Relevant Degree Programs
Complete these steps before you reach out to a faculty member!
- Familiarize yourself with program requirements. You want to learn as much as possible from the information available to you before you reach out to a faculty member. Be sure to visit the graduate degree program listing and program-specific websites.
- Check whether the program requires you to seek commitment from a supervisor prior to submitting an application. For some programs this is an essential step while others match successful applicants with faculty members within the first year of study. This is either indicated in the program profile under "Admission Information & Requirements" - "Prepare Application" - "Supervision" or on the program website.
- Identify specific faculty members who are conducting research in your specific area of interest.
- Establish that your research interests align with the faculty member’s research interests.
- Read up on the faculty members in the program and the research being conducted in the department.
- Familiarize yourself with their work, read their recent publications and past theses/dissertations that they supervised. Be certain that their research is indeed what you are hoping to study.
- Compose an error-free and grammatically correct email addressed to your specifically targeted faculty member, and remember to use their correct titles.
- Do not send non-specific, mass emails to everyone in the department hoping for a match.
- Address the faculty members by name. Your contact should be genuine rather than generic.
- Include a brief outline of your academic background, why you are interested in working with the faculty member, and what experience you could bring to the department. The supervision enquiry form guides you with targeted questions. Ensure to craft compelling answers to these questions.
- Highlight your achievements and why you are a top student. Faculty members receive dozens of requests from prospective students and you may have less than 30 seconds to pique someone’s interest.
- Demonstrate that you are familiar with their research:
- Convey the specific ways you are a good fit for the program.
- Convey the specific ways the program/lab/faculty member is a good fit for the research you are interested in/already conducting.
- Be enthusiastic, but don’t overdo it.
G+PS regularly provides virtual sessions that focus on admission requirements and procedures and tips how to improve your application.
Graduate Student Supervision
Doctoral Student Supervision
Dissertations completed in 2010 or later are listed below. Please note that there is a 6-12 month delay to add the latest dissertations.
This dissertation is a comprehensive examination of the use of the sostenuto pedal by Ferruccio Busoni (1866-1924) in the first Appendix of his edition of Bach’s Well-Tempered Clavier (1894) and Mit Anwendung des III. Pedals (Steinway & Sons Sustaining-Pedal) (1923). Although Busoni notated the use of the sostenuto pedal in these two works, scholars have largely overlooked the significance of his groundbreaking pedalling techniques. To contextualize the historical significance of Busoni’s use of the sostenuto pedal in the history of the piano repertoire, I analyze the use of the sostenuto pedal in Consolation No. 3 and Danse des Sylphes by Franz Liszt (1811-1886), for Liszt was the only major composer who notated his use of the sostenuto pedal before Busoni. I then use these findings to discuss Busoni’s first Appendix and Mit Anwendung des III. Pedals (Steinway & Sons Sustaining-Pedal), which represent Busoni’s extensive use of the sostenuto pedal but has not been discussed fully in scholarly literature. To illustrate Busoni’s impact, I demonstrate that his use of the sostenuto pedal pre-dated similar pedalling techniques employed by twentieth-century composers, including Percy Grainger (1882-1961), Luciano Berio (1925-2003), and George Crumb (1929-). My research findings provide a contextualized explanation of Busoni’s pedalling techniques and identify his contributions to the development of piano playing. Grounded in the most up-to-date and authoritative research, I show that Busoni found new ways to prolong and release tones by using the sostenuto pedal. He developed the use of the sostenuto pedal from merely prolonging a pedal point, as Liszt did, to devising four new pedalling techniques: 1) he altered the customary sequence of sound production of the piano: attack, sustain, and release; 2) he enabled the performance of contrasting articulations and dynamics in multi-layered textures; 3) he prolonged pedal points and increased the clarity of individual layers within multi-layered textures; 4) he formed polychords. Busoni’s use of the sostenuto pedal, I argue, expanded the pedalling technique of the piano.