, and solo recitals should be between 50 and 65 minutes of music in length. A doctoral student may not register for either recital preparation or recital credit nor present a degree recital until admitted to doctoral candidacy. No degree recital may be presented unless the student has officially enrolled in recital credit. In order to receive applied lessons, a student must be enrolled in either applied or recital-preparation credit.
A doctoral recital judged unsatisfactory by a student’s dissertation committee may be repeated once. The repeated recital may contain any or all of the contents of the unsatisfactory program. If any two doctoral recitals (including a repeated recital) are judged unsatisfactory, the student’s status as a doctoral candidate will be terminated.
For the DMA in performance, the following pertain:
- Three of the four degree recitals must be solo recitals (MUSC 896). The other recital is to be a lecture, concerto, or chamber music recital, or a major opera role (see below).
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For the DMA in conducting, two of the three degree recitals must be solo recitals (MUSC 896). The other recital is to be a lecture recital. One of the solo recitals may be in rehearsal format, with the following stipulations: 1) the rehearsal recital is to consist of a rehearsal period or periods totaling approximately 75 minutes in length; and 2) the literature learned (but not necessarily rehearsed) is to comprise a concert program of approximately 75 minutes in length. With the approval of the conducting faculty, up to two solo recitals may consist of the combination of works conducted with University ensembles over the course of four Fall or Spring semesters. If a conducting recital is to be given outside the Columbia metropolitan area, the candidate will be expected to pay all expenses of the Recital Committee. If distance from campus is a factor, the student may submit two video recordings (one of a rehearsal and the other of the performance) to the Music Graduate Office for consideration by the conducting faculty; one member of the student’s recital committee should be present for one of the video-tapings.
- Lecture Recital (MUSC 892) - A lecture recital should demonstrate the candidate’s ability to communicate to an audience in-depth understanding, based on research, of some facet of the literature, performance, or pedagogy of the major area. Consequently, the amount of performance time included is not specified, the principal consideration being that performance should illustrate the content of the lecture. The entire presentation, however, should be between 50 and 75 minutes in length. At the end of the presentation the candidate may be questioned by committee members or by other members of the audience. The subject of the lecture recital may be related to some aspect of the candidate’s research project, but the latter will be substantially larger in scope.
- Opera/Oratorio Role (MUSC 893) - An approved opera role or compilation of roles, which is to be presented and adjudicated in a public performance. Students may meet this requirement through one leading role, or a combination of two featured or three supporting opera roles (as defined by American Guild of Musical Artists Schedule C). An approved oratorio (or mass) must be performed in a professional setting that uses chorus and orchestra, and must be of sufficient length and difficulty to equal aspects of either a full-length solo recital or a major opera role. With the approval of the Music Graduate Committee, the opera or oratorio role may be presented outside the Columbia metropolitan area if at least three members of the area faculty are present or if the performance is recorded and one member of the area faculty is present (a video recording is required for an opera performance and an audio recording of an oratorio presentation).
- Concerto Recital (MUSC 894) - The work chosen for the concerto recital is to be performed in its entirety and should come from the standard concerto repertory of the student’s performance medium. Public performance with an orchestra (or the appropriate original “accompanying” instrumentation) is required. With the permission of the Music Graduate Committee, the concerto recital may be presented outside the Columbia metropolitan area if at least three members of the area faculty are present or if the performance is video recorded (one member of the area faculty should be present for the video recording).
- Chamber music Recital (MUSC 895) - The works should be chosen from the standard chamber music repertory of the student’s performance medium, though one recently composed work that may not have become a “standard” repertory item may be included.
- Up to two recitals may be performed off campus or outside the Columbia metropolitan area.
For the DMA in Piano Pedagogy (performance track), one of the recitals may consist of a concerto, chamber music, or lecture recital (see above under recital comments for the DMA in performance).
DOCTORAL COMMITTEES
Doctoral Advisory Committee – At the time of candidacy, the Music Graduate Director will appoint a Doctoral Advisory Committee defined as three major area faculty (including the major professor and the advisor) and one faculty member outside the major area (preferably a member of the intended minor area, if applicable).
Recital Committees – A Recital Committee is comprised of at least three members of the area faculty.
Comprehensive Examination Committee – At a minimum, Comprehensive Examination Committees must have three members from the major area and at least one member outside the major area. Outside membership for each of the degrees is defined as follows: DMA Composition – one from music history and one from music theory; DMA Conducting, Performance, and Piano Pedagogy – one from each minor area (students without a minor will choose an additional faculty member outside the major area); and PhD Music Education – one faculty member from outside the major area.
Dissertation/Research Committee – The Dissertation/Research Committee will include the director of the project, two members of the area faculty (three if the director is not from the area), and one music faculty member from outside the major area (for students who will write a dissertation, a professor from outside the School of Music will be appointed to replace one of the music professors). A faculty member outside the major area cannot serve both as director and outside member.
The Music Graduate Director, and the School of Music Dean are ex officio members of doctoral committees but may also be regular members.
ENSEMBLE REQUIREMENT
For DMA students majoring in conducting, percussion, strings or winds, two semesters of advisor-approved MUSC 734A -V required; may be taken for 0 credit or taken for credit and applied to Other Studies in Music.
FOREIGN LANGUAGE AND/OR RESEARCH METHODS REQUIREMENT
Examination can be scheduled. The foreign language reading-proficiency requirement may be satisfied by earning a grade of "S" in a foreign language 615 reading course or by successfully completing an examination given by the appropriate USC foreign language faculty. If a research project (document, treatise, dissertation) is to involve significant research in another foreign language, a doctoral student may petition the Music Graduate Committee for substitution of the desired language.
Candidates for the DMA in Voice will demonstrate reading proficiency in French, German and Italian through a translation exam provided by the voice area faculty. The reading proficiency requirement must be met prior to registering for any document credits (MUSC 897). Students in all other DMA programs may choose to satisfy the foreign language requirements as stated above or they may complete an advisor-approved research course (e.g., MUED 795--Research in Music Education and Pedagogy, MUSC 749--Research Methods, etc.) in addition to MUSC 747--Advanced Music Research. With the approval of the Music Graduate Director and the Dean of the Graduate School, English may be accepted as a foreign language for students whose native language is not English.
INTERRUPTED GRADUATE STUDY
The University of South Carolina does not require continuous study for graduate students, and students may choose not to register for and attend classes for one or more semesters between admission and graduation. When the period of non-attendance reaches two years, the appropriate School of Music area faculty will confirm the fitness of the student to continue in a particular degree program through audition, interview, oral examination, or other means. For example, a student pursuing a performance degree whose last semester of attendance was the Fall 2016 semester, and who intends to return in the Spring 2019 semester, may need to perform a successful audition before the area faculty before being permitted to register for classes.
JURY PERFORMANCES
Students taking applied music at the 511 or 711 level must complete a performance jury at the end of each regular academic semester (fall, spring). A jury exam is not necessary for a conducting, performance, or piano-pedagogy major who has enrolled in doctoral-level applied or conducting study (MUSC 811); should circumstances warrant, however, a jury exam may be required by the student’s major professor.
MAXIMUM PERIOD ALLOWED
All work to be applied toward a doctoral degree, exclusive of the master’s degree portion, must be completed within ten years prior to graduation. Should more time be needed to complete a degree program, special arrangements may be made with the Graduate School for the revalidation of outdated credits in courses given by the University, if approved by the Music Graduate Director (see the current Graduate Studies Bulletin for information concerning the revalidation fee). For revalidation of USC courses, the student must demonstrate a contemporary knowledge of the course content by passing an examination administered by a music faculty member who currently teaches the course. Outdated transfer courses cannot be revalidated. Any student who fails to complete the program within ten years becomes subject to changes in degree requirements adopted up to a date ten years prior to graduation.
ORAL DISSERTATION EXAMINATION (DEFENSE)
Each doctoral candidate must successfully defend a dissertation or document before the appointed doctoral committee. For candidates in conducting, performance, or piano pedagogy (recital track), this may also include questions concerning any historical, stylistic, or technical aspect of the works performed in recital. The examination, which will be arranged through the Music Graduate Office, may not be scheduled until the Comprehensive Examination and all recitals have been completed.
Upon the approval of the project’s director and no later than the second week of the semester in which the degree is to be conferred, the student will submit the Request to Schedule fillable form to the Music Graduate Office. The completed paper is due to the project’s director no less than six weeks prior to the defense deadline. When the project’s director has fully approved the research document, the student will submit a copy to each committee member no less than three weeks before the defense deadline.
At the conclusion of the oral dissertation examination, each committee member will vote to pass or fail the student’s oral dissertation examination. At that time, the committee also has the following options with regards to the written research document:
- Pass and sign the Dissertation Signature Form at the conclusion of the defense hour. When only minor revisions are required, the committee may elect to sign the Dissertation Signature Form for the document. In this case, any and all final revisions are to be supervised and approved the project’s director
- Pass pending revisions to be approved by the dissertation committee. In the case where more substantial revisions are required, the committee will delay signing the Dissertation Signature Form until a corrected copy of the research document has been submitted and approved by the committee
- Fail. If the research project lacks fundamental academic rigor, the committee may decide to fail the project.
Once all final revisions have been approved by the project’s director, the student should submit the signed Dissertation Signature Form to the Music Graduate Office by the submission deadline for final approval by the Graduate Director of the School of Music. All pertinent deadlines for the format check, oral defense examination, and final document submission are posted on the USC Graduate School website each semester.
PROGRAM OF STUDY
Within the first 24 months of matriculation, all doctoral students must submit to the Music Graduate Director a Program of Study proposal that has been approved by the student’s academic advisor. The Program of Study form is here.
TRANSFER COURSES (from the USC Graduate Bulletin)
"A limited amount of course work may be transferred from another institution for credit toward a doctoral degree. The exact number of transfer hours varies by program, but may not constitute more than 50 percent of the hours listed on a program of study, not including dissertation preparation (899) or the equivalent." [NOTE: Maximum number of transferrable credits is 18 credits for DMA and 24 credits for Ph.D.]
Only credits with grades of B or better may be transferred from another accredited institution into a doctoral degree program. Course work transferred for credit toward a doctoral degree must be no more than ten years old at the time of graduation, must be relevant to the program, and must have course content and a level of instruction equivalent to that offered by the University's own graduate programs. All transfer credits must be approved by the Music Graduate Director, the Graduate Music Committee, and the Dean of the Graduate School. There is no revalidation mechanism for transfer credit that does not fall within the ten-year time limit. Grades earned on credits transferred from other schools do not count in the USC grade point average. Transfer credit is not posted to the student's official academic transcript until the term of graduation. To request transfer credit, students must complete a Request for Transfer of Academic Credit (G-RTC) form.
RESIDENCY
Both the DMA and the PhD require a minimum of 48 credits beyond the master’s degree and the successful completion of an approved program of graduate-level study. For all doctoral students, 18 of these credits must be completed in residence on the Columbia campus within a span of three consecutive regular semesters, with a least one fall or spring semester being spent in full-time study (at least nine credits per semester for regular students and six for graduate assistants). Enrollment in a summer term is not required to maintain continuity, but credits earned during summer terms may be counted toward residency. In addition, the final 36 credits of doctoral work (including 30 credits taken after admission to the doctoral program and all credit for the dissertation or dissertation requirement) must be taken on the Columbia campus.
The intent of doctoral residency is to ensure that doctoral students benefit from and contribute to the complete spectrum of educational and professional opportunities provided by the graduate faculty of a comprehensive university. When establishing residency, the student should interact with faculty and peers by regularly attending courses, conferences, and seminars, and utilize the library facilities and resources needed to support excellence in graduate education. DMA and PhD students should therefore expect to spend at least four days per week on campus while fulfilling the full-time portion of doctoral residency. The doctoral residency requirement can be fulfilled only while the student is pursuing courses toward a doctoral degree. Residency completed while earning the master’s degree cannot be used to fulfill the requirement.
VOTING PROCEDURES FOR DOCTORAL RECITALS AND EXAMINATIONS
Voting on all graduate recitals (including the doctoral candidacy hearing/recital) and examinations (oral and written) will employ written ballots. A two-thirds (2/3, 66.7%) majority positive vote of the examining committee is required to pass a recital or examination. A “no” vote must be accompanied by a written justification (courteous wording is expected). If not passed on the first attempt, a recital or examination (or a portion of the exam) may be repeated once. There is no provision for appeal if a student fails a candidacy recital twice, fails a written candidacy examination twice, or fails any two dissertation recitals. The student will be dismissed from the degree program in these cases.
Doctoral Candidacy Recitals and Hearings - The Music Graduate Director will distribute a ballot to each member of the area faculty before the event. The ballot will be marked, signed and returned to the Graduate Director within 24 hours of the event. Each ballot must have written qualitative judgments concerning the student’s abilities to pursue the desired doctoral program as well as the pass/fail vote. Discussion may precede voting. Upon receipt of all ballots, the Graduate Director will inform the student and the major professor of the results of the voting, but individual votes will not be revealed.
Degree Recitals - The Music Graduate Director will distribute a ballot to each member of the area faculty before the recital. The ballot will be marked, signed and returned to the Graduate Director within 24 hours of the recital. After all ballots have been returned, the student and the major professor will be informed of the results. Discussion may precede voting, and individual votes may be revealed to the major professor after voting has concluded.
Written Examinations
Doctoral Candidacy Examination - The coordinator of a student’s major area (or major professor for conducting, brass, percussion, and woodwind students) will be responsible for the compilation of the examination. After reading the examination, the area faculty will meet to discuss the results of the examination. The coordinator of area will poll the faculty, complete the “Report Form for the Written Doctoral Candidacy Examination,” and return all materials to the Music Graduate Director in a timely manner. The Music Graduate Director will inform the student and The Graduate School of the results of the examination.
Doctoral Comprehensive Examination - Prepared by the student’s doctoral committee (which may be augmented to include faculty from a minor area not otherwise represented), this examination covers the student’s major area as well as any minor areas. The examination in the major area will be given in three 3-hour segments, and those in the minor areas will be given in separate 3-hour periods. Each committee member will receive a copy of the pertinent examination (i.e., each area faculty will receive a copy of each major-area exam, and faculty representing a minor area will receive a copy of the exam for that area). A copy of each examination will be available in the Music Graduate Office for the perusal of all committee members. Voting will take place at the conclusion of the oral comprehensive examination. Committee discussion of the written exam(s) may precede the student’s oral comprehensive exam. The oral comprehensive examination is normally given one or two days following the completion of the written comprehensive exam(s).
Oral Examinations - All graduate oral examinations are to be chaired by the student’s major professor. Ballots for the comprehensive examination will be available at the conclusion of the oral examination, and discussion may precede voting. The student will be informed of the results (but not the precise spread) of the vote. If a faculty member is not present for the entire oral examination, that faculty member should not cast a vote on the portions of the questioning that were not observed.
DOCTORAL DEGREE FLOW CHART |
| ADMISSION TO DEGREE PROGRAM |
| USC GRADUATE SCHOOL PROGRAM OF STUDY (submit within first twenty four months of matriculation) |
| DEGREE CANDIDACY (students must spend one year in degree candidacy before graduation) |
| FOREIGN LANGUAGE (requirement to be met before taking Comprehensive Exams) |
| RECITALS (DMA-conducting, DMA-performance, and DMA-piano pedagogy/recital track) |
| WRITTEN AND ORAL COMPREHENSIVE EXAMINATIONS (after completion of the foreign language requirement and all coursework except for recital and research credit) |
| DISSERTATION RESEARCH PROJECT (document and composition for DMA composition; document for DMA conducting and DMA performance; treatise or dissertation for DMA piano pedagogy; dissertation for Ph.D music education) |
| ORAL DISSERTATION EXAMINATION (DEFENSE) |
| Application for graduation should be made early in the semester. |
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OTHER INFORMATION FOR STUDENTS
ACADEMIC RESPONSIBILITY
It is the responsibility of every student at the University of South Carolina to adhere steadfastly to truthfulness and to avoid dishonesty, fraud, or deceit of any type in connection with any academic program. Any student who violates this rule or who knowingly assists another to violate this rule shall be subject to discipline. For more information, please see the Carolina Community, the student handbook and policy guide of the University of South Carolina.
STUDENT GRIEVANCES, APPEALS and PETITIONS
Grievance Process
Chain:
- Instructor
- Associate Dean
- Ad Hoc Grievance Committee
- Dean
I. All student concerns about a grade for an assignment or a course should begin with contacting the instructor. All such questions should be presented clearly and professionally so that they can be addressed effectively by the instructor.
The instructor retains authority over the assignment of grades, and the faculty member’s judgment about the quality of a student’s work or grading standards is not subject to appeal. However, students may appeal concerns about whether actions were taken that are inconsistent with the course syllabus or university policies and guidelines. The student must initiate this conversation before the end of the following Fall or Spring semester.
II. If a student is not satisfied with the instructor’s response, they may contact the School of Music’s Associate Dean for Graduate or Undergraduate Studies, as appropriate. The student should clearly and professionally explain the following in their written narrative:
- What action or decision is being appealed and why?
- What elements in the syllabus were violated, or what university policy was violated?
- What is the basis for the appeal, if not a policy violation?
- When did the student communicate with the faculty member; and what response was received?
The student must meet with the Associate Dean for Graduate or Undergraduate Studies, as appropriate, and submit the written narrative describing the alleged violation. The Associate Dean will send to the student a written response within 10 regular working days following the meeting.
The Associate Dean will review the student's grievance and share the issues raised with the faculty member to get their response. The Associate Dean is not permitted to change a grade that has been assigned, but is permitted to recommend that a faculty member reconsider how the grade was assigned.
III. If, after receiving the Associate Dean’s response, the complaint is not resolved to the aggrieved student’s satisfaction, the student must notify the Associate Dean within 10 regular working days of receiving the letter and request a grievance hearing. The Associate Dean will appoint an Ad Hoc Grievance Committee of four School of Music faculty members, one of whom will serve as chair, and three students to conduct the grievance hearing. The grievance hearing will be held within 20 regular working days after submission of the student’s written narrative. Because some faculty members may not be available during the Summer months, student grievances filed between May 15 and August 15 will be acted upon within the first 20 days of the Fall semester. The Associate Dean will distribute the written narrative of the student’s grievance to the Ad Hoc Grievance Committee and the faculty member who assigned the grade when the Ad Hoc Committee is created.
The student must attend the grievance hearing and present the alleged violation(s) or the basis for the appeal to the Ad Hoc Grievance Committee and answer questions. The instructor(s) who assigned the grade has the right to be present during all presentations of evidence to the Committee. The student and the instructor may call witnesses. However, the Chair of the Ad Hoc Grievance Committee must be notified in writing at least 24 hours before the hearing of the names of all witnesses and the reason each witness has been called.
It is the responsibility of the student and the instructor, respectively, to arrange for the appearance of witnesses. The Associate Dean may not attend the grievance hearing. The Ad Hoc Grievance Committee must schedule a hearing; inform the instructor involved in writing and schedule appearances at the hearing; maintain accurate, confidential records of the case; conduct the hearing in a fair and impartial manner; and inform the student and the instructor(s) of the decision within two regular working days of the hearing.
Students should be aware that violations of USC’s honor code (e.g., lying or misrepresentation) when making statements within the grievance process will be reported to the Office of Academic Integrity.
Appeal
If a student is not satisfied with the outcome after communicating with the Associate Dean and Ad Hoc Grievance Committee, the Dean of the School of Music should be contacted via email. The student must include all prior email messages and other written correspondence regarding the grade grievance. The message should also explain why there is concern with the outcome achieved to this point in the process. As appropriate, the instructor, Associate Dean, and/or Chair of the Ad Hoc Grievance Committee will be contacted in order to receive their input. A grade cannot be overturned, but a recommendation can be made to the instructor that the grade be reconsidered.
- Undergraduate and Graduate students may file an appeal of the Ad Hoc Grievance Committee’s decision to the Dean of the School of Music within ten (10) working days of receipt of that decision.
- If the Dean finds merit to the appeal, the Dean will appoint an entirely new Ad Hoc Grievance Committee, which will conduct a new grievance hearing within 20 regular working days of the notice of appeal. If the Dean does not find merit to the student’s claims, the finding(s) of the Ad Hoc Grievance Committee will be upheld. The decision of the Dean is final.
- A faculty member who feels aggrieved as a result of student grievance proceedings has the right to appear before the University Faculty Grievance Committee and present their case to the Committee. The process is described in the Faculty Manual.
CENTERS, INSTITUTES AND OTHER PROGRAMS
Housed in the USC Music Library, the Center for Southern African-American Music (CSAM) is developing three component parts: an Archive, Curriculum Initiatives, and an Educational Outreach Program. For more information, please contact the Music Librarian.
The Children’s Music Development Center provides an environment for research into the development of music skills in young children. For further information contact Dr. Wendy Valerio at wvalerio@mozart.sc.edu, USC Children’s Music Development Center (www.music.sc.edu under “Community Programs”), School of Music, University of South Carolina, Columbia, SC 29208.
During the regular academic year the School of Music sponsors the Carolina Music Studios (formerly Community Music School), a pre-college program that provides quality private instruction in the following areas:
| Flute | Saxophone | Baritone | Classical Guitar |
| Oboe | Trumpet | Euphonium | Strings |
| Clarinet | Horn | Tuba | Piano |
| Bassoon | Trombone | Percussion | Voice |
Interested graduate students may have an opportunity to teach in the program. For further information, contact your applied teacher or Dr. Serena Hill LaRoche at shilllaroche@mozart.sc.edu, Carolina Music Studios, School of Music, University of South Carolina, Columbia, SC 29208.
The USC String Project is a unique program that offers qualified graduate students an opportunity to receive experience in the teaching of musicianship, private lessons, heterogeneous string classes and ensembles. For further information contact Dr. Lani Hamilton at lanihamilton@sc.edu, USC String Project (Internet: sc.edu/music under “For the Community”), School of Music, University of South Carolina, Columbia, SC 29208.
COMMUNITY ENGAGEMENT AND EXPERIENTIAL LEARNING
The School of Music values community engagement, experiential learning, and the application of knowledge to real-world situations. Graduate students are expected to engage in experiential learning opportunities each semester they are in residence. This may be achieved through applied study, ensemble or other class participation, or off-campus experiences. International students are advised that they may need Curricular Practical Training (CPT) approval for any off-campus opportunities or required performances.
DISMISSAL FROM A GRADUATE PROGRAM
Upon the recommendation of the area faculty and with the approval of the Music Graduate Committee, a music graduate student may be dismissed either from a graduate program or from degree candidacy if the student’s work in the major area is not meeting the expectations of the School of Music. The Music Graduate Director will inform the student in writing of the decision and will enumerate the reasons for dismissal. The student may appeal the dismissal to the Music Graduate Committee. In the case of dismissal because of two failed candidacy recitals or any two failed dissertation recitals there is no provision for appeal.
FEES (School of Music)
Applied Music Fee: All students who register for applied music lessons (including conducting and composition) will be assessed a Music Enrichment Fee. The fee for a 1/2 hour (1-credit) lesson will be equal to 50% of the tuition charge for one undergraduate resident credit ($275 in Fall 2016 semester). The fee for a one hour (2-4 credit) lesson will be equal to 100% of the tuition charge for one undergraduate resident credit ($550 in Fall 2016 semester).
Recital Fee: Before a recital can be scheduled, the recital fee of $100 must be paid to Ms. Laveta Gibson in the Music Office. All necessary forms and materials, including information about recording services, are available from Ms. Gibson.
Accompanying Fee: All students who use a School of Music accompanist in the presentation of a recital will be assessed a fee of $150. Requests for a School of Music accompanist are made through the applied teacher.
FINANCIAL AID
Graduate assistantships are available in a variety of areas in the School of Music (see the School of Music assistantship application for more specific information). Assistantship duties require up to 20 hours per week, and stipends range from $2,400 to $6,600 per academic year. Graduate assistants pay academic fees at in-state rates and may also other tuition assistance. An applicant must have been admitted by the Graduate School as a degree student before a graduate assistantship position can be offered. Applications received after March 7 will be considered as vacancies occur. The School of Music does not usually offer graduate assistantships during the summer months.
Graduate Fellowships: At the present time the School of Music offers one significant graduate fellowship: The Carroll Taussig Fellowship in Opera. Smaller fellowships may be available from the various areas within the School.
Loans (both need based and non-need based) are available each semester to students making satisfactory academic progress. For further information contact the Office of Student Financial Aid and Scholarships, 1714 College St., Columbia, SC 29208 (803/777-8134; www.sc.edu/financialaid/; email: uscfaid@gwm.sc.edu).
Part-time Work: The federal College Work-Study Program is available to students who demonstrate financial need and who desire employment to meet their educational expenses. Employment as a “student assistant” under this program is compensated at an hourly wage. Also available is off-campus, part-time employment. For further information contact the Office of Student Financial Aid and Scholarships (see under “Loans”).
Veterans Services: For information about veterans benefits, contact the University Office of Veterans Services, Russell House Suite 316, USC, Columbia, SC 29208 (803/777-5156; www.sa.sc.edu/veterans email: veterans@gwm.sc.edu).
FULL-TIME STUDY
Nine to twelve credit hours of coursework (minimum of six credits for graduate assistants) constitute full-time study during a fall or spring semester; six credits constitute a full load during a five-week summer session. Fifteen credits is the maximum load in a fall or spring semester, and seven credits is the maximum load in a summer term.
HEALTH INSURANCE
Student health and accident insurance is required for all international students, all graduate assistants, and all full-time graduate students (defined as students registered for nine or more credits). For further information contact the Student Health Services, Thomson Student Health Center, Columbia, SC 29208 (803-777-3175; www.sa.sc.edu/tshc/). Beginning Fall 2004 all students must show proof of health insurance before registering for classes.
HOUSING
The University of South Carolina maintains both on-campus and off-campus student housing offices. For further information concerning housing, contact the University Housing Services Office, 1215 Blossom Street, Columbia, SC 29208 (803/777-4283; www.housing.sc.edu; email - housing@sc.edu). Housing for graduate students is available on a limited basis.
REGISTRATION
Any graduate student who wishes to use University facilities (e.g., to present a recital or to use a University library) or to consult on research or recital work must be officially enrolled in appropriate courses.
STUDENT RESPONSIBILITIES
Although students are expected to avail themselves of faculty advisement, it is the
responsibility of each student to know and follow all graduate guidelines and regulations.
Any exception to graduate regulations or degree requirements must be approved in writing
by the Music Graduate Director.
CONCERTO-ARIA COMPETITION
Each academic year the USC School of Music sponsors a Concerto-Aria Contest. Any student enrolled at the University of South Carolina and studying applied music on the Columbia campus may compete if approved for the contest by an applied faculty member. Winners will perform with the USC Symphony Orchestra or the USC Wind Ensemble. The names of the winners are engraved on the Concerto-Aria plaque, which is on permanent display in the School of Music. Former winners may not compete.
All categories will be eligible each year: Each category (Keyboard, voice, percussion, woodwind, brass and strings) will hold a preliminary competition and submit a maximum of One (1) graduate student; One (1) undergraduate student; and One (1) “at Large” student as area representatives to the orchestra and wind ensemble directors no later than 2 weeks before the date of the final round. Judges will be selected from multiple categories, but may not necessarily represent every category of student in the competition. Student winners will be selected as follows: One (1) graduate winner; One (1) undergraduate winner; and One (1) "at Large" winner. Teachers may not perform the accompaniments for their own students.
In order to ensure that a composition can be programmed for performance with the USC
Symphony Orchestra or the USC Wind Ensemble, contestants must receive approval from
the appropriate conductor prior to preparation of any specific work. The maximum amount
of time for any work submitted for performance will be 20 minutes. Winners must perform
the same work at both the competition and the concert, and must perform with accompaniment
in all rounds of the competition. Memorization is at the discretion of the applied
teacher.
GRADING POLICIES
The School of Music follows the grading policies as set down by the Graduate School for all graduate coursework.
INFORMATION FOR FACULTY
GRADUATE ASSISTANTSHIPS
Each January the Music Graduate Director will inform the music faculty regarding graduate assistantships for the next academic year. Applicants are eligible for an assistantship only if they meet all admission requirements for the desired degree program and fulfill all of the eligibility criteria of the Graduate School. GA positions cannot be offered to an individual until that individual has been admitted to a degree program.
Graduate assistantships are normally limited to one year for graduate certificate students, two years for master’s students, and three for doctoral students. For students who earn another graduate music degree at USC, the total time accrued as a graduate assistant will normally not exceed one year more than the limits set forth above (e.g., three years for a student who has earned a graduate certificate and a master’s degree, four years for a doctoral student who has earned a master’s degree at USC).
In order to avoid misunderstandings, the offer (verbal or written) of a graduate assistantship position should be made only by the Graduate Director in consultation with the Dean.
GRADUATE CURRICULA AND COURSES
All requests for changes in music graduate curricula or courses follow the route of approval outlined below:
- Area Coordinator
- Music Graduate Director
- Music Graduate Committee
- Music Faculty
- Appropriate University personnel/committees via the Music Graduate Director
Proposals for workshops and topics courses must be approved by the Music Graduate Director and the Music Graduate Committee.
GRADUATE FACULTY
The principal responsibilities of the Graduate Faculty are to teach graduate students effectively, to conduct scholarly research and/or engage in creative activity of high quality, and to direct the research of graduate students. In order to fulfill these responsibilities, the Graduate Council recognizes regular and term membership in the Graduate School Faculty. Faculty members holding the terminal degree in their respective field of study are eligible to become regular members of the Graduate School faculty upon appointment to a tenured or tenure-track position at the University's Columbia campus. Nominations of eligible faculty for appointments to The Graduate School faculty are made by the appropriate academic unit to the Dean of The Graduate School. Faculty members and scholars not otherwise eligible for regular membership on the Graduate School faculty may be appointed to term appointments. Term appointments to the Graduate School Faculty are granted upon nomination by an academic unit to the Dean of The Graduate School for a period not to exceed three years. Term appointments to the Graduate School faculty confer the rights only to teach graduate courses and serve on graduate students' committees.
MUSIC GRADUATE COMMITTEE
The Graduate Committee is responsible for approving all policies and procedures relating to graduate programs, faculty, and students and for insuring that these policies and procedures are executed. In addition, the committee must approve new or revised graduate courses/programs before presentation to the Music Faculty; periodically reviews graduate programs and policies; considers matters of academic policy or discipline for graduate students; and considers other matters as deemed necessary by administrative personnel or the Music Graduate Faculty.
The Music Graduate Committee comprises nine members of the Music Graduate Faculty:
Standing members
Director of Graduate Studies (chair), Dean of the School of Music (ex officio), and graduate coordinators (or representatives) of music history, music theory, music
education, and piano pedagogy
Appointed members (overlapping two-year terms)
Three music faculty from diverse areas are appointed on a rotating basis by the Dean
of the School of Music in consultation with the Music Graduate Director.