The following guidelines pertain to graduate
work in composition, musicology, and performance
practice in the Department of Music. This handbook is not intended to serve as a substitute
for the Bulletin of the Graduate School, to which students should refer for
further information about Graduate School procedures and requirements.
A. Masters of Arts in Composition
B. Masters of Arts in Musicology
C. Masters of Arts in Performance Practice
D. Doctor of Philosophy in Composition
E. Doctor of Philosophy in Musicology
II. Regulations Governing Students Entering with Prior Graduate Work
III. Examples of Typical Degree Programs
A. Students Entering the A.M. program in Composition
B. Students Entering the A.M. program in Musicology
C. Students Entering the A.M. program in Performance Practice
A. Fall and Spring Registration
D. Courses outside the Department of Music
F. Registering for Courses at UNC-CH, UNC-G, NCCU
G. Lessons with Performance Faculty
I. Withdrawal and Leave of Absence
J. Grievance Procedures and Standards of Conduct
V. Departmental Series, Ensembles, and the Instrument Collection
VII. Departmental Facilities and Services
VIII. Departmental Graduate Student Representatives
IX. Financial Aid
A. Scholarship and Fellowship Aid
C. Teaching Assistants and Graduate Instructors
E. Other Opportunities for Employment
F. Outside Employment and Other Activities
X. The Diagnostic Exam (revised October 4, 2007)
XI. Foreign Language Requirements
A. Qualifying Examination in Musicology
B. Qualifying Examination in Composition
C. Timetable
D. Examination
XIII. Special Master's Degree Requirements
Section Pertaining to Doctoral Students
XIV. Doctoral Committee and Preliminary Examination Guidelines
A. Composition
2. Scheduling
3. Timetable for Preliminary Exam (Rev. 10/2/07)
B. Musicology
2. Scheduling
3. Timetable for Exam Format 1
4. Timetable for Exam Format 2
XV. Dissertation Prospectus in Musicology
XVI. Dissertation in Musicology
XVII. Dissertation Composition
XVIII. Best Practices for Dissertation Preparation
XIX. Final Examination in Composition
XX. Final Examination in Musicology
XXI. Transition to Professional Life
XXII. Best Practices for the Job Application Process
C. Preparing for the Interview
XXIII. Best Practices: DGS Responsibilities
Appendix A: Policy Concerning Foreign Language Requirements
A. Examinations
B. Requirements
C. Evaluation
D. Scheduling
E. Common Reasons for Failure of Language Exams
Appendix B: Departmental Guidelines for Scheduling Graduate
Recitals
A. Scheduling
B. Publicity
C. Programs
1.
Course Requirements
a. Eleven courses (33 units) of graduate instruction. These normally include: Music 213, 215
or 217, 295, 297, 298, 299
b. Four elective graduate courses in music (200 level or
above) including one seminar in music history selected from Music 222-227
2.
Submission of a portfolio of compositions (see Sec. XIII.A)
3.
Examinations
a. Diagnostic Examination (see Sec. X)
b. Foreign Language Examination (see Sec. XI)
c. Qualifying Examination in Composition (see Sec. XII)
1. Course
Requirements
a. Eleven courses (33 units) of graduate instruction. These shall include two of the three
required courses in musical analysis, Music 214, 215 and 217, as they are
offered on the two-year cycle of rotation; any of these three not offered
during the student's first three semesters must be taken as soon as possible in
subsequent semesters.
b. The eleven courses also shall include six elective graduate
courses in music drawn from this list (several numbers are routinely offered
with different course titles and content): 222, 223, 224, 225, 226, 227, 317, 371, 382.
c. The eleven courses also include three additional graduate
courses taken in or outside the music department, as approved by the DGS.
2.
Examinations
a. Diagnostic Examination (see Sec. X)
b. Foreign Language Examination (see Sec. XI; a second foreign language is desirable but not required)
c. Qualifying Examination in Musicology (see Sec. XII)
a. Eleven courses (33 units) of graduate
instruction. These shall
include two of the three required courses in musical analysis, Music 214, 215
and 217, as they are offered on the two-year cycle of rotation; any of these
three not offered during the student's first three semesters must be taken as
soon as possible in subsequent semesters.
b. Either 203 or 330.
Note: Independent Study in Performance Practice (Music 330) must include scholarly content as well as applied instruction at one's instrument (or in voice). It must have conceptual coherence and include a final product: for example, a term paper or a lecture-recital. Topics in the past have included performance practice studies in basso continuo practice, French Baroque organ music, organ music of Cesar Franck, harpsichord music of Francois Couperin, early Iberian keyboard music, 16th-century Italian organ music, organ literature published in the 1620s, and organ improvisation techniques in 17th-century northern Germany.
c. The eleven courses also shall include five elective
graduate courses in music drawn from this list (several numbers are routinely
offered with different course titles and content): 222, 223, 224, 225, 226, 227,
317, 371, 382.
d. Three additional graduate courses taken in or outside the
music department, as approved by the DGS.
2. Examinations
a. Diagnostic Examination (see Sec. X)
b. Foreign Language Examination (see Sec. XI)
c. Qualifying Examination in Music History and Performance
Practice (see Sec. XII)
d. Master's Recital (see Sec. XIII.B)
D. Doctor of Philosophy in Composition
For students with an A.M. in Composition from Duke University: Admission to the Ph.D. program is not
automatically granted upon the student's completion of the requirements of the
A.M. degree, but is restricted to those students who have demonstrated the
ability to do substantial and original work in composition. After passing the Qualifying
Examination, the student will be notified regarding acceptance into the
doctoral program.
1. Course
Requirements
2. Registration
Requirement
a. The Graduate School requires six (6) semesters of
"full-time" registration regardless of the number of courses taken or
residence.
3. Examinations
and Dissertation
a. Foreign Language Examination (see Sec. XI )
b. Ph.D. Composition portfolio (see Sec. XIII)
c. Preliminary Examination (see Secs. XIV and XV)
d. Article
intended for publication (submitted within six months after preliminary
examination) (see Sec. XIV)
e. Dissertation: a large-scale composition (see Secs. XV, XVI, and XVII)
f. Final
Examination (the dissertation defense in composition will take the form of a
presentation by the composer on the dissertation composition). (see Sec. XVIII)
For students entering without an A.M. in
Composition from Duke University (this category includes students with a
Master's degree from another institution.
Also see the "Regulations Governing Students Entering with Prior Graduate Work
at Other Institutions," below):
1.
Course Requirements
a. Seventeen courses (51 units) of graduate instruction, that
is, six courses beyond those required for the A.M.
b. No more than four courses of a completed Master's degree
(12 units) may be accepted for transfer from another institution (see Sec. II.B). The
required courses shall include:
i) Music
213, 215, 295, 297, 298, 299, 397, and 398
ii) Two
seminars in Musicology, Ethnomusicology, or Theory
iii) Five elective graduate courses in music (200 level or above)
2.
Registration Requirements
a. The
graduate school requires six semesters of "full-time" registration, regardless
of the number of courses taken or residence. No more than one semester may be waived for a completed
Master's degree.
3.
Examinations and dissertation
a. Foreign Language Examination (see Sec. XI)
b. Ph.D. Qualifying Examination (see Sec. XII)
c. Ph.D. Composition Portfolio (see Sec. XIII)
d. Preliminary Examination (see Sec. XIV)
e. Article intended for publication (submitted within six
months after Preliminary Examination)
(see Sec. XIV)
f. Dissertation: a large-scale composition (see Secs. XV and XVI)
g. Final Examination (the dissertation defense in composition
will take the form of a presentation by the composer on the Dissertation
composition). (see Sec. XVIII)
E. Doctor of Philosophy in Musicology
For students with an A.M. in Musicology or
Performance Practice from Duke University: Admission to the Ph.D. program is not
automatically granted upon the student's completion of the requirements of the
A.M. degree, but is restricted to those
students who have demonstrated the ability to do independent and original
doctoral work in the field of musicology.
After passing the Qualifying Examination, the student will be notified
regarding acceptance in the doctoral program. Students with an A.M. in Performance Practice from Duke must
also satisfy all course requirements for the A.M. in musicology.
1.
Course Requirements
a. Seventeen courses (51 units) of
graduate instruction. This
includes the courses required for the AM in Musicology (including 214, 215,
217) plus three additional courses in music, drawn from this list (several numbers are routinely offered with different
course titles and content): 222, 223, 224, 225, 227, 317, 371, 382. Two additional graduate courses to be
taken in or outside the music department, as approved by the DGS.
2.
Registration requirement
a. Six semesters of "full-time" registration regardless of number of courses taken or residence.
3. Examinations and dissertation
a. Second Foreign Language Examination (see Sec. XI;
a third language is highly desirable and may be required, depending on the
research area of the dissertation)
b. Preliminary Examination (including Dissertation Prospectus,
see Sec. XIV and XV)
c. Submission of the Dissertation (see Sec. XVI)
Final Examination (dissertation defense, see Sec. XIX)
For students entering without an A.M. in
Musicology or Performance Practice from Duke University (this category includes
students with a Master's degree from another institution. Also see the "Regulations Governing Students Entering
with Prior Graduate Work at Other Institutions," below):
1. Course Requirements
a. Seventeen courses (51 units) of graduate instruction. No more than four courses of a
completed Master's degree (12 units) may be accepted for transfer from another
institution (see Sec. II.B). The required courses shall include:
b. Music 214,
215 and 217.
c. Nine
additional graduate courses in music drawn from this list: 222, 223,
224, 225, 227, 317, 371, 382. Additional graduate
courses to be taken in or outside the music department, as approved by the DGS.
On the subject of equivalent courses taken at other
institutions (see Sec. II).
2. Registration Requirements
a. Six semesters of "full-time" registration, regardless of
the number of courses taken or residence.
b. No more than one semester may be waived for a completed
Master's degree.
3.
Examinations and Dissertation
a. First
Foreign Language Examination (see Sec. XI)
b. Ph.D. Qualifying Examination (see Sec. XII)
c. Second Foreign Language Examination (see Sec. XI;
a third language is highly desirable and may be required, depending on the
research area of the dissertation)
d. Preliminary Examination (including Dissertation Prospectus,
see Sec. XIV and XV)
e. Submission of the Dissertation (see Sec. XVI)
f. Final Examination (dissertation defense, (see Sec. XIX)
On occasion, the requirements for foreign language examinations may be waived if equivalent examinations were passed elsewhere. In rare cases, the Ph.D. Qualifying Examination may be waived if an equivalent examination was successfully passed elsewhere (see Sec. II.B).
II. REGULATIONS GOVERNING STUDENTS ENTERING
WITH PRIOR
GRADUATE WORK AT
OTHER INSTITUTIONS
A. A.M. degree in Musicology, Performance Practice, or Composition
A maximum of four courses may be transferred for accredited graduate work completed at other institutions (see Graduate School Bulletin). A written request listing the courses for which transfer credit is desired must be filed with the Director of Graduate Studies (DGS) no later than the end of the second semester in residence. The transfer of graduate credit does not reduce the required minimum registration of 11 courses taken at Duke for the A.M. Students who have completed a graduate degree in a language other than English and who need to take remedial course work in English at Duke may take two courses of language study during their first year.
B. Ph.D. degree in Musicology or Composition
1. The Department of Music may waive up to 12 units (4
courses) of its course requirements for equivalent graduate work done
elsewhere, so that the number of required courses may be reduced to a minimum
of 13.
2. A written request, listing the courses with course
descriptions, must be submitted in the second semester of residence.
3. Specific course requirements (e.g., Music 201) may be
waived if the student has successfully taken equivalent courses elsewhere,
subject to written approval of the DGS.
4. The Graduate School may waive one semester of the
registration requirement as credit for a completed Master's degree from another
institution, thus reducing the requirement to five semesters.
5. Students entering the program with completed Master's
degrees who have passed a comparable language examination elsewhere may have
one foreign language examination waived, if the appropriate language committee
recommends this to the DGS.
6. The waiving of the Ph.D. Qualifying Examination is
permitted in exceptional circumstances and requires approval of the Graduate
Faculty. A
written request must be filed by the student with the DGS no later than
the end of the second semester in residence. Ordinarily the Ph.D. Qualifying Examination should be taken
at the beginning of the fourth semester in full-time residence.
7. The following cannot be waived: Diagnostic Examination, Preliminary
Examination, and all Dissertation requirements.
III. EXAMPLES
OF TYPICAL DEGREE PROGRAMS
The
following represents a typical program
for students entering the A.M. program in Composition and continuing
toward the Ph.D. (this applies to students matriculating fall 1992 and after):
Year 1, Semester I
12
units
Music
213, 297
Seminars
in Musicology, Ethnomusicology, or Theory
Diagnostic
Examination
Foreign
Language Examination
Year 1, Semester II 12
units
Music
215, 295, 298
Seminars
in Musicology, Ethnomusicology, or Theory
A.M.
Portfolio submitted by the end of this semester
Year 2, Semester I
9 units
Music
299
2
graduate courses in music (A.M.
Degree) _______
33
units
Year
2, Semester II
9
units
Seminars
in Musicology, Ethnomusicology, or Theory
One music elective (200 level or above)
Music
397
Qualifying
Examination
Year 3, Semester I
9 units
Music
electives (200 level or above)
Music
398 ______
51 units
Year 3, Semester II
Preliminary
Examination
Ph.D.
Composition Portfolio
Article
intended for publication (see Sec. XVII)
Following Years
Pay fees only
(until completion of degree)
Final
Examination (dissertation defense)
(Ph.D.
Degree)
The
following represents a typical program
for students entering the A.M. program in Musicology and continuing
toward the Ph.D.:
Year
1, Semester I
12 units
Four
(4) graduate courses in music
Diagnostic
Examination
First
Foreign Language Examination
Year 1, Semester II
12 units
Music
215
3
graduate courses in music
Year
2, Semester I 9 units
Three
(3) graduate courses in music
Second
Foreign Language Examination
(A.M. Degree)
______
33
units
Year
2, Semester II 9 units
Three
(3) graduate courses in music
Qualifying
Examination
Year
3, Semester I
9 units
Three (3) graduate courses in music
______
Year 3, Semester II
51 units
Preliminary
Examination (including Dissertation Prospectus)
Following Years
Pay
fees only (until completion of degree)
Final
Examination (dissertation defense)
(Ph.D. Degree)
The
following represents a typical program (first three semesters) for students
entering the A.M. program in Performance Practice:
Year 1, Semester I
12 units
Music
330
3
graduate courses in music
Diagnostic
Examination
First
Foreign Language Examination
Year
1, Semester II
12 units
Music
203
Music
330
Two
(2) graduate courses in music
Master's
recital
Year
2, Semester I
9 units
Music
330
Two
(2) graduate courses in music
A.M.
Degree
Second
Foreign Language Examination (for students
continuing on to
Musicology Ph.D. ______
33 units
A. Fall and Spring Registration
New
students register at the beginning of the term in which they enter; thereafter,
registration takes place during the preceding semester on dates that will be
announced. Students will receive a
memorandum from the Dean of the Graduate School outlining the registration
procedures, which are binding.
The
first step is to review your progress toward meeting your degree requirements
with the Staff Assistant in the Graduate Studies Office. Next, you will be asked to schedule an
appointment with the DGS or the registration advisor for your program to
discuss your proposed course schedule.
Your initial selections as well as
all subsequent changes must be approved by the DGS.
If you
choose to study part-time you need register for only three units. Please note, however, that part-time
students are not eligible for financial aid from the University.
The
Department of Music does not offer graduate courses during the summer. If you are completing requirements for
a degree (i.e., the Qualifying Examination or the Dissertation Defense) during
the summer, you must register for the summer term. If you do not enroll in courses, you will need to pay only
the registration and health fees.
Be advised that if you do not pay the Student Health fee for the summer
you will not be eligible for treatment by the University Student Health Service
during this period.
Many
students understandably have a natural inclination to select courses in their
areas of special interest.
However, the area in which one feels least at home may be precisely the
area in which one would gain the most from the structured introduction that a
course on the subject will offer.
Furthermore, the value of graduate courses, particularly seminars, lies
not only in gaining knowledge of some specific area but also in being
introduced to new approaches and methods that may be applicable to one's own
areas of interest.
D. Courses outside the Department of Music
In the
Department of Music, students can receive degree credit for courses numbered
200 and higher. Graduate School
regulations on courses taken outside the Department of Music allow that:
1. In exceptional cases, and with DGS approval, Ph.D. students
may take any course(s) below the 200 level and have it (them) count towards the
requisite 51 units, provided that two conditions are met: a) that such courses
be over and above graduate course requirements set by the department; and b)
that a grade of B or better be earned.
2. At the Master's level, only two such courses will be
counted toward the 30 units (see Graduate School Bulletin, p.52).
In the
Department of Music, clause (a) in the first paragraph of this regulation is
normally interpreted as follows: selection of up to two
extra-departmental courses at or above the 100 level will normally be approved
where no graduate-level course is appropriate, except in the case of foreign
language reading courses, which, with the approval of the DGS, may be
given for courses under the 100 level.
Taking these courses may fulfill the requirement for courses taken
outside the department with the approval of the DGS.
Ordinarily,
Independent Studies serve as a preliminary exploration of a potential
dissertation topic. (This does not apply to the Independent Studies in
Performance Practice and Interpretation required for the A.M. in Performance
Practice.) They are, thus, most
appropriate during the later stages of one's program, i.e., after passing the
Qualifying Examination. If you are
interested in doing an Independent Study (other than those required for the
Performance Practice degrees), consult with the DGS.
Duke has
a cooperative agreement with UNC-Chapel Hill, UNC-Greensboro, and North
Carolina Central University by which students can take courses at the other
institutions. Ordinarily, students
avail themselves of this opportunity only for courses on subjects in which they
have special interests and that are not offered (or likely to be offered in the
near future) at their home institution.
Only full-time students are
eligible for "inter-institutional" registration, and such registration requires
at least an equivalent number of units to be taken at Duke during the same
semester. The student should first register at Duke for the desired course(s)
in the normal process of a registration. After securing a form from the Duke
Registrar certifying eligibility for inter-institutional registration, the
student must then complete the registration process at the cooperating
institution. Tuition will be charged for all courses(s) at the Duke rate.
G. Lessons with Performance Faculty
Upon successful audition, graduate students may take lessons with performance faculty. Lesson fees will be waived, with permission of DGS. In cases where slots are limited, undergraduate students have preference over graduate students.
In principle,
an "Incomplete" is given at the option of the instructor only when a student is
not able to complete work in a course due to circumstances beyond his or her
control, e.g., in the case of a prolonged illness. Taking the Qualifying or Preliminary Examinations is not an
acceptable reason for an Incomplete.
The Graduate School permits Incompletes to be made up within a year
after the termination of a course.
If a student's record shows the accumulation of too many Incompletes,
the graduate faculty may declare the student's progress towards the degree
unsatisfactory.
If any
Incompletes are outstanding students will not be permitted to register for
Independent Studies (except for required Independent Studies for the A.M. in
Performance Practice degree) or to take Qualifying Exams or Preliminary
Examinations.
I. Withdrawal and Leave of Absence
Students
who plan to withdraw from the Graduate School must send written notice to the
DGS and the Dean prior to the date of the
anticipated withdrawal
(otherwise they may be liable for registration fees). If they subsequently wish to reenter
the program, they must apply for readmission and pay reinstatement fees as
determined by the Graduate School.
Leaves
of absence for a period of time no longer than one calendar year may be granted
because of medical necessity, full-time employment, acceptance of external
award judged likely to benefit the student as an individual but not related to
the degree requirements, or other acceptable reasons. Taking time off for independent study or dissertation
research is generally not included among those acceptable reasons. The Graduate School must approve all
leaves of absence.
J. Grievance Procedures and Standards of Conduct
In the
case of a grievance about an academic issue (e.g. grades or decisions on a
language examination) students should consult the DGS about appropriate
channels of appeal. In addition to
the academic standards published herein, students and faculty should also be
aware that the Graduate School maintains and publishes policies regarding such
topics as academic integrity, sexual harassment, and grievance procedures. These are outlined in the Graduate
School Bulletin. These are standards to which we, as
members of the academic community, all subscribe.
V. DEPARTMENTAL
SERIES, ENSEMBLES, AND THE INSTRUMENT COLLECTION
Each year the department invites a number of outstanding
American and foreign scholars to present their recent research, typically
followed by a discussion and a reception.
These lectures provide students with an opportunity to meet scholars and
to learn firsthand about new developments in the discipline. Graduate students are expected to
attend the lectures and to participate in the discussions. In addition,
students are encouraged to attend lectures by distinguished visitors at
UNC-Chapel Hill.
Musicians and composers of international stature are invited to the campus for concerts, workshops, and master classes. Students have the opportunity to attend rehearsals and to work with the artists. In addition to the concerts organized by the Duke Institute of the Arts, the music department hosts concert series of jazz, contemporary music (the Encounters concerts, co-sponsored by UNC-Chapel Hill), organ recitals, and of the resident Ciompi Quartet. All department music ensembles perform regularly on campus.
The
performance ensembles are an important outlet for graduate and undergraduate
students and others to explore possibilities of ensemble playing and singing,
and to discuss the problems of transforming what is notated into musical sound.
The
Norman and Ruth G. Eddy Collection of Musical Instruments comprises over 500
late eighteenth-, nineteenth-, and twentieth-century instruments with
particular depth in woodwind, brass, and early pianos. The de Hen Collection includes
instruments from around the world.
Selected instruments are available for concert use by faculty, guest
artists, and students. Instruments
may also be used for lecture-demonstrations, classroom teaching, scholarly
research, and conferences. Consult
the curator to request the use of particular instruments.
E.
Mailboxes,
Email Messages, and Bulletin Boards
Important announcements from the Graduate School and
the DGS are placed in the student mailboxes, located in the lower level of the
music building near the fountain.
The DGS frequently sends communications through email. Information placed on the bulletin
board outside the Graduate Studies Office is not duplicated for distribution to
individual mailboxes. Students
should check this board and other departmental bulletin boards periodically.
A.
Graduate Study Lounge: Room 036 is designated as a study and
lounge space for graduate students. It has an internet
connection for your laptops and a desktop computer. You can get a key at the
reception desk in Room 105
B.
Graduate Computer Room: The computers and
printer in room 034 and 036 are available for graduate student use. Keys are
available from at the Reception Desk in Room 105.
C.
Computer Studio: Music graduate students have access to
the computer facilities at the Arts Warehouse, including soundproofed project
studios, microphones, and software for notation, recording, synthesis, and
sequencing. Students should speak
to the Graduate Program Assistant about gaining card access to the Arts
Warehouse.
D.
Lockers:
Graduate students may request the use of a locker at the Reception Desk
in Room 105. Those wishing to keep
their lockers year-round must let us know in May of each year.
E.
Practice Rooms: Practice rooms with pianos are open
during the academic year.
Performance Practice students (in piano) may reserve times on the best
pianos. Practice rooms with organs
or harpsichords are kept locked.
Keys may be checked out from the Music Office.
F.
TA Necessities: TAs and Graduate Instructors will be
assigned shared offices for the term in which they teach. Keys must be returned
when grades are turned in. Basic supplies (gradebooks, yellow pads and pens)
may be obtained at the Reception Desk (Room 105). Copies needed for sections may be made on the departmental
copier--sign your own name and list the course. Reservations for rooms for extra class meetings may also be
made at the Reception Desk.
G.
Phone: A
free phone (for calls throughout the Triangle area) and a pay phone are
available in the lower lobby near the drink and snack machines.
H.
Copier: A
copier, which accepts cash or cards, is available in the library. For special projects requiring the more
sophisticated capabilities of the departmental machine, permission for use may
be requested in Room 105.
VIII.
DEPARTMENTAL GRADUATE STUDENT REPRESENTATIVES
1. Graduate and Professional Student Council (GPSC) Representative
a.
serves as
liaison between GPSC and music graduate students communicating information and
feedback between both bodies
b.
acts as voting
member of GPSC general assembly
c.
receives and
distributes GPSC activities information and issues, including parking,
insurance, childcare, etc. to music grads
d.
attends GPSC
meetings every other Monday
2. Graduate Student Representative
(GSR)
a.
serves as
liaison between music faculty and music graduate students
b.
communicates student
needs and concerns to faculty
c.
reports on
special issues as requested by faculty
A. Scholarship (tuition only) and Fellowship (tuition and income stipend) Aid
For
students entering on departmental aid, funding is maintained for a period
specified in an initial letter.
The letter states the department's expectation that aid will be
continued for students in good standing for the designated number of
years. For these students, the
normal period of support is five years or four years if the student has a
Master's from another institution.
In most
cases, graduate assistantships or Work-Study support (see Sec. IX.C,D) will be substituted for all or part of the
fellowship aid after the first year.
Students should bear in mind that available funds are limited, and that
financial assistance may be terminated upon the recommendation of the Graduate
Faculty for any students whose academic performance and/or progress towards the
degree is unsatisfactory. Full
financial aid will be awarded only to students who are in residence; those who
after the completion of coursework choose to live outside the Durham area will
not receive an income stipend, but only tuition and fees. An exception will be made for students
who need to be elsewhere for their research.
Continuing
students will be notified of their financial assistance for the following year
in a letter from the DGS; notification regarding appointments
as teaching assistants in the Department are sent out by the Chair or
DGS (award letters are not sent out until late in the spring). Students receiving fellowships or
assistantships are expected to perform at a high level, both as teaching
assistantships and in their own studies. For appointments to assistantships,
evaluations of previous services as assistant will be taken into account.
Following
the completion of five years of aid, students should expect to arrange for
their own support. In this period,
students should seek fellowship aid from inside and outside the university to
assist them during their dissertation research. Several of our graduate students have been successful in
obtaining prestigious fellowships in national competitions. In addition, students often seek other
opportunities for part-time employment.
Occasionally additional teaching opportunities arise within the
department.
Students
who receive research assistantships are expected to assist a faculty member
with research, and occasionally also with teaching (e.g., grading papers,
preparing lectures). A minimum of 10 weekly hours of service are required, as
stipulated in the letter of appointment.
Students are expected to submit
weekly time sheets to the DGS Assistant
(Room 054), after having them signed by the faculty supervisor. All assistant duties must be completed
by the beginning of the following semester. At the end of the semester the supervisor will be asked to
provide an evaluation of the assistant, which will be placed in the student's
file.
C. Teaching Assistants and Graduate Instructors
In order
to give teaching experience to as many students as possible, a number of
students are appointed as Teaching Assistants in their second or later
years. These assistants are
responsible for sections in large lecture courses or labs in theory courses and
perform additional duties as assigned by the instructor. The work takes about 10-15 hours a week
and is supervised by the instructor.
The assistant is expected to attend all the lecture hours and final
examination of the course and to be available to consult with students. Ordinarily, the assistant's task will
include the grading of papers and examinations. The instructor will meet regularly with the assistant to
discuss the course and the assistant's tasks. Normally, teaching assistants will be
given an opportunity to conduct at least one lecture by themselves, with
assistance from the instructor.
Advanced students (generally only those in the dissertation stage) may
also be appointed as Graduate Instructors. Graduate Instructors have full responsibility for a course,
although some faculty supervision is provided. Ordinarily appointments as Graduate Instructor are made only
for a single semester. Other
teaching assignments may be for Music 20s courses (on topics proposed by the
student). Students will be
notified of their appointments near the end of the preceding semesters.
Under
the partially federally funded Work-Study program, selected students are
appointed to assist faculty members with grading or research; these
appointments can be made at any stage.
According to federal regulations, only US citizens with established
financial need are eligible. The
appointments are made competitively along with the fellowship and scholarship
awards, and require no separate application. However, the establishment of financial need requires the
processing of a Free Application for Federal Student Aid (FAFSA) form. Since the processing of these forms
takes a considerable amount of time, the Graduate School recommends that all
U.S. students admitted to the program and requesting financial aid fill out and
submit a FAFSA form. Copies of the
form are available in the Graduate Office in late December; they need to be
resubmitted each year, preferably at the beginning of the Spring Semester,
preceding the notification of the award.
Regulations regarding Graduate Assistantships (see B, above) also apply
to students in the Work-Study program.
E. Other Opportunities for Employment
Individual
faculty members and the Department of Music occasionally have funds to pay
students to assist with faculty research.
Faculty members select their own assistants. Departmental vacancies will
be advertised when the need arises. Music students also frequently supplement
their income by working a few hours a week in the Music Library.
F. Outside Employment and Other Activities
Students
receiving fellowships from the University are expected to work full-time on
their studies and not to engage in any significant amount of outside employment
or performance activities not relevant to the student's academic work. Before accepting any job that will require
more than a few hours per week or produce significant income, you must consult
with the DGS. Failure to do so may jeopardize your support.
Private
teaching is not permitted in the building. This regulation applies to faculty (full-time and
part-time), staff, students, and String School teachers. Anyone wishing to study using Duke
facilities should pay Duke tuition or fees.
Important: Students who
are hired by faculty members to assist in projects supported by
university-administered funds must, before doing any work, report to the
DGS Assistant, who will prepare the forms necessary for payment.
If you
accept more than one job at Duke be sure to inform each employer about all your jobs. Second jobs require complex payroll accounting
which can only be accomplished if all employers know about all your
jobs.
A. Just before classes
begin in the fall, the Diagnostic
Examination will be administered to all entering
students. Passing the entire exam is required for the Master's degree and
for entry into the Ph.D. program.
Students must pass the exam before taking the qualifying exam (normally
taken at the beginning of the fourth semester). The Diagnostic Exam
consists of seven parts,
described as follows (with suggested textbooks that you may wish to consult):
1. Harmonization of a
simple melody (e.g., a chorale tune; consult Aldwell
and Schachter, Harmony and Voice Leading)
2. Realization at the
keyboard of either a relatively simple, short figured bass or a recitative, or
of a jazz-standard lead sheet; example to be sung and played. Students may choose between the two
genres. (Consult Aldwell and Schachter, Harmony and Voice Leading and Levine, The Jazz Theory Book)
3. Score reading at the
keyboard; relatively easy passages will be selected,
such as the slow movement of a string quartet or symphony. (Consult Morris and Ferguson, Preparatory
Exercises in Score Reading)
4. Aural identification
of intervals and chords, melodic and
rhythmic dictation; composers may be asked to do more.
5. Sight singing; students will be asked to sight sing at a level of
difficulty expected in an advanced undergraduate class. (Consult Ottman, Music for Sightsinging, Chapter
13 forward.)
6. Identification and
historical placement of 10 score excerpts, by prose commentary.
Demonstrate your understanding of the piece in its historical context,
based on discussion of style and other features of the score. Include suggestions about the identity
of the composer, the type of composition, and an approximate date. (Consult, for example, Fuller, The European Musical Heritage: 800-1750;
Burkholder, Norton Anthology of Western
Music; Morgan, Anthology of Twentieth
Century Music, Martin and Waters, Jazz:
The First 100 Years)
7. Analysis of a common-practice tonal piece
given to you in advance. (Consult
chapters 8, 14, 15, 17, 19 in
Stein, ed., Engaging Music)
XI. THE
FOREIGN LANGUAGE REQUIREMENTS
It should
be understood that the department regards the stated language requirements as
representing an absolute minimum.
The earlier the student acquires language skills the better. Many fellowships for study abroad
during the dissertation phase require reading and speaking ability of the
language of the country in question.
Students may consider using their summer vacations for intensive
language study.
The complete departmental Policy Concerning
Foreign Language Requirements for Graduate Students may be found in the
Appendix. What follows outlines
the policy in general terms.
For the
A.M. reading knowledge of at least one foreign language is required. For the Ph.D. in Musicology reading
knowledge of at least two languages is required and one language for the Ph.D.
in Composition. A language exam
passed for the A.M. will be accepted for the Ph.D. unless it is specified "pass
at the A.M. but not at the Ph.D. level."
Students entering the program with a completed Master's degrees and who have evidence (official letter or transcript) of having satisfied a language requirement at another institution may have one language exam waived. English may count as one of the foreign languages for students who are not native English speakers.
Foreign
Language Examinations are administered three (3) times during the academic
year: Once during the fall, once near the beginning of the spring term and once
toward the end of the spring term.
They may be taken more than once if necessary. Entering students are required to take a language exam in
their first semester.
Each
examination consists of one passage that is to be translated with the use of a
dictionary. In general, passages
are to be chosen from the primary and secondary literature concerning
music. Sample examinations, as
well as the departmental policy detailing expectations concerning level of
expertise, amount, and kind of translation required are available in the
Graduate Studies Office.
The
languages must be approved by the Graduate Faculty and ordinarily will be ones
in which there exists an extensive, significant, and diverse body of scholarly
and/or theoretical writing on musical topics. If the faculty does not include a qualified examiner in a
selected language, it will be the student's responsibility to find a suitable
examiner (subject to approval by the Graduate Faculty) and to bear the expense,
if any. Students are urged to
discuss choices of languages with the DGS during the early stages of their
program, since the knowledge of certain languages may be imperative for
specific areas of specialization.
A record of languages exams passed will appear on the student's official
Duke transcript.
The Qualifying Examination is normally taken by the A.M. candidates in Musicology, Performance Practice, and Composition at the beginning of the second semester of the second year, and by transfer students with an A.M. from another institution during the second or fourth semester in residence (in such cases, the exam is called the Ph.D. Qualifying Examination). Before taking the Qualifying Examination, the student must have passed the entire Diagnostic Examination, one foreign language examination, as well as have cleared any Incompletes. The Qualifying Examination ordinarily is administered by a committee of three members of the Graduate Faculty appointed by the DGS.
A. Qualifying Examination in Musicology
Part 1: Written examination on a series of seven out of ten
unidentified documents (musical scores, text, illustrative material, or sound
document) without the aid of library resources. (8 hours)
Part 2: Four essays without access to library resources. The
topics (subject to change) will be chosen in four distinct areas: (a) music
before 1700; (b) music from 1700 to 1825; (c) music after 1825; (d) ethnomusicology and general methodology. There may be a choice of topics within
each area; some topics will be related to recently offered courses. (8
hours) Essays should be double
spaced and printed on one side of the paper to facilitate copying.
Part 3: An oral
examination on the history of music (including discussion of Parts 1 and 2 of
the exam). In addition the student
will be expected to present an analytic discussion of a brief composition, the
score of which will be provided after the completion of the written exam. It is
expected that students will use the time between the written and oral exams to
study up on any weak spots encountered in the written portions. (2 hours)
The
Qualifying Examination for performance practice students is similar in format,
but includes questions pertaining to Performance Practice.
B. Qualifying Exam in Composition
The Qualifying Exam in Composition has four categories that will be examined in written essays as well as in an oral exam. The four categories are as follows:
1. Category A: Make yourself an expert on one composer of your choice from any historical period or cultural background. By "expert," we mean that you will:
- be familiar with the majority of the composer's catalog, and have a detailed knowledge of at least five representative compositions;
- be familiar with the most important writings about this composer (e.g., six to ten articles and biographical materials which include theoretical and cultural/historical approaches to the subject);
- be knowledgeable about other artists whose work informs the work of this composer. You will be asked to give a presentation on your research during an oral examination (see Examination below).
2. Category B: Select three other composers to study in considerable detail, though not as extensively as the composer in category A. For each composer in this category, we will expect you to have studied at least three scholarly articles and at least two representative works. Your work on these three composers may grow out of your research on the composer described in the previous category, but this is not strictly necessary.
3. Category C: Propose six other composers from contrasting historical periods and familiarize yourself with their principal compositions (see Timetable below). You should be familiar with one or two important scholarly writings about each of these composers. The Qualifying Exam Committee will require particular composers for this category for all composition students taking the exam.
4. Submit a portfolio of the compositions you have written while at Duke, including scores and any recordings of performances of these works. Prepare a written statement about your work, addressing specific pieces you have composed at Duke. Discuss how you hope your work will evolve in your remaining time at Duke (e.g., future projects, musical / technical issues to be addressed, etc.). A separate portfolio should be prepared for each member of the Composition Committee (typically three copies).
In categories a, b, and c, a "composer" may be defined flexibly. You may choose to study a musical repertory which does not rely on notation, or in which the border between composer and performer is not clear (e.g., popular music, improvisation, non-western musical traditions, etc.)
Given the scope of the exam, students should begin to work on the preceding four categories immediately upon matriculation. Here is the timetable:
1. During
the first semester, make preliminary decisions about which composers you will
research.
2. By January 30 of the second semester, submit a list of composers and repertory for each category for review by the Composition Exam Committee, which will review your list. Between the end of Spring Break and the end of the academic year, the DGS Assistant will schedule a meeting time for you to meet with the Composition Committee to finalize the list for the exam. To ensure equal treatment for all students, the Exam Committee will select particular works or composers for Category C that will be shared by all students taking the exam.
3. By December 1 of the third semester, submit your composition portfolio (described above) to the members of the Composition Committee.
The intention of the exam is to test the depth and
breadth of your knowledge in a variety of repertories from different historical
periods. The exam is in two parts:
1. Seven short essays on score or sound examples from categories B and C provided by the Exam Committee. You will have one day (eight hours) to write these essays. You may use practice room pianos but no library resources while you write. After you turn in your essays, spend the intervening week preparing to amend or clarify the points you were trying to make.
2. At least one week after the written exam, you will meet with the Committee for an oral examination. During this meeting you will answer questions on your essays as well as give a half-hour presentation on some aspect of your principal composer's work (category A). This presentation should be appropriate for a professional gathering of interested scholars and musicians (i.e., students and faculty at a job interview). Your talk should bring together analytical, stylistic, and cultural/historical issues that are related to the specific topic. We will be evaluating both the content as well as the organization of your presentation. You are expected to use the week between the written and oral exams to address any weaknesses or inaccuracies in your short essays. The committee will also expect that you are familiar enough with the excerpts to be able to play them on the piano.
Sample examinations are available in the Music Graduate Studies Office (Room 054).
XIII. SPECIAL
MASTER'S DEGREE REQUIREMENTS
Candidates
for the A.M. in Composition should present a portfolio, which ordinarily
shall include a major chamber work of fifteen minutes in duration as well as
two or three shorter works. These
works should demonstrate a professional level of ability in compositional craft
and clear expressive intent. The
scores must meet professional standards of presentation, that is, they should
include a title page, instrumentation, performance notes, and any other
relevant information. All scores
should be carefully edited, neatly printed, and bound. One copy of each work in the portfolio
should be presented to each member of the exam committee (see Sec. XII, above) before the end of the third semester. Upon approval of the portfolio by the
committee the scores will be returned to the student.
Candidates
for the A.M. in Performance Practice are required to present a public
recital, which should be scheduled late in the second semester or early in the
third semester to avoid conflict with examination preparation.
1. At the
recital, candidates will supply program notes approved by their committee. These must be submitted for committee
approval five weeks ahead of the concert. The Publicity Assistant shall receive
the corrected and approved version.
2. By the
middle of the preceding semester the candidate should request the DGS to
appoint a recital supervisor; ordinarily a faculty member who has supervised
the candidate in Music 330 is chosen as supervisor. In particular, Graduate Students in Performance Practice may
propose concerts before their Master's Recital (providing one language exam has
been passed. The supervisor will
serve as chair of the Recital Committee, to which two additional graduate
faculty members will be appointed.
After the committee has been appointed, the submission of an informal
proposal of the program is advisable.
Bear in mind that:
a. Recitals
are scheduled with the Coordinator for Facilities and Events (CF&E) during the
term preceding the recital. (The
CF&E will announce the deadline for scheduling concerts.) The Request for Scheduling form must be
signed by all three Recital Committee
members and submitted to the CF&E before the recital date is officially
confirmed.
b. Five
weeks (5) before the recital, the program and notes accompanying it (all in a form ready to be processed
for printing) must be submitted to and approved by the committee and the DGS,
all of whom must sign the Program Approval Form. The notes should be between
600 and 800 words long and should aim at a musically educated readership. The committee may ask for changes in
either program or notes.
c. The
recital committee will attend the recital, and will vote pass or fail; at least
two passing votes are required to satisfy the recital requirement. The recital should last a minimum of 35
minutes and a maximum of 50 minutes.
No public lecture shall accompany the recital (however, the student may
give an informal lecture-demonstration related to the recital--possibly within
the context of Music 330--at some other time). An informal discussion between the candidate and his/her
committee, concerning the performance and program notes, will be scheduled for
a few days after the recital.
Please
see appendix for general guidelines concerning recital scheduling, publicity,
programs, and texts and translations.
Most students begin graduate studies with the intention of completing the Ph.D. degree. If the Graduate Faculty does not admit a student to the Ph.D. program after the Qualifying Examination, or if the student decides to discontinue graduate music studies after completing at least three semesters, a terminal A.M. degree is not automatically awarded. If you wish to receive a terminal A.M. degree, please discuss the process with the DGS.
THE
FOLLOWING SECTIONS
APPLY
ONLY TO
DOCTORAL
STUDENTS
XIV. DOCTORAL
COMMITTEE AND PRELIMINARY EXAMINATION GUIDELINES
University
regulations require the completion of the Preliminary Examination by the end of
the sixth semester. The
Preliminary Examination cannot be taken before all departmental requirements
(including unresolved Incompletes, and course requirements) are fulfilled.
In Composition, the Preliminary Examination consists of a written examination, an oral examination, a discussion of the Doctoral Portfolio, and a Defense of the Dissertation Composition proposal. The Doctoral Portfolio consists of full scores and recordings (if possible) of works composed during the candidate's studies at Duke. The portfolio should include enough music for an entire concert.
The Doctoral Committee administers the Preliminary Exam. After consultation with the student, the DGS nominates for the approval of the Dean of the Graduate School a Doctoral Committee. Ordinarily, the committee has four members drawn from the Duke University Graduate Faculty. Three of them must be members of the Department of Music (one of these, the committee chair, also serves as a dissertation supervisor), and the fourth comes from outside the Department. Occasionally the Dean approves requests to appoint other persons. Recommendations of a person not on the Duke Graduate Faculty should be accompanied by an academic curriculum vitae and a statement explaining why this person would be an appropriate and desirable appointment to the committee.
Generally, faculty members who are not present on campus (e.g., because they are on leave) cannot serve on the Committee during examinations. In exceptional cases, telephone participation may be permitted, with prior authorization.
The DGS
Assistant, in consultation with the dissertation supervisor and the student,
will schedule the Preliminary Examination. Allow two months for the DGS Assistant to finalize the
schedule. Under no circumstances
should the student schedule the exam.
Graduate School deadlines are available on-line
(http://www.gradschool.duke.edu/policies_and_forms/requirements_for_phd.html
- prelim).
3.
Timetable for the Preliminary
Examination in Composition
a. After being admitted to the
Ph.D. program and at least two months before the Preliminary Examination, the
membership of Doctoral Committee must be approved by the Dean of the Graduate
School.
b. At least two months before the Preliminary Examination, the student, with the Doctoral Committee and the consent of the DGS, determines the topics in which to be examined and prepares a reading and score study list. The topics for examination shall include the following:
i. Proposal for the dissertation composition
ii. Proposal for an article intended for publication
iii. Proposal
for an undergraduate course
c. At least one month before the Preliminary Examination, the student must submit:
i. Portfolio of compositions. This includes copies of scores and recording(s) of works composed while at Duke (together with the works presented for the A.M. Portfolio and composed at Duke, the portfolio should include a varied program of more or less an hour's music). These materials must be prepared in accordance with professional standards (see section XII.A above). A separate copy of the portfolio must be submitted to each member of the Doctoral Committee.
ii. Dissertation proposal. This specifies instrumentation, texts (if appropriate), approximate duration, equipment needs (e.g., for digital audio playback), a score study list, a statement on the significance of this composition in the studentŐs artistic development, and a proposed schedule for completing the composition.
iii. Article proposal. This includes an abstract and bibliography.
iv. Undergraduate course proposal. This includes a course title and description, syllabus, reading and score study list, and a description of the objectives for each section of the course. The course topic may be related to the dissertation composition or the publishable article.
v.
Library reserves. The most relevant items from the reading and score study
list should be placed on reserve in the Music Library or Media Center.
d. Before the Preliminary Examination, the Doctoral Committee will prepare one essay question related to the article proposal and an assignment for a short composition. The student may pick up the essay question and composition assignment from the Graduate Assistant on Monday at 9 a.m. and must submit the completed essay and short composition by 5 p.m. the following Friday. The student may use all available library or studio resources. The essay should be double-spaced and printed on only one side of the page to facilitate copying.
e. The oral examination will follow approximately one week after the completion of the written examination. This examination consists of a discussion of (1) the composition component, including the dissertation proposal, short composition, and the portfolio, (2) the essay and article proposal, and (3) the course proposal.
f. The Doctoral Committee may ask the candidate to revise the portfolio, the dissertation composition proposal, or the proposal for the article intended for publication, or to repeat the exam. Within 30 days after the exam, the Committee chair will write a letter to the student providing an assessment of the exam and listing any required revisions or remedial actions.
g. All revisions must be submitted by the final day of graduate classes for the semester. The passing of the Preliminary Examination as a whole is contingent upon the approval by the committee of these revisions.
h. The article intended for publication must be submitted within six months after the Preliminary Examination (cf. section XVII).
In Musicology, the Preliminary Examination consists of an exam in a special field and the defense of the dissertation Prospectus. The specific format of the Preliminary Exam should be determined in consultation with the dissertation supervisor.
The
Doctoral Committee administers the Preliminary Exam. After consultation with the student, the DGS nominates for
the approval of the Dean of the Graduate School a Doctoral Committee. Ordinarily, the committee has four
members drawn from the Duke University Graduate Faculty. Three of them must be members of the
Department of Music (one of these, the committee chair, also serves as a dissertation
supervisor), and the fourth comes from outside the Department. Occasionally the Dean approves requests
to appoint other persons. Recommendations of a person not on the Duke Graduate Faculty should
be accompanied by an academic curriculum vitae and a statement explaining why
this person would be an appropriate and desirable appointment to the committee.
Generally, faculty members who are not present on campus (e.g., because they are on leave) cannot serve on the Committee during examinations. In exceptional cases, telephone participation may be permitted, with prior authorization.
The DGS
Assistant, in consultation with the dissertation supervisor and the student,
will schedule the Preliminary Examination. Allow two months for the DGS Assistant to finalize the
schedule. Under no circumstances
should the student schedule the exam independently. Graduate School deadlines are available on-line at the
Duke Graduate School Site (http://www.gradschool.duke.edu/policies_and_forms/requirements_for_phd.html#prelim).
3. Timetable for Exam Format 1
a. After
being admitted to the Ph.D. program and at least two months before the
Preliminary Examination, the membership of Doctoral Committee must be approved
by the Dean of the Graduate School. A committee will not be approved if the
two-month deadline has passed.
b. At
least two months before the Preliminary Examination, the student, with the
Doctoral Committee and the consent of the DGS, determines a special field in
which to be examined. The special
field, defined by the committee in consultation with the candidate, will
include the proposed dissertation topic but will generally be considerably
broader.
c. One
month before the Preliminary Examination, the student must present a written
Prospectus, a description of the special field, and a reading list to the
Doctoral Committee. A single
reading list may cover both the special field and the Prospectus.
d. The
Preliminary Examination must be completed one month before the end of the
spring semester.
e. The
committee may ask the candidate to revise the Prospectus after the Preliminary
Exam and may require that the exam be repeated.
f. The final version of the
Prospectus must be submitted by the final day of graduate classes for the
semester. The passing of the
Preliminary Examination as a whole is contingent upon the approval by the
committee of this final version.
4. Timetable for
Exam Format 2
Candidates
who fail the Preliminary Examination may apply, with the consent of the
Committee and the Dean of the Graduate School, for the privilege of a second
examination, generally to be taken no sooner than three months after the
first. Failure to pass the second
examination renders the student ineligible to continue work for the Ph.D.
degree at Duke University.
XV. DISSERTATION
PROSPECTUS IN MUSICOLOGY
Candidates
select a dissertation topic in consultation with their supervisors and other
committee members, and prepare for submission to their committee a formal
Dissertation Prospectus (see timetable in Sec. XIV).
The
Dissertation Prospectus is an important document and, once approved, serves as
an agreement between the candidate and the committee. In addition, it is often submitted to support an application
for a dissertation fellowship. It
should include a clear statement of the problem to be investigated and of its
significance (one-two pages), the current state of knowledge about this
problem, the methodology to be followed, the nature and accessibility (insofar
as known) of the primary and secondary sources, a brief account of the
candidates' preliminary studies related to the topic, a table of contents,
special skills (if any) necessary for investigating the topic, e.g. foreign
languages, instrumental or vocal performance, paleography (indicate whether you
already have acquired these skills), and a tentative time schedule outlining
the successive steps the candidate expects to follow in the course of his/her
work. However, candidates should
keep in mind that a prospectus is not a dissertation but rather a research
proposal, that at this stage they are expected to present questions rather than
answers, and that their work may move into unforeseen directions. A bibliography, using a consistent
standard format, should be included and should be confined to items of direct
relevance (avoid "padding"); the prospectus should make clear to the reader
which titles have already been consulted.
Ordinarily a dissertation proposal should run to no more than 10-15 pages
including bibliography.
As soon
as the proposal has been approved, candidates in Performance Practice and
Musicology should file a form for Doctoral
Dissertations in Musicology to register the topic. Forms are available in the DSG
Assistant Office (054).
XVI. DISSERTATION IN MUSICOLOGY
The writing of a dissertation represents for many scholars one of the most exhilarating but also difficult phases of their entire career. The absence of an outside structure imposed on one's time in the form of scheduled examinations and due dates will tax one's resources of inner drive and self-discipline. (The prospective dissertator may wish to read David Sternberg's How to Complete and Survive a Doctoral Dissertation, N.Y., St. Martin's Press, 1981. Howard Becker's Writing for social scientists: how to start and finish your thesis, book, or article (University of Chicago Press, 1986) or his Tricks of the Trade: how to think about your research while you're doing it (University of Chicago Press, 1998) might also be useful.)
The
dissertation should make an original contribution to knowledge. Ideally it should be completed within
two calendar years after the Preliminary Examination is passed, although the
maximum permitted time is four years (see the Bulletin for extension procedures for a maximum of one year). The candidate is urged to consult the Guide for the Preparation of Theses and
Dissertations before commencing a written draft.
How the
committee is to read the candidate's work-in-progress should be discussed in
advance with the dissertation supervisor and with the entire committee. It is the responsibility of the
candidate to keep in close contact with the members of his or her committee
during the various stages of the work so that misunderstandings about the
nature and scope of the work are avoided and the time schedule may be
maintained. It is desirable that
the committee meets at least once a year with the candidate to assess the
progress towards the degree. A
common procedure is that the adviser first reads successive chapters and, after
they meet the advisor's approval, by two or three other members of the
committee. The importance of
keeping members of the committee informed on the progress of one's work,
whether by submission of chapter drafts or informal discussion, cannot be
stressed sufficiently. Also
the candidate should keep in mind that the faculty can only write convincing
letters of recommendation for the candidate if they are familiar with the
candidate's work.
Please note that musicology students who are in their sixth year and above are expected to present their work in progress in the form of an oral presentation to the department on an annual basis.
XVII. DISSERTATION
IN COMPOSITION
The
dissertation in composition will take the form of the score of a major
composition to be initiated following candidates' Preliminary Exam. The candidate's dissertation should be
a large-scale work demonstrating assured handling of musical materials and
clarity of artistic vision.
Written music will be the basis of candidates' dissertation.
In
addition, the candidate must submit an article intended for publication. The article, normally twenty to thirty
pages long, should demonstrate the candidate's ability write in English at a
professional level. It is not
intended that this constitute as major an undertaking as the dissertation
composition, nor is it necessary that the article be related to the dissertation. The article should be written with
specific scholarly journals in mind as a means to suggest a viable topic and
scope. The candidate's committee
at the Preliminary Examination will approve the subject of the article. The candidate must submit the article
no later than six months after the Preliminary Examination.
XVIII. BEST PRACTICES FOR DISSERTATION
PREPARATION
A.
As soon
as your prelim is complete, set up three meetings, one month apart, with your
adviser. For the first meeting, draw up a time-line for your dissertation
work. For the subsequent two meetings, report on your early progress and
discuss any issues that might have arisen.
B.
As soon
as your prelim is complete, check with committee members on their
expectations. Do they want a progress report each semester? Do they
want to see drafts of each chapter or of specific chapters along the way?
Do they want to wait until the manuscript is complete before reading any of it?
Do they want to see drafts or parts of your composition and at what stages?
C.
Set up
meetings with individual committee members for intellectual discussion of your
project periodically, even if you don't have anything to give them in writing.
D.
Six
months into the project, assess your focus and
progress with your adviser and make adjustments if necessary.
E.
Discuss
plans with your adviser to present your work at professional meetings, or to
get your work performed.
F.
Discuss
job placement strategies with your adviser.
G.
Inform each
committee member of your plans and schedule around the job market.
H.
Take
advantage of peer review of your work. Other dissertators may be good
editors for you. Set up a dissertation reading group. If you are at a
loss for other writers, ask the outside member of your committee if there are
students in her or his department who might participate.
I.
Ask for
feedback. If you feel that feedback from your committee members is not
timely, speak to you adviser about it. If you feel that your adviser is
holding up your progress, talk to the DGS. If the DGS is your adviser,
speak to the chair.
J.
Draw on
the campus resources for dissertators: reference librarians, the Dissertation
Coaching Group at CAPS, the Division of Student Affairs services, the Franklin
Humanities Institute Dissertation Working Group.
K.
Read the
two issues of The Grind that focus on mentoring at The Grind website (http://www.gradschool.duke.edu/student_life/staying_informed/graduate_school_publications/the_grind/).
L.
Go to
conferences and find other students working in your area. They will be
your long-term colleagues, interlocutors, cheerleaders and supporters.
For composers, attending summer music festivals is a fantastic way to make
contacts with peer composers and performers. Festivals come in a variety
of aesthetic persuasions: Tanglewood, Bang On A Can ("Banglewood"),
Aspen, Dartington, Darmstadt, and so forth.
M. Composers, join the American Music Center,
and the Society of Composers, Inc. (SCI). For those composers writing an
article for the minor dissertation component: even if you are not thinking of
going on in this field, becoming a member of the appropriate scholarly society
(SEM, AMS, SMT, SEAMUS), and presenting your work would make opportunities available
to you, and allow you to make contacts in a way which cannot be done solely
through compositional reputation.
N.
People
go about working on big research or creative projects differently. Let
your adviser know what work patterns are most productive for you. Discuss
with him or her a mode of working together, a plan of
action, a system for reporting on your progress and for getting critical
feedback.
O. Ask your adviser what her/his expectations are of you as mentee. Check with her/him on their peak busy times so you can plan to work around them when possible. Ask her/him in what capacities she/he is available during the summer.
XIX. FINAL EXAMINATION IN
COMPOSITION
The Final
Examination for a Ph.D. in Composition takes the form of an oral presentation
by the candidate on the Dissertation Composition followed by questions from the
Doctoral Committee. The lecture may be enriched by recorded examples from the
candidate's work,
however, the committee will base its evaluation on the written
dissertation rather than a recording.
In the case of works which have not yet been
adequately performed by the time of the dissertation defense, for purposes of
his/her lecture, the candidate should provide a reduced version of the piece,
which may take the form of an electronic realization or a two-piano reduction
of the full score.
Students
should check with the Assistant Director of the Music Library for specific
guidelines regarding reproduction and submission of scores.
The
candidate is urged to schedule the Final Examination (through the Graduate
Studies Coordinator) as early as possible, since it often is difficult to
coordinate everyone's schedule.
Ordinarily it should not be scheduled during the winter break or during
the summer (i.e., not after the end of the Fall and Spring examination
periods). The candidate should
also discuss in advance with the committee members how much time they will
require to review the complete draft score. In any case, copies of the complete draft must be in the
hands of each committee member no later than 30 days before the date of the
Final Examination, and an additional copy must be deposited with the Graduate
Office.
XX. THE FINAL EXAMINATION
IN MUSICOLOGY
The
candidate is urged to schedule the Final Examination (through the DGS
Assistant) as early as possible, since it often is difficult to coordinate
everyone's schedule. Ordinarily it
should not be scheduled during the winter break or during the summer, (i.e., not after the end of the Fall and Spring
examination periods). The
candidate should also discuss in advance with the committee members how much
time they will require to read the complete draft. In any case, copies of the complete draft must be in the
hands of each committee member no later than 30 days before the date of the
Final Examination, and an additional copy must be deposited with the Graduate
Office.
Members
of the Duke University Graduate Faculty will be invited to attend the Final
Examination. They will not be
permitted to ask questions during the examination, and have no vote, but they
may submit questions and comments to the Committee Chair beforehand, who may
decide to distribute them to the other members, present them during the
examination, or pass them on to the candidate.
The
original dissertation (see the Guide
for specific format) must be submitted to the Graduate School at least seven
days before the date of the oral Final Examination. Alternatively, a complete
draft with legible corrections may be submitted.
The
questions at the Final Examination will mainly concern the dissertation and
related matters. For procedures in
the case of revisions and corrections recommended by the Committee, see the Guide. If the examination is failed, a second examination may be
granted by the Dean upon recommendation of the Committee no sooner than six
months after the first examination; no candidate will be granted a third examination.
After the
dissertation has been approved, the candidate should file an updated form for Doctoral Dissertations in Musicology. These may be obtained from the Graduate
Office.
XXI. TRANSITION TO PROFESSIONAL
LIFE
To offer
a reliable "recipe" for a successful job search is not possible. Still, students are advised of the
following:
A. Be sure that
the Duke
University Career Center (http://career.studentaffairs.duke.edu/graduate/index.html) has a complete file on you with an up-to-date CV, and
up-to-date recommendation letters.
We recommend that you become a member of the College Music Society in
the summer before you begin to look actively for a position. The CMS publishes job listings monthly
and also provides listings on-line.
The Academic's Handbook
(published by Duke University Press) offers invaluable tips for the job
hunt and a career in academia.
Also, sometimes inquiries by employers reach the Graduate Office and we
are asked to inform employers about our students. Students should place a CV on file in the Graduate
Office.
B. Students
should request letters of recommendation by professors at least two weeks
before they are needed.
C. Vacancy
notices are posted outside in Room 105.
You might also consider subscribing to the College Music Society's Music
Vacancy List for a comprehensive listing of available positions.
D. There are
attractive positions outside academia.
Libraries, publishers, broadcasting stations, newspapers, and many other
employers offer opportunities for Ph.D.s.
E. Many
academic institutions to which you will apply place a far greater emphasis on
teaching than on research. Your
application materials and some of the recommendation letters should answer
questions about your teaching ability.
F. Especially
critical documents in finding a job are the application letter and the
resume. You are urged to show drafts
of both to several of your professors.
The letter should show that you are familiar with the particular
institution and its faculty. To be
able to adjust to the institution becomes even more important when you are on
the short list and invited to an interview. Once an invitation to interview has been issued, the DGS
would be pleased to help you organize a mock interview at Duke, with faculty
and students present. Many
departments do this to help their students prepare for academic interviews.
G. We encourage
our students to present their research in the form of formal lectures at
conferences and publications, not only in the dissertation area, but in other
fields as well.
XXII. BEST PRACTICES FOR THE JOB APPLICATION PROCESS
1. Check the "Professionalization pages" on Jonathan Sterne's website (http://sterneworks.org/) for one take on procedures to follow, as well as other
useful professional advice.
2. Discuss the job market, your job seeking plans and your
envisioned schedule with your adviser soon after your prelims. Check
back with her or him 6 months later on this.
3. Inform your committee members of your job application plans
and schedule well in advance of asking them for letters. Keep them all
informed when you make short and shorter lists, and so forth.
4. While attending AMS conferences, music festivals and the
like, meet as many Duke alums from our doctoral program as possible.
They will be a good source of information about potential job listings.
1. Use the services offered by the Career Center, which include
CV and letter writing advice, and a mock interview.
2. The Center's staff can help you enormously, though they are
not specialists in your field. After seeking their advice, ask your
adviser in a timely fashion for field-specific feedback on your letter,
teaching statement and CV.
3. Ask others (e.g. another member of your committee) to look
at a draft of your letter, teaching statement and CV.
4. Make sure your committee members have your CV and know the
state of your dissertation. Share teaching evaluations with them or ask
one or two of them to come and see you teaching. Give them a copy of your
job application letter.
5. Discuss the choice of your writing sample or portfolio
selection with your adviser.
6. Get recommendation letters set up with Interfolio (http://www.interfolio.com/) in good time. Check with
your writers whether they would be willing to tweak their letters when postings
arise that call for something different from the bulk of those for which you
are applying. Also check with them whether they would be willing to
write personal letters (rather than using Interfolio) in those instances in
which they have a special connection to a particular department.
7. If jobs are posted in departments that someone in our
department may know through past experience or through professional
relationships, ask them for their take on the position. It may help you
tweak your own letter.
1. Do a mock talk for your peers and adviser. Ask
specific faculty members to come as well. Schedule
the event with enough time to make changes before the real thing.
2. Do a mock interview. Ask your adviser and one other
committee member to do this with you, or otherwise brainstorm with them what
questions you should anticipate.
3. Also do a mock interview at the Career Center.
4. Try your class out on your peers or in an undergraduate
class if appropriate. Ask your adviser to come.
5. Talk with your adviser about the kinds of questions to ask
during your interviewing visit.
6. Look up the faculty on the web so you are not meeting them
cold. Read the department's website, also checking grad students'interests if they are listed on the web. Look at the sites of Centers and
Programs related to your interests. Check out the college/university's
concert series.
1. After an interview, wait to hear back from them. Don't
bug them if the date they said you'd likely hear from them passes, unless you
have a really good reason to do so.
2. If they call to offer you the job, thank them and express
enthusiasm on the phone but don't commit to anything. Say you'll get back
to them soon.
3. Talk to your adviser about the negotiation
process—about what to ask for and how to do so.
XXIII.
Best Practices: DGS responsibilities
The Manual
for Directors of Graduate Studies can be found online at: http://www.gradschool.duke.edu/about_us/directors_of_graduate_studies/dgs_manual.pdf.
As stated in this
manual, the chief responsibilities of the Director are:
1. To serve as chair of departmental
graduate recruiting, admissions, and fellowship committees or to delegate such
authority where appropriate;
2. To oversee all matters relating to
the departmental review of applications, ensuring equal, fair, and timely
consideration of all applicants;
3. To sign off on all departmental
recommendations for admission/rejection;
4. To
nominate students for Graduate School fellowships;
5. To
prepare the annual Graduate School awards request and to allocate such funds as
allotted;
6. To
report student funding administered by the department of or received directly
by the student from and external funding agency;
7. To serve as
initial advisor continuing advocate for all graduate students;
8. To oversee
all registration procedures and verify student enrollments;
9. To
recommend to the Graduate School:
a. All
A.M., M.S., or Ph.D. committee assignments;
b. All additions to or deletions
from the department's graduate faculty;
c. Any changes in departmental
course offering;
d. Any modifications of program
requirements;
e. All requests for transfers of
graduate credit, leaves of absence, or time extensions;
f. Probationary conditions for any
student in academic difficulty;
10. To recommend to
divisional representatives of the Executive Committee desired modifications of
Graduate School rules, regulations, or procedures;
11. To recommend to the
department chair and the Associate Dean graduate course offerings and
instructors;
12. To notify the
Graduate School of all final degree examinations;
13. To forward to all
graduate students such announcements as are periodically sent from the Graduate
School.
1.
TA/RA assignments
As soon as the
preliminary faculty teaching schedule for the
following year has been organized, the DGS sends out to the students a request
for their preferences as TA/RA.
Students must understand that scheduling is complicated by many
different concerns. Being a
teaching assistant is partly a matter of employment and partly a matter of
training. Be prepared to assist in
areas that are outside of your specialization or interests, with the
understanding that flexibility like this may well be expected of you when you
enter the profession.
2. 20S
Proposals
Two annual 20S awards
are funded by the graduate school.
The deadline for proposals will usually be at the end of February.
Students are encouraged to discuss proposal ideas with the DGS and DUS.
Students needing models from which to work will find prior successful proposals
filed in the DGS-A office. Anyone who has already TAed can submit a
proposal. We especially encourage upper level students to submit
proposals.
3.
Duke University Grant and Fellowship Applications
Near the beginning of the fall
semester the DGS announces an internal departmental deadline for grant
submissions (Bass, Sterne, International, Summer Research, etc.). Students who
wish to be considered for the Bass Fellowship should submit a one-page
application to the DGS by Oct. 10. All fellowship nominations are made by the
Graduate Faculty and then confidentially ranked by the DGS. Once they are nominated, students
decide if they would like to apply for the fellowships, according to the
deadline established. The DGS with the DGS-A keeps a sample file of
successful grant proposals. Students are responsible for requesting
letters of recommendation from individual faculty members.
4.
Exam preparation
Students can find examples of prior
diagnostic, qualifying and preliminary exams in the DGS-A office.
5.
Recruitment
The DGS informs students of the date of the recruitment
weekend as soon as it is set. He or she lets the current students know who the
recruits are before their arrival (names, interests, where they're coming from,
and so forth) and what the schedule for the visit is. He or she requests
student participation in a timely fashion.
6.
Incoming Students
Early in the summer, incoming students are sent sample
language and diagnostic exams, information on the procedures for the exams, an
orientation schedule, and contact information for the graduate
representative.
7.
Pre-prelim advising and registration
Before registration begins, the DGS
circulates to all grad students and posts online synopses of seminars to be
offered. The DGS meets individually with first-year students to discuss
their seminar selection and to distribute registration PIN numbers.
Students further along in their program are invited to meet with the DGS to
discuss their course selections if they feel they need it. Students
should be sure to review carefully the requirements in course work before
taking qualifying and prelim exams.
8.
Online information
The DGS keeps online information
about the program updated, paying special attention to changes in alumni
placements, new grants and fellowships awarded, and seminars offered.
9.
Annual Reports
The DGS gives students
early warning of the internal deadline for their annual reports. He or she makes all reports available to the graduate
faculty, and sends post-prelim reports to all members of each student's
committee.
10.
Annual schedule of key events
August
: Incoming student Orientation Events (inc.
social); Meetings: Individual mtgs w/ new students re: seminar
selection, PIN number distribution
September
: Meeting: Qualifying Exam participants (before
9/15)
; Internal Deadline Announcement: Bass, Sterne, International
Research Award, Summer Research Fellowship
November
: Deadline: Bass (DGS letters due); Deadline:
Sterne (DGS letters due)
; Deadline: Summer Research Fellowship (DGS
letters due)
; Deadline: International Research Award (DGS letters due)
January
: Recruitment weekend date
announcement
; Deadline Announcement: Aleanne Webb and Julian
Price; Recruitment: application review and selection
February:
Deadline: 20S proposals; Announcement: 20S
assignments (two weeks after deadline); Organization: Recruitment
weekend(s) events
March: Request for TA/RA preferences for next year;
Deadline Announcement: Annual reports
April
: Meetings: Individual mtgs w/ students re: seminar
selection, PIN number distribution
; Distribution: next year's award
letters
; Election: Grad rep (between 4/15 and 4/30)
; Deadline: Annual
reports
May: Mailing: dept information to incoming students
July
: Organization of Orientation Events
Monthly
: Organization of upcoming prelims and defenses
...non
senza fatiga si giunge al fine...
APPENDIX A: Policy Concerning
Foreign Language Requirements
1. The Music Department recognizes that professional needs in languages for performance practice, musicology, and composition may differ. However, the standards for judging reading knowledge remain the same for all. Everyone must show they can read at a level useful to him or her.
2. To
insure that the required foreign languages are mastered early enough in a
student's program to be useful in course work and research, the department requires that the first
language exam be taken in the fall semester of the first year. If the exam has not been passed by
the fall of the second year, progress toward the degree will be declared
unsatisfactory, and the student becomes ineligible for financial aid. Financial aid can be reinstated only
for the semester following the one in which the exam has been passed.
3. If a
second language is required (see below), the second language exam must be taken
by the first semester after admission to the doctoral program (generally, the
semester after passing the Qualifying Exam) and must be passed by the end of
the third semester after admission to the doctoral program to maintain
satisfactory progress toward the degree (see conditions under 2, above).
4. For the
A.M. in performance practice and musicology, demonstration of reading knowledge
of one language is required.
5. For the
A.M. in composition, demonstration of reading knowledge of one language is
required.
6. For the
Ph.D. in musicology, demonstration
of reading knowledge in two foreign languages is required. This requirement may
not be satisfied with two closely related languages (e.g., Spanish and
Portuguese). Please note
that at the dissertation stage, a studentŐs dissertation committee may require
further language study.
7. For the
Ph.D. in composition, the language requirement is the same as for the A.M. in
composition (see 5, above).
8. English
may count as one of the foreign languages for students who are not English
speakers.
1. Language
examinations are a translation of selected texts. (At the discretion of the
examination committee, passages assigned may be different for different
doctoral tracks.) The passage may
be translated with a dictionary.
Students are to provide their own dictionaries. For each exam, the committee will
specify the minimum amount of text to be translated. Two hours will be allowed to complete the translation.
2. For
the Latin examination, generally the
passage will be chosen from the Bible, the Roman Catholic liturgy, or a
medieval or Renaissance treatise.
3. For
composers, generally passages will concern the period post-1850. For students in performance practice
and musicology, the time frame is post-1600 as a rule, though earlier authors
still currently used by composers (e.g. Petrarch) are fair game.
4. Students
will be given printed sources--contemporary to the period when written or in a
modern edition. Students are, therefore, advised to become familiar with
typefaces (e.g., long "s") and variants in and syntax for the chronological
periods given above. In German,
knowledge of Fraktur is required.
5. While
every effort will be taken to select passages of a fairly consistent level of
difficulty from one exam to the next and from one language to another, some
variation will inevitably occur.
Students are reminded that faculty take this into account when grading:
the easier the passage, the more will be expected. Samples of previous examinations are available in the
Graduate Studies Office.
6. Given
variations between languages and within passages in the same language, no
specific acceptable word counts can be promised. However, as a rough guideline,
students should normally expect to translate 400-600 words in a prose passage
with dictionary in modern languages.
(Less will be expected if the passages are in poetry or in Latin.)
7. Students whose native language is not English may be given extra time at the discretion of the committee.
1. Examinations
will be graded by two faculty members on a pass/fail basis. In case of
disagreement between faculty members, a third opinion (within or outside the
Department) will be sought. All
examinations will also be checked by the DGS for consistency of evaluation
policies and standards.
2. Students
can appeal a negative decision in writing to the DGS, who will seek outside
opinion within 30 days.
3. If a
student is passed "at the master's level," he or she may be required to retake
the examination the next term should he or she wish to proceed to the Ph.D., or
may be required by the committee to do additional work to demonstrate language
competence.
4. Faculty
membership on a language examination committee will generally be for at least
two years. When possible, the
language committee members should serve for two years with overlapping terms.
Faculty are often asked, "Why did I fail?"
The
answers vary from case to case but often include:
1. Failure to have a good grasp of basic vocabulary (not
translating enough due to looking up almost every word).
2. Failure to translate verb tenses and moods correctly.
3. Failure
to understand the syntax and grammar.
4. Failure
to produce coherent prose that makes sense.
5. Failure
to translate enough. And what "enough" is may vary from examination to
examination depending on the difficulty of the passage.
APPENDIX B: Guidelines for
Scheduling Graduate Recitals
Graduate students in the Music Department wishing to schedule recitals, special programs, or rehearsals must have a faculty member sign as sponsor on the scheduling request form. Reservation Request forms for Baldwin Auditorium or the Nelson Music Room can be obtained from and must be returned to the Coordinator of Facilities and Events (111 MDB). Requests for scheduling in the Biddle Music Building Bone Hall can be obtained from the Departmental Main Office (MDB 105). Scheduling a room does not imply departmental sponsorship. This must be requested separately by letter to the Chair.
The form
for degree recitals can also be obtained from the Coordinator of Facilities and
Events. This form requires the
signatures of the entire master's committee. The Coordinator schedules the recital, one dress rehearsal,
and arranges for one concert tuning.
Additional tunings or moving of instruments are at the student's expense
and must be requested on the scheduling form. Requesting the equipment does not guarantee availability.
The Coordinator will notify you as soon as an answer is available.
The
Publicist (109 MDB) provides publicity within the campus
community. The date, time and
location of the recital will be submitted for listing in the calendar of
events. As recitals constitute
part of the academic program, often as exams, it is Music Department policy not
to publicize these beyond the campus.
Any exception to this rule or any cancellation of a degree recital or
program requires a request from the faculty sponsor to the chair.
C. Programs (Submit two weeks before the concert.)
The
Publicist provides programs. Performers must use the programs supplied by the
Department. Graduate
Recital programs must be approved by the faculty sponsor. Guidelines will inform you of
departmental style and standards.
Please
submit the program to the Publicist two weeks before the
concert. This allows time for
typing, formatting, and revising before the program is sent to the
printer. Once the program has been
printed, changes cannot be made.
D. Texts and Translations (Submit two weeks before the concert.)
Text and translations and/or program notes must be submitted in final form typed, edited by the faculty sponsor, and ready to be copied.
The Music Department is unable to provide other logistical support for graduate recitals.