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The program is designed for professional caliber performers who wish to learn how to combine performance of specific repertories with research, teaching, and writing about that repertory. The three-year program is highly competitive, admitting only one or two new students each year, ordinarily only to study with performers on the professorial faculty. Students in the program work closely with performers, musicologists, and fellow students to combine insights that can be gained from lessons, practicing, and performing, with knowledge gathered from library research and seminar work. The music department houses one of the finest research libraries in the country in our recently renovated building. Our department has long encouraged collaboration between scholars, composers, and performers, creating unique opportunities for experimentation amongst the performing graduate students. The Cornell Department of Music encourages performance not only from its D.M.A. students; many of its Ph.D. candidates in musicology as well as D.M.A. composers are also excellent performers. Although the D.M.A. program is relatively small, there is a thriving culture of performance on campus, nourished by the contributions and collaborations of students and faculty. To learn more about our professorial performance faculty and our collections of instruments, please visit: Malcolm Bilson (fortepiano, 18th- and 19th-century performance practice) Xak Bjerken (piano, 20th-century performance practice) Annette Richards (organ, harpsichord, clavichord, musicology) Scott Tucker (choral conducting) David Yearsley (organ, harpsichord, clavichord, musicology) Cornell has an excellent reputation for placing its graduate students in institutions of higher learning (see last paragraph of Graduate Programs in Music). In recent years, D.M.A. dissertations have dealt with a range of topics, from the use of pedal in Beethoven's piano music, ornamentation for Corelli's violin sonatas, and a critical edition of Cavalli's opera Elena, to a textural analysis of Brahms' piano works, and an historical study of treatises that teach improvisation. In recent years, students and faculty have put on festivals featuring performances and symposiums devoted to a variety of music: Early Romantic Piano Music; C.P.E. Bach chamber and stage music from Hamburg in the 18th-century; British Modernism; Through the Iron Curtain: Music from Eastern Europe and the Former Soviet Union, 1945-1989; and festivals that focused on Stravinsky, Messiaen, Debussy, and Lutoslawski. Students who do not already have a master's degree in music earn one in the course of their studies; this is not considered a terminal degree, however, and those wishing to earn only a master's degree are not admitted to the program. Pre-application Process
1. Send a writing sample (research paper length), a statement of purpose (c. 500 words), and a live recording of representative works by November 15.
2. Upon satisfactory acceptance, an on-campus audition will be arranged to be completed by January 15, prior to graduate school deadline.
All applicants must file an application with the graduate school (for specific requirements, see Applying to the Graduate School).
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