The Peabody Institute of the Johns Hopkins University

Piano Lit I- Fall 2006/ Spring 2007

Dr. Sharon Levy

Email: redon@peabody.jhu.edu; slevy@juilliard.edu

Website: www.peabody.jhu.edu/slevy

Monday- 9-10:45

Goal: This course is designed to help broaden and deepen your knowledge and understanding of the music in your major field, piano. Repertoire covered will range through the17th and 18^th-centuries, with the first semester focusing on Bach and before, and the second semester primarily on the pre-classical and classical masters. Our focus will be on listening, discussion, and absorption of the important keyboard (primarily non-organ) works and styles of this extraordinary time period.

While there will be a number of topics covered, one of the most important issues this first semester is the remarkable range, imagination, expressivity, and indeed freedom which can be found in much of this early repertoire. There is a mind-set in this music which is very different from our contemporary understanding of the particular, closely-notated score. Performance, i.e. interpretive, choices for early repertoire include things as fundamental as choice of instrument and tuning system and, in some cases, how much of a work is to be performed at a given time. In other cases, rhythms are only freely notated, and must be realized by the performer. Questions of tempo, dynamics, and embellishment are also present. In short, the obligation upon the performer to be educated in the style is particularly great in this earlier repertoire, but the corresponding freedoms and opportunities can be particularly rewarding as well. Even where one is not interested in pursuing active performance of 17^th century keyboard works on the piano (essentially transcriptions), a further understanding and awareness of these styles can enhance that repertoire which is still actively played on piano (particularly Bach). 

Brass tacks: Your grade will be based on participation, assignments, and exams.

Participation: Participation is composed of attendance, alertness, and activity. These make up a significant component of your final grade. Showing up is important, but also very important is what you do while you're in class. Questions and comments are always extremely welcome. I also encourage you to feel free to perform works which we are covering in class, should you know them. While this is not required, it is one more element of your participation grade. You may thus choose the best way for you to contribute to our learning together, whether by playing, by asking questions, or by sharing your comments and ideas.

Assignments: These will include written projects, assigned readings, and/or in-class presentations. Your assignments Must be turned in On Time in order to receive full credit. Anything more than a week late cannot be accepted for credit. (In case of extreme circumstances, please come and speak to me ahead of time.) Assignments should be typed (or may be emailed to me as an attachment the day on which they are due.)

Fall semester project: I will ask you to do a listening review, i.e., a comparative analysis of at least 3 contrasting recordings of the same work, in which you state what you think is effective and what isn't, and why or why not. You may consider things such as instrument choice, tempi, dynamics, articulation, ornamentation, level of rubato, tone color, fidelity to score, musical shape, balance of unifying and contrasting features, or whatever else you think matters in the performances and interpretive choices. Aim to choose contrasting performances. You may choose any keyboard work within the time period being studied. Be as specific as you can in your discussion of the work in question and your reasons behind your views.  Due date: Monday, October 9

Spring semester project: Imagine you are organizing a festival (c 4-5 concerts) entitled “The Baroque Keyboard”, “The Classical Keyboard”, “The 18^th-century Keyboard”, or some similar title of your own choice, involving keyboard music written before Beethoven. Create recital programs, and write an introduction explaining your choices. Consider issues involved in organizing any concert programs (e.g., key relationships, balance of modes, tempi, character; level of virtuosity, character, use of beginning, middle, or ending-type pieces, etc.) You should also specify what instruments will be performed in which pieces, and explain your reasons. You will be graded on the originality and thoughtfulness of your choices, and your explanation/discussion of them. Works may be chosen from among those covered in class, but are by no means limited to these. Due date: February 19

Assigned reading: Based on some articles which I will assign and on your own listening and experience, be prepared to write an essay discussing your views on the performance-practice movement.  In your thinking, try to consider specific musical issues (e.g., the effect of pedal, equal temperament, a relatively slow sound decay, and generally even sound across registers [features of the modern piano] vs. the diverse tunings, options of stops/couplings [in harpsichords], more rapid decay, differentiated registers, and clearer bass [harpsichord and fortepiano] and highly responsive action and sensitivity to articulation [fortepiano] in different repertoires. There is no wrong position to take; the idea is simply to consider the issue thoughtfully. Due date: TBA, or as part of one of our exams

Final presentation, spring semester: Choose a short Baroque or Classical work (pre-Beethoven) or section of a work to present.  Two weeks before the presentation [4/9], email me some brief information about the work, such as its time and place of composition, its genre, instrumentation, why it interests you, or anything which you think would enhance our understanding and appreciation of it. I will then be able to compile these and hand them out to your classmates. Please aim to keep your total presentation to approx 9 minutes total.  Presentation date: TBA (but probably 4/23- subject to modification depending on our in-class progress))

Exams: Exams will be primarily though not exclusively listening, with the goal of identifying specific works, composers, and/or styles. There will also be some short-answer questions based on the material covered in class, as well as the possibility of a thought question (short essay). You should be able to recognize and identify by ear or by score any work which we’ve studied in class or which is on your reserve and for which I have told you that you are responsible.  You are also responsible for concepts presented in class discussion.               

In addition, you should also be able to give an educated hypothesis when presented with either a recording or score not specifically presented in class but in the style of material covered. Points of stylistic identification could include items such as the following:

-Dance type (based on meter, accent pattern, phrase structure, tempo, etc)

-Texture (Fugal, freely contrapuntal, homophonic)

-Form (Binary, Continuous, Variational, Sectional)

Projected list of Topics (always subject to instructor modification):

(Note: Numbered topics do not necessarily correspond to weeks. Specific works or composers listed below represent a particular focus, but are not a comprehensive list.)

1] The English Virginalists-William Byrd (1543-1623); John Bull (1562-1628); Orlando Gibbons (1583-1625) 

2] An Italian school- Girolamo Frescobaldi (1583-1625); Giovanni Maria Trabaci (c. 1575-1647)

3] Early France- orders and unmeasured preludes -Jacques Champion de Chambonnieres (1601-72); Jean-Henri D’Anglebert (1628-91); Louis Couperin (1626-61); Early Germany- Sweelinck (1562-1621)

4]  An international master -Johann Jacob Froberger (1616-1667)  

5] Early eighteenth century French masters -Francois Couperin (1668-1733), Jean-Philippe Rameau (1683-1764) 

6] German predecessors and contemporaries to Bach-Dietrich Buxtehude (1631-1707); Johann Kaspar Ferdinand Fischer (c.1665-1746); George Frederick Handel (1685-1759) 

7] J. S. Bach (1685-1750) Beginnings- Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992; Toccata in e minor, BWV 914; Fugue in b minor on a theme by Tomaso Albinoni, BWV 951 

8] Bach fantasies -Fantasia and Fugue in a minor, BWV 904; Chromatic Fantasy and Fugue, BWV 903

9] Suites- The English and French Suites, BWV 806-817 , and  Clavierubung I, the Partitas, BWV 825-830  

10] The Well-Tempered Clavier, I   

11] The Well-Tempered Clavier, I 

12] The Well-Tempered Clavier, I     

Spring semester list of topics [as always, subject to instructor modification]

1] Bach, WTC II

2] Late style- c-minor fantasy, Musical Offering, and the Goldberg Variations

3] Domenico Scarlatti [1685-1757]

4] Bach sons, C. P. E. Bach and J. C. Bach

5] Haydn sonatas

6] Mozart sonatas, I

7] Mozart sonatas, II

8] Mozart and Haydn Klavierstucke/ Mozart concertos, I

9] Mozart concertos, II

10] Mozart concertos, III

11] Muzio Clementi

12] In-class presentations

13] Fortepiano demonstration

Very approximate breakdown of points (always subject to instructor modification):

-Participation- 20%

-Assignments/ projects- 20%

-Midterm- 30%

-Final- 30% 

Note: You may use outside sources in any of your written work, but all must be completely acknowledged in bibliography and/or footnotes. This includes not only exact quotations, but also free paraphrase and even ideas. Always err on the side of over-annotating. Any instances of unacknowledged use of outside sources will result in an automatic failure for the project/exam, and very likely for the course itself.

Reasonable accommodations will be provided for students with disabilities who have been certified by the Office of Academic Support Services. Please contact Joan Warren, Associate Dean for Academic Support Services (Room 235, email jwarren@juilliard.edu, phone # 212- 799-5000, ext 213) for more information and assistance.

 

Piano Lit I- Fall 2007/ Spring 2008

Dr. Sharon Levy

Email: redon@peabody.jhu.edu; slevy@juilliard.edu

Website: www.peabody.jhu.edu/slevy

Monday- 9-10:45

Goal: This course is designed to help broaden and deepen your knowledge and understanding of the music in your major field, piano. Repertoire covered will range through the17th and 18^th-centuries, with the first semester focusing on Bach and before, and the second semester primarily on the pre-classical and classical masters. Our focus will be on listening, discussion, and absorption of the important keyboard (primarily non-organ) works and styles of this extraordinary time period.

While there will be a number of topics covered, one of the most important issues this first semester is the remarkable range, imagination, expressivity, and indeed freedom which can be found in much of this early repertoire. There is a mind-set in this music which is very different from our contemporary understanding of the particular, closely-notated score. Performance, i.e. interpretive, choices for early repertoire include things as fundamental as choice of instrument and tuning system and, in some cases, how much of a work is to be performed at a given time. In other cases, rhythms are only freely notated, and must be realized by the performer. Questions of tempo, dynamics, and embellishment are also present. In short, the obligation upon the performer to be educated in the style is particularly great in this earlier repertoire, but the corresponding freedoms and opportunities can be particularly rewarding as well. Even where one is not interested in pursuing active performance of 17^th century keyboard works on the piano (essentially transcriptions), a further understanding and awareness of these styles can enhance that repertoire which is still actively played on piano (particularly Bach). 

Brass tacks: Your grade will be based on participation, assignments, and exams.

Participation: Participation is composed of attendance, alertness, and activity. These make up a significant component of your final grade. Showing up is important, but also very important is what you do while you're in class. Questions and comments are always extremely welcome. I also encourage you to feel free to perform works which we are covering in class, should you know them. While this is not required, it is one more element of your participation grade. You may thus choose the best way for you to contribute to our learning together, whether by playing, by asking questions, or by sharing your comments and ideas.

Assignments: These will include written projects, assigned readings, and/or in-class presentations. Your assignments Must be turned in On Time in order to receive full credit. Anything more than a week late cannot be accepted for credit. (In case of extreme circumstances, please come and speak to me ahead of time.) Assignments should be typed (or may be emailed to me as an attachment the day on which they are due.)

Fall semester project: I will ask you to do a listening review, i.e., a comparative analysis of at least 3 contrasting recordings of the same work, in which you state what you think is effective and what isn't, and why or why not. You may consider things such as instrument choice, tempi, dynamics, articulation, ornamentation, level of rubato, tone color, fidelity to score, musical shape, balance of unifying and contrasting features, or whatever else you think matters in the performances and interpretive choices. Aim to choose contrasting performances. You may choose any keyboard work within the time period being studied. Be as specific as you can in your discussion of the work in question and your reasons behind your views.  Due date: Monday, October 15

Spring semester project: Imagine you are organizing a festival (c 4-5 concerts) entitled “The Baroque Keyboard”, “The Classical Keyboard”, “The 18^th-century Keyboard”, or some similar title of your own choice, involving keyboard music written before Beethoven. Create recital programs, and write an introduction explaining your choices. Consider issues involved in organizing any concert programs (e.g., key relationships, balance of modes, tempi, character; level of virtuosity, character, use of beginning, middle, or ending-type pieces, etc.) You should also specify what instruments will be performed in which pieces, and explain your reasons. You will be graded on the originality and thoughtfulness of your choices, and your explanation/discussion of them. Works may be chosen from among those covered in class, but are by no means limited to these. Due date: Monday, February 18

Assigned reading: Based on some articles which I will assign and on your own listening and experience, be prepared to write a brief essay on one of your exams discussing your views on the performance-practice movement.  In your thinking, try to consider specific musical issues (e.g., the effect of pedal, equal temperament, a relatively slow sound decay, and generally even sound across registers [features of the modern piano] vs. the diverse tunings, options of stops/couplings [in harpsichords], more rapid decay, differentiated registers, and clearer bass [harpsichord and fortepiano] and highly responsive action and sensitivity to articulation [fortepiano] in different repertoires. There is no wrong position to take; the idea is simply to consider the issue thoughtfully.

Final presentations:

Fall: Choose a short keyboard work from Baroque or before which you think works on a modern piano (or, if you have been studying harpsichord, feel free to perform on that instrument).  

Spring: Choose a short Baroque or Classical (pre-Beethoven) work or section of it (e.g. a movt) to present.

For both presentations, be prepared with some brief information about the work, such as its time and place of composition, its genre, form, why it interests you, or anything which you think would enhance our understanding and appreciation of it.  Timings to be discussed in class. Presentation date: TBA (in both fall and spring, will be towards the end of the semester)

Exams: Exams will be primarily though not exclusively listening, with the goal of identifying specific works, composers, and/or styles. There may also be some short-answer questions based on the material covered in class, as well as the possibility of a thought question (short essay). You should be able to recognize and identify by ear or by score any work which we’ve studied in class or which is on your reserve and for which I have told you that you are responsible.  You are also responsible for concepts presented in class discussion.               

In addition, you should also be able to give an educated hypothesis when presented with either a recording or score not specifically presented in class but in the style of material covered. Points of stylistic identification could include items such as the following:

-Dance type (based on meter, accent pattern, phrase structure, tempo, etc)

-Texture (Fugal, freely contrapuntal, homophonic)

-Form (Binary, Continuous, Variational, Sectional)

 

Projected list of Topics (always subject to instructor modification):

(Note: Numbered topics do not necessarily correspond to weeks. Specific works or composers listed below represent a particular focus, but are not a comprehensive list.)

1] The English Virginalists-William Byrd (1543-1623); John Bull (1562-1628); Orlando Gibbons (1583-1625) 

2] An Italian school- Girolamo Frescobaldi (1583-1625); Giovanni Maria Trabaci (c. 1575-1647)

3] Early France- orders and unmeasured preludes -Jacques Champion de Chambonnieres (1601-72); Jean-Henri D’Anglebert (1628-91); Louis Couperin (1626-61); Early Germany- Sweelinck (1562-1621)-  An international master -Johann Jacob Froberger (1616-1667)  

4] Early eighteenth century French masters -Francois Couperin (1668-1733), Jean-Philippe Rameau (1683-1764) 

5] German predecessors and contemporaries to Bach-Dietrich Buxtehude (1631-1707); Johann Kaspar Ferdinand Fischer (c.1665-1746); George Frederick Handel (1685-1759) 

6] J. S. Bach (1685-1750) Beginnings- Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992; Toccata in e minor, BWV 914; Fugue in b minor on a theme by Tomaso Albinoni, BWV 951 

7] Bach fantasies -Fantasia and Fugue in a minor, BWV 904; Chromatic Fantasy and Fugue, BWV 903; possibly Fantasy and Fugue (incomplete) in c minor, BWV 906  

8] Suites- The English and French Suites, BWV 806-817, and  Clavierubung I, the Partitas, BWV 825-830  

9] The Well-Tempered Clavier, I

10] The Well-Tempered Clavier, I 

11] The Well-Tempered Clavier, II, possibly continuing into the following week

12] Presentations     

 

Spring semester list of topics [as always, subject to instructor modification]

1] Bach Late style- c-minor fantasy, Musical Offering, and the Goldberg Variations

2] Bach- Art of the Fugue

3] Domenico Scarlatti [1685-1757]

4] Bach sons, C. P. E. Bach and J. C. Bach

5] Haydn sonatas, I

6] Haydn sonatas, II

6] Mozart sonatas, I

7] Mozart sonatas, II

8] Mozart and Haydn Klavierstucke/ Mozart concertos, I

9] Mozart concertos, II

10] Mozart concertos, III

11] In-class presentations (two weeks)

13] Fortepiano demonstration

Very approximate breakdown of points (always subject to instructor modification):

-Participation- 20%

-Assignments/ projects- 20%

-Midterm- 30%

-Final- 30% 

Note: You may use outside sources in any of your written work, but all must be completely acknowledged in bibliography and/or footnotes. This includes not only exact quotations, but also free paraphrase and even ideas. Always err on the side of over-annotating. Any instances of unacknowledged use of outside sources will result in an automatic failure for the project/exam, and very likely for the course itself.

Reasonable accommodations will be provided for students with disabilities who have been certified by the Office of Academic Support Services. Please contact Joan Warren, Associate Dean for Academic Support Services (Room 235, email jwarren@juilliard.edu, phone # 212- 799-5000, ext 213) for more information and assistance.

 

Piano Lit I- Fall 2007/ Spring 2008

Dr. Sharon Levy

Email: redon@peabody.jhu.edu; slevy@juilliard.edu

Website: www.peabody.jhu.edu/slevy

Monday- 9-10:45

Goal: This course is designed to help broaden and deepen your knowledge and understanding of the music in your major field, piano. Repertoire covered will range through the17th and 18^th-centuries, with the first semester focusing on Bach and before, and the second semester primarily on the pre-classical and classical masters. Our focus will be on listening, discussion, and absorption of the important keyboard (primarily non-organ) works and styles of this extraordinary time period.

While there will be a number of topics covered, one of the most important issues this first semester is the remarkable range, imagination, expressivity, and indeed freedom which can be found in much of this early repertoire. There is a mind-set in this music which is very different from our contemporary understanding of the particular, closely-notated score. Performance, i.e. interpretive, choices for early repertoire include things as fundamental as choice of instrument and tuning system and, in some cases, how much of a work is to be performed at a given time. In other cases, rhythms are only freely notated, and must be realized by the performer. Questions of tempo, dynamics, and embellishment are also present. In short, the obligation upon the performer to be educated in the style is particularly great in this earlier repertoire, but the corresponding freedoms and opportunities can be particularly rewarding as well. Even where one is not interested in pursuing active performance of 17^th century keyboard works on the piano (essentially transcriptions), a further understanding and awareness of these styles can enhance that repertoire which is still actively played on piano (particularly Bach). 

Brass tacks: Your grade will be based on participation, assignments, and exams.

Participation: Participation is composed of attendance, alertness, and activity. These make up a significant component of your final grade. Showing up is important, but also very important is what you do while you're in class. Questions and comments are always extremely welcome. I also encourage you to feel free to perform works which we are covering in class, should you know them. While this is not required, it is one more element of your participation grade. You may thus choose the best way for you to contribute to our learning together, whether by playing, by asking questions, or by sharing your comments and ideas.

Assignments: These will include written projects, assigned readings, and/or in-class presentations. Your assignments Must be turned in On Time in order to receive full credit. Anything more than a week late cannot be accepted for credit. (In case of extreme circumstances, please come and speak to me ahead of time.) Assignments should be typed (or may be emailed to me as an attachment the day on which they are due.)

Fall semester project: I will ask you to do a listening review, i.e., a comparative analysis of at least 3 contrasting recordings of the same work, in which you state what you think is effective and what isn't, and why or why not. You may consider things such as instrument choice, tempi, dynamics, articulation, ornamentation, level of rubato, tone color, fidelity to score, musical shape, balance of unifying and contrasting features, or whatever else you think matters in the performances and interpretive choices. Aim to choose contrasting performances. You may choose any keyboard work within the time period being studied. Be as specific as you can in your discussion of the work in question and your reasons behind your views.  Due date: Monday, October 15

Spring semester project: Imagine you are organizing a festival (c 4-5 concerts) entitled “The Baroque Keyboard”, “The Classical Keyboard”, “The 18^th-century Keyboard”, or some similar title of your own choice, involving keyboard music written before Beethoven. Create recital programs, and write an introduction explaining your choices. Consider issues involved in organizing any concert programs (e.g., key relationships, balance of modes, tempi, character; level of virtuosity, character, use of beginning, middle, or ending-type pieces, etc.) You should also specify what instruments will be performed in which pieces, and explain your reasons. You will be graded on the originality and thoughtfulness of your choices, and your explanation/discussion of them. Works may be chosen from among those covered in class, but are by no means limited to these. Due date: Monday, February 18

 

Assigned reading: Based on some articles which I will assign and on your own listening and experience, be prepared to write a brief essay on one of your exams discussing your views on the performance-practice movement.  In your thinking, try to consider specific musical issues (e.g., the effect of pedal, equal temperament, a relatively slow sound decay, and generally even sound across registers [features of the modern piano] vs. the diverse tunings, options of stops/couplings [in harpsichords], more rapid decay, differentiated registers, and clearer bass [harpsichord and fortepiano] and highly responsive action and sensitivity to articulation [fortepiano] in different repertoires. There is no wrong position to take; the idea is simply to consider the issue thoughtfully.

 

Final presentations:

Fall: Choose a short keyboard work from Baroque or before which you think works on a modern piano (or, if you have been studying harpsichord, feel free to perform on that instrument).  

Spring: Choose a short Baroque or Classical (pre-Beethoven) work or section of it (e.g. a movt) to present.

For both presentations, be prepared with some brief information about the work, such as its time and place of composition, its genre, form, why it interests you, or anything which you think would enhance our understanding and appreciation of it.  Timings to be discussed in class. Presentation date: TBA (in both fall and spring, will be towards the end of the semester)

 

Exams: Exams will be primarily though not exclusively listening, with the goal of identifying specific works, composers, and/or styles. There may also be some short-answer questions based on the material covered in class, as well as the possibility of a thought question (short essay). You should be able to recognize and identify by ear or by score any work which we’ve studied in class or which is on your reserve and for which I have told you that you are responsible.  You are also responsible for concepts presented in class discussion.               

In addition, you should also be able to give an educated hypothesis when presented with either a recording or score not specifically presented in class but in the style of material covered. Points of stylistic identification could include items such as the following:

-Dance type (based on meter, accent pattern, phrase structure, tempo, etc)

-Texture (Fugal, freely contrapuntal, homophonic)

-Form (Binary, Continuous, Variational, Sectional)

 

Projected list of Topics (always subject to instructor modification):

(Note: Numbered topics do not necessarily correspond to weeks. Specific works or composers listed below represent a particular focus, but are not a comprehensive list.)

 

1] The English Virginalists-William Byrd (1543-1623); John Bull (1562-1628); Orlando Gibbons (1583-1625) 

2] An Italian school- Girolamo Frescobaldi (1583-1625); Giovanni Maria Trabaci (c. 1575-1647)

3] Early France- orders and unmeasured preludes -Jacques Champion de Chambonnieres (1601-72); Jean-Henri D’Anglebert (1628-91); Louis Couperin (1626-61); Early Germany- Sweelinck (1562-1621)-  An international master -Johann Jacob Froberger (1616-1667)  

4] Early eighteenth century French masters -Francois Couperin (1668-1733), Jean-Philippe Rameau (1683-1764) 

5] German predecessors and contemporaries to Bach-Dietrich Buxtehude (1631-1707); Johann Kaspar Ferdinand Fischer (c.1665-1746); George Frederick Handel (1685-1759) 

6] J. S. Bach (1685-1750) Beginnings- Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992; Toccata in e minor, BWV 914; Fugue in b minor on a theme by Tomaso Albinoni, BWV 951 

7] Bach fantasies -Fantasia and Fugue in a minor, BWV 904; Chromatic Fantasy and Fugue, BWV 903; possibly Fantasy and Fugue (incomplete) in c minor, BWV 906  

8] Suites- The English and French Suites, BWV 806-817, and  Clavierubung I, the Partitas, BWV 825-830  

9] The Well-Tempered Clavier, I

10] The Well-Tempered Clavier, I 

11] The Well-Tempered Clavier, II, possibly continuing into the following week

12] Presentations     

 

Spring semester list of topics [as always, subject to instructor modification]

 

1] Bach Late style- c-minor fantasy, Musical Offering, and the Goldberg Variations

2] Bach- Art of the Fugue

3] Domenico Scarlatti [1685-1757]

4] Bach sons, C. P. E. Bach and J. C. Bach

5] Haydn sonatas, I

6] Haydn sonatas, II

6] Mozart sonatas, I

7] Mozart sonatas, II

8] Mozart and Haydn Klavierstucke/ Mozart concertos, I

9] Mozart concertos, II

10] Mozart concertos, III

11] In-class presentations (two weeks)

12] Fortepiano demonstration

 

Very approximate breakdown of points (always subject to instructor modification):

-Participation- 20%

-Assignments/ projects- 20%

-Midterm- 30%

-Final- 30% 

Note: You may use outside sources in any of your written work, but all must be completely acknowledged in bibliography and/or footnotes. This includes not only exact quotations, but also free paraphrase and even ideas. Always err on the side of over-annotating. Any instances of unacknowledged use of outside sources will result in an automatic failure for the project/exam, and very likely for the course itself.

Reasonable accommodations will be provided for students with disabilities who have been certified by the Office of Academic Support Services. Please contact Joan Warren, Associate Dean for Academic Support Services (Room 235, email jwarren@juilliard.edu, phone # 212- 799-5000, ext 213) for more information and assistance.