Skip to Content

My School of Music

Graduate Handbook

The Graduate Handbook is a reference guide for School of Music students. All pages on the School of Music website should refer to the material on this page for procedures and requirements. In the event there is conflicting information on the School of Music website, consider this page to be the up-to-date and correct version; it is kept updated by the associate dean and director of graduate studies, Dr. J. Daniel Jenkins. Please direct questions or comments to him at dannyjenkins@sc.edu. 

Contents

  1. GRADUATE MUSIC PROGRAMS AND AREAS OF STUDY
  2. APPLICATION PROCEDURES
  3. AUDITION REQUIREMENTS
  4. GRADUATE MUSIC DIAGNOSTIC EXAMINATION
  5. CERTIFICATE OF GRADUATE STUDY IN MUSIC PERFORMANCE
  6. MASTER’S DEGREES
  7. DOCTORAL DEGREES
  8. OTHER INFORMATION FOR STUDENTS
  9. 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, and piano pedagogy; the Master of Music Education degree; 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 Master of Arts in Teaching degree is offered in conjunction with the College of 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) 777-6508x
(E-Mail: gradmusic@mozart.sc.edu)

return to top

Graduate Application Procedures

Applicants must hold a bachelor’s degree in music or music education (or the equivalent) in order to meet minimum admission requirements for the certificate program or for a master's degree, and a master's degree in music or music education (or the equivalent) in order to meet minimum admission requirements for a doctoral degree. Additional prerequisites are listed under individual degree programs.

The following application materials are required:

  1. Graduate School application form and fee (electronic application: www.gradschool.sc.edu)
  2. One official copy of a transcript from each previous college or university attended
  3. Three recommendations written on the School of Music Recommendation Form, one of the recommendations should be completed by the applicant's most recent major professor and/or employer
  4. If born after 1956, proof of immunization against measles (Rubeola) and German measles (Rubella); this may be provided any time before initial enrollment
  5. Applicants to the following degrees must submit an acceptable score on either the general (V/Q/A) portion of the Graduate Record Examination (GRE) or the Miller Analogy Test (MAT):
       • Master of Music (MM) degree with concentration in music theory
       • Master of Arts in Teaching (MAT) degree
       • Doctor of Philosophy (PhD) degree in music education
    Applicants to the remaining Masters and Doctoral degrees in Music are not required to submit GRE or MAT scores.

    All applicants (certificate, master's, doctoral) whose native language is not English and who have not completed an undergraduate degree at an English-speaking institution, must achieve an acceptable score on either the TOEFL or the Cambridge IELTS Academic Course Type 2 Examination, as given below. In addition, the acceptable minimum scores on the USC English Placement Exam (written and oral sections, taken before initial enrollment) are expected.
    Degree TOEFL
    (paper/internet)    		 Cambridge
    (IELTS)    		 USC Exam Oral USC Exam Writing
    Certificate 520/68 5.5    
    MM in Composition, Conducting, Jazz Studies, Opera Theater, Performance 570/80 6.5 5 5+
    MM in Music History, Music Theory, Piano Pedagogy 570/80 6.5 5 5+
    MME 570/80 6.5 5 5+
    DMA in Composition, Conducting, Performance 600/100 7.0 5 5+
    DMA in Piano Pedagogy 600/100 7.0 5+ 5+
    PhD in Music Education 600/100 7.0 5+ 5+
  6. International students must complete the VISA Information Form. A onetime registration fee charged by the Office of International Students must be paid before initial enrollment; information about this fee is available from that office.
  7. Reservation form for the Graduate Music Diagnostic Examination may be found here.
  8. Typed summary (e.g., résumé or "c.v.") of educational and professional experience, with dates and names of teachers and employers
  9. For doctoral applicants, forms for doctoral residency and doctoral studies statement
  10. The individual materials according to the desired program (see specific requirements by program section below)

All applications, including auditions, should have been completed by the indicated deadline (please allow sufficient time for transcripts, exam scores, and recommendations to be prepared by the originator and sent to the School of Music):

Semester of Initial Enrollment and its Application Deadline

  • Fall (late August) June 15 (May 1 for international students)
  • Spring (January) November 1 (September 1 for international students)
  • Summer (June/July) April 15 (March 1 for international students)

An applicant desiring to be considered for a graduate assistantship should complete the application process by March 1.

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.

Supporting materials (recordings, papers, compositions, etc.) cannot be returned unless a stamped envelope is provided.

Specific Requirements by Program

Master of Music, concentration in Composition

a. Two or three compositions that display an understanding of different media; if possible, include complete recordings (MIDI realizations discouraged). Applicants may submit their compositions and recordings as 1) printed scores, and CDs / DVDs, mailed directly to Ms. Traci Hair, Graduate Program Coordinator, University of South Carolina School of Music, 813 Assembly Street, Columbia, SC 29208; or 2) emailed as links (Dropbox, YouTube, SoundCloud, etc.) or as PDF and mp3 files in care of Traci Hair at thair@mozart.sc.edu. Please do not email .zip files or combined attachments greater than 10MB. Links to Dropbox (or similar) are preferred over emailing separate PDF/mp3 files.
b. Complete list of compositions that includes the following information: date of composition, duration, instrumentation, and list of all performances (printed or PDF)
c. A writing sample in the form of a term paper or published article (printed or PDF)
d. A brief (1-2 page) essay outlining goals, ambitions, and interests as a composer as well as goals for graduate study at USC (printed or PDF)
e. Applicants who do not have a bachelor's degree in music must take the Music Diagnostic Examination before the application can be considered
f. While a campus visit is encouraged, an on-campus audition is not required for applicants to the Master of Music in Composition.


Master of Music, concentration in Conducting

a. Typed repertory list of works publicly conducted
b. Video: All applicants must submit an audition video of at least 20 minutes which, if possible, includes conducting in both rehearsal and performance. If possible, the camera should be placed at the back of the ensemble with the focus on the front of the conductor. Include the date(s) and name of the performing ensemble(s). Due Dec. 15.
c. Interview and audition by invitation
d. Keyboard skills for applicants in choral conducting


Master of Music, concentration in Jazz Studies

a.  Typed list of jazz performances
b.  On-campus audition (if distance to the campus is a factor, an applicant may submit an audition recording for provisional admittance; the applicant will need to complete an on-campus audition, however, before initial registration)
c.  For jazz composition, several compositions that display an understanding of different jazz idioms (if possible, include recordings)
d.  Keyboard skills 


Master of Music, concentration in Music History

a.  Submission of at least two college-level term papers in music
b.  Results of the Graduate Music Diagnostic Examination
c.  Keyboard skills 


Master of Music, concentration in Opera Theater

a.  For opera performance: application and admission into the Master of Music degree in voice performance before being considered for the MM in Opera Theater (see items 'a' and 'b' under 'Master of Music in Performance'); note: The three required letters of recommendation should address qualifications for admission to both the voice-performance and opera-theater programs
b.  For opera stage directing: audition before the voice faculty (see items 'a' and 'b' under 'Master of Music in Performance')
c.  A typed summary of previous musical/theatrical study and experience as well as previous professional performing experience
d.  On-campus audition:

1) For singers, a minimum of 5 selections in English, French, German, and Italian These should include 2 arias and 1 art song. At least 3 of the following musical periods should be represented: Baroque, Classical, Romantic, 1900-1950, post 1950. Singers applying to the opera performance track must schedule an interview with the Director of Opera Studies to be held on the day of the audition.
2) For stage directors, an analytical presentation of an opera for production that includes information on the composer and librettist, with period and historical references, character analysis, set and costume concepts, and comments on the musical style. Stage directors must schedule a 60-minute interview with the Director of Opera Studies to be held on the day of the audition.


Master of Music in Performance

a.  Typed repertory list (with works publicly performed clearly identified) and copies of recital programs
b.  On-campus audition (if distance to the campus is a factor, an applicant may submit an audition recording for provisional admittance; the applicant will need to complete an on-campus audition, however, before initial registration); voice majors must also demonstrate diction proficiency in English, French, German, and Italian as well as document one year of college-level study in each of two languages, French, German, or 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. If the language requirement is not met at the time of the audition, it must be met before the end of the third semester of study.

Master of Music in Performance, concentration in Community Engagement

In addition to the MM Performance requirements, applicants should provide a Statement of Purpose specific to the Community Engagement emphasis and schedule an interview with Dr. Claire Bryant.


Master of Music, concentration in Piano Pedagogy

a.  Typed repertory list (with works publicly performed clearly identified) and copies of recital programs
b.  On-campus audition (if distance to the campus is a factor, an applicant may submit an audition recording for provisional admittance; the applicant will need to complete an on-campus audition, however, before initial registration)
c.  Thesis track: submission of at least two college-level term papers in music or music education


Master of Music in Violin/Viola Pedagogy

a.  Typed repertory list (with works publicly performed clearly identified) and copies of recital programs
b.  On-campus audition (if distance to the campus is a factor, an applicant may submit an audition recording for provisional admittance; the applicant will need to complete an on-campus audition, however, before initial registration)


Master of Arts in Teaching

a.  An on-campus interview, which is scheduled after all admission materials have been received by the Graduate School and the School of Music. Contact the School of Music graduate studies program coordinator to confirm that all application materials are on file prior to contacting the music education coordinator to schedule an on-campus interview.
b.  Submission of a 5-10 minute video-recorded audition on primary instrument or voice. The recording must have been made within the last five years, and the repertoire included should be identified.
c.  One college-level term paper with title page and references


Master of Music Education

a.  Documentation of appropriate education and teacher certification
b.  On-campus interview, to be scheduled after all supporting materials are on file 
c.  Submission of one college-level term paper with title page and references regarding some aspect of music or music education. Thesis track applicants should submit two college-level term papers with title page and references regarding some aspect of music or music education.
d.  Recital track: submission of a typed repertory list (with works publicly performed clearly identified) and copies of recital programs; vocalists must demonstrate diction proficiency in French, German, and Italian before acceptance into the recital track
e.  15-minute video of prospective student teaching elementary, middle school, or high school music class or ensemble.

 


Doctor of Musical Arts in Composition

a. Three or four compositions that display an understanding of different media; if possible, include complete recordings (MIDI realizations discouraged). Applicants may submit their compositions and recordings as 1) printed scores, and CDs / DVDs, mailed directly to Ms. Traci Hair, Graduate Program Coordinator, University of South Carolina School of Music, 813 Assembly Street, Columbia, SC 29208; or 2) emailed as links (Dropbox, YouTube, SoundCloud, etc.) or as PDF and mp3 files in care of Traci Hair at thair@mozart.sc.edu. Please do not email .zip files or combined attachments greater than 10MB. Links to Dropbox (or similar) are preferred over emailing separate PDF/mp3 files.
b. Complete list of compositions that includes the following information: date of composition, duration, instrumentation, and list of all performances (printed or PDF)
c. A sample of writing in the form of a published article or term paper (printed or PDF). The writing submission must exhibit content, style, and research attributes consistent with and indicative of potential to fulfill the writing and research requirements of doctoral-level study. This includes proper use of footnotes, citations, and a bibliography. Note that annotated bibliographies, personal opinion essays, and program notes are not acceptable.
d. The required Doctoral Statement should include your goals, ambitions, and interests as a composer as well as what you hope to accomplish while at USC (printed or PDF)
e. While a campus visit is encouraged, an on-campus audition is not required for applicants to the Doctor of Musical Arts in Composition.


Doctor of Musical Arts in Conducting

a. Typed repertory list of works publicly conducted 
b. Video: All applicants must submit an audition video of at least 20 minutes which, if possible, includes conducting in both rehearsal and performance. If possible, the camera should be placed at the back of the ensemble with the focus on the front of the conductor. Include the date(s) and name of the performing ensemble(s). Due Dec. 15. 
c. Audition and interview by invitation. Applicants in choral conducting must also demonstrate diction proficiencies detailed under degree prerequisites
d. Evidence of at least two years of successful teaching or professional experience (applicants of exceptional ability who do not have prerequisite experience may be admitted on the condition that such experience be completed before the final degree recital is presented)
e. Submission of at least two graduate-level term papers


Doctor of Musical Arts in Performance

a.  Typed repertory list (with works publicly performed clearly identified) and copies of recital programs
b.  On-campus audition (if distance to the campus is a factor, a student may submit an audition recording for provisional admittance; the student will need to complete an on-campus audition, however, before initial registration)
c.  Submission of at least two graduate-level term papers. Students who have completed a substantive thesis in a master's degree may submit the thesis in lieu of the two papers. The writing submissions must exhibit content, style, and research attributes consistent with and indicative of potential to fulfill the writing and research requirements of doctoral-level study. This includes proper use of footnotes, citations, and a bibliography. Note that annotated bibliographies, personal opinion essays, and program notes are not acceptable.
d. DMA voice applicants must submit pre-screening audition videos to be considered for in-person auditions.
For voice majors, 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. If the language requirement is not met at the time of the audition, it must be met before the end of the third semester of study. (see under degree prerequisites)


Doctor of Musical Arts in Piano Pedagogy

a.  Typed repertory list (with works publicly performed clearly identified) and copies of recital programs
b.  On-campus audition (if distance to the campus is a factor, a student may submit an audition recording for provisional admittance; the student will need to complete an on-campus audition, however, before initial registration)
c.  Evidence of at least two years of successful teaching or professional experience (applicants of exceptional ability who do not have prerequisite experience may be admitted on the condition that such experience be completed before the Oral Dissertation Examination)
d.  Recital/Treatise track: submission of at least two graduate-level term papers. Students who have completed a substantive thesis in a master's degree may submit the thesis in lieu of the two papers. The writing submissions must exhibit content, style, and research attributes consistent with and indicative of potential to fulfill the writing and research requirements of doctoral- level study. This includes proper use of footnotes, citations, and a bibliography. Note that annotated bibliographies, personal opinion essays, and program notes are not acceptable.
e.  Dissertation track: submission of a master's thesis or equivalent demonstration of the ability to undertake and complete significant, original scholarly work


Doctor of Philosophy in Music Education

a.  Documentation of appropriate education, certification and teaching experience. (Minimum of three years and expectation of five years successful teaching experience).
b.  On-campus interview, to be scheduled after submission of all supporting materials.
c.  Master's thesis or two college-level term papers with title page and references
d.  30-minute video of prospective student teaching elementary, middle school, or high school music class or ensemble.

return to top

 

Graduate Audition Requirements

All applicants for graduate music programs requiring applied studies are to complete an on-campus audition in the major area as part of the application process. The audition will normally take no more than 20 minutes, with the audition committee selecting portions of the applicant’s audition repertory. If distance to the campus is a factor, an applicant may submit an audition recording for provisional admittance, but the on-campus audition must be completed before initial enrollment, normally on the second day of the Graduate Music Diagnostic Examinations. Students may submit audio CD recordings of good quality. Video recordings may be in DVD or U.S.-standard VHS tape format. Each audio or video box should contain the name, address, and performance area of the applicant as well as a list of compositions performed and the date of the recording. Recordings cannot be returned by mail unless return postage is provided. An applicant should submit to the University all necessary application materials (including a repertory list and copies of recital programs) at least two weeks before the audition date. It is especially important that the audition form included with the application packet be completed and returned to the School of Music before the audition. When necessary, an accompanist will be provided for voice auditions. Priority for graduate assistantships will be given to those who have auditioned by February 18.  Please go to our grad auditions registration page to schedule.

 

HORN

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

TROMBONE

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

TRUMPET
Graduate - (MM & DMA)

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

*Prescreening not required.

TUBA/EUPHONIUM

Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Memorization is not required.

No in-person or instrumental audition is required for MM or DMA composition applications. Please see information on the Graduate Admissions page for specific MM and DMA composition application requirements.  Scores and recordings should be submitted to Traci Hair at thair@mozart.sc.edu. 

COMPOSITION
a.  Bachelor's degree for Master's admission; Master's degree for DMA admission. Applicants must demonstrate experience and promise as a composer through the submission of scores, recordings, and a list of performances.
b.  Two or three compositions that display an understanding of different media; if possible, include complete recordings (CD or DVD preferred; MIDI realizations discouraged).
c.  A resume or curriculum vitae that includes a typed summary of educational and professional experience.
d.  A list of completed compositions that includes the following information: date of composition, duration, instrumentation, and a list of all performances.
e.  A sample of your writing in the form of a published article or term paper.
f.  A brief, 1-2 page essay outlining your goals, ambitions, and interests as a composer, as well as what you hope to accomplish while at USC.

Note for Master's Applicants
Applicants without a Bachelor's degree in music must take either the Music GRE or Graduate Music Diagnostic Examination before admission. Applicants with deficiencies in music theory, orchestration, score reading, counterpoint, keyboard skills, or conducting will be required to remedy those deficiencies. Necessary courses will be determined by the student's academic advisor before the student enters the program via the results of the Graduate Music Diagnostic Examination. It is important to understand that these courses must be completed in addition to the normal requirements for the degree, and that all such courses must be completed before the student registers for MUSC 799. (For example, a student required to take basic orchestration may not count that course toward the completion of the music theory or free electives requirement.) In the event that a necessary course is not offered before the end of a candidate's second year, additional arrangements must be made with the candidate's academic and thesis advisors.

CONDUCTING

Master's and Doctoral CHORAL CONDUCTING applicants:
Pre-screening video (due by December 15): All choral conducting applicants must submit a pre-screening video of at least 20 minutes which, includes conducting in both rehearsal and performance. The camera should be placed facing the conductor.  Selected applicants will be invited to an on-campus audition on Feb. 4-5 for MM applicants and Feb. 5-6 for DMA applicants.  Notification of selection and audition information will be sent by Jan. 12, 2024.
 

Master's and Doctoral Instrumental (Wind and Orchestral) applicants:
Audition video (due by December 15): All instrumental conducting applicants must submit an audition video of at least 20 minutes which, if possible, includes conducting in both rehearsal and performance. If possible, the camera should be placed at the back of the ensemble with the focus on the front of the conductor. Include the date(s) and name of the performing ensemble(s).

GUITAR

At least four compositions from different style periods (Renaissance, Baroque, Classical, Romantic, Contemporary) that demonstrate tone, technique, and musical proficiency. Considerable flexibility will be permitted in the choice of literature when stylistic areas seem to overlap. The following may serve as a guide:

  • A work by J.S. Bach
  • A multi-movement sonata or major one-movement sonata
  • A major 20th- or 21st-century work
  • One composition of the applicant's choice, preferably one representing a composer from an underserved background or an otherwise underrepresented demographic

Except for an avant-garde works, all compositions should be performed from memory.

Please contact Mak Grgić if you have any questions about your audition repertoire.

*Prescreening not required.

 

JAZZ PERFORMANCE

Play and improvise in at least three different jazz idioms (Swing, BeBop, Cool, Fusion, etc.) and perform one work from the "classical" repertory.

ORGAN

  • One major work by J.S. Bach (such as a Prelude and Fugue or a trio sonata)
  • One work each from the 19th and 20th centuries
  • One work of the applicant?s choice

OPERA PERFORMANCE

  • A minimum of five selections in English, French, German, and Italian.  
  • Two of the selections must be arias.  
  • At least 3 musical periods (Baroque, Classical, Romantic, 1900-1950, post 1950) should be represented. 
  • At least one art song in French, German or Italian.  
  • All repertoire should be performed from memory.  
 

OPERA STAGE DIRECTING

By invitation only, an analytical presentation of an opera for production that includes information on the composer and librettist, with period and historical references, character analysis, set and costume concepts, and comments on the musical style; presentation of an impromptu movement audition.

 

PERCUSSION

Prospective students must audition in ALL areas listed below to be considered for admission into the percussion program. 

Prescreen requirements for prospective MM and DMA students:

1.  A solo keyboard work (marimba of vibraphone)
2.  An advanced snare drum solo or etude
3.  An advanced timpani solo or etude
 
It is not required to perform all three works in the same “take.”  Each solo/etude may be its own separate video.

Masters of Music
If you have questions about your audition repertoire, please contact Dr. Scott Herring

Snare Drum:  A solo from Douze Etudes by Jaques Delecluse, Etudes for Snare Drum (purple book) by Mitchell Peters, or The Solo Snare Drummer by Vic Firth.  One orchestral except - examples may include Scheherazade (III and IV), Lt. Kije, Shostakovich #10

Marimba:  A movement of a Bach Cello Suite or a movement from the Sonatas and Partitas for Violin and an advanced work by composers including Burritt, Kopetzki, Schwantner, Mackey, Maslanka, among others.  

Xylophone:  One orchestral excerpt - examples may include Porgy and Bess, Harry Janos, Appalachian Spring, Polka, Colas Breugnon

Timpani:  A solo or Etude from Hochrainer, K. Gay, Lepak, etc.  Also an orchestral excerpt from Beethoven, Tchaikovsky, Brahms.

Sightreading will be asked on marimba and snare drum


Doctor of Musical Arts
If you have questions about your audition repertoire, please contact Dr. Scott Herring

Snare Drum:  A solo from Douze Etudes by Jaques Delecluse, Keiskleiriana by Jaques Delecluse, or The Solo Snare Drummer by Vic Firth.  Two orchestral excepts - examples may include Scheherazade (III and IV), Lt. Kije, Shostakovich #10, etc.

Marimba:  A movement of a Bach Cello Suite or a movement from the Sonatas and Partitas for Violin and an advanced work by composers including Burritt, Viñao, Schwantner, Klatzow, Mackey, Maslanka, among others. 

Xylophone:  Two orchestral excerpts - examples may include Porgy and Bess, Harry Janos, Appalachian Spring, Polka, Colas Breugnon

Timpani:  A solo or Etude from Hochrainer, K. Gay, Lepak, etc.  Also two orchestral excerpts from Beethoven, Tchaikovsky, Brahms.

Sightreading will be asked on marimba and snare drum

 

PIANO AND PIANO PEDAGOGY

Applicants for MM degrees should prepare a program 30 minutes in length; for DMA degrees, 45 minutes is needed. The audition program should feature works in contrasting styles from the standard literature. Except for avant-garde works, all compositions should be performed from memory.

 

STRINGS

CELLO:
*Prescreening not required.
Please contact Claire Bryant with any questions regarding audition repertoire.

Master of Music
  • Two contrasting movements from any of the Six Cello Suites by J.S. Bach
  • One movement of a concerto 
  • One movement of a solo or collaborative sonata
  • One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+, and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement. 
Performances from memory are encouraged for solo and concerto repertoire. Please be prepared to introduce your selections to the jury in a thoughtful and engaging way.

Doctor of Musical Arts
  • Two contrasting movements from any of the Six Cello Suites by J.S. Bach
  • One movement of a standard concerto such as Haydn C or D, Tchaikovsky Rococo Variations, Elgar, Dvorak, Schumann, Shostakovich
  • One movement of a standard sonata
  • One short solo cello work written after 2000 by a self-identifying composer from an underrepresented group such as: female, BIPOC, Hispanic/Latino/Latinx, AAPI, Native American, LGBTQIA+, and non-binary. Please contact Professor Claire Bryant if you need recommendations for repertoire to fulfill this requirement. 
Unaccompanied movements by Bach and the concerto must be performed from memory. Please be prepared to speak about your selections.

DOUBLE BASS:
*Prescreening not required.

Graduate Degrees
  • First movement from a standard double bass concerto – Bottesini, Vanhal, Dittersdorf, or similar
  • A movement from the Bach suites for solo cello.
These are suggested pieces only-any standard work of comparable quality is acceptable.

VIOLA:
*Prescreening not required.
***Alternative repertoire will be approved on a case by case basis.***

Master of Music and Graduate Certificate
  • Two contrasting movements from any of the Six Cello Suites by J.S. Bach
  • One movement of a standard concerto such as Bartok, Walton, Hindemith, Schnittke, or Penderecki
  • One movement of a standard sonata
Unaccompanied movements by Bach must be performed from memory.  The String Faculty recommends that the concerto be memorized.

Doctor of Musical Arts
  • Two contrasting movements from any of the Six Cello Suites by J.S. Bach
  • One movement of a standard concerto such as Bartok, Walton, Hindemith, Schnittke, or Penderecki
  • One movement of a standard sonata
  • A 20th or 21st century work of the applicant's choice
Unaccompanied movements by Bach and the concerto must be memorized.

VIOLIN:
*Prescreening not required.
***Alternative repertoire will be approved on a case by case basis.***

Master of Music
  • Two contrasting movements from a solo sonata or partita by J.S. Bach
  • One movement of a standard concerto such as Bruch, Barber, Mendelssohn, Saint-Saëns, Sibelius, Vieuxtemps, Tchaikovsky, Prokofiev, or Brahms
  • One movement of a standard sonata
Unaccompanied movements by Bach must be performed from memory.  It is highly recommended that the concerto also be performed from memory.

Doctor of Musical Arts
  • Two contrasting movements from a solo sonata or partita by J.S. Bach
  • One movement of a standard concerto such as Bruch, Barber, Mendelssohn, Saint-Saëns, Sibelius, Vieuxtemps, Tchaikovsky, Prokofiev, or Brahms
  • One movement of a standard sonata
  • A 20th or 21st century work of the applicant's choice
Unaccompanied movements by Bach and the concerto must be memorized.

VOICE

  • Masters of Music in Performance 
      • A minimum of five selections representing compositions from at least three of the following periods: Baroque, Classical, Romantic, 1900-1950, post 1950.  
      • Of those 5 selections, at least 3 should be art songs and 1 must be an aria performed in the original language.  
      • The following languages should be represented: English, French, German, and Italian.  
      • All repertoire should be performed from memory.  
  • Masters of Music in Opera Theatre
      • A minimum of five selections in English, French, German, and Italian.  
      • Two of the selections must be arias.  
      • At least 3 musical periods (Baroque, Classical, Romantic, 1900-1950, post 1950) should be represented. 
      • At least one art song in French, German or Italian.  
      • All repertoire should be performed from memory.  
  • Doctor of Musical Arts Prescreen 
      • DMA voice applicants must submit pre-screen audition videos to be considered for in-person auditions. These should include: 
        • A minimum of five selections representing compositions from at least three of the following periods: Baroque, Classical, Romantic, 1900-1950, post 1950.  
        • Of those 5 selections, 4 should be art songs and 1 must be an aria performed in the original language.  
        • The following languages should be represented: English, French, German, and Italian.  
        • All repertoire should be performed from memory.  
  • Doctor of Musical Arts On-Site Audition 
    • If invited to an on-site audition, all candidates should prepare 30 minutes of repertoire.  Selections should include: 
      • Art songs from multiple stylistic periods (Baroque, Classical, Romantic, 1900-1950, post 1950) 
      • At least one operatic aria performed in the original language. 
      • The following languages should be represented: English, French, German, and Italian.  
      • All repertoire should be performed from memory. 

 

 

BASSOON

MASTERS AND GRADUATE CERTIFICATE DEGREE AUDITIONS
  • Prepare three contrasting selections, such as individual movements from sonatas, concertos, or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color).
  • One of these selections can be an etude.
  • Three standard orchestral excerpts, contrasting in style and technical / lyrical demands.
  • Sight reading may be required.
  • For questions regarding audition repertoire or to set up a lesson either on or in advance of your audition day, please contact Michael Harley, mharley@mozart.sc.edu
DOCTORAL DEGREE BASSOON AUDITIONS
  • Prepare four contrasting selections, such as individual movements from sonatas, concertos, or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color).
  • One of these selections can be an etude.
  • One of these selections must have been written in the last 50 years.
  • Four standard orchestral excerpts, contrasting in style and technical / lyrical demands.
  • Sight reading may be required.
  • For questions regarding audition repertoire or to set up a lesson on or in advance of your audition day, please contact Michael Harley, mharley@mozart.sc.edu

CLARINET

Graduate clarinet auditions are to be prescreened for the USC Clarinet Studio with a video submitted no later than one month before applicants' desired live audition date. Your video recording must be presented in a digital format through an unlisted youtube playlist via the Graduate Audition Request form. Finalists will be chosen and invited to take part in a live audition at one of the scheduled audition dates in December, January or February. If one of these dates are not possible, special arrangements can be made for alternative audition dates. All finalist are considered for the GA position, if a GA position is available. Contact Professor Eller to see if a GA position is available in clarinet, or visit Graduate Assistantships.

Materials for video recording must contain the following:  
At least two to three significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Also, at least 2 standard orchestral excerpts demonstrating articulation skills, technical and lyrical abilities and cadenza-like material.  Memorization is not required.  Masters candidates should upload at least 15 minutes worth of material and Doctoral candidates should upload at least 20 minutes of material.

Materials for the live/final round audition must contain the following:
At least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique. Also, at least 4 standard orchestral excerpts demonstrating articulation skills, technical and lyrical abilities and cadenza-like material.  Memorization is not required.  Masters candidates should prepare at least 20 minutes worth of material and Doctoral candidates should prepare at least 30 minutes of material.

FLUTE

MASTERS AND GRADUATE CERTIFICATE DEGREE AUDITIONS

  • Prepare four contrasting selections, such as individual movements from sonatas, concertos, or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color). Three orchestral excerpts can take the place of one of the four selections.
  • Sight reading may be required.
  • For questions regarding audition repertoire or to set up a lesson in advance of your audition day, please contact Jennifer Parker-Harley (jparkerharley@mozart.sc.edu)
DOCTORAL DEGREE FLUTE AUDITIONS
  • Prepare four contrasting selections, such as individual movements from sonatas, concertos, or other solo works. You are encouraged to perform at least one selection by a composer from a community that has been historically underrepresented in the field (women, persons of color).
  • One of these selections must have been written in the last 50 years.
  • Four standard orchestral excerpts, contrasting in style and technical / lyrical demands.
  • Sight reading may be required.
  • For questions regarding audition repertoire or to set up a lesson in advance of your audition day, please contact Jennifer Parker-Harley (jparkerharley@mozart.sc.edu)

For a list of woodwind pieces by underrepresented composer (woman, BIPOC composer), please click here.

OBOE

Either No. 2 or No. 3 must be a complete major work which is not less than 10 minutes in length.

  1. Two etudes showing the applicant’s level of technical and musical ability.
  2. A slow/fast pair of movements or a complete shorter work from any Baroque or Classical piece, not less than 8 minutes in length (may include repeats).
  3. A sonata or concerto movement (or pair of movements) or a short work (or pair of short works) in a style other than Baroque or Classical, not less than 6 minutes in length.
  4. William Grant Still- “Incantation and Dance” for oboe and piano.
  5. Three orchestral excerpts demonstrating slow, fast, and articulated passages.

For questions regarding audition repertoire or to set up a lesson in advance of your audition day, please contact Hassan Anderson.

SAXOPHONE

  • Please prepare at least four significant compositions (or movements) of contrasting styles. The works should demonstrate a mature grasp of phrasing, tone, contemporary techniques, articulation, and general technique.  Memorization is not required.
  • Masters candidates should prepare at least 20 minutes worth of material
  • Doctoral candidates should prepare at least 30 minutes of material.
  • For questions regarding audition repertoire or to set up a lesson either on or in advance of your audition day, please contact Clifford Leaman, cleaman@mozart.sc.edu

 

Graduate Music Diagnostic Examination

Prior to initial registration, all students desiring to pursue a graduate degree in music or music education (MM, MME, DMA, PhD) are required to take the Graduate Music Diagnostic Examination, which consists of the following:

  • music history - all applicants
  • music theory  - all applicants
  • 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, music history, elementary music education, or choral music education (upon request by area faculty if needed)

The music history portion consists of at least one essay, an aural styles examination, and objective questions that deal with terms, names, dates, general music bibliography, and major works of all Western music literature from the Middle Ages to the present. The latest editions of the following books are suggested as basic study materials: Grout/Palisca, A History of Western Music; Miller, History of Music; The New Harvard Dictionary of Music. You may also download the music history review guide. The music theory portion of the examination tests aural skills (melodic, two-part, and harmonic dictation as well as harmonic recognition and sight-singing) and basic theoretical knowledge (acoustics, analysis, part-writing, instrumental transposition, counterpoint, form, orchestration, terminology). Standard college textbooks in the indicated areas may be used as basic review materials. You may also download the music theory review guide. The piano literature portion of the exam will test knowledge of the standard body of piano performance literature. The diction exam will have both written and oral components.

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. The Graduate Music Diagnostic Examination is normally offered a few days before the beginning of fall, spring, and summer I terms. Click here to see the specific dates and download the application form.

Certificate of Graduate Study in Music Performance

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. A B average is required for all courses taken for graduate credit. No more than three hours of C credit may be applied toward the certificate, and six hours with grades of C+ or lower will render a student ineligible for further certificate study.  Students enrolled in the certificate program should submit a Program of Study to the Graduate School within the first twelve (12) months of enrollment.  A maximum of 24 graduate credits may be accumulated when a student has been admitted only into the certificate program. The program must be completed within two calendar years following admission. 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.

The following outlines the minimum program for all Graduate Certificate students in music performance:

Courses Credits
Applied studies (MUSC 711) 8-10 credits
Two Public Recitals 2 credits
Electives (approved by the area faculty and the Music Graduate Director) 6-8 credits
  18 credits total

Each student majoring in an orchestral or band instrument or in voice will be required to enroll in an approved ensemble (and in chamber music, where pertinent) each regular semester of attendance. A maximum of four credits of major ensemble or chamber ensemble (MUSC 734 and MUSC 735) may be counted as electives. 

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. 

At least four weeks before a recital is to be presented, the student should submit a typed recital prospectus to his or her major professor, who will see that it is signed by each member of the area faculty and submitted to the Music Graduate Office. Guidelines for preparing the proposal are available online or from the Music Studies Office.  All recitals (including those presented off campus) must be scheduled through the Music Office and should be presented when classes are officially in session. Procedures for scheduling a recital are available online.  Each graduate recital is to be recorded and a copy archived in the Music Library. 

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. 

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.

return to top

Master's Degrees

Course Requirements

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.


Master of Music in Composition

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Composition study (8-9 credits of MUSC 716) [1]
b) Thesis composition (3 credits of MUSC 799)[2]		 11-12 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits
Music Technology [3] 3 credits
Music Electives [4] 9-10 credits
Total 32 credits

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.

[1]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.

[2]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.

[3]Music Technology courses to be chosen in consultation with the student’s advisor after a review of the results of the Music Diagnostic Examination.

[4]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

Choral Music

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Applied choral conducting (6-9 credits of MUSC 711Y)
b) Area studies (6-9 credits from choral literature, choral arranging,score reading, vocal pedagogy)
c) Recital (1 credit of MUSC 796)		 16 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits
Music Electives (may include ensemble credits) 2 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate choral ensemble (MUSC 734)

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

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Applied instrumental conducting (6-9 credits of MUSC 711Y)
b) Area studies (6-9 credits from orchestral or band literature, score reading, instrumental arranging, string or wind pedagogy)
c) Recital (1 credit of MUSC 796)		 16 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits
Music Electives (may include ensemble credits) 2 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


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

Jazz Composition

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Jazz composition studies (8 credits of MUSC 716)
b)  Non jazz composition studies (2 credits of MUSC 516 or 716)
c) Jazz studies (9 credits from MUSC 524, 713, 714, 786)
d) Composition recital (1 credit of MUSC 790)		 20 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits
Music Electives (may include ensemble credits) 4 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate jazz ensemble (MUSC 734)


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

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Applied studies (8 credits of MUSC 711Z)
b) Jazz studies (9 credits from MUSC 524, 713, 714, 786)
c) Recital (1 credit of MUSC 796)
d) Jazz Combo (2 credits of MUSC 735)		 20 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits
Music Electives (may include ensemble credits) 4 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate jazz ensemble (MUSC 734)


Prerequisites: Bachelor’s degree in jazz performance (or the equivalent), including keyboard skills

Master of Music in Music History

Music Bibliography and Research (MUSC 707) 2 credits
Major Area
a) Music history courses (12 credits)
b) Thesis (3 credits)		 15 credits
Advanced Music Research (MUSC 747) 2 credits
Music Theory (advisor-approved)  6 credits
Music Electives 4 credits
Nonmusic Elective 3 credits
Total 32 credits

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), including keyboard skills

Master of Music in Opera Theater

Opera Performance

Music Bibliography and Research (MUSC 707) 2 credits

Major Area
a) Applied studies (6 credits of MUSC 711V)
b) Opera experiences (2 credits of MUSC 780 and 2 credits of MUSC 781)[1]
c) Survey of the Opera (MUSC 545, 3 credits)
d) Advanced Diction (MUSC 778, 2 credits)

 15 credits 
Cognate Studies[2] 6 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits
Elective Studies (may include credits from the Department of Theatre) 3 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an opera ensemble (MUSC 734)

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 Oral Comprehensive Examination)

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 Oral Comprehensive Examination)

[1]Successful completion of two credits of MUSC 781 includes the presentation of two significant opera roles and one minor role.

[2]Six advisor-approved credits from MUSC 581 and 500-700 level courses from THEA and DANC.


Prerequisites: Admittance into the Master of Music degree in Performance (Voice)

Opera Stage Directing

Music Bibliography and Research (MUSC 707) 2 credits

Major Area
a) Applied studies (3 credits of MUSC 511V or MUSC 711V)
b) Opera experiences (2 credits of MUSC 780 and 4 credits of MUSC 782)[1]
c) Survey of the Opera (MUSC 545, 3 credits)
d) Advanced Diction (MUSC 778, 2 credits)

 12 credits 
Cognate Studies[2] 8-9 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits
Elective Studies (may include credits from the Department of Theatre) 3-4 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an opera ensemble (MUSC 734)

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 Oral Comprehensive Examination)

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 Oral Comprehensive Examination)

[1]Successful completion of four credits of MUSC 782 includes serving as student assistant director for two operas and as stage director for two other operas.

[2]Six advisor-approved credits from MUSC 581 and 500-700 level courses from THEA and DANC.


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

Guitar Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (8 credits of MUSC 711N)
b) Guitar literature and/or pedagogy (3-6 credits)
c) Solo Recital (1 credit)

 12-15 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Concerto/Chamber music requirement (no credit): Public performance of a concerto from the standard guitar repertory or a chamber music program featuring appropriate guitar literature 


Prerequisite: Bachelor’s degree (or the equivalent) in guitar performance

Multiple Woodwinds Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (9 credits)
   1) major instrument (5 credits of MUSC 711)[1]
   2) minor instruments (4 credits of MUSC 511)[2]
b) Solo Recital (1 credit)[3]
c) Chamber Music (2 credits)

 12 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 6 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)

[1]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.

[2]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.

[3]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

Organ Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (8 credits of MUSC 711O)
b) Organ literature and/or pedagogy (3-6 credits)
c) Solo Recital (1 credit)

 12-15 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Prerequisite: Bachelor’s degree (or the equivalent) in organ performance

Percussion Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (11 credits of MUSC 711K)
b) Solo Recital (1 credit)

 12 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)

Piano Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (8 credits of MUSC 711P)
b) Piano literature and/or pedagogy (3-6 credits)
c) Solo Recital (1 credit)

 12-15 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Chamber music requirement: Minimum of one semester of chamber music (MUSC 735)

Strings Performance (Violin, Viola, Violoncello, String Bass)

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (9 credits of MUSC 711)
b) Solo Recital (1 credit)
c) Chamber music (2 credits of MUSC 735)

 12 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


Prerequisite: Bachelor’s degree (or the equivalent) in performance in the major instrument

Voice Performance

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (8 credits of MUSC 711V)
b) Opera, song literature, vocal pedagogy (3-6 credits)
c) Solo Recital (1 credit)

 12-15 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 3-6 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate ensemble (MUSC 734)


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 (flute, clarinet, oboe, bassoon, saxophone, trumpet, horn, euphonium, trombone, tuba)

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (9 credits of MUSC 711)
b) Solo Recital (1 credit)
c) Chamber music (2 credits of MUSC 735)

 12 credits
Music History (advisor-approved) 6 credits
Music Theory (advisor-approved) 6 credits 
Music Electives 6 credits 
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)

Prerequisite: Bachelor’s degree (or the equivalent) in performance in the major instrument

MM in Performance with concentration in Community Engagement

Major Area
a) Applied studies (8 credits)
b) MUSC 796 Solo Recital (1 credit)*
    MUSC 795 Chamber Recital (1 credit)*
c) MUSC 735 Chamber Music (1 credit)
d) Pedagogy [MUSC 573,773,577, 777] or Literature [MUSC 543, 558, 559, 587, 775, 740] (2-3 credits)		 13-14 credits 

Music History (advisor approved)

 3 credits
Music Theory (advisor approved) 3 credits
MUSC 595 Community Engagement Through Music 2 credits
Music Entrepreneurship Electives to be selected from:
MUSC 580 Entrepreneurship in Music (3 credits)
MUSC 582 Music and Money (3 credits)
MUSC 590 Seminar in Music Entrepreneurship (3 credits)
MUSC 592 21st Century Musician (3 credits)
MUSC 593 Arts Marketing (3 credits )		 6 credits
Music Electives (advisor approved) 2-3 credits 
Ensembles [MUSC 734 for percussion, strings, voice, winds; MUSC 735 for piano and guitar] 2 credits
Total 32 credits

*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

Piano Pedagogy - Recital Track

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Area studies (9 credits of piano pedagogy and 3 credits of piano literature or pedagogy)
b) Applied piano (6 credits of MUSC 711P)
c) Solo Recital (1 credit)

 19 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits 
Music Electives 5 credits 
Total 32 credits

Piano Pedagogy - Thesis Track

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Area studies (9 credits of piano pedagogy and 3 credits of piano literature or pedagogy)
b) Applied piano (4 credits of MUSC 711P)
c) Thesis (3 credits)

 19 credits
Advanced Music Research (MUSC 747) 2 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits 
Music Electives 3 credits 
Total 32 credits

Master of Music, concentration in Violin/Viola Pedagogy

Music Bibliography and Research (MUSC 707) 2 credits 

Major Area
a) Applied studies (4 credits of MUSC 711)
b) Final Project (2 credits of MUSC 700)
c) Performance Pedagogy I (3 credits of MUSC 573), Suzuki String Pedagogy I (3 credits of MUSC 770), and Suzuki String Pedagogy II (3 credits of MUSC 771)
d) Suzuki Practicum I (1 credit of MUSC 784) and Suzuki Practicum II (1 credit of MUSC 785)
e) Violin Scales and Technique (2 credits of MUSC 505)

 19 credits
Music History (advisor-approved) 3 credits
Music Theory (advisor-approved) 3 credits 
Music Electives (advisor-approved) 3 credits 
Ensemble (MUSC 734) 2 credits
Total 32 credits

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)

Master of Arts in Teaching
Three curriculum strands 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 strands are (1) Vocal/Choral, (2) Instrumental – Strings, and (3) Instrumental – Winds/Percussion. Students may be required to fulfill undergraduate prerequisites appropriate for their areas of concentration.

MA Teaching - Core Requirements

The courses listed below are common to all MA Teaching Strands:

Core Courses  
Human Growth and Development (EDPY 705) 3 credits
Select one from:

a) Content Area Literacy PK-12(EDRD 500)
b) Teaching Reading in Content Areas...Disabilities (EDEX 581)
c) Teaching Reading and Writing in Content Areas (EDRD 732)

 3 credits
Classroom Assessment Methods (EDRM 723) 3 credits 
Music Theory (as determined by the Music Diagnostic Exam) 3 credits 
Music History (as determined by the Music Diagnostic Exam) 3 credits
Teaching Internship (MUED 731) 12 credits
Teaching Internship Seminar (MUED 732) 3 credits
Total 30 credits

The following courses are specific to the Choral/Vocal Strand:

Choral/Vocal Strand Courses  
Specialized Elementary Methods (MUED 565) 2 credits
Choral Development and Related Materials (MUED 756) 3 credits
Materials and methods (either choral or elementary, MUED 554/7xx) 3 credits 
Choral ensemble (2 semesters of participation, MUSC 734) 2 credits 
Vocal Pedagogy (MUSC 577) 2 credits
MUSC/MUED Electives (select from: diction, choral literature, conducting, independent study, applied voice, applied piano, or ensemble) 3 credits
Total 15 credits

The following courses are specific to the Instrumental (Strings) Strand:

Instrumental (Strings) Strand Courses  
Methods for String Instruction I  (MUED 533) 2 credits
Practicum in Methods for String Instruction I  (MUED 533P) 1 credits
Methods for String Instruction II (MUED 534) 2 credits 
Practicum in Methods for String Instruction II (MUED 534P) 1 credits 
Orchestra (MUSC 734 - 2 semesters of participation) 2 credits
Advanced Conducting (MUSC 733B) 3 credits
Instrumental Development & Related Materials (MUED 753) 3 credits
Secondary instrument applied lesson (MUSC 501) 1 credits
Total 15 credits

Students must satisfy prerequisite skills in secondary string instruments, wind pedagogy, conducting, and piano


The following courses are specific to the Instrumental (Winds/Percussion) Strand:

Instrumental (Winds/Percussion) Strand Courses  
Organization & Administration of Music Programs (MUED 568) 2 credits
The Middle School Band (MUED 551) 2 credits
The High School Band (MUED 552) 2 credits 
Ensemble (band) (MUSC 734 - 2 semesters participation) 2 credits 
Advanced Conducting (MUSC 733B) 3 credits
Elective course from MUED or College of Education 3 credits 
Independent Study in Music Education (MUED 700) 1 credit
Total 15 credits

Students must satisfy prerequisite skills in wind and percussion pedagogy, secondary instruments, conducting, and piano.

Master of Music Education

Thesis Track

Major Area
a) MUED 790 and MUED 795 (6 credits)
b) Music Education electives (6 credits), including at least one course in the student?s area of specialization
c) Thesis (3 credits)		 15 credits
Music History (as determined by the Music Diagnostic Exam) 3 credits
Music Theory 3 credits
Music Electives (from outside music education; up to 6 credits may be taken in the College of Education) 11 credits
Total 32 credits

Recital Track

Major Area
a) MUED 790 and MUED 795 (6 credits)
b) Music Education electives (6 credits)		 12 credits
Applied Music and Recital
a) Applied Studies (two 2-credit semesters)
b) Solo Recital (1 credit)		 5 credits
Music History (as determined by the Music Diagnostic Exam) 3 credits
Music Theory 3 credits
Music Electives (from outside music education; conducting recommended; up to 3 credits may be taken in the College of Education) 9 credits
Total 32 credits

Nonthesis/Nonrecital Track

Major Area
a) MUED 790 and MUED 795 (6 credits)
b) Music Education electives (12 credits), including at least one course in the student's area of specialization (up to 3 credits of conducting may be included)		 18 credits
Music History (as determined by the Music Diagnostic Exam) 3 credits
Music Theory 3 credits
Music Electives (from outside music education, up to 3 credits may be taken in the College of Education) 11 credits
Total 35 credits

A minimum of two semesters in an appropriate ensemble (MUSC 734) is required 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

return to top

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).

ORAL COMPREHENSIVE EXAMINATION

All candidates for a master’s degree in music or music education are required to pass an oral comprehensive examination, which usually occurs during the last semester of enrollment. 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 downloadable form. The examination will cover the major area, music history/literature, and music theory. The examination committee will consist of five members — three from the student’s major area: music education, performance or conducting (for conducting majors at least one conducting faculty member from music education), plus one in music history, and one in music theory. A failed examination may be retaken only once. In extenuating circumstances, however, and with the approval of the Music Graduate Committee, the examination may be taken a third time. Because some faculty may not be available, the student should consult the Music Graduate Director before planning to take the examination during the summer months. The examination must be passed at least 15 days but not more than two calendar years before the degree is to be conferred.

ORAL COMPREHENSIVE EXAMINATION FOR MASTER OF MUSIC EDUCATION AND MASTER OF ARTS IN TEACHING STUDENTS

Students pursuing the MAT or MME (recital track or non-thesis/non-recital track) degrees may use the traditional format in which all questions are presented by the five-person faculty committee and answered during the normal comprehensive exam period. A rubric for rating the oral comprehensive examination may be found below. Students also have the option to choose a format in which the examination committee chair will assemble up to 5 questions (one from each committee member) for the student to research and prepare a response prior to the examination date. Committee members who prefer the traditional format will not submit a written question but will present their questions orally during the examination period. 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. Following is the procedure for using the Optional Format.

  1. 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.
  2. The student will have 2 weeks from the date of receiving the questions to research and compose his/her responses.
  3. The student will submit his/her 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).
  4. Each committee member will lead the discussion for the responses to his/her 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.
  5. 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. 
  6. Voting will occur in the normal fashion at the end of the oral examination period.

Students pursuing the MME (thesis track) degree will use the traditional format in  which all questions are presented by the five-person faculty committee and answered during the normal comprehensive exam period.  The music theory and music history faculty will each have at least ten minutes to ask questions specific to their area.  The major area (music education) faculty members will ask questions related to the student's thesis.
Oral Comprehensive Exam Rubric

  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.

 

CONCERTO REQUIREMENT

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.  

return to top

 

ENSEMBLE

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.


return to top

 

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.

return to top

 

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 oral examination 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.


return to top

 

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.

return to top

 

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 EXAMINATIONS

Voting on all graduate recitals and examinations (oral and written) 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 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. A student may petition the Music Graduate Committee to undertake a failed recital examination 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.

return to top

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.


return to top

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 approved by the student's doctoral committee and the Music Graduate Director, all credits taken beyond the master's degree must be at the 700 level or higher. 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 MUSC 744 Topics in Music History course must be completed) and at least three 700-level music theory courses in their programs of study.  No more than three credits of ensemble and chamber music (MUSC 734 and 735) may be included under ?Cognate Studies.? Area literature courses may be used in the ?Cognate Studies? area of the degree but 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).


Composition

Major Area[1]
a) composition studies (12 credits of MUSC 816)[2]
b) composition-related courses (6 credits to be chosen, in consultation with the student’s academic advisor; may include MUSC 816, MUSC 717, MUSC 737, and other such courses; credits may not count toward a Doctoral Minor or Other Studies)
c) dissertation composition (10 credits of MUSC 899)[3]
d) composition recital (1 credit of MUSC 890)[4]
e) document (1 credit of MUSC 897)[5]

 30 credits

Doctoral Minor (in an approved field of music, such as music theory, music technology, music history, performance; courses to be chosen in consultation with the student's academic advisor)

  12 credits

Other Studies (as approved by the student's academic advisor; may include study outside the School of Music)

 6 credits

Residency: 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 requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

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.

[1]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.

[2]MUSC 816 is a 3-credit course during Fall and Spring terms, and a 1-credit course during either Summer term.

[3]A composition or group of compositions totaling at least 20 minutes for large forces. The candidate must have passed the Comprehensive Examination before beginning work on the dissertation. Further, the dissertation project and research document must be approved by the student's dissertation committee before the candidate begins work. Approval is obtained by submitting both a dissertation project and research document prospectus. Guidelines for preparing the dissertation project and research document prospectus, dissertation composition, and research document are available from the Music Graduate Office.

[4]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.

[5]A 25-40 page analytical, historical, or theoretical paper developed in conjunction with the dissertation advisor.


Prerequisite: Master of Music degree in composition (32 credits)

DMA in Conducting

Choral Conducting

Major Area
a) area studies (14 credits, including at least 6 credits of applied conducting and studies in choral literature, choral methods, score reading, etc.)
b) dissertation requirement (12 credits, consisting of recital preparation [6 credits of MUSC 891], 3 recitals [3 credits from MUSC 892 and 896], and document [3 credits of MUSC 897])

 26 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 20 credits

Note:  MUSC 892 is Lecture Recital (1 credit), MUSC 896 is Solo Recital (2 credits)

Diction proficiency (to be satisfied before admission to doctoral candidacy): proficiency in two foreign languages (French, German, Italian) not passed during the admission process

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Ensemble requirement: Minimum of two semesters in an appropriate choral ensemble (MUSC 734)


Prerequisite: Master of Music degree in choral conducting or the equivalent (32 credits)[1]
[1]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

Major Area
a) area studies (14 credits, including 6 credits of applied conducting and studies in orchestral or band literature, score reading, etc.)
b) dissertation requirement (12 credits, consisting of recital preparation [6 credits of MUSC 891], 3 recitals [3 credits from MUSC 892 and 896], and document [3 credits of MUSC 897])

 26 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 20 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


Prerequisite: Master of Music degree in orchestral or winds conducting or the equivalent (32 credits)[2]
[2]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

Flute, Oboe, Bassoon, Clarinet, Saxophone, Trumpet, Horn, Trombone, Euphonium or Tuba

Major Area
a) Applied studies (6 credits of MUSC 811)
b) Area solo literature (2 credits of MUSC 740)
c) Area pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))
e) Chamber music (2 credits of MUSC 735)

 24 credits
Advanced Research (MUSC 747)  2 credits

Cognate Studies (minimum of two 700-level music history courses [one MUSC 744--Topics in Music History course must be completed], at least three 700-level music theory courses, and a maximum of four credits of ensemble and chamber music [MUSC 734 and 735].

 22 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


Prerequisite: Master of Music degree in performance or the equivalent (32 credits)

Guitar

Major Area
a) Applied guitar (6 credits of MUSC 811N)
b) Guitar literature (2 credits of MUSC 740N)
c) Guitar pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))

 22 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 24 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.


Prerequisite: Master of Music degree in the guitar performance or the equivalent (32 credits)

Organ

Major Area
a) Applied organ (6 credits of MUSC 811O)
b) Organ literature (2-4 credits of MUSC 740O)
c) Organ pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))

 22-24 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 22-24 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.


Prerequisite: Master of Music degree in organ performance or the equivalent (32 credits)

Percussion

Major Area
a) Applied percussion (6 credits of MUSC 811K)
b) Percussion literature (2 credits of MUSC 740K)
c) Percussion pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))
e) Chamber music (2 credits MUSC 735)

 24 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 22 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


Prerequisite: Master of Music degree in percussion performance or the equivalent (32 credits)

Piano

Major Area
a) Applied piano (6 credits of MUSC 811P)
b) Piano literature (2-4 credits of MUSC 740P and/or MUSC 775)
c) piano pedagogy (2-4 credits of MUSC 801 and/or MUSC 773-776)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))
e) Chamber music (1 credit of MUSC 735)

 23-26 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 20-23 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.


Prerequisite: Master of Music degree in piano performance or the equivalent (32 credits)

Violin, Viola, Cello, Double Bass

Major Area
a) Applied studies (6 credits of MUSC 811)
b) Area solo literature (2-3 credits of MUSC 740)
c) Area pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 894, 895, 896), and document (2 credits of MUSC 897))
e) Chamber music (2 credits of MUSC 735)

 24-25 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 21-22 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Ensemble requirement: Minimum of two semesters in an appropriate instrumental ensemble (MUSC 734)


Prerequisite: Master of Music degree in violin, viola, or violoncello performance or the equivalent (32 credits)

Voice

Major Area
a) Applied studies (6 credits of MUSC 811V)
b) Vocal literature (4 credits of MUSC 740V)
c) Vocal pedagogy (2 credits of MUSC 801)
d) Dissertation requirement (12 credits, including 6 credits of recital preparation (MUSC 891) 4 recitals (from MUSC 892, 893 and 896), and document (2 credits of MUSC 897))

 24 credits
Advanced Research (MUSC 747)  2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 22 credits

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)[1]
[1]Including diction and foreign-language skills: 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.

DMA in Piano Pedagogy

Piano Pedagogy Recital/Treatise

Major Area
a) Area studies (9 credits of piano pedagogy, including MUSC 773-774 and 3 credits of piano literature or pedagogy)
b) Applied piano (4 credits of MUSC 811P)
c) Dissertation requirement (12 credits, including 4 credits of recital preparation (MUSC 891) 2 recitals (from MUSC 892, 894, 895, 896), and treatise (6 credits of MUSC 898))

 28 credits
Advanced Research (MUSC 747) 2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 18 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.

Piano Pedagogy Dissertation

Major Area
a) Area studies (9 credits of piano pedagogy, including MUSC 773-774 and 3 credits of piano literature or pedagogy)
b) Applied piano (4 credits of MUSC 811P)
c) Dissertation requirement (12 credits of MUSC 899)

 28 credits
Advanced Research (MUSC 747) 2 credits
Cognate Studies (minimum of two 700-level music history courses [one MUSC 744 Topics in Music History course must be completed], at least three 700-level music theory courses, and maximum four credits of ensemble and chamber music [MUSC 734 and 735]) 18 credits

Foreign language requirement: DMA students must either demonstrate reading proficiency in French, German, or Italian or complete an advisor-approved research course before the Comprehensive Examination can be scheduled.


Prerequisite: Master of Music degree in piano performance or piano pedagogy or the equivalent (32 credits)

PhD in Music Education

Major Area
a) Music education courses (21 credits to include MUED 790, 795, 796)
b) Special research project (3 credits of MUED 890)
c) Dissertation (12 credits of MUSC 899)		 36 credits
Educational Research Core
a) Educational Statistics I (EDRM 710)
b) Educational Statistics II (EDRM 711)
c) Qualitative Inquiry (EDFI 731)		 9 credits
Other Studies in Music and Related Fields
A minimum of 9 credits is required in MUSC courses to include at least one adviser-approved course in music history and one adviser-approved course in music theory. Remaining credits will be selected from adviser-approved courses including applied music, conducting, literature and up to 6 credits in related areas such as psychology and education.		 15 credits



Prerequisite: Master of Music Education degree or the equivalent (32-35 credits)

Doctoral Minor - 12 credits

Doctoral students are encouraged to develop an area of musical expertise outside the doctoral major. A doctoral minor is therefore available in the areas listed below. A doctoral minor requires the completion of a minimum of 12 post-master's graduate credits, of which at least nine must be completed at USC, and approval from the minor area faculty and the graduate director prior to declaring the minor. During the Comprehensive Examination students who have been approved for a doctoral minor will also be tested in that area. The following are general guidelines for a doctoral minor:

Composition
Completion of at least 12 credits of composition, including 4 credits of applied composition (MUSC 716) and 6 credits of closely related classroom study (e.g., arranging, orchestration)
Conducting
Completion of at least 12 credits of conducting, including 4 credits of applied conducting (MUSC 711) and 6 credits of related studies (e.g., area literature, methods, score reading, performance practice); credit for one public conducting recital (MUSC 796) may be included if scheduling permits
Jazz Studies 
Completion of at least 12 credits in the chosen area
Music History, Music Theory, Piano Pedagogy, or Music Education
Completion of at least 12 credits in the chosen area (no teacher certification is required for the Music Education minor)
Opera Theater
Completion of at least 12 credits in opera-theater studies, including MUSC 545, 3 credits of approved studies in the Department of Theatre, 2 credits each in MUSC 734 and MUSC 780, and either 2 credits of MUSC 781 (for an emphasis in voice performance) or THSP 759 (for an emphasis in stage direction); dual credit for MUSC 793-796 or MUSC 891-896 when enrolled in MUSC 781 is not permitted
Performance
Completion of at least 12 credits in the chosen area, including 6 credits in applied music (MUSC 711) and 4-9 credits in the area literature and pedagogy; credit for one public solo recital (MUSC 796) may be included

return to top

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 second 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 information available on-line at in.music.sc.edu/AP/Grad/DMAComp.html 

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. 

    • 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: 

    •  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.

return to top

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).

 

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. Scheduling of the exams must be done through the Music Graduate Office.

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

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 recital or research credit; and 3) satisfaction of the foreign language requirement. Both the written and oral portions of the Comprehensive Examination are to be taken during one five-day examination period. 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 downloadable form. 

Written Examinations — Doctoral candidates are required to take three written examinations in the major area as well as one in each minor area. Each examination will normally take at least three hours to complete. For the major area, guidelines for the Written Candidacy Examination pertain also to the Written Comprehensive Examination except that the level of expertise and knowledge is expected to be considerably beyond that expected of a master’s student (conducting, performance, and piano pedagogy majors, for example, should now have developed broad and in-depth rather than functional knowledge in their major area. DMA-Composition majors should consult information available on-line at www.music.sc.edu/composition. Expectations for a minor area are equivalent to those for a major in that area at the master’s level. 

Oral Comprehensive Examination — The Examination, which may last up to two hours, may refer to material covered in the Written Comprehensive Examination or it may explore new areas. While focusing on the major area, the exam will also include questions dealing with music history/literature and score analysis/identification (especially in the context of the major area) as well as with each minor area. The   candidate must pass all portions of the Oral Comprehensive Examination (major area, music history/literature, score analysis and identification, minor areas).

return to top

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 examination is scheduled through the Music Graduate Office. 

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 copy of the three (or four) papers, collated and spiral bound, to the music graduate studies office. 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. A rubric for rating the oral comprehensive examination may be found below. 
Oral Comprehensive Exam Rubric

  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.

return to top

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. Prerequisite 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. 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.  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. 

The committee for the comprehensive examination in piano performance must comprise no fewer than five members – three members from the piano faculty and one each from music history and music theory.  The committee for the comprehensive examination in piano pedagogy must comprise no fewer than five members – two members from the piano pedagogy faculty, one additional member of the piano faculty, and one each from music history and music theory.  If the candidate has elected to have a minor area, there must be a faculty member from that area on the committee.

Written Examinations — The comprehensive examination in piano performance will consist of four 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 four 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. 

Oral Comprehensive Examination — The Oral Examination, which may last up to two hours, will refer to material covered in the Written Comprehensive Examinations and may explore new areas.  The exam may also include additional questions on subjects concerning 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. The candidate must pass all portions of the Oral Comprehensive Examination (major area, music history, music theory, piano literature score identification examination, and minor area).

return to top

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.

return to top

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 Defense 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:

  1. 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
  2. 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
  3. 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).
  • 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, which is to be presented and adjudicated in a public performance, must be considered a major (not supporting) role in a fully mounted opera.  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).

return to top

DOCTORAL COMMITTEE(S)

Immediately after a doctoral student has been admitted to candidacy, the Music Graduate Director in consultation with the student and the student’s advisor will appoint a doctoral committee that will oversee the student’s doctoral work. This committee will include three professors (including the major professor) from the major area and one professor each from music history and music theory. The candidate’s advisor, the Graduate Music Director, and the School of Music Dean are ex officio members of a student’s doctoral committee but may also be regular members. The committee will advise and guide the candidate’s work and program as well as administer the Comprehensive and Oral Dissertation examinations. Should a student elect to incorporate a doctoral minor or a significant course of study from outside the School of Music, an additional committee member from that area will be appointed to advise the student’s program of study and participate in the Oral Comprehensive Examination. Before a candidate submits a composition or research prospectus, the Music Graduate Director in consultation with the student and his or her advisor will select four members of the doctoral committee to read the doctoral research project. This dissertation or 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). If the subject of a research project requires the direction of a faculty member not on a student’s doctoral committee, the Music Graduate Director will replace one of the professors with a suitable director. At least three members of the area faculty will adjudicate a doctoral recital.

 

ENSEMBLE

DMA students majoring in conducting, percussion, strings, or winds are required to satisfactorily complete at least two semesters in an appropriate ensemble (MUSC 734).

 

FOREIGN LANGUAGE

Examination can be scheduled. 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. 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. 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.

return to top

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.

return to top

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 Defense 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:

  1. 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 
  2.  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 
  3. 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.

return to top

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.

 

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.

return to top

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.

return to top

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:

  1. Instructor
  2. Associate Dean
  3. Ad Hoc Grievance Committee
  4. 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:

  1. What action or decision is being appealed and why?
  2. What elements in the syllabus were violated, or what university policy was violated?
  3. What is the basis for the appeal, if not a policy violation?
  4. 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.

  1. 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.
  2. 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.
  3. 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. Gail Barnes at gbarnes@mozart.sc.edu, USC String Project (Internet: sc.edu/music under “For the Community”), School of Music, University of South Carolina, Columbia, SC 29208.

 

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.  The application form may be downloaded here.

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 by October 1. 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.

return to top

 

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.

return to top

My School of Music

    Challenge the conventional. Create the exceptional. No Limits.

    ©