phd in music theory

Graduate Programs in Music Theory

If you are considering graduate study, the following list organizes schools that offer these degrees in the US, Canada, the UK, and elsewhere. If made available, we have also listed degree programs. 

Potential students may also be interested in the American Musicological Society's resource,  "Are you considering graduate study in musicology?"

Other Countries

This listing of graduate programs in music theory is user-generated. If you would like to update or add a listing, contact the Web Editor with the following information: School Name, school location, degrees offered (MM, PhD, etc.), link to program information

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Society for Music Theory • Indiana University Jacobs School of Music • 200 S Eagleson Ave, Room C039 • Bloomington, IN 47405 • (812) 855‑8846 • Contact Us

Prospective Graduate Students

Questions for Admissions? 617-495-5315 [email protected]

PhD programs

The Harvard Department of Music does not discriminate against applicants or students on the basis of race, color, national origin, ancestry or any other protected classification.

Musicology at Harvard offers intensive training in historical and cultural approaches to the study of music. While our program has an emphasis on Western music, students increasingly explore wide-ranging geographies and subjects. We take an expansive view of the field and encourage our students to do the same. Most graduate courses in musicology are research seminars; many treat specific topics and theoretical approaches, while others deal with methodology and recent trends in the field. The musicology faculty also offer proseminars that are open to both graduate and undergraduate students. At the end of two years of study, graduate students take a General Examination. In year three, having passed the General Exam, students begin to teach and craft a Ph.D. dissertation proposal; subsequent years are devoted to teaching, research, writing, and professional development. An important aspect of the Harvard program in musicology is its interdisciplinary breadth, which includes training in ethnomusicology and music theory. Students often also take seminars in other departments – and are encouraged to do so. Accreditation in secondary fields is available through many programs, such as  American Studies ,  Critical Media Practice ,  Medieval Studies ,  Romance Languages and Literatures , and  Studies of Women, Gender, and Sexuality , to name a few.

Special Resources

The deep holdings of the  Eda Kuhn Loeb Music Library  include a substantial recording archive, and the  Isham Memorial Library  houses rare original books, scores, and personal archives ranging from the Randy Weston Archive to Sir Georg Solti’s annotated conducting scores. Additional resources on campus include the Special Collections at  Houghton Librar y and the  Harvard Theater Collection , one of the largest performing arts collections in the world. The department also maintains a selection of musical instruments for study and performance, including early keyboards and a consort of viols. The  Mahindra Humanities Center ,  Film Study Center ,  Minda de Gunzburg Center for European Studies , Harvard University  Center for Italian Renaissance Studies at Villa I Tatti  (Florence),  Hutchins Center  for African & African American Research,  David Rockefeller Center  for Latin American Studies,  Charles Warren Center  for the Study of American History, and several other campus institutions provide additional intellectual resources and funding for graduate student research. Faculty and graduate students hold conferences each year on a variety of topics; artists in residence and visiting artists often enrich coursework, and some courses provide opportunities for students to perform.

Language Requirements for Musicology

Two languages are required. The languages will be chosen in consultation with the program’s graduate advisor, and wherever possible should be relevant to future research. We encourage students to pass both languages before taking the general exam. In the event this is not possible, both languages need to be passed by the end of the fall semester of the third year.

Ethnomusicology at Harvard offers intensive training in ethnographic method as well as study of theories, problems, and approaches relevant to the study of any living musical tradition in its cultural setting. By the end of the second year of study, students select primary and secondary fields of specialization, which may be defined by region (for example, Turkish or West African music); by musical styles (such as jazz or popular music); or by topic or theoretical approach (organology or aesthetics). The Harvard program has particular strengths in regions stretching from the Mediterranean to India, in Africa and African diasporas, and in urban America. There are excellent resources both in the music department and across the disciplines at Harvard in critical theory. Collaborations are encouraged among ethnomusicology and  other music department programs in historical musicology, music theory, composition, and creative practice and critical inquiry. Six to eight ethnomusicology courses—usually four seminars and four proseminars or undergraduate classes—are offered each year as part of the regular curriculum. Graduate seminars explore ethnomusicological methods and theories as they are applied to the study of music, as well as a wide range of issues and materials, while proseminars focus on music styles or distinctive musical settings. An important aspect of the Harvard ethnomusicology program is that students receive training in Western music and its history as well as exposure to the methods and theories of historical musicology and music theory. A vital aspect of ethnomusicological training at Harvard is exposure to other disciplines, with particular emphasis upon anthropology, history, area studies, linguistic training, and theoretical frameworks related to the student’s specialization.

The Ethnomusicology laboratory ,  Archive of World Music , special library collections,  Peabody Museum , musical instrument collection (India, Iran, Mali, Zimbabwe), extensive sound and video archives (including the Archive of World Music and  Hiphop Archive & Research Institute ). The  Asia Center ,  Reischauer Institute ,  Center for African Studie s,  Center for Middle Eastern Studies ,  Hutchins Center  for African & African American Research, South Asia Institute,  David Rockefeller Center  for Latin American Studies, and several other campus institutions provide additional intellectual resources and funding for student research and language study. Faculty and graduate students hold conferences each year on a variety of topics; music faculty, artists in residence, and visiting artists often enrich coursework and provide opportunities for students to perform. 

Language Requirements for Ethnomusicology

The PhD in music theory is characterized both by a deep involvement in the inner workings of music and by an engagement with the wider philosophical, cultural, and psychological questions surrounding music. The program reflects this interdisciplinary interest of our students, and its structure is designed to explore the links of music theory to other areas of critical engagement. The graduate curriculum in music theory was fundamentally revised in 2018 with the view to the specific needs of professional music theorists in the twenty-first century.  The diverse dissertation projects that our doctoral students propose reflect the unique combination of interests. Recent and current PhD topics include microtonality and colonialism in the 19th century, musical forgery and forensics, the practice of recomposition in music theory, Scandinavian death metal, transformation theory and Hollywood film, and musical and visual lines in the early 20th century. Many of our students establish their interdisciplinary credentials by taking formal qualifications in a  secondary field  outside of music. Students receive a solid basis for their research by honing their musicianship and analytical skills, particularly during their first year in the program. All students take courses on Schenkerian theory and on a range of tonal and post-tonal analytical practices, as well as an introductory course to explore current issues in the field. At the same time, the program also encourages students to build a framework in which to place these techniques and to reflect on the underpinnings of music theory. Regular courses on questions in psychology, temporality, history of music theory, hermeneutics, and aesthetics round off our course offerings and often take music theory into interdisciplinary territory. In addition to studying canonic repertories, graduate courses on challenging repertoires—e.g. modal theory, non-Western music, or very recent composition—expand the field in new directions.  Our course offerings are complemented by a regular workshop in music theory, currently called Theory Tuesdays, in which faculty and students discuss current work, practice analytical techniques, or engage disciplinary and transdisciplinary questions in an informal setting. Our faculty are actively engaged in Harvard’s numerous interdisciplinary centers ( MBB ,  Medieval Studies ,  CES ,  HUCE , etc.). Harvard’s state-of-the-art  Sound Lab  provides the tools and expertise for digital and media-based research, and provides a conduit for music theory to the field of sound studies.

Language Requirement for Theory

Theorists must pass translation exams in two relevant research languages. The languages will be chosen in consultation with the graduate advisor, and should reflect, wherever possible, languages that will be useful to future research. One language requirement must normally be completed before generals, and the second must be completed in the fall semester of the third year.

Harvard’s program in composition is designed to give students the time and opportunity to develop as composers by offering general musical guidance as well as specific individual criticism of their works. The program is centered around the students’ achieving clarity of expression through developing their command of compositional technique. In addition, acquaintance with the literature of the past and present through analysis and performance is considered indispensable. Most courses are seminars and deal with specific topics or student works.PhD candidates in composition take 16 courses throughout their first two years. Students get a weekly individual composition lesson, and choose from composition and electronic music courses and other offerings within the department in theory, historical musicology, ethnomusicology, and CPCI, or graduate courses from other departments at Harvard. When needed, in the first year there is also a remedial course in harmony and analysis. Students of all years are required to attend the weekly composition colloquium.

The third, fourth, and fifth years are devoted to work on the dissertation and teaching, as well as active participation in composition colloquia and Harvard Group for New Music concerts. Composers may spend one term during their 4th year at another art institution or university if a particular research project or artistic residency can be obtained.

On the completion of preparatory training and the passing of the General Examinations (during the summer before the third year), PhD dissertations comprising a substantial portfolio of between five and seven pieces of varied scoring and length may be submitted.

Language Requirement: once enrolled, Composition students must pass a language exam in German, Italian or French unless an alternative language is approved in writing by the graduate advisor.

The program in  Creative Practice and Critical Inquiry  is designed as a special opportunity for exceptional, engaged artist-scholars. Such individuals might frame themselves as composer-performers whose work is driven by a research sensibility, or as committed scholars whose concurrent active involvement in music-making informs and propels their intellectual projects. Candidates interested in this category should clearly lay out their academic interests and musical experience, including research goals and a portfolio of creative work. They should present a clear rationale for the integrated, cross-disciplinary nature of their work.

In the first two years of coursework, students survey multiple fields of intellectual inquiry while nurturing and refining their creative work. Students in the program may take any of the graduate courses offered by the Department of Music, and occasional courses in other departments and programs with approval from the graduate advisor, as well as practice-based music-making courses (composition, improvisation, creative music, and interdisciplinary collaborations). 

During the summer after the second year of study, candidates will take three to four exams, to be determined in close consultation with the faculty. These include a preliminary portfolio of creative work, written exams on theoretical/analytical and historical/cultural topics relevant to the candidate’s individual research goals, and an oral exam encompassing all of the above.

The dissertation should offer original research and creative work that strikes a balance within this unique combination of interests.

Language Requirement: Once enrolled, CP/CI students must pass a language exam in a language relevant to their research interests, to be approved in writing by the graduate advisor.

Admission to the Graduate Program: Frequently Asked Questions

The Music Department does not require applicants to submit GRE scores. Submission of scores is permitted, and when submitted, GRE scores are taken into account during the admissions process. But those who do not submit such scores will not be penalized.

Note: Those who choose to take the GRE and submit their results do not need to take the Music GRE test, and should take the general GRE (math/language).

We take GRE scores into consideration along with the entire dossier, not as a single factor that determines the outcome of an application.

The annual deadline is usually January 2 for entrance the following fall term. Check the Harvard Kenneth C. Griffin GSAS website for each year’s deadline.

Yes. If you are accepted into our PhD program, the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences will offer you a financial package that guarantees funding for six years, and includes both tuition and living expenses. Teaching stipends may make up part of the package from the student’s third year on. There are also opportunities for additional funding. The Department (and Harvard Griffin GSAS) awards prizes, fellowships, stipends, and grants each year to graduate students for language study, dissertation completion, research assistance, and travel, among other pursuits.

Yes. You need to support your application with samples of your work, be it scholarly or creative.

Students whose native language is not English or who do not have an  undergraduate  degree from English-speaking university are required to take and pass the TOEFL. The recommended passing score is 80.

While many of our entering students do have degrees in music, backgrounds and degrees vary widely. We look at all-around preparation of our applicants and their overall excellence. As a Music Department, we do look for training and expertise in one or more music traditions and an ability to deal successfully with a curriculum that has requirements across the music subdisciplines as well as interdisciplinary studies.

The Harvard graduate program in Music is a doctoral program. The subdisciplines of musicology, ethnomusicology, composition, creative practice/critical inquiry, and music theory do not admit candidates for the Master’s Degree only.

We permit transfer of credit for no more than two courses. Students are allowed to request transfer credit if they are in good standing after the first year of coursework at Harvard and on submission of details about the course for which credit is requested. Graduate courses taken as an undergraduate student may not be presented for credit if those courses counted toward the undergraduate degree.

Our programs both require and encourage coursework in other sub-disciplines of music.

We have graduate programs in historical musicology, ethnomusicology, theory, creative practice/critical inquiry, and composition. Our programs are small, so it is important that you apply to the program closest to your major interests. If the faculty feel your application would be better served in another sub-discipline, they will direct it there.

Harvard has extraordinary course offerings across the disciplines and we encourage our graduate students to take courses that will enhance their knowledge.

You can enroll in language courses to meet the language requirements of our programs, but these courses do not count toward credit for the PhD.

The Harvard Griffin GSAS offers admitted Music students six years of full funding, in the form of stipends, teaching fellowships and finishing grants (this amount covers living expenses as well as tuition). Departmental resources include special funds for summer research and some additional fellowships.

Although we encourage performance, our graduate program is an academic one and performance activities do not count towards a degree (with the exception of creative practice/critical inquiry). As a Department of Music which does not have a performance faculty, we are not able to provide vocal or instrumental lessons. There is a lively musical scene on campus and graduate students are welcome to join many University ensembles, including those sponsored by Dudley House. Graduate student musicians sometimes perform on the special noontime University Hall Recital Series. The Harvard Group for New Music performs student compositions. Boston is home to an active musical world and many students participate as performers in music traditions ranging from early music to jazz.

No. Unfortunately, faculty are not usually available to meet with prospective students.

Prospective graduate students can email [email protected] to ask questions. If you visit the campus you may be able to talk with other students, sit in on a class, or attend a concert or lecture; email ahead to see what is possible.

Admissions Requirements

Phd program.

To apply to the PhD program in musicology, ethnomusicology, theory, composition or CPCI, you must make an application to the Harvard Kenneth C. Griffin Graduate School of Arts and Sciences (Harvard Griffin GSAS). All applications are online, and may be found (along with all the requirements, fee information, and procedures) at  http://www.gsas.harvard.edu/apply All recipients of a four-year college degree or its international equivalent may apply (students with and without master’s degrees may apply). If you are unsure whether you are eligible, please read the Harvard Griffin GSAS guidelines. Admissions decisions are made by Music Department faculty, who weigh a combination of factors such as past academic record, strength of scholarly (or compositional or performance) work, and recommendations. The TOEFL test may be required if English is not your first language (recommended minimum score is 80). Detailed information pertaining to requirements for admission are on the Harvard Griffin GSAS site listed above. The GRE General Examination is optional for all applicants.

Samples of previous work

Applicants to the all programs must submit, along with their applications, samples of their previous scholarly work (for composition applicants, this means scores and recordings; see below). The online application will allow you to upload up to 20 pages of material.

Applicants to the Creative Practice and Critical Inquiry PhD program must also submit 20 to 30 minutes of original creative work, in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.) or links to a file download (via Dropbox or similar). You may upload or share accompanying scores in PDF format to SLATE. Students should include a one page PDF containing links to online recordings. Applicants to the composition PhD program must submit three compositions in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc). Recordings can be submitted as links to SoundCloud or other online resources. Students should include a one page PDF containing links to online recordings and PDF scores where applicable. The year of composition must be marked on all scores and recordings.

Submitting an Application

Harvard Griffin GSAS handles the admissions materials. All questions about the admissions process, as well as all application supplementary materials, should be sent to them by December 31 for candidates who seek entrance in the following fall term.

Admissions and Financial Aid Graduate School of Arts and Sciences Harvard University 1350 Massachusetts Avenue Holyoke Center 350 Cambridge, MA 02138-3654

Download an application electronically:  http://www.gsas.harvard.edu/apply You are required to upload all supporting documents (transcripts, writing samples, recommendations, etc) to the online application. If you have questions about your application, call 617-496-6100 (2-5pm EST) or write  [email protected] For financial aid questions call  617-495-5396  or email  [email protected] NOTE: Please do not call the Music Department about the status of your application or the return of your materials. Application materials only come to the Music Department at the very last stages of the process, and are held here in complete confidentiality until admissions recommendations are made.

We have a robust graduate student community, including through the Graduate Music Forum, weekly colloquia and lunch talk series, and performances ensembles in the GSAS Student Center. For more information about community activities happening in the music department, please consult the resources for graduate students page .

Visiting the Department

You are welcome to visit the Department at any time, although we in no way require or expect you to make the trip. We regret that we are not able to make appointments with individual faculty members during a pre-admissions visit.

If you do decide to make a visit prior to the admissions deadline there are optimum times to visit, such as between October and our December holiday break. If you visit at another time of the year, check the academic schedule to avoid reading/exam periods and semester breaks. It is not necessary to visit, nor should you see it as a way to improve your chances of admission.

Rather, a visit is simply a good way to learn about our Department’s intellectual environment and infrastructure. We urge you to consult the  course schedule  so that you can plan to sit in on one or more graduate seminars (please ask permission of the instructing professor first: music professors can be reached via email at [email protected]). This is the best way to get to know the professors and students.

You may also want to attend any colloquia, lectures, or faculty seminars that coincide with your visit (check our  calendar ), or to tour the Music Library and other Harvard libraries. It may also be possible to chat informally with some of our current graduate students, who are apt to be working in the department and library during the academic year.

Admitted students  are invited to visit as part of our admissions process (usually in March). At that time, admitted students meet with faculty, get to know our current students, and are introduced to other students who have also been admitted. This is not required, but is a good way for admitted students to get a sense of the program before they make their final decision.

Secondary Field in Musicology/Ethnomusicology

• Completion of a minimum of four courses in Music. • One of these courses must be an introductory course: Music 201a: Introduction to Historical Musicology, Music 201b: Introduction to Ethnomusicology, or Music 221: Current Issues in Theory. • The remaining three courses may be chosen from other graduate courses (200 level: “Primarily for Graduates”) or intermediate courses (150 level or above: “For Undergraduates and Graduates”). (No more than two courses may be chosen from the 150 or above level.) • Neither Pass/Fail nor audited courses will count towards a secondary PhD field. Contact the advisor in Ethnomusicology or in Musicology in the Department of Music for additional information on a secondary PhD field.

Declaring a Secondary Field

Students interested in declaring a secondary field in music should submit the “GSAS Secondary Field Application” to the Director of Graduate Studies as evidence of their successful participation in four appropriate courses in the Music Department. Once they obtain the approval of the DGS they and the registrar will receive certification of successful completion of secondary field requirements.

For further information contact the Director of Graduate Studies, Harvard University Department of Music, Music Building, Harvard University, Cambridge, MA 02138  617-495-2791   [email protected]

For additional information  click here

School of Music

Doctor of philosophy in music theory, earn your phd in music theory.

As a small department within a large school of music, we offer graduate students the best of both worlds: excellent access to research libraries, stimulating performance opportunities, and ample teaching opportunities, all with a maximum of individualized attention from faculty.

In addition to advanced studies leading to the PhD in music theory, we offer a theory pedagogy minor that prepares graduate students specializing in music performance to teach college-level music theory. Our weekly colloquium lecture series brings distinguished guest speakers to campus as well as provides a forum for our own faculty and graduate students to share their recent research.

The theory area at the University of Iowa comprises a small group of scholars doing cutting-edge research in areas such as transformational theory, popular music, critical theory, modal theory, and history of theory. Our research expertise spans the Renaissance era through the early 21st century.

How to apply to the program

Admission requirements.

• A minimum grade point average of 3.0 in previous graduate study, documented by official copies of transcripts.
• Three letters of recommendation.
• A current resumé, including a list of compositions, performances of compositions, and a summary of composition study listing composition teachers.
• In addition to the UI Graduate College application
• Applicants must submit a portfolio of three scores and recordings (mp3/wav/aiff) of original compositions; materials should be sent directly to  David Gompper .

Admission to the composition degree program requires a favorable evaluation of the portfolio by the composition faculty, and approval by the Head of the Composition/Theory Area and the Director of Graduate Studies. Students applying for fall admission must submit a complete application by the application deadline; later applications will be considered if openings remain.

view full requirements and apply

Requirements and program planning

This information is intended to assist in your course planning but is not intended to serve as an official guide to graduation requirements. To confirm progress toward graduation, you should consult your advisor.

Download course checklist

General requirements

• Introduction to Graduate Study in Music (MUS:5300), 2 semester hours

Music history courses

12 semester hours required; up to 6 semester hours can be counted from the master's degree upon written approval of the Associate Director for Graduate Studies

Select from the following courses:

• Medieval and Renaissance Music (MUS:4325), 3 semester hours
• Baroque Music (MUS:4330), 3 semester hours
• 18th-Century Music (MUS:4335), 3 semester hours
• 19th-Century Music (MUS:4340), 3 semester hours
• 20th-Century Music (MUS:4345), 3 semester hours
• Advanced Jazz History (MUS:4350), 3 semester hours
• American Music (MUS:4355), 3 semester hours
• Jazz Matters (MUS:4360), 3 semester hours
• Studies in Film and Music (MUS:4610), 3 semester hours
• Teaching Music History and Culture (MUS:6305), 3 semester hours
• Note: This course is repeatable.
• Historical Approaches to Music (MUS:6312), 3 semester hours
• Topics in Ethnomusicology (MUS:6314), 3 semester hours
• Foundations of Ethnomusicology (MUS:6315), 3 semester hours
• Renaissance Music Notations (MUS:6326), 3 semester hours
• Music Editing (MUS:6375), 3 semester hours

Two electives outside the School of Music for 3 semester hours each (6 semester hours total)

Music theory courses

Either of these (3 semester hours):.

• Counterpoint Before 1600 (MUS:4200), 3 semester hours
• Counterpoint After 1600 (MUS:4201), 3 semester hours

All of the following (12 semester hours total)

• Note: This course is taken a minimum of 4 semesters for 4 semester hours of coursework total. It is recommended that you attend colloquium every semester in residence.
• Theoretical Approaches to Music (MUS:6211), 3 semester hours
• Music Theory Pedagogy (MUS:6215), 3 semester hours
• MA Thesis (MUS:6950), 2 semester hours

Two of the following (6 semester hours total)

• Tonal Analysis (MUS:5235), 3 semester hours
• Non-Tonal Analysis (MUS:5236), 3 semester hours
• Analysis of Popular Music (MUS:5237), 3 semester hours

Three of the following (9 semester hours total)

• Jazz Theory (MUS:4730), 3 semester hours

Language requirement

The student must demonstrate the ability to read pertinent scholarly literature in two languages determined in consultation with the theory faculty. This requirement must be fulfilled before the student takes the comprehensive examination, preferably during the first year of residency.

This requirement can be met in one of the following ways:

• Completion with a passing grade on the final examination of two semesters of a graduatelevel reading course approved by the theory faculty.
• Two years of course work in each language while enrolled as a graduate student.
• Written examination administered by the theory faculty. The exam will consist of a short article in the designated language, about which the student will answer a series of questions and of which she or he will translate a short excerpt.

Musicianship examination

The student must demonstrate competence in these areas of practical musicianship:

• Sight singing
• Dictation of a chorale
• Keyboard sight reading
• Realization of thoroughbass OR harmonization of a melody from chord symbols
• Keyboard sight reading of a string quartet score OR improvising on an instrument

Musicianship examinations are offered once a semester. The student may take the examination as many times as necessary to pass.

Alternatively, the student may fulfill the keyboard requirement by either of these options:

• Passing Keyboard Harmony (MUS:4210) with a grade of B or better
• Passing the final examination for MUS:4210 by arrangement with faculty.

Qualifying examination

At the end of the second semester of study or beginning of the third, the student must pass an examination evaluating foundational theoretical knowledge and skills, in part with regard to a reading and score study list determined in consultation with the theory faculty.

Create your academic path

You'll find degree overviews, requirements, course lists, academic plans, and more to help you plan your education and explore your possibilities.

Current course list

The MyUI Schedule displays registered courses for a particular session and is available to enrolled students. The list view includes course instructors, time and location, and features to drop courses or change sections.

Consider a minor

Thinking of pursuing another area of focus for your degree? Any student admitted to the graduate program in the School of Music may add a theory pedagogy minor by completing the required courses.

Music theory faculty

Joshua Albrecht

Matthew Arndt

Jean-François Charles

David Gompper

Practice and perform

Need to book a music room, request an accompanist, check out audition information, rent a locker, or use a recording studio? Visit the Music Callboard for all scheduling and policy information.

Music Theory

Doctor of philosophy (phd) in music theory.

The PhD in music theory program offers professional training for careers in teaching and scholarship. Applicants are admitted based on their background ability and motivation for academic, scholarly, and artistic achievement and their desire to contribute to the program. Theory faculty members possess expertise in current methodologies of analysis, history of theory, and pedagogy. The program offers instruction in counterpoint, Schenkerian analysis, 20th-century theory, the history of music theory, pedagogy, and a variety of specialized topics.

The doctoral degree in theory is oriented toward preparing students for scholarly research and teaching, aiming for breadth and depth in one specialized area. The program offers the emerging scholar:

• Courses that prepare students for advanced research in their field
• Interdisciplinary interaction within a comprehensive school of music and a major research university
• A curriculum with a varied range of choices with respect to historical periods, analytical systems, and cultural areas

The music theory faculty of the School of Music invites interested students to email us before applying to the theory PhD program. Specifically, we ask students to contact the individual professor they think would be the best fit as their degree/research advisor in order to have a conversation about the applicant's interests, goals, and fit with the department.

For your PhD, you will be expected to meet the following requirements, including your post-baccalaureate study from other institutions:

• 30 credits of music theory and analysis courses
• 6 credits of musicology/ethnomusicology 
• 12 credits of supporting non-music coursework
• 3 credits of music electives in Music Composition, Musicology, Ethnomusicology, or Performance
• Demonstration of reading knowledge in 2 foreign languages
• Completion of written and oral preliminary exam
• Completion of thesis or final project
• Completion of final oral examination

Requirements for the Music PhD

Doctor of Philosophy in Music Theory

Degree requirements.

Music theory at Indiana University emphasizes musicianship and scholarly study with particular emphasis on the history of musical thought, analysis of musical structure, and pedagogy.

More detailed information is available  here .

Applicants for the PhD in music theory must ordinarily have received a master’s degree in music theory or musicology or the demonstrated equivalent. Students with outstanding credentials may apply directly from a bachelor’s degree. Students are required to demonstrate competency in all areas required of the MM in music theory at Indiana University, and may be exempted from certain courses on the recommendation of the department. Applicants must apply both to the Graduate Division of the Jacobs School of Music and to the University Graduate School.

In addition to three letters of recommendation, applicants should also submit two extensive, formal research papers or a master’s thesis in music theory or musicology. An individual interview and audition for an Associate Instructorship are also required; applicants are expected to be proficient in sight-singing, aural skills, and keyboard harmony. The applicant’s scores on the GRE General Test must be received by the application deadline.

Proficiency Examinations

Examinations in music theory, music history, keyboard skills, music performance, and musical styles.

Major-Field Requirements

36–66 credit hours.

Foundation Courses

Demonstrated proficiency in the content of the following courses:

• T551 Analytical Techniques for Tonal Music (3 cr.)
• T555 Schenkerian Analysis (3 cr.)
• T556 Analysis of Music Since 1900 (3 cr.)
• T565 Stylistic Counterpoint: Variable Topics (3 cr.)
• T591 Music Theory Pedagogy (3 cr.)

Students may demonstrate proficiency through methods determined by the department such as examination or submission of a portfolio based on previous coursework, or by completion of the above courses. Proficiency demonstrated through means other than taking the courses listed requires approval of the department chairperson and the director of graduate studies.

Advanced Courses

• T623–624 History of Music Theory I–II (3-3 cr.)
• T658 Seminar in Music Theory: Variable Topics (3-3-3-3 cr.)
• T550 Readings in Music Theory* (3 cr.)
• 3 credits chosen from T658 Seminar in Music Theory: Variable Topics (3 cr.), T561 Music Theory: Variable Topics (3 cr.), T619 Projects and Problems in Music Theory (3 cr.), or another graduate course approved by the department chairperson and the director of graduate studies
• T650 Dissertation Topic Workshop (1 cr.)
• T700 Dissertation in Music Theory (3–27 cr.). The student must enroll in enough credit hours of dissertation to reach a minimum of 36 credit hours in the major field.

*Students who have already satisfied the T550 requirement must substitute 3 credits of T658, T561, T619, or another graduate course approved by the department chairperson and the director of graduate studies.

Public Lecture

T659 Public Lecture (0 cr.). The public lecture must be completed before the oral qualifying exam may be scheduled. Students should normally register for T659 Public Lecture in the semester in which the lecture will be given (or consult with the department chair in cases in which this may not be possible).

Public lectures must be presented as part of the Music Theory Colloquium Series. The format is as follows: A prepared talk of 30 minutes or longer, followed by 5–10 minutes allotted for questions from a designated faculty respondent, followed by a general question period. Exceptions to the length requirement may be made for papers that have been accepted to conferences imposing shorter time limits.

In preparation for the lecture, it is the student’s responsibility to:

• Consult with the advisory committee chair to identify and request the faculty respondent. The respondent must be a member of the theory faculty, but must not be the advisory committee chair, and should not be involved in the crafting of the lecture.
• Arrange the date with the departmental colloquium committee, and inform the committee that the lecture will be in fulfillment of the Public Lecture requirement.
• Inform all members of the advisory committee, as well as the faculty respondent, of the date of the public lecture, and ensure in advance that they all will be present (or arrange for another faculty member to substitute for a committee member if necessary).
• At least two weeks prior to the lecture, make the text of the lecture available to the advisory committee chair and to the faculty respondent (and/or to other faculty, at the committee chair’s request).

The advisory committee chair must approve the text of the public lecture before presentation. If the chair requests changes, it is the student’s responsibility to ensure that the faculty respondent has the most up-to-date version of the text in a reasonable amount of time before the lecture. It is expected that the student will not otherwise work with the faculty respondent prior to the lecture.

Lectures are usually drawn from papers written in graduate theory courses, particularly T658 seminars. The student is encouraged to meet with the instructor of the course in question to discuss the suitability of the material for a public lecture. The lecture should demonstrate originality in its scholarship and professionalism in its presentation. It should be well organized and carefully prepared, in the manner of a conference paper. Papers are normally read from a prepared text or detailed notes. Handouts, audiovisual examples, and computer-assisted presentations are commonly used and should be of professional quality.

Students, especially those with little or no prior experience in giving public presentations, are encouraged to rehearse the lecture several times in advance, in conditions simulating the lecture situation as closely as possible. Practicing in front of a few friends can be helpful, as can recording your presentation. In listening to the recording, listen for clarity, pacing, and overall timing.

The public lecture is graded satisfactory or unsatisfactory by the student’s advisory committee. If the lecture is judged unsatisfactory, the committee will offer comments and advice, and the student will be required to give another public lecture at a later date.

Minor Field

12 credit hours. PhD students in music theory must complete a 12-credit minor either in music history and literature or in musicology. See more information  here .

Other Required Credits

12 credit hours. These 12 credits may be taken inside or outside the Jacobs School of Music, subject to approval by the director of graduate studies. A second formal minor may be completed by taking all 12 credits in a single field outside music theory. A maximum of 9 credits may be taken in a single department unless a minor is declared. See more information  here .

Tool Subjects

• M539 Introduction to Music Bibliography (2 cr.) with a grade of B or higher or evidence of proficiency demonstrated by examination.
• Reading knowledge of one non-English language as demonstrated by examination or by grades of B or higher in two semesters of reading courses at the graduate level in each; or demonstration of proficiency in one research skill, approved by the department and the director of graduate studies of the Jacobs School of Music. More information about the language requirement is available  here .

Qualifying Examination

Written and oral examination.

T650, the Dissertation Prospectus, and the Dissertation Topic Proposal

T650 and the dissertation prospectus.

PhD students must enroll in T650 Dissertation Topic Workshop (1 credit), typically during the last semester of coursework. T650 is part of the major-field coursework and must therefore be completed before the major-field written exam may be scheduled.

Successful completion of T650 is dependent upon completion of a short  dissertation prospectus  and its approval by the proposed research director and two other IU music theory faculty who have agreed to serve on the research committee. Students in T650 are strongly encouraged to complete the prospectus by the twelfth week of the semester in order to give these faculty members sufficient time to read and comment on the prospectus.

Dissertation topics may develop from a number of areas, including research done in doctoral seminars and independent research. As ideas for the topic are developed, you should discuss these with one or more faculty members (in addition to the faculty member in charge of T650) who will provide feedback and help sharpen the focus of your work.

You should ask one faculty member to serve as research director for your dissertation and chair of your research committee. This is the person you will work with most closely during the proposal, research, and writing stages. In addition to the director, the research committee normally includes two other faculty from the theory department and one from an appropriate outside department (often, but not necessarily, musicology). The outside member does not need to be in place at the time of T650 and the prospectus approval, but should be identified as soon as is practicable.

The prospectus should include the proposed title, the names of the research director and the proposed committee members, approximately three to five pages of text including a proposed table of contents or chapter-by-chapter outline for the dissertation, and a bibliography.

The Dissertation Topic Proposal

The full  dissertation topic proposal  is developed in consultation with the research director. The proposal may be submitted either before or after qualifying exams are completed; the department encourages students to develop the proposal as early as possible.

The proposal must be approved by the three departmental members of the proposed research committee. Following this approval, the proposal is circulated to the entire department faculty for a two-week comment period. Faculty comments are sent to the research director, who communicates them to the student and determines if any further changes are required. After ascertaining that any required changes have been made, the research director notifies the Music Graduate Office that the topic proposal has been approved. At this point the student officially submits the proposal to the Graduate Office, along with a separate one- to two-page summary (required by the University Graduate School).

Proposal format

There is no particular required format for proposals, but all of the following information should be included:

• Name, degree
• Name of the research director and all members of the proposed research committee, including the member outside the music theory department
• Title of the proposed dissertation
• Short abstract of the proposed dissertation
• General discussion of the problem: Why is this an important topic? (suggested length 1–2 pages)
• Review of the literature, sufficient to demonstrate that you are familiar with prior research, that the topic is sufficiently original, and how your proposed research will fit into the body of prior work (suggested length 2–4 pages)
• Outline of the proposed dissertation (usually a chapter-by-chapter breakdown)
• Discussion of the methodology to be used, possibly with brief examples as appropriate
• Possible conclusions
• Bibliography

Students are encouraged to be concise, and to limit proposals to about 10–15 pages,  excluding the bibliography and any musical examples or other illustrations. Complete analyses or extensive details are not required, but you should include enough to show that you have seriously considered methodological questions and have formulated an approach to the problem.

Dissertation-Year Fellowship

PhD students in music theory may apply for a Dissertation-Year Fellowship, awarded by the Jacobs School of Music to an outstanding PhD candidate on the recommendation of the music theory faculty. The award provides a stipend of $12,000 for one academic year.

Applications for the fellowship must be submitted by the Friday of spring break, following the instructions below. Only students who have applied by this date will be considered.

To be eligible, students must have a GPA of 3.75 or higher and must be able to devote full-time work to the dissertation during the term of the fellowship; outside employment, if any, may not exceed 15 hours per week. Students must have been admitted to candidacy (i.e., passed the oral exam) or have the oral exam pending, preferably not later than April 1. Students who will be or may be taking the oral exam between April 1 and the end of the spring semester are encouraged to apply and to discuss their situation with the department chair. A student may receive the fellowship only once; students who applied unsuccessfully in a previous year and will still be working on their dissertations in the coming year are eligible to apply again.

To apply, send an email to the department chair by the deadline noted above, expressing your interest in being considered for the fellowship. In your email, include the dissertation title, the names of your research committee members, and the date on which you passed or on which you expect to take the oral exam. Also attach a statement of not more than 250 words describing the current state of your dissertation work and the progress you expect to make within the one-year term of the fellowship.

To access both graduate and undergraduate course descriptions, visit our  Courses  page. For information about admissions, visit our  Admissions  page.

Application Requirements

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Overview Application Timeline Application Materials Decisions & Enrolling Tuition, Scholarships & Financial Aid UT Austin Resources

In the five-year Doctor of Philosophy (Ph.D.) degree in Theory, students study the principles of music, develop skills in music analysis and scholarly research, and prepare themselves to become college teachers in music theory.

Learn more about the degree

Meet the Faculty

James Buhler

Professor of theory.

jbuhler@ mail. utexas. edu

512.232.8411

Chelsea Burns

Assistant professor of music theory.

cburns@ austin. utexas. edu

Hon Ki Cheung

honki. cheung@ austin. utexas. edu

512.471.0777

drott@ mail. utexas. edu

512.471.3478

Christopher Prosser

Lecturer in theory.

christopher. prosser@ austin. utexas. edu

John Turci-Escobar

Assistant professor of instruction in theory, associate dean for undergraduate studies.

turci- escobar@ austin. utexas. edu

512.232.4993

Marianne Wheeldon

Professor of music theory, division head, theory & composition.

mwheeldon@ austin. utexas. edu

512.471.5489

Two-Part Application Process

Applying to The University of Texas at Austin as a graduate music major is a two-part process that requires separate applications to the University and the Sarah and Ernest Butler School of Music. The Butler School of Music accepts applications for fall semesters only .

Continuing students AND GRADUATE CHANGE OF MAJOR

Currently enrolled Butler School of Music students applying to continue into a new degree program in the same major or to change graduate majors without a break in enrollment must submit both applications in full.

Graduate readmission

Former Butler School graduate students who wish to apply for readmission must submit a graduate readmission application . If you are on an official leave of absence, the application fee is waived and readmission is automatic. Former students who are not on official leave may require additional procedures or materials. Consult with the graduate admissions coordinator at the earliest opportunity for instructions specific to your circumstances.

Application Timeline

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Application Materials

University application.

You must submit the university application prior to beginning the Butler School of Music application. Detailed application instructions and policies are available from the Office of Graduate Admissions (OGA).

START MY APPLICATION

Graduate application and application fee

Submit your application for graduate study and pay the required fee.

letters of recommendation

Three recommendation letters, written within the last twelve months, pertaining to your potential for graduate study in music.

Official transcripts

You must submit an official transcript from every senior college you have attended. Even if courses taken at one institution are recorded on a transcript from another college, a transcript must be submitted from the institution at which the courses were taken.

Official transcripts must be complete, must have been generated within the last calendar year, and must show coursework and grades at least through the spring 2024 semester. Unofficial, old or incomplete transcripts will be rejected. International transcripts must include both the original language documents and an official or certified English translation.

Transcripts can be uploaded through your MyStatus page . You do not need to mail paper transcripts to The University of Texas or the Butler School of Music for admissions purposes. Electronic transcripts can also be submitted directly to OGA using Parchment or SPEEDE.

TEST SCORES

Submitting a valid GRE score is optional for this program.

International applicants should review the OGA instructions to determine whether they are required to submit a TOEFL or IELTS score.

Butler School of Music Application

START OR CONTINUE MY APPLICATION

Introductory Video

Submit a one to three minute video recording on which you verbally introduce yourself and discuss your musical and non-musical interests, goals, creative or volunteer work and reasons for applying to the Butler School of Music.

Statement of Purpose

A 500-word essay outlining your objectives for graduate study, career plans and reasons for applying to our program.

Résumé or Curriculum Vitae

A résumé or curriculum vitae (CV) providing complete information concerning musical training, experience, awards, honors, publications and performance.

Writing Sample 

One to two substantive written documents that will give the evaluating faculty an indication of your writing and rhetorical abilities.

Decisions & Enrolling

You can ensure that your UT application is complete by checking your MyStatus page on a regular basis and submitting any missing materials as soon as possible.

Decisions will be communicated to you by email. Please notify us if you change your contact information.

The deadline to respond to an offer of admission is April 15, unless otherwise noted.

We are unable to provide individualized feedback on application materials for applicants who are denied admission.

New student orientation and diagnostic exams take place the week before classes begin in August.

Tuition, Scholarships & Financial Aid

Tuition at The University of Texas is charged at a flat rate based on the number of registered credit hours. Graduate students typically register for nine credit hours per semester. You can estimate the annual cost of living for a graduate student using the university’s online tuition calculator .

All applicants who are recommended for admission to the Butler School are automatically considered for merit-based financial aid, including scholarships, fellowships, teaching assistantships and out-of-state tuition waivers. There are no additional applications or materials to submit. Residency, citizenship and financial need are not factors in our funding decisions.

We strongly encourage all eligible applicants to submit a FAFSA for federal need-based aid consideration .  

UT Austin Resources

How to Apply

Application Status Check

Uploading Transcripts

Contacting Graduate Admissions

Tuition & Financial Aid

Tuition and Costs

Music Scholarships and Teaching Assistantships

Graduate School Fellowships

Your Application Status

After Your Decision

Transfer Credit for Master’s Students

Course Substitutions for Doctoral Students

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You will have access to an incredible array of resources, including the Eda Kuhn Loeb Music Library, the John Knowles Paine Concert Hall, the Isham Memorial Library, the Harvard University Studio for Electroacoustic Composition, and the Sound Lab, which offers media production suites and equipment.

With a large endowment fund, the program is able to offer you funding from sources outside Harvard Griffin GSAS. You will also have the opportunity to take advantage of many available fellowships and travel, research and writing, and conference funding throughout the year.

Examples of theses and dissertations that graduates have completed include “Activism and Music in Poland, 1978–1989,” “Art of Noise: Sound and Media in Milan, ca. 1900,” “Black Musics, African Lives, and the National Imagination in Modern Israel,” and “Technologies of Transgression and Musical Play in Video Game Cultures.”

Most graduates go on to positions in academia at institutions like the University of Southern California, Michigan State University, and University of Cambridge in England.

Additional information on the graduate program is available from the Department of Music , and requirements for the degree are detailed in Policies .

Areas of Study

Composition | Creative Practice and Critical Inquiry | Ethnomusicology | Music Theory | Musicology

Admissions Requirements

Please review the admissions requirements and other information before applying. You can find degree program-specific admissions requirements below and access additional guidance on applying from the Department of Music .

Samples of Previous Work

Applicants to all programs must submit samples of their previous scholarly work by uploading it in the Additional Materials section of the application. Applicants to the creative practice and critical inquiry PhD program must also submit 20 to 30 minutes of original creative work in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.) or links to a file download (via Dropbox or similar) by using the Digital Portfolio section of the application. Applicants to the composition PhD program must submit three compositions in the form of links to online audio or video streams (Soundcloud, YouTube, Vimeo, etc.). Recordings can be submitted as links to SoundCloud or other online resources by using the Digital Portfolio section of the application. Students should include a one-page PDF containing links to online recordings and PDF scores where applicable. The year of composition must be marked on all scores and recordings.

Personal Statement

Standardized tests.

GRE General: Optional

Theses and Dissertations

Theses & Dissertations for Music

See list of Music faculty

APPLICATION DEADLINE

Questions about the program.

2024-25 Bulletin

Music theory, phd, doctoral candidacy.

To earn a PhD at Washington University, a student must complete all courses required by their department; maintain satisfactory academic progress; pass certain examinations; fulfill residence and Mentored Experience Requirements; write, defend, and submit a dissertation; and file an Intent to Graduate. For a general layout of doctoral degree general requirements in Arts & Sciences, including an explanation of Satisfactory Academic Progress, students should review the Doctoral Degree Academic Information page of the Arts & Sciences Bulletin.

Program Requirements

• Total Units Required: 72  ( Note: Remission applies for a maximum of 72 graduate-level units.)
• Note: Students must be enrolled in 9 graduate credits each semester to retain full-time status. As students complete their course work, if enrolled in fewer than 9 graduate credits, they must enroll in a specific Arts & Sciences graduate course that will show 0 units but does count as full-time status. Students should connect with their department to ensure proper enrollment prior to Add/Drop.
• Music assures funding for up to 12 semesters for full-time students in good academic standing.
• A grade of B- or better is required for courses to count toward the degree. Students are expected to maintain a cumulative grade point average of at least 3.0 on a 4.0 scale in courses that count toward their credit units.

PhD in Music (Music Theory)

The PhD degree in music theory requires a total of 72 units of graduate study: 30 units of music theory, 15 units of music history and bibliography, 6 units of composition, 6 units outside music, 6 units of qualifying projects, and 9 units of electives or dissertation research. Also required are keyboard proficiency, reading knowledge of two foreign languages (German and either French or Italian; a computer language may be substituted for the second language, according to the student's needs), six to eight semesters of mentored teaching, three qualifying projects, the dissertation, and the final oral defense of the dissertation. Students who have completed a master's degree at another institution may receive up to 24 units of transfer credit toward the PhD.

Required Courses

Qualifying Examinations

Progress toward the PhD is contingent upon the student passing examinations that are variously called  preliminary, qualifying, general, comprehensive,  or  major field exams.  The qualifying process varies according to the program. In some programs, it consists of a series of incremental, sequential, and cumulative exams over a considerable time. In others, the exams are held during a relatively short period of time. Exams may be replaced by one or more papers. The program, which determines the structure and schedule of the required examinations, is responsible for notifying the Office of Graduate Studies, Arts & Sciences, of the student’s outcome, whether successful or unsuccessful.

Mentored Experience Requirements

Doctoral students at Washington University must complete a department-defined Mentored Experience. The Mentored Experience Requirement is a doctoral degree milestone that is notated on the student’s transcript when complete. Each department has an established Mentored Experience Implementation Plan in which the number of units that a student must earn through Mentored Teaching Experience(s) and/or Mentored Professional Experience(s) is defined. The Mentored Experience Implementation Plans outline how doctoral students within the discipline will be mentored to achieve competencies in teaching at basic and advanced levels. Some departments may elect to include Mentored Professional Experiences as an avenue for completing some units of the Mentored Experience Requirement. Doctoral students will enroll in LGS 6XXX Mentored Teaching Experience or LGS 7020 Mentored Professional Experience to signify their progression toward completing the overall Mentored Experience Requirement for the degree.

The Doctoral Dissertation

A Research Advisory Committee (RAC) must be created no later than the end of the student’s third year; departments may set shorter timelines (e.g., by the end of the student's second year) for this requirement. As evidence of the mastery of a specific field of knowledge and of the capacity for original scholarly work, each candidate must complete a dissertation that is approved by their RAC.

A  Title, Scope & Procedure Form for the dissertation must be signed by the committee members and by the program chair. It must be submitted to the Office of Graduate Studies, Arts & Sciences, at least 6 months before the degree is expected to be conferred or before beginning the fifth year of full-time enrollment, whichever is earlier.

A  Doctoral Dissertation Guide & Template  that give instructions regarding the format of the dissertation are available on the website of the Office of Graduate Studies, Arts & Sciences. Both should be read carefully at every stage of dissertation preparation.

The Office of Graduate Studies, Arts & Sciences, requires each student to make the full text of the dissertation available to the committee members for their review at least 1 week before the defense. Most degree programs require 2 or more weeks for the review period; students should check with their faculty.

The Dissertation Defense

Approval of the written dissertation by the RAC is necessary before the student can orally defend their dissertation. The Dissertation Defense Committee that observes and examines the student’s defense consists of at least five members, who normally meet these criteria:

• Three of the five must be full-time Washington University faculty members or, for programs offered by Washington University-affiliated partners, full-time members of a Washington University-affiliated partner institution who are authorized to supervise PhD students and who have appropriate expertise in the proposed field of study; one of these three must be the PhD student’s primary thesis advisor, and one may be a member of the emeritus faculty. A fourth member may come from inside or outside the student’s program. The fifth member must be from outside the student’s program; this fifth member may be a Washington University research professor or lecturer, a professor from another university, or a scholar from the private sector or government who holds a doctorate and maintains an active research program.
• Three of the five normally come from the student’s degree program; at least one of the five must not.

All committees must be approved by the Office of Graduate Studies, Arts & Sciences, regardless of whether they meet the normal criteria.

The committee is appointed by the Office of Graduate Studies, Arts & Sciences, upon the request of the degree program. The student is responsible for making the full text of the dissertation accessible to their committee members for their review in advance of the defense. Faculty and graduate students who are interested in the subject of the dissertation are normally welcome to attend all or part of the defense but may ask questions only at the discretion of the committee members. Although there is some variation among degree programs, the defense ordinarily focuses on the dissertation itself and its relation to the student’s field of expertise.

Submission of the Dissertation

After the defense, the student must submit an electronic copy of the dissertation online to the Office of Graduate Studies, Arts & Sciences. The submission website requires students to choose among publishing and copyrighting services offered by ProQuest’s ETD Administrator. The degree program is responsible for delivering the final approval form, signed by the committee members at the defense and then by the program chair or director, to the Office of Graduate Studies, Arts & Sciences. Students who defend their dissertations successfully have not yet completed their PhD requirements; they finish earning their degree only when their dissertation submission has been accepted by the Office of Graduate Studies, Arts & Sciences.

Visit the Music page for additional information about this program.

Contact Info

Evan Chambers

Michael Daugherty

Roshanne Etezady

Kristin Kuster

Erik Santos

Bright Sheng

Department of music theory.

Karen Fournier

Marc Hannaford

Patrick Harlin

Áine Heneghan

John Knoedler

Kevin E. Korsyn

Nathan Martin

Somangshu Mukherji

Nancy Murphy

Wayne C. Petty

Joshua Tanis

Aleksandra Vojčić

Composition students regularly collaborate with their performer colleagues. Composers in both undergraduate and graduate programs receive premieres of their works at a variety of venues, including the “write HEAR / right NOW” Concert Series, the Midwest Composers Symposium (a forum for student composers from four schools), and concerts by U-M ensembles. Each term, The William Bolcom Residency in Composition hosts renowned guest artists who spend a week on campus, interacting with students and faculty through lessons, workshops, meals, lectures, and performances.​

From large ensembles in celebrated concert halls to chamber groups in intimate recital spaces, performance opportunities across all disciplines abound, with nearly 900 student performances each academic year. Whether your focus is on early, classical, or contemporary music, whether your passion is for jazz, electronic, or world music, there is an ensemble—or in many cases, multiple ensembles—to suit your interests, including specific opportunities for percussion, piano, and organ & carillon. For students in theatre & drama, musical theatre, dance, and opera, opportunities abound in both professionally produced and student-run presentations.

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About Our Program

A comprehensive program in theory and musicianship contributes to the education of every undergraduate Eastman student, with courses for the well-rounded musician, including analysis, style composition, improvisation, and music making. Graduate students engage in advanced study with a world-class faculty to develop original research and innovative teaching.

Music Theory Studies

Music theory plays a central role in the education of every Eastman student. The study of theory includes a wide range of subjects, from hands-on training in musical skills to advanced research on musical structure and music’s cultural context. The goal of the Eastman theory department is not only to provide students with a solid technical foundation, but also to encourage their ongoing intellectual engagement with music as an art form.

Undergraduate Core Study

The undergraduate core curriculum consists of five sequential semesters of study, with coordinated skill-development in written and aural skills.  All students learn to analyze a range of works in diverse styles and compose short compositions in specific styles.  Coordinated aural skills classes develop the ability to transcribe music, improvise, and read music of progressive complexity at sight.  Students who need to review music fundamentals will take an introductory course in their first semester; those who exempt the review course will have the option to take a topical seminar of their choice as their fifth semester of study.  Placement in theory classes depends upon the ability, background, and individual needs of each student, as determined by written examinations and interviews during orientation. A four-semester honors track is also offered for students with appropriate background, and students can audition to major in theory as undergraduates.

The core curriculum is the required program of study for all undergraduates at Eastman. Students pursuing the BM in Music Theory enroll in additional advanced courses, and their studies culminate in a senior thesis project, presented both as a written document and in a public lecture.

Undergraduate Majors

The Bachelor of Music Theory is offered to students who successfully interview for admission to the program based on their musical and theoretical skills, and on their potential for music-theoretical research and academic writing. In addition to the core courses required of all Eastman undergraduates, theory majors complete two years of secondary language studies, additional advanced courses in style composition, keyboard skills, and analysis or music cognition, and write a senior thesis under the guidance of a faculty advisor. The thesis research is presented in written form and as a public presentation during the final semester of study.

Graduate Pedagogy Study

Students with a strong interest in pursuing a music theory teaching career have two options:  the MA in Pedagogy of Music Theory or the Advanced Certificate in Music Theory Pedagogy.  The latter is pursued concurrently with another Eastman degree (usually MM or DMA), and many of its requirements can be counted toward both programs.  Pedagogy study requires strong practical skills in analysis, keyboard, and sight singing.  Students will gain practical experience teaching and will study contemporary research in music teaching and learning.

Graduate Research Study

Eastman’s thriving Music Theory community consists of faculty members with expertise in a vast range of music-theoretical topics, as well as a roster of distinguished guest speakers and scholars, and abundant opportunities for interdisciplinary projects: offering students the groundwork to create their own significant original research.

Few theory programs can match Eastman’s scholarly breadth and excellence; fewer still can call a world-class School of Music their home. Because of our strong ties to the performing community, Eastman theorists maintain a vital tradition of practical musicianship. Our students may take lessons and play in ensembles. They cultivate musical skills on par with their scholarly abilities, giving them the confidence and know-how to empower a new generation of rising musicians.

Employers at colleges and universities across the country know that an Eastman degree is a mark of excellence. That’s why our graduates are among the most sought-after candidates on the job market—and why so many of our PhDs find long-term employment in a highly competitive field. Our alumni include many of the field’s most visible scholars, working at a host of major institutions including Yale, CUNY, Cornell, Oberlin, the University of Minnesota, the University of Michigan, the University of North Carolina, and Florida State University. Our PhD has also prepared some graduates for work in allied fields, such as software engineering.

UNDERGRADUATE

Undergraduate core, pedagogy of music theory, certificates, music theory pedagogy, department chair.

Zachary Bernstein

No matter what you choose as a major, Music Theory will play a central role in your Eastman education. The goal of Eastman’s theory department is not only to provide students with a solid technical foundation, but also to encourage their ongoing intellectual engagement with music as an art form.

We invite you to explore our many programs and courses here, and hope to welcome you to Eastman one day!

Quick Links

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Professor of Music Theory

Assistant Professor of Music Theory

Associate Professor of Music Theory

Instructor of Music Theory

Affiliate Faculty

Affiliate in Music Theory

Professor of Jazz Studies & Contemporary Media

Professor of Musicology

Emeritus Faculty

Professor Emeritus of Music Theory

Minehan Family Professor Emerita of Music Theory

Professor Emerita of Music Theory

Requirements

Bachelors of music degree (bm).

This major is for students who have reached an advanced level of aural and written theory skills.  First-year admission is rare; it is more common for a student with another major, such as applied music, to add the theory major after completing the core theory curriculum at an advanced level.

Preliminary Requirement

Applicants must submit a written paper with their application forms by the application deadline. The purpose of this paper is to evaluate the applicant’s writing ability. This paper need not be on a musical topic. (Note that this is not a prescreening requirement; all applicants to this program will be scheduled for an audition/interview.)

Interview Requirement

Undergraduate theory applicants will be interviewed by the theory faculty. Interviews are not conducted at regional audition centers; all theory applicants must audition and interview in Rochester.

Audition Requirement

On the same day the applicant interviews in Rochester, he or she will also be scheduled for an audition on his or her applied instrument or voice.

Available Undergraduate Theory Tutoring

A small fund is available to provide free individual tutoring for undergraduates who are identified by their instructor as needing special support in aural and written theory classes in the core curriculum or who have a documented learning disability. Only students registered for a core theory course and in good standing with respect to attendance and participation may apply for this tutoring, which may be initiated by speaking with the course instructor. The department normally allocates tutoring based on the student’s work around the third week of the semester.  This assessment is revisited after the midterm examination, at which time tutoring may be discontinued, or new students added to the program.  Students recommended for tutoring sign a contract outlining the expectations for   participation; failure to attend a session without notifying the tutor in advance may result in discontinuation.

Master and Doctoral Degrees

Graduate study in music theory at Eastman provides students with a solid technical foundation, and also encourages their ongoing intellectual engagement with music as an art form. The department maintains the highest academic standards based on clear aims and learning outcomes at all levels, and on significance, originality and rigor in the research outputs of graduate students.

Preliminary Requirements

Applicants for graduate study in music theory must have an undergraduate degree in any area of music study, with significant coursework in the area of music theory beyond the core (advanced analysis, counterpoint, and/or composition). Prospective students are required to submit GRE scores and two research papers on music theory, preferably analytical in nature.  Based on these materials, a limited number of candidates will be invited to interview for admission.

Interview Requirements

Interviews have three parts:  a discussion of the student’s research interests, a musical skills assessment (keyboard and sight singing), and at-sight music analysis.  To prepare for the interview, students are advised to familiarize themselves with Eastman’s faculty and offerings and to practice their skills: sight-singing diatonic and chromatic melodies, playing at sight and realizing figured bass at the keyboard, and talking through the form and harmonic motion of unfamiliar compositions.

Programs, Initiatives and Publications

Summer programs.

The Theory Department offers a number of summer courses every year, ranging from MM and DMA requirements to special-topics courses, including online-only courses.

Academic Courses

Each year we offer a range of courses that may be required for the MM/DMA (such as TH 117-118, TH 400, TH 401), as well as special topics courses such as Analysis of Rock Music, Phrase Rhythm in Brahms Chamber Music, or Analyzing Contemporary Music.

Initiatives and Events

Statement on antiracism - august 2020.

Members of the Eastman Music Theory faculty acknowledge the need to address the issue of antiracism in all our work, be it teaching, research, or service.

The general consensus among music theorists is that it was unacceptable for the Journal of Schenkerian Studies Vol. 12 (2019) to publish an anonymous piece; that Prof. Ewell should have been given a right to reply to all the responses to his position; and that those responses should have been based on his written views rather than a verbal presentation. The Eastman Music Theory Department endorses that consensus.

Moving forward, we commit to open dialog between our graduate students and faculty about the content of our curriculum, with the objective of fostering what the Eastman School of Music terms an inclusive environment.

Music and Sound Initiative

Music, science, and engineering play pivotal roles in the University of Rochester and in the broader Rochester community. The  Music and Sound Initiative serves as a focal point for enhancing and expanding research programs that span these disciplines. It welcomes new participants and encourages students who wish to engage in interdisciplinary study in these or related disciplines to contact us.

Student Research Assistance Fund

Due to generous faculty and alumni donations to a new fund in support of student research, applications are invited from music theory students for grants to support specific research projects. Grants will typically be made in amounts of $300 or less.

E-mail Department Chair for more information on how to apply.

Music Cognition Symposium

Faculty and students from Eastman and a consortium of other institutions in the region meet four times per year to hear speakers from around the world and to present our own research.

Eastman Theory Colloquium

The Theory Department gathers weekly for a Colloquium series that features guest lecturers, professional development sessions, and presentations by our own faculty and students.  Guest lecturers in recent years have included David Huron, Philip Ewell, Joseph Straus, Mark Spicer, Ellie Hisama, Robert Hatten, Jocelyn Neal, Daniel Harrison, Yayoi Uno Everett, Michael Klein, Danny Jenkins, and John Roeder.

eTheory: Music Theory Fundamentals in Four Weeks

eTheory is the Eastman School of Music’s innovative online course, which prepares entering first-years for theory placement exams. The course can also be used by non-Eastman students for an introduction to theory fundamentals, including intervals, counterpoint, chords and figured bass, and phrase models. The online course includes over 200 sets of writing, playing, listening, singing, and conducting exercises, and provides immediate feedback on all new concepts. The course was designed by Professor Steven Laitz and a team of professionals at the Eastman School of Music’s Institute for Music Leadership.

Graduate eTheory

Join hundreds of students who have successfully prepared for graduate level theory courses and placement exams by studying music theory with Eastman School of Music’s fully-integrated graduate theory review course. This self-directed course allows you to work at your own pace, monitoring your own progress, with a musically immersive interface that’ll have you singing, playing, and listening throughout.

Publications

Intégral: journal of applied music thought.

A scholarly, peer-reviewed journal refereed by its professional editorial board. Published since 1987, the journal pursues an implicit mandate to explore and exploit the increasing pluralism of the music-theoretic field. It is published annually by the graduate students in music theory at the Eastman School of Music.

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PhD in Music Theory

• MA in Music Theory
• Direct Entry PhD in Music Theory
• BMus in Music History, Culture, and Theory
• Graduate Courses
• Undergraduate Electives

The following is for informational purposes only . For the official version of the program requirements, please consult the SGS calendar .

This program is offered on a full-time basis only and begins in September. We have ONE admissions cycle per year.

Minimum Admission Requirements

The PhD in Music, Music Theory is a research degree. Candidates must hold a master’s degree with specialization in music theory, musicology, ethnomusicology or related area, and must have an average standing of B+ or better.

Exceptional applicants with an undergraduate degree may apply directly to the five-year fully-funded Direct Entry PhD program .

Applicants, whether from the University of Toronto or from elsewhere, may be interviewed by the Department.

For more details on how and when to apply, visit Applying & Auditions (PhD in Music Theory) .

Program requirements

There are six main requirements in the PhD in Music Theory:

• Fulfillment of the residence requirement
• Fulfillment of course requirements
• Fulfillment of language requirements
• Successful completion of the comprehensive examinations
• Successful completion of the major field examination associated with MUS3997H
• The writing and successful defense of a dissertation

Residence Requirement

PhD students are required to be in residence for two years, except for absences necessary for research and authorized by the Department. To fulfill this requirement a student must be in such geographical proximity as to be able to visit the campus regularly and participate fully in the university’s activities associated with the program.

Course Requirements

Students registered in the PhD in Music Theory must complete 3.0 full-course equivalents as follows:

• MUS1250H PhD Seminar (0.5 credits)
• MUS3997H Research in Music Theory * (0.5 credits, second term)
• 1 full-course equivalent in graduate-only seminars in music theory
• 1 full- course equivalent in electives **

*Research in Music Theory (MUS3997H), must be started at the beginning of the second term of the first year and must be completed by the end of the first term of year 2. During their first year, students are expected to discuss their interests, expectations and research objectives with faculty members. An appropriate supervisor for MUS3997H must then be agreed upon. The supervisor will be primarily responsible for determining the structure and content of MUS3997H, which will include a research paper.

**With the approval of the divisional course and program advising committee, one half-course may be taken outside of music theory, musicology and ethnomusicology (either in the Graduate Department of Music or in another graduate unit).

Coursework should be completed during the first year of study, with an average grade of at least A-, with the exception of MUS3997H, which lays the groundwork for the dissertation research and leads to the Major Field examination in year 2. Students may be required to take additional courses or acquire other skills to meet the needs of their proposed subjects of study.

Language Requirements

[ Updated Summer 2023 ]

Two research languages in addition to English are required: one “secondary” and one “primary.” Students may complete coursework in statistics or computer programming (coding) in place of one language. The goal is to have all language requirements fulfilled by the end of Year 2.

The “secondary” language requirement is the same as the MA language requirement. The default language for the secondary language requirement is German. Students who wish to choose languages other than German or to substitute coursework in statistics or computer programming (coding) must submit a petition to the Division Head (either Musicology or Music Theory) by the end of the first session of Year 1. 

Students can fulfil the secondary language requirement in one of the following three ways:

• complete GER 300H at U of T or its equivalent from another university with a minimum grade of B+; or
• complete GER 6000H; or
• pass a proficiency exam set by the Division

Students who have fulfilled the MA language requirement at U of T may count this as the secondary language or use it as a stepping stone towards the primary language. It is expected that students complete the secondary language requirement by the end of Year 1.

The “primary” language requirement involves advanced reading proficiency in the chosen language. ​Students who wish to choose languages other than German or to substitute intermediate-advanced coursework in statistics or computer programming (coding) must submit a petition to the Division Head (either Musicology or Music Theory) by the end of the first session of Year 1. Information on petitioning is available at the Faculty of Music Graduate Studies Office. 

Students can fulfil the primary language requirement in one of the following three ways:

• complete a 400-level language course at U of T or its equivalent from another university with a minimum grade of B+; or
• pass a proficiency exam set by the Division; or
• pass an exam in another graduate unit by arrangement through the Graduate Department of Music

Students are allowed two attempts at the in-house exam after which they must take a language course at the appropriate MA or PhD level. All language requirements must be completed by the end of year 3. Exceptions are granted only in extenuating circumstances and by petition.

Comprehensive Examinations

The comprehensive examinations (UTORid login required) , taken in the fall of Year 2, are in three parts: (1) contemporary issues, (2) history of the field, and (3) repertoire. Students are permitted two attempts to complete the comprehensive exams, the second attempt to occur in January of Year 2.

Major Field Examination

The purpose of the Major Field Examination is to assess the student’s general knowledge of his or her chosen research field, to examine the theoretical premises and methodological approaches set out in the research paper, and to determine eligibility to continue to the research and writing stages of the dissertation. The Major Field Examination is associated with MUS3997H and is scheduled to take place no later than the end of year 2.

By the midpoint of Year 2 the student must submit an initial dissertation proposal (UTORid login required) of up to 3000 words for divisional circulation. This proposal will derive from the research and writing being undertaken for MUS3997H, and its purpose is to elicit constructive advice from graduate faculty that may help both to direct the student’s study and prepare him or her for the Major Field Examination. Based on these responses, and on faculty members’ fields of expertise, the supervisor will appoint a Major Field Examination Committee comprising the supervisor plus at least two other members of the graduate faculty.

The supervisor will determine a grade for MUS3997H, and the Major Field Examination Committee will pass or fail the student’s performance in the oral examination. The student must attain at least an A- in MUS3997H and pass the oral examination in order to proceed with the PhD. In the event that these standards are not met, a second Major Field examination will be scheduled approximately two months later for the resubmission of the research paper and/or a second attempt at the oral examination. A failure to achieve the standards set for the written and/or oral examination at the second attempt results in the student being required to withdraw from the program.

It is the responsibility of the Associate Dean, Graduate Education to inform the student of the results of the Major Field examination as soon as possible. It is the responsibility of the Major Field Examination Committee to make a recommendation to the Associate Dean, Graduate Education concerning the timing of the second examination if necessary. The committee appointed to conduct the second examination should as far as possible include the same members who examined the student in the first place.

On successful completion of all course, language and Major Field exam requirements, a doctoral student becomes a doctoral candidate and embarks fully on dissertation research and writing.

The Doctoral Dissertation

The doctoral dissertation must be a piece of original scholarship based on primary materials and submitted in conformity with the guidelines stated below. In most cases, the doctoral candidate’s supervisor for MUS3997H will continue to act as supervisor for the rest of the doctorate. A Doctoral Advisory Committee will be struck on successful completion of MUS3997H and the Major Field examination: this committee must consist of at least three members of the University of Toronto’s graduate faculty, one of whom, if appropriate, may be from outside the Graduate Department of Music. In many cases, the Major Field Examination Committee will become the candidate’s Doctoral Advisory Committee.

Within a month of the successful completion of MUS3997H and the Major Field examination, a revised and more detailed dissertation proposal must be submitted that also outlines a tentative schedule for research and writing. The Doctoral Advisory Committee will meet with the candidate in order to approve the dissertation proposal and offer advice. Thereafter, the candidate will meet no less than twice a year with the Doctoral Advisory Committee. The candidate will prepare progress reports, including written work, to be circulated to committee members at least two weeks in advance of the meetings (or longer, in the event of a substantial body of written work). The Doctoral Advisory Committee will then prepare its own report of the meeting and will indicate whether or not satisfactory progress towards the doctorate has been made. In cases where progress is unsatisfactory, clear guidelines must be provided that set out expectations to be met at the next meeting. Two unsatisfactory assessments (consecutive or in total) will result in the candidate being required to withdraw from the program.

In some cases, fieldwork will be required as part of the doctoral study. Candidates planning to undertake fieldwork must apply to the Associate Dean, Graduate Education for off-campus status. All off-campus candidates must leave an official field address with the Graduate Office while they are away. Since it is each candidate’s responsibility to apply for off-campus status, failure to apply could result in forfeiture of registration, fellowships and awards, and loss of full-time graduate status.

University policy regarding “Safety in the Field” outlines a hierarchy of responsibility for safety starting with the candidate’s academic supervisor. Before departing for the field, the candidate must file a letter with the Department that acknowledges awareness of any risks in the proposed fieldwork. In some instances, doctoral candidates may need to satisfy an ethics review, in which case research must be structured according to the University of Toronto’s guidelines on the use of human subjects.

When the Doctoral Advisory Committee is satisfied that the dissertation is ready to proceed to its oral defense, the candidate will prepare the work according to the formatting guidelines established by the University of Toronto’s School of Graduate Studies. The dissertation shall not exceed 80,000 words exclusive of notes and bibliography. Exceeding the prescribed length limit is a sufficient reason for a dissertation to be refused examination. Once the dissertation has been fully prepared for submission, a doctoral candidate becomes a doctoral author.

A date will be set for the PhD defense roughly eight weeks after submission of the dissertation. The Doctoral Defense Committee will ordinarily consist of five or six voting members (there must be a quorum of four voting members) and will include the supervisor, other members the Doctoral Advisory Committee (only two of whom may be voting members), at least one internal reader who has not been closely involved in the supervision of the thesis, and an external examiner from another university who is an expert in the author’s field of study. The external examiner will provide a written report to the author and the other members of the Doctoral Defense Committee no less than two weeks prior to the defense.

Extensions, Lapsing, and Reinstatement

It is the Graduate Department of Music’s aim that doctoral candidates complete their degrees within four years. A candidate who has failed to complete all degree requirements within six years may be granted a one-year extension, if the Department approves. The Department is likely to approve such a request if the candidate can provide evidence that he or she has made substantial progress and is likely to finish within the one-year extension. PhD candidates who fail to complete the program in that period may apply for a further extension of up to one year, but the Department scrutinizes such an application very carefully and consents only if it is persuaded that the thesis will be completed within the period of further extension. Third extensions are decided by the School of Graduate Studies and are rarely granted.

A failure to complete the program after an extension, or the refusal of an extension by the School of Graduate Studies, results in the lapsing of the candidacy. Lapsing does not mean termination. The School of Graduate Studies thinks of the lapsed candidate as being “inactive.” Lapsing has the effect of withdrawing the privileges that membership in the University brings – the right to a carrel in the library, to supervision, and so on. But those whose candidacy has lapsed are encouraged by the Department to finish their programs and are helped in every way possible while doing so. Dissertations must be complete before applying for reinstatement by the School of Graduate Studies. Candidates will be required to pay at least the equivalent of one term’s full-time fee in order to be reinstated.

A request for reinstatement may be refused when, in the view of the Department Chair, the thesis or research paper is not sufficiently complete or of sufficiently high quality for the Department to support it.

PhD in Musicology

The first three years of graduate study for graduates in musicology are devoted to completion of required coursework and passage of the qualifying and special area examinations. After the successful defense of the dissertation proposal (incorporated within the special area exam), the student concentrates on researching and writing the dissertation. The dissertation demonstrates the student’s ability to work systematically and independently to produce a substantial work of competent scholarship.

Below you will find a chart with the placement of the major milestones for your career as a doctoral student in musicology.  Please note that each of the major milestones and recommended/required coursework for the degree plan are discussed and defined more elaborately in the  Department of Music Graduate Handbook .

Register for all courses for the maximum number of units allowed (unless your desired course load exceeds the limit). Plan on 15–18 units per quarter in Year 1 and exactly 10 units per quarter in Years 2–4. Total required units by the end of Year 4, Fall Quarter: 135. All courses in Music must be taken at the 100 level or higher and for a grade , unless the course has been designated Pass/Fail.

Milestones and Examinations

• Autumn: Y1Q1 Enroll in: 12-18 units, 15 recommended (Music 200A, 310; required & elective courses as available) Language I Study Qualifying Exam preparation Milestone: Diagnostic Exams  (read about ALL exams in the Music Graduate Student Handbook ) Qualifying Exam preparation and Language I Study (read more about Quals in the Musicology Qualifying Exam Guidelines )
• Winter: Y1Q2  Enroll in: 12-18 units, 15 recommended (Music 200B, 310, 300F; required & elective courses as available) Language I Study Qualifying Exam preparation
• Spring: Y1Q3 Enroll in: 12-18 units, 15 recommended Milestone: Language I, PhD Reading Exam Qualifying Exam preparation (by May 31, establish Committee; send Fields of Study to committee & GSSO)
• Summer: Y1Q4 Enroll in 1 unit only, Independent Study course in Music (i.e. 299, 302, 341) Qualifying Exam preparation & Language II Study Milestone:   Qualifying Examination (taken the week prior to the start of classes in Autumn Quarter of Year III)
• Autumn: Y2Q1 Enroll in:   8-10 units, 10 recommended (required & elective courses as available) Qualifying Exam preparation (by September 15, draft repertoire lists & bibliographies to committee and GSSO) Language II Study
• Winter: Y2Q2 Enroll in:   8-10 units, 10 recommended (required and elective courses as available) Qualifying Exam preparation and Language II Study

Spring: Y2Q3 Enroll in:   8-10 units, 10 recommended (required and elective courses as available) Qualifying Exam preparation (by July 15, finalize repertoire lists and bibliographies) Milestone: Language II, PhD Reading Exam  (any quarter prior to TGR; soonest recommended)

Summer: Y2Q4 Enroll in 1 unit only, Independent Study course in Music (i.e. 299, 302, 341) Qualifying Exam preparation (by July 15, email committee and GSSO with final bibliographies & repertoire lists; provide exam schedule to GSSO) Milestone:   Qualifying Examination (taken in the week prior to the start of classes in Autumn Quarter of Year III)

• Autumn: Y3Q1 Enroll in:   8-10 units, 10 recommended (Music 310 and/or required & elective courses as available) Milestone:   Qualifying Examination (taken in the week prior to the start of classes) Associated Forms: Qualifying Exam Report (completed by faculty committee);   Candidacy Form (after passing exam) Special Area Exam preparation & research
• Winter: Y3Q2 Enroll in:   8-10 units, 10 recommended (Music 310 and/or required & elective courses as available) Special Area Exam preparation & research
• Spring: Y3Q3 Enroll in:   8-10 units, 10 recommended (Optional: Music 330; required & elective courses as available) Special Area Exam preparation & research Milestone : Teaching Requirement met (upon completing the last six quarters of Teaching Assistantships)
• Summer: Y3Q4 Enroll in 1 unit only, Independent Study course in Music (i.e. 299, 302, 341) Special Area Exam preparation & research
• Autumn: Y4Q1 Enroll in:   8-10 units, 10 recommended (Independent Study course(s) until you reach 135 graduate-level units & have completed all required coursework) Milestone: Special Area Exam  (scheduled before the end of week nine) Milestone: Terminal Graduate Registration (TGR)  (acquired after reaching 135 units, no later than the end of Spring quarter) Associated Form:   TGR Petition  (e-form; when 135 units reached; enroll in Music 802 ONLY after being granted TGR status) Milestone: D octoral Dissertation Reading Committee Form ( consult with advisor; file before the end of quarter)
• Winter: Y4Q2 Enroll in Music 802, TGR Dissertation with your advisor, and Music 330 when offered:   0-3 units Dissertation Research and Writing
• Spring: Y4Q3 Enroll in Music 802, TGR Dissertation with your advisor, and Music 330 when offered:   0-3 units Dissertation Research and Writing
• Summer: Y4Q4 Enroll in Music 802, TGR Dissertation with your advisor:   0-3 units Dissertation Research and Writing
• Autumn, Winter, Spring: Y5Q1, Y5Q2, Y5Q3  and beyond Enroll in Music 802, TGR Dissertation with your advisor every quarter:   0-3 units Milestone:   University Oral Dissertation Defense (scheduled prior to the end of week nine) Milestone: Dissertation Submission (submission of the Dissertation to the University Registrar) Apply to Graduate   in Axess and let your SSO's know whether you will participate in the Department's commencement ceremony. OR Apply for Graduation Quarter enrollment status in Axess at the end of Spring quarter if not yet completed and let SSO's know if you plan on "walking through" a commencement celebration in the Department of Music !
• Summer: Y5Q4 Enroll in Music 802, TGR Dissertation  with your advisor:   0-3 units  ( Graduation Quarter   if needed ) Apply to Graduate   in Axess.

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Music THeory

​​Courses in Music Theory provide students with a set of portable tools that they can use in the various musical situations in which they might find themselves. These classes expose students to a broad array of approaches to understanding, analyzing, hearing, performing and composing music. Theory classes are an integral part of the core curriculum at the University of Delaware; all music majors take a four-semester sequence of both written theory and aural skills. Courses in counterpoint, orchestration, analysis, keyboard harmony and seminars are also available to students who wish to pursue more advanced work. By offering numerous ways to deepen one’s engagement with music, theory courses provide a solid foundation for musical experiences at the University of Delaware and beyond.

Student Opportunities

​Students majoring in Music Theory complete a rigorous program that prepares them to go on to graduate study in the field. In addition to working closely with the theory faculty, students receive mentoring and are encouraged to attend and present at regional and national conferences. Students majoring in Music Theory may also write an extended research paper on a related topic chosen in consultation with their adviser.

Undergraduate Program

Music Theory (BM)

Students in the Bachelor of Music in Music Theory​ take a broad array of music theory courses beyond the theory core, including counterpoint, keyboard harmony, orchestration, and advanced, topic-based seminars in music analysis and interpretation.

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Main Resources

Main utility, degree requirements, phd in music: musicology.

PhD students should regularly consult with the Musicology Program Coordinator to determine the best course of study, based on the student’s interests and previous coursework.

Program of Study – 18 units

A typical program of study includes coursework in Western historical and global geographic musics; identification of and coursework in a non-music cognate area; electives to strengthen the student’s main area of interest; and a common core of methodological courses in Musicology. Most courses must be at the 400 or 500 level, and a majority, or minimum of two, each quarter must be in Musicology (designated MUSICOL in CAESAR) unless approval is given by the program coordinator prior to registration.

All students are expected to finish required Musicology coursework (18 units) within two years. The faculty reserves the right to require additional coursework for students who do not pass the repertoire exam in the second year of study. Supplementary coursework, e.g., toward a certificate program, cognate area, or any Music Studies field, may be taken during the third year.

Musicology Core – 3 units

MUSICOL 523 Ethnographic Field Methods MUSICOL 535 Music Historiography MUSICOL 560 Notation and Editing

Cognate Area – 3 units

Students enroll in three courses in a non-music field relevant to their main interest, for example Anthropology, Art History, History, Literary and Cultural Studies, Philosophy, or Sociology.

Musicological Studies – 6 units

Additional courses in musicology, 300 to 500 level. PhD students should register for the highest level of courses with multiple course numbers.

Electives – 6 units

Courses in other Music Studies areas (Music Education, Music Theory and Cognition, etc), Musicology, or other Humanities and Social Sciences.

Students who wish to register for elective classes at other universities may do so via two programs:

• The Big Ten Academic Alliance (BTAA), a consortium of the Big Ten schools and the University of Chicago
• The Chicago Metropolitan Exchange Program (CMEP) in collaboration with the University of Chicago and the University of Illinois at Chicago

Questions about these programs should be directed to Bienen Graduate Services with prior consent of the student’s primary advisor.

Foreign Language Requirement

Students are required to pass one foreign language exam. Students may select the foreign language in consultation with the faculty.

Students who need to learn or refresh knowledge of any language may enroll in language courses through Northwestern, the BTAA, or CMEP.

The Program Coordinator schedules the language exams. Students planning on attempting the exam during any quarter should notify the Musicology Coordinator of their intention to take the exam at least two months in advance.

Second-year students are often assigned as teaching assistants for the undergraduate core sequence in Music History (MUSIC 214, 215, and 216) and/or World Music Cultures (MUSIC 213) as part of their professional preparation. 

Students may not teach independently during fall quarter of their third year, but may teach their own sections of general music (GEN MUS) courses during winter and spring quarters of their third year.

Qualifying Examination

The Musicology PhD qualifying examination is a multi-year, multi-part process that begins at the end of the student’s first year.

May : All students in the cohort are given a single list of 40 works that will constitute the basis of their repertoire exam, to be taken in September of the second year. The works list, which will change from year to year, is constituted by a committee of three full-time faculty members, each of whom chooses 15 works (with 5 of the resulting 45 eliminated by the committee chair to ensure a balance of eras, genres, etc.). Students are expected to study the 40 works over the summer to prepare for the Repertoire Exam in September. Students should familiarize themselves with the works, understand how they relate to their social and musical contexts, and know the most significant scholarship on these works.

Second Year

September : All students in the cohort take the Repertoire Exam. It will consist of 5 score identifications and 5 listening identifications drawn from the list of 40 works specified the previous May. The score identification and listening excerpts will be presented to the student (each in their own room in the Advising Center on the second floor of RCMA without internet access) 90 minutes before they meet with the exam committee to discuss them. Students who fail a portion of the Repertoire Exam will be given an opportunity to retake it in December.

December : Repertoire Exam retake. Students who fail the Repertoire Exam a second time may be asked to take up to 9 additional credits of coursework. They will be placed on academic probation and permitted to retake the repertoire exam a third time with a new list of 40 works the following October.

May : Students who have passed the Repertoire Exam are given four musicological topics (which may be historical, ethnographic, methodological, etc.), of which they choose three to address in the Essay portion of the exam. The topics will be chosen to avoid the students’ areas of specialization. Work on the Essays is to be undertaken independently during the summer. Each Essay is to be no more than 20 pages (double-spaced) in length, excluding bibliography. 

September : Students submit their three Essays on a date specified by the exam committee. Each examinee meets with the three-member faculty exam committee to discuss the Essays. If the Essays are deemed satisfactory, the student passes this portion of the exam. If the Essays are deemed unsatisfactory, the student will revise and resubmit them and undertake a second discussion in December. If the student fails the Essay portion a second time in December, they may be asked to take up to six additional credits of coursework. In this case, they will either be given an opportunity to retake the Essay Portion (with different topics) the following Fall Quarter, or be formally excluded from the PhD program.

October : Regardless of whether the student passes the Essay portion of the exam, they will present a Teaching Demonstration on a topic chosen by the Committee and shared with the candidate one month before the date of their lecture. All three committee members will attend each lecture. Following the lecture, the student will meet with the committee to discuss the Teaching Demonstration, after which the committee will meet privately to determine whether the student has passed. If a student fails, they will be asked to give another Teaching Demonstration in December (for faculty alone, without undergraduates present, and perhaps on a revised or entirely different topic). If the student fails a second time in December, they may be asked to take up to an additional six credits of coursework. In this case, they will attempt to pass the Teaching Examination the following Fall Quarter. Depending upon the judgment of the faculty as a whole, if the student fails the Teaching Demonstration a second time, they may be formally excluded from the PhD program but given the opportunity to complete a terminal Master’s degree following the completion of remaining credits.

December : Students who have failed the Essay portion of the exam and/or the Teaching Demonstration will be given an opportunity to resubmit/retake those portions. If a student fails either portion of the exam a second time, they will potentially be given a terminal Master’s degree and formally excluded from the PhD program. 

Doctoral Committees

There are two separate faculty exam committees each fall quarter for the Qualifying Exams.

• Repertoire Exam Committee of three full-time musicology faculty members; 
• An Essay and Teaching Demonstration Exam Committee consisting of three full-time musicology faculty members.

Ideally no one faculty member will serve simultaneously on both exam committees, though this may at times be unavoidable. Each exam committee has a Chair responsible for coordinating the content and mechanics of the exam.

Each student must formally identify their dissertation committee (including the primary advisor), at the time they submit a prospectus for approval. Identification of an advisor should begin with verbal agreements between the student, the advisor, and the other committee members well before the prospectus is submitted.

Dissertation Prospectus

Students must complete their prospectus as soon as possible after passing the qualifying examinations, but no later than the end of their fourth year. The prospectus consists of a proposal for the dissertation which outlines the topic, its significance, its methodologies, and includes a survey of the current scholarly literature and primary sources necessary for successful completion of the dissertation and a comprehensive bibliography. The prospectus is evaluated by the doctoral committee, and is formally accepted after a brief defense.

Students should submit the PhD Prospectus form in GSTS after successful defense and acceptance of the prospectus.

Dissertation and Oral Defense

The student will complete the dissertation under the direction of a committee comprised of three or four current faculty of Northwestern University, at least two of whom must be members of the Musicology program. The chair must be on The Graduate School faculty.

Students are encouraged to apply for funding for dissertation research through TGS and the Office of Fellowships. Dissertations must be formatted according to TGS Dissertation Formatting Guidelines . Students should submit the PhD Final Exam form in GSTS following a successful defense.

Contact Graduate Services:  [email protected]   847-491-5740