音乐创作哲学博士

我们的作曲老师在全球450多个场馆演出，他们的写作风格和习语种类繁多，但他们不愿对学生施加自己的风格偏爱。即使在限制学术音乐概念流行的日子里，作曲家也从未拥护教条，而是邀请各种风格的学生入学。他们在传统理论和最新音乐技术上都有扎实的基础，并强调与表演者的合作关系。该系以学生作曲家与我们之间的紧密联系而感到自豪，因为我们是大型研究生表演团体。新音乐冠军赛的传统在该部门中根深蒂固，它鼓励表演者，作曲家和历史学家以整体方式互动。在学习的第一年，博士生被分配一个教职指导委员会，与他们通过制定博士合同来创建自己的课
Performed in over 450 venues worldwide, our composition faculty write in a wide range of styles and idioms, but share a reluctance to impose their own stylistic predilections on students. Even in the days when circumscribed notions of academic music were most in force, faculty composers never espoused dogma, and invite for admission students along a broad range of the stylistic spectrum. They share a belief in solid grounding in both traditional theory and in the newest musical technologies, and emphasize collaborative relationships with performers. The department prides itself on the close relationship between student composers are our large graduate performing body. The tradition of new music championship runs deep in the department, which encourages performers, composers, and historians to interact in integral ways. In the first year of study, PhD students are assigned a faculty directing committee, with whom they create their own curriculum by drawing up a doctoral contract The contract lists courses to be taken and projected work (compositions or research papers). Prior to advancing to candidacy (normally after two or three years in the program), history/theory candidates take an oral exam in their field of specialization, and present a prospectus for their thesis. For composers, the thesis is an extended composition.