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The Juilliard School (/ˈdʒuːli.ɑːrd/ JOO-lee-ard)[4] is a private performing arts conservatory in New York City. Founded by Frank Damrosch as the Institute of Musical Art in 1905, the school later added dance and drama programs and became the Juilliard School, named after its principal benefactor Augustus D. Juilliard.

Key Information

The school is composed of three primary academic divisions: dance, drama, and music, of which the last is the largest and oldest. Juilliard offers degrees for undergraduate and graduate students and liberal arts courses, non-degree diploma programs for professional artists, and musical training for pre-college students. Juilliard has a single campus at the Lincoln Center for the Performing Arts, comprising numerous studio rooms, performance halls, a library with special collections, and a dormitory. It has one of the lowest acceptance rates of schools in the United States. With a total enrollment of about 950 students, Juilliard has several student and faculty ensembles that perform throughout the year, most notably the Juilliard String Quartet.[5][6]

Juilliard alumni have won 105 Grammy Awards, 62 Tony Awards, 47 Emmy Awards, and 24 Academy Awards, including two alumni with EGOTs. Musicians from Juilliard have pursued careers as international virtuosos and concertmasters of professional symphony orchestras. Its alumni and faculty include more than 16 Pulitzer Prize and 12 National Medal of Arts recipients.[7]

History

[edit]

Early years: 1905–1946

[edit]
Frank Damrosch, founder of the Institute of Musical Art, commonly referred to as the "Damrosch School"[8]

In 1905, the Institute of Musical Art (IMA), Juilliard's predecessor institution, was founded by Frank Damrosch, a German-American conductor and godson of Franz Liszt, on the premise that the United States did not have a premier music school and too many students were going to Europe to study music.[9] Chartered by the Board of Regents of the University of the State of New York, the institute became one of first endowed music schools in the US, with significant funding provided by philanthropist and banker James Loeb.[10][a]

Damrosch and Loeb's mission was to establish a musical institution with high standards of teaching and learning that would incorporate a unified pedagogy and develop a "true musical culture among all classes".[b] Accordingly, the school would rely on its endowment to ensure the quality of instruction was independent of students' financial status.[13]

Institute of Musical Art at 120 Claremont Avenue in Manhattan

The Institute of Musical Art opened in the former Lenox Mansion, Fifth Avenue and 12th Street, on October 11, 1905. When the school opened, most teachers were European; however, only Americans were allowed to study at the institute.[c] Although orchestras were exclusively male, women made up most of the student population. The school had 467 students in the first year, but the enrollment soon doubled in size over the following years.[15] Five years after its inception, the institute moved to 120 Claremont Avenue in the Morningside Heights neighborhood of Manhattan onto a property purchased from Bloomingdale Insane Asylum near the Columbia University campus.[16]

Columbia University English professor and first president of Juilliard, John Erskine

In 1919, a wealthy textile merchant named Augustus D. Juilliard died and left a vast sum of money for the advancement of music in his will, which set up the Juilliard Musical Foundation (JMF) a year later as one of its primary beneficiaries.[17] Under Eugene Noble as executive secretary, the foundation purchased the Vanderbilt family guesthouse at 49 E. 52nd Street, and established a separate new music school, the Juilliard Graduate School (JGS), in 1924.[d][20]

After much discussion, the Juilliard School of Music was eventually created in 1926 through a merger of the Institute and the Graduate School. The JGS moved from E 52nd Street to 130 Claremont Avenue next to the IMA in 1931.[21] The two schools had the same board of directors and president but maintained their distinct identities.[22] Columbia University Professor John Erskine became the first president of the two institutions (1928–1937).[23] Frank Damrosch continued as the institute's dean, and the Australian pianist and composer Ernest Hutcheson was appointed dean of the Graduate School. Hutcheson later served as president from 1937 to 1945.[e][26]

Expansion and growth: 1946–1990

[edit]

Juilliard's third president, William Schuman, an American composer and the first Pulitzer Prize for Music winner, led the school from 1945 to 1961 and brought about several significant changes to raise the school's academic standards. In 1946, Schuman completely consolidated the Institute of Musical Art and the Juilliard Graduate School to form a single institution and created the Juilliard String Quartet as the school's main quartet-in-residence.[27][f] During his tenure, Schuman cut down enrollment by more than half, eliminated the Juilliard Summer School and Music Education Program,[g][31] and opened Juilliard's admission to non-Americans.[h]

Schuman discontinued the Theory Department and initiated a new curriculum called the Literature and Materials of Music (L&M), which began in 1947–1948, and was based on the assumption that musical theory education "should transfer theoretical knowledge into practical performance." Designed for composers to teach, the more practical-orientated curriculum would provide an overview of the "literature of music". L&M was a reaction against more formal theory and ear training, and as a result did not have a formal structure and allowed for more flexibility.[i]

Schuman established the school's Dance Department under Martha Hill's direction in 1951, intending that students in the program would receive an education in dance, choreography, and music.[34][35] The department, later renamed the Dance Division, offered performance opportunities through the Juilliard Dance Theatre (1954–1958) and later the Juilliard Dance Ensemble (founded c. 1960), which often collaborated with the Juilliard Orchestra. For many years, the Juilliard Dance Department shared facilities with the School of American Ballet.[36]

In 1957, after two years of deliberation, the Juilliard School of Music board announced that the school would relocate from upper Manhattan to the future Lincoln Center.[37] The Lincoln Center would cover the costs for the construction project, but the school would have to instruct exclusively advanced students, introduce a drama program and cut its Preparatory School.[j] Juilliard's new building at Lincoln Center would be designed by Pietro Belluschi with associates Eduardo Catalano and Helge Westermann.[37] The Juilliard School building at Lincoln Center was completed on October 26, 1969, officially opening with a dedication ceremony and concert.[k][l] With Lincoln Center's prestige came a newly elevated status for the Juilliard School.[41][42]

The Juilliard School at the Lincoln Center as initially opened in 1969

William Schuman assumed the presidency of Lincoln Center in 1962 and composer Peter Mennin succeeded him.[43] Mennin made substantial changes to the L&M program—ending ear training and music history, adding performances and composition in class, and hiring the well-known pedagogue Renée Longy to teach solfège. Mennin organized several new programs, such as Juilliard's Master Class Program and Doctoral Music Program.[m][45] Under Mennin, Juilliard's international reputation grew as several alumni won competitive international competitions.[n] In the 1950s, the school received international attention when alumnus Van Cliburn won the International Tchaikovsky Competition.[46]

In 1968, Mennin hired John Houseman to manage the new Drama Division as director and Michel Saint-Denis as associate director and consultant.[47] The School's name was changed to The Juilliard School to reflect its broadened mission to educate musicians, dancers, directors, and actors.[34] The drama department first only trained actors, of which the first class graduated as Group 1 in 1972, but added playwrights and directors programs in the 1990s.[48] Houseman founded The Acting Company in 1972, which allowed Juilliard students to perform and tour throughout the country.[49] Also in 1972, Lila Acheson Wallace donated $5 million to Juilliard, which later named the Lila Acheson Wallace American Playwrights Program after her.[50][51]

Modernization: 1990–2020

[edit]

Juilliard's longest-serving president Joseph W. Polisi (1984–2017), helped the school modernize by developing educational outreach, formalizing and expanding its music programs, establishing interdisciplinary programs and reforming the school's finances.[52][53] In 1991, Polisi founded the Music Advancement Program (MAP) to help underrepresented students affected by music education budget cuts throughout public schools in New York.[o] Between 1990 and 1993, individual departments for all instruments and voice were established, the Meredith Wilson Residence Hall was built next to the school, salaries for teachers were increased, and the school hoped to accept fewer people and eventually cut 100 students to allow for more funding.[55] In 2001, the school established a jazz performance training program.[56]

By the end of the 20th century, Juilliard had established itself as a prestigious performing arts school. At the time, graduates comprised approximately 20 percent of the Big Five American Orchestras and half of the New York Philharmonic. Juilliard's endowment nearly tripled over the 1980s, reaching a quarter billion in the mid-1990s. Despite high tuition, on average, over 90 percent of accepted students ended up attending the school.[55][57] In 1999, the Juilliard School was awarded the National Medal of Arts and became the first educational institution to receive the award.[58][59]

In September 2005, Colin Davis conducted an orchestra that combined students from the Juilliard and London's Royal Academy of Music at the BBC Proms,[60] and during 2008 the Juilliard Orchestra embarked on a successful tour of China, performing concerts as part of the Cultural Olympiad in Beijing, Suzhou, and Shanghai under the expert leadership of Maestro Xian Zhang.[61][62]

The school has received various gifts and donations since the 2000s. In 2006, Juilliard obtained a trove of precious music manuscripts from board chair and philanthropist Bruce Kovner that make up the Juilliard Manuscript Collection.[63] Philanthropist James S. Marcus donated $10 million to the school to establish the Ellen and James S. Marcus Institute for Vocal Arts at the school in 2010.[64] In 2014, Kovner gave $60 million for the Kovner Fellowship Program to provide expenses for exceptionally gifted students.[65][66]

Tianjin Juilliard School

On September 28, 2015, the Juilliard School announced a major expansion into Tianjin during a visit by China's first lady, Peng Liyuan, the institution's first such full-scale foray outside the United States.[67] The school opened in 2020 and offers a Master of Music degree program.[68][69]

In May 2017, retired New York City Ballet principal dancer Damian Woetzel was named president, replacing Joseph W. Polisi.[70] From March 2020 through the spring 2021 semester, the school switched to online classes and suspended live performances in response to the COVID-19 pandemic.[71][72]

Post-pandemic: 2020–present

[edit]

In June 2021, members of the student group The Socialist Penguins organized a protest against rising tuition costs after claiming that they "weren't being listened to" when meeting with president and provost about the tuition fees.[73][74] In September, the school's Evening Division was renamed to Juilliard Extension which would broaden to offer programs in person and online.[75] In December of the same year, a $50 million gift was given to the school's Music Advancement Program to help students of underrepresented backgrounds.[76]

Campus

[edit]
Map
Juilliard School Campus 1. Alice Tully Hall, 2. Irene Diamond Building, 3. Meredith Willson Residence Hall

The Juilliard School occupies a single main building, the Irene Diamond Building, in the Lincoln Center for the Performing Arts, along Broadway and W 65th Street. The Juilliard building contains several large studio rooms and performance venues, such as the Glorya Kaufman Dance Studio, Stephanie P. McClelland Drama Theater, Harold and Mimi Steinberg Drama Studio, the Judith Harris and Tony Woolfson Orchestral Studio, and Edwin and Nancy Marks Jazz Rehearsal Room. Recital halls include the Peter Jay Sharp Theater, Paul Recital Hall, and the Morse Recital Hall.[77][78] The building also houses the Alice Tully Hall, where the Chamber Music Society of Lincoln Center performs.[79]

Adjacent to the Juilliard building is the Samuel B. & David Rose Building, which is the home of the school's Meredith Willson Residence Hall, named after the composer, conductor and Juilliard alumnus Meredith Willson.[80][81] The building consists of student dormitories, faculty suites, and studios for visiting artists.[82][83] and is also home to the School of American Ballet.[84]

Organization and administration

[edit]

Juilliard's leadership and administration consist of a board of trustees, executive officers, and senior administrators. The board of trustees includes approximately thirty members, with a chair and two vice-chairs, and is responsible for appointing Juilliard's president and managing the school's business affairs.[85][86] Executive offices include the offices of the president and provost. Four administrators serve each as dean and director of the dance, music, drama, and preparatory divisions. There is an additional director for the jazz program. Other academic subdivisions include the Ellen and James S. Marcus Institute for Vocal Arts and Lila Acheson Wallace Library. The vice president holds the position of chief advancement officer and manages the development of the school. Other administrative areas include the chief operating officer and corporate secretary, the public affairs office, and enrollment management and student development.[87]

The Juilliard School has ties with higher education institutions such as Barnard College, Columbia University,[88] and Fordham University[89] and has associations with Nord Anglia Education for primary and secondary education since 2015.[90] The school is accredited by the Middle States Commission on Higher Education (MSCHE), with its last reaffirmation in 2020.[91]

Academics

[edit]

Admission

[edit]

Juilliard admits both degree program seekers and pre-college division students. The latter enter a conservatory program for younger students to develop their skills;[92] All applicants who wish to enroll in the Music Advancement Program, for the Pre-College Division, must perform an audition in person before members of the faculty and administration and must be between ages 8 and 18.

The Juilliard admissions program comprises several distinct steps. Applicants must submit a complete application, school transcripts, and recommendations;[93] some majors also require that applicants submit prescreening recordings of their work, which are evaluated as part of the application.[94] A limited number of applicants are then invited to a live audition,[93][94] sometimes with additional callbacks.[93] After auditions, the school invites select applicants to meet with a program administrator. The school been considered one of the world's most prestigious conservatories.[95][96][97]

Admission to the Juilliard School is highly competitive, as it ranks among the most selective schools in the United States.[98][99] In 2007, the school received 2,138 applications for admission, of which 162 were admitted for a 7.6% acceptance rate.[100] For the fall semester of 2009, the school had an 8.0% acceptance rate.[101] In 2011, the school accepted 5.5% of applicants.[102] For Fall 2012, 2,657 undergraduate applicants were received by the college division and 7.2% were accepted. The 75th percentile accepted into Juilliard in 2012 had a GPA of 3.96 and an SAT score of 1350.[103]

A cross-registration program is available with Columbia University where Juilliard students who are accepted to the program are able to attend Columbia classes, and vice versa. The program is highly selective, admitting 10–12 students from Juilliard per year. Columbia students also have the option of pursuing an accelerated Master of Music degree at Juilliard and obtaining a bachelor's degree at Barnard or Columbia and an MM from Juilliard in five (or potentially six, for voice majors) years.[104]

Academic programs

[edit]

The school offers courses in dance, drama, and music. All Bachelor's and master's degree programs require credits from Liberal Arts courses, which include seminar classes on writing, literature, history, culture, gender, philosophy, environment, and modern languages.[105]

The Dance Division was established in 1951 by William Schuman with Martha Hill as its director. It offers a Bachelor of Fine Arts or a Diploma.[106] Areas of study include ballet and modern and contemporary dance, with courses ranging from dance technique and performance to dance studies. Since its inception, the dance program has had a strong emphasis not only on performance but also on choreography and collaboration.[107]

The Drama Division was established in 1968 by the actor John Houseman and Michel Saint-Denis. Its acting programs offer a Bachelor of Fine Arts, a Diploma and, beginning in Fall 2012, a Master of Fine Arts.[108] Until 2006, when James Houghton became director of the Drama Division, there was a "cut system" that would remove up to one-third of the second-year class. The Lila Acheson Wallace American Playwrights Program, begun in 1993, offers one-year, tuition-free, graduate fellowships; selected students may be offered a second-year extension and receive an Artist Diploma. The Andrew W. Mellon Artist Diploma Program for Theatre Directors was a two-year graduate fellowship that began in 1995 (expanded to three years in 1997); this was discontinued in the fall of 2006.

The Music Division is the largest of the school's divisions. Available degrees are Bachelor of Music or Diploma, Master of Music or Graduate Diploma, Artist Diploma and Doctor of Musical Arts. Academic majors are brass, collaborative piano, composition, guitar, harp, historical performance, jazz studies, orchestral conducting, organ, percussion, piano, strings, voice, and woodwinds. The largest music department is Juilliard's string department,[109] followed by the piano department.[110] The collaborative piano, historical performance, and orchestral conducting programs are solely at the graduate level; the opera studies and music performance subprograms only offer Artist Diplomas. The Juilliard Vocal Arts department now incorporates the former Juilliard Opera Center.

The school's non-degree diploma programs are for specialized training to advance a performer's professional career. These include undergraduate and graduate programs in dance, drama, and music. Musicians and performers can also complete Artist Diploma programs in jazz studies, performance, opera, playwriting, and string quartet studies.[111]

Pre-College Division

[edit]

The Pre-College Division teaches students enrolled in elementary, junior high, and high school. The Pre-College Division is conducted every Saturday from September to May in the Juilliard Building at Lincoln Center.[112]

All students study solfège and music theory in addition to their primary instrument. Vocal majors must also study diction and performance. Similarly, pianists must study piano performance. String, brass and woodwind players, as well as percussionists, also participate in orchestra. The pre-college has two orchestras, the Pre-College Symphony (PCS) and the Pre-College Orchestra (PCO). Placement is by age and students may elect to study conducting, chorus, and chamber music.

The Pre-College Division began as the Preparatory Centers (later the Preparatory Division), part of the Institute of Musical Art since 1916. The Pre-College Division was established in 1969 with Katherine McC. Ellis as its first director. Olegna Fuschi served as director from 1975 to 1988. The Fuschi/Mennin partnership allowed the Pre-College Division to thrive, affording its graduates training at the highest artistic level (with many of the same teachers as the college division), as well as their own commencement ceremony and diplomas. In addition to Fuschi, directors of Juilliard's Pre-College Division have included composer Dr. Andrew Thomas. The current director of the Pre-College Division is Yoheved Kaplinsky.

Center for Innovation in the Arts

[edit]

The Center for Innovation in the Arts (CIA), formerly called the Music Technology Center, at the Juilliard School was created in 1993 to provide students with the opportunity to use digital technology in the creation and performance of new music. Since then, the program has expanded to include a wide offering of classes such as, Introduction to Music Technology, Music Production, Film scoring, Computers In Performance and an Independent Study In Composition.[113]

In 2009, the Music Technology Center moved to a new, state of the art facility that includes a mix and record suite and a digital "playroom" for composing and rehearsing with technology. Together with the Willson Theater, the Center for Innovation in the Arts is the home of interdisciplinary and electro-acoustic projects and performances at the Juilliard School.

Instruments

[edit]

The Juilliard School has about 275 pianos, of which 231 are Steinway grand pianos. It is one of the world's largest collections of Steinway and Sons pianos in the space of concert halls and practice rooms.[114][115]

Pipe organs at Juilliard include those by Holtkamp (III/57, III/44, II/7), Schoenstein (III/12), Flentrop (II/17), Noack (II/3) and Kuhn (IV/85), which are located in various practice rooms and recital halls.[116][117]

The strings department allows students to borrow valuable historic stringed instruments for special concerts and competitions. There are more than 200 such stringed instruments, including several by Antonio Stradivari and Giuseppe Guarneri del Gesù.[118][119]

[edit]

The Lila Acheson Wallace Library is the main library at Juilliard that holds study scores, performance and sound recordings, books, and videos. The school's archives include manuscript collections with digitized holographs. The library has over 87,000 musical scores and 25,000 sound recordings. The Peter Jay Sharp Special Collections features the Igor and Soulima Stravinsky Collection, the Arthur Gold and Robert Fizdale Collection, and the Eugène Ysaÿe Collection.[120][12]

Manuscript of Beethoven's Grosse Fuge for piano four hands, part of the Juilliard Manuscript Collection

The school acquired the Juilliard Manuscript Collection in 2006, which includes autograph scores, sketches, composer-emended proofs and first editions of major works by Mozart, Bach, Beethoven, Brahms, Schumann, Chopin, Schubert, Liszt, Ravel, Stravinsky, Copland, and other composers of the classical music canon. Many of the manuscripts had been unavailable for generations. Among the items are the printer's manuscript of Beethoven's Ninth Symphony, complete with Beethoven's handwritten amendments, that was used for the first performance in Vienna in 1824; Mozart's autograph of the wind parts of the final scene of The Marriage of Figaro; Beethoven's arrangement of his monumental Große Fuge for piano four hands; Schumann's working draft of his Symphony No. 2; and manuscripts of Brahms's Symphony No. 2 and Piano Concerto No. 2. The entire collection has since been digitized and can be viewed online.[121][122]

Rankings

[edit]

Juilliard consistently ranks as one of the top performing arts schools in the world. Since QS first published its QS World University Rankings for the subject performing arts in 2016, Juilliard held the top spot among academic institution for performing arts for six years.[123] The school dropped its ranking to third place in 2022, falling behind the Royal College of Music and the University of Music and Performing Arts Vienna. As part of Juilliard's ranking criteria for 2022, the school scored 100 out of 100 for academic reputation and 69.2 for employer reputation for an overall score of 93.8. Juilliard and the Curtis Institute of Music were the only two American conservatories that made the top 10 in the 2022 QS World Rankings in performing arts.[124][125] In another report, The Hollywood Reporter ranked the school first among drama schools in the world in 2021.[126] According to the Hollywood Reporter's 2022 listing of the top-ranked music schools in the world, Juilliard ranked fourth.[127]

Student life

[edit]

Student body and diversity

[edit]
Student body composition as of May, 2022
Race and ethnicity[128] Total
White 34%
 
Foreign national 31%
 
Asian 11%
 
Hispanic 9%
 
Black 8%
 
Other[p] 7%
 
Economic diversity
Low-income[q] 16%
 
Affluent[r] 84%
 

The Juilliard School enrolled 492 full-time undergraduates, 114 part-time undergraduates and 374 graduate students as of the 2019–2020 school year. Women made up 47% of all the students enrolled. The retention rate for that academic year was 94%. That same year, Juilliard awarded 116 Bachelor's Degrees and 140 Master's Degrees and had a graduation rate of 94%. Of the undergraduate degrees, 87 were in music, 20 in dance, and nine in drama. The school conferred 132 Master of Music Degrees and eight Master of Fine Arts Degrees in drama.[129][130][131]

Juilliard has made efforts to diversify its student body and program. In 2001, the conservatory introduced a Jazz Studies Program, which Wynton Marsalis currently directs.[132][56] The school launched an Equity, Diversity, Inclusion, and Belonging (EDIB) initiative in 2018, which includes a task force and provides workshops for all faculty and staff. Student Diversity Initiatives provide students forums and activities to educate the community on diversity, internationalism, culture and social justice.[133] In the same year, Alicia Graf Mack, who previously danced with the Dance Theatre of Harlem, became the school's first black dance director.[134] The school has recently invested in funding for minority students and schoolchildren to address inequalities.[135] However, some have criticized the school's lack of diversity in its faculty and curriculum and focus on primarily Western Classical Music.[136][137]

Student organizations

[edit]

The Juilliard Black Student Union (JBSU) was founded in the fall of 2016.[138] A group of students established the Alliance for Latin American & Spanish Students (ALAS) in the summer of 2018.[139] The political organization, the Socialist Penguins, was created in 2021 to encourage "anti-capitalist and anti-racist discussions."[140] Other Juilliard clubs include the Juilliard Chinese Student & Scholars Association (J-CSSA), the Juilliard Christian Fellowship (JCF) and the Juilliard Green Club, among others.[141][142] Juilliard does not have any fraternities or sororities.[143]

In the 1980s, Juilliard students assembled an ice hockey team called the Fighting Penguins to compete against a faculty team. The naming of the teams became the first usage of the penguin as the school's mascot. Later in the 1980s, the school had several running and racing events and a tennis team from the 1970s to 1990s. Today, there is a faculty-staff softball team and the student Juilliard Volleyball Club. However, no varsity teams play for the school.[144]

Performing ensembles

[edit]
Morse Hall, one of the performing spaces inside the Juilliard School

The Juilliard School has a variety of ensembles, including chamber music, jazz, orchestras, and vocal/choral groups. Juilliard's orchestras include the Juilliard Orchestra, the Juilliard Chamber Orchestra, the Wind Orchestra, the New Juilliard Ensemble, the Juilliard Theatre Orchestra, and the Conductors' Orchestra.[145][146] The Axiom Ensemble is a student directed and managed group dedicated to well-known 20th-century works.[147]

Established in 2003, the Juilliard Electric Ensemble allows all students to use multi-media technology to produce and perform works. The ensemble has performed works that incorporate new technology by many contemporary composers.[148]

In addition, Juilliard resident ensembles, which feature faculty members, perform frequently at the school. These groups include the Juilliard String Quartet and the American Brass Quintet, which are American ensembles that perform throughout the United States and abroad.[149][150]

Notable people

[edit]
Main article: List of Juilliard School people

Alumni

[edit]
For a list of notable alumni, see List of Juilliard School people § Notable alumni.

Over the years, Juilliard alumni have contributed significantly to the arts and culture. Collectively, they have won numerous awards nationally and internationally, including more than 300 Grammy, Oscar, Emmy, and Tony Awards.[151] Juilliard alumni include principal players and concertmasters of several symphony orchestras such as the New York Philharmonic, the Chicago Symphony Orchestra, the Philadelphia Orchestra and the Berlin Philharmonic.[152] Other graduates have led international careers as soloists, playing with orchestras worldwide.[s] Juilliard alumni are the recipients of over 16 Pulitzer Prizes and 12 National Medals of Arts.[153] Alumni have represented the United States as cultural ambassadors for the arts[154][155][156] and include U.N. messengers of peace.[157][158]

Faculty

[edit]
For a list of notable faculty, see List of Juilliard School people § Notable teachers.

Juilliard has over 350 college faculty members.[209] Present and past faculty have included Pulitzer Prize, Presidential Medal of Freedom and Grammy Lifetime Achievement Award recipients, as well as members of the American Academy of Arts and Sciences and the American Philosophical Society.[210][211][212] Since Peter Mennin's presidency, the school regularly offers master classes with various professional artists and its own faculty members. Past guest artists for these classes have included Leonard Bernstein,[213] Herbert von Karajan,[214] Arthur Rubinstein,[215] Maria Callas,[216] Luciano Pavarotti,[217] Murray Perahia, András Schiff, Joyce DiDonato, Yannick Nézet-Séguin,[218] Renée Fleming,[219] Robert Levin,[220] and Steven Isserlis,[221] among others.

Notes and references

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Juilliard School

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The Juilliard School is a private conservatory of performing arts in New York City, founded in 1905 as the Institute of Musical Art by conductor Frank Damrosch to cultivate professional musicianship in the United States. It was renamed the Juilliard Graduate School in 1926 following a bequest from philanthropist Augustus D. Juilliard, expanded to include dance and drama divisions in the mid-20th century, and relocated to Lincoln Center for the Performing Arts in 1969, where it continues to emphasize rigorous, audition-based training for undergraduate and graduate degrees in music, dance, and acting. Renowned for its faculty of active performers and alumni who have shaped global stages—including composers, virtuosos, and actors—Juilliard maintains a selective enrollment of around 850 students, prioritizing technical mastery and artistic innovation over broader academic pursuits. While celebrated for producing leaders in classical and contemporary performance, the institution has encountered scrutiny over faculty misconduct allegations, such as those involving composer Robert Beaser in 2023, prompting calls for greater accountability in handling sexual harassment claims. Additionally, internal debates on racial narratives and curriculum reforms have highlighted tensions between traditional excellence and ideological pressures, as evidenced by student-led assertions of systemic oppression in 2021 that drew criticism for diverting from core artistic missions.

History

Founding and Early Development (1905–1946)

The Institute of Musical Art was established in 1905 by , a conductor and educator who served as supervisor of music in public schools and was the godson of composer . Damrosch aimed to create an American conservatory offering rigorous training comparable to European institutions, thereby reducing the need for talented students to study abroad. The school opened at and 12th Street in , enrolling approximately 500 students in its inaugural year across programs in , voice, , and other instruments. ![Frank Damrosch][float-right] Rapid enrollment growth—nearly five times initial projections—prompted a relocation in to a new facility at Claremont Avenue and 122nd Street in , adjacent to . This campus provided expanded space for classrooms, practice rooms, and performances, supporting a curriculum emphasizing technical proficiency, ensemble work, and theoretical studies under such as violinist Franz Kneisel and Sigismond Stojowski. The institute maintained a focus on professional preparation, with early graduates entering orchestras, companies, and teaching roles, though it operated without significant endowment, relying on tuition and donations. In 1924, the estate of textile merchant provided a substantial bequest to the Juilliard Musical Foundation, which used the funds to establish the Juilliard Graduate School at 49 East 52nd Street in a former guesthouse. This postgraduate institution targeted advanced performers and composers, advancing the foundation's mandate to elevate musical standards in the United States. A partial merger occurred in 1926, combining the Institute of Musical Art with the Graduate School to form the Juilliard School of Music, unified under professor John Erskine as its first president. The arrangement allowed shared resources while preserving distinct administrative tracks initially. Leadership transitioned in 1937 to pianist and composer Ernest Hutcheson, who oversaw operations amid the and , emphasizing cost efficiencies and faculty retention. Composer William Schuman assumed the presidency in 1945, introducing reforms to integrate undergraduate and graduate programs more closely. By January 1946, the two entities fully amalgamated into a single administrative unit as the Juilliard School of Music, streamlining and curriculum to foster a cohesive conservatory model. This consolidation, effective under Schuman's direction, positioned the institution for postwar expansion while upholding Damrosch's foundational commitment to elite performance training.

Institutional Merger and Expansion (1946–1990)

In 1946, the Juilliard Graduate School and the Institute of Musical Art, which had operated semi-independently since their initial merger in 1926, were fully amalgamated into a single administrative unit known as the Juilliard School of Music, effective for the 1946-47 . This reorganization occurred under the leadership of William Schuman, a who assumed the presidency in and implemented broader educational policies aimed at elevating academic standards and integrating performance with scholarly study. Schuman's initiatives included the establishment of the Juilliard String Quartet in 1946 to advance performance and education. During Schuman's tenure, which extended until 1962, the school expanded its curriculum beyond traditional music instruction. In 1951, the Dance Division was founded under the direction of Martha Hill, marking Juilliard's entry into professional dance training and reflecting a post-World War II emphasis on education. Schuman also introduced the Literature and Materials of Music program, which emphasized analytical and historical approaches to composition, thereby restructuring the curriculum to foster both technical proficiency and intellectual depth among students. These developments positioned Juilliard as a leading conservatory, attracting faculty such as composers and Vincent Persichetti, though enrollment figures from this period remain sparsely documented in available records. Peter Mennin succeeded Schuman as president in 1962 and oversaw the school's most significant physical and programmatic expansions through 1983. In 1968, Mennin established the Drama Division, appointing producer as its first director to cultivate acting and playwriting alongside music and . The following year, in 1969, Juilliard relocated from its Claremont Avenue campus in Morningside Heights to a new facility at for the Performing Arts, enhancing its integration with New York City's cultural institutions and facilitating collaborations such as the American Opera Center, which trained singers in operatic repertoire and . This move, coupled with the addition of drama, prompted a name change to The Juilliard School in 1969 to encompass its broadened scope. Mennin's administration emphasized rigorous standards, contributing to Juilliard's rising prestige despite challenges like urban relocation costs, with the institution maintaining selective admissions amid growing national interest in performing arts education.

Innovation and Modernization (1990–2020)

Under the long presidency of Joseph W. Polisi (1984–2018), The Juilliard School pursued modernization through expanded outreach, curricular enhancements, and infrastructural developments aimed at broadening artistic training and community engagement. Polisi emphasized the "artist as citizen" concept, integrating courses like "American Society and the Arts," which he taught from 1993 to 2016, to foster awareness of arts' societal role amid current events. This period saw the launch of the Music Advancement Program in 1991, targeting underrepresented students in through pre-college training to diversify the pipeline into professional performance. Curricular innovations included the 2001 establishment of the Jazz Studies program, Juilliard's first formal jazz curriculum, developed in collaboration with alumnus and open to non-jazz majors for interdisciplinary study; it enrolled its initial cohort of 18 students that fall, emphasizing historical foundations and performance skills. Reforms in the early restructured core music courses, such as Literature and Materials of Music, following extensive faculty consultations to prioritize qualitative depth over expansion, ensuring graduates possessed broader intellectual preparation without diluting technical rigor. The Maxwell and Muriel Gluck Fellowship Program, initiated in 1989 and extended to actors by 1992, funded student-led community service initiatives, reinforcing outreach as a . Facilities upgrades supported these shifts, including the 1990 opening of the Residence Hall as part of a $100 million capital campaign, marking Juilliard's first on-campus dormitory and enabling student governance structures like a and . The Irene Diamond Building, a new wing dedicated in honor of longtime benefactor Irene Diamond, enhanced rehearsal and performance spaces upon its completion in the late . Technological integration advanced with the 2010 relocation of the Center for to a state-of-the-art facility featuring recording suites, digital production studios, and connectivity to the Willson Theater for experimental work. Programs like "Beyond the Machine," launched around 2000, incorporated motion-capture, immersive audio, and AI into student productions by 2020, reflecting deliberate adaptation to digital tools in . By 2018, with Polisi's departure and Damian Woetzel's appointment as president, Juilliard had solidified these changes amid fiscal pressures, including program curtailments during the 2009 , while maintaining enrollment growth and a focus on global outreach precursors like initiatives. These efforts positioned the to address evolving artistic demands through empirical expansion of access and , grounded in sustained leadership rather than reactive trends.

Contemporary Challenges and Reforms (2020–present)

The posed significant operational and financial challenges for the Juilliard School beginning in March 2020, when the institution suspended in-person classes, activities, and performances, transitioning to remote learning through the end of the academic year and canceling all public events. This shift exacerbated financial pressures on a conservatory reliant on live performances for revenue and student recruitment, contributing to a "financially devastating year" as described in contemporaneous reporting on student unrest. Masking mandates and requirements persisted into 2022, with full in-person resumption only after Summer 2024, when vaccine mandates were lifted. Student-led protests erupted in June 2021 against a proposed $1,970 tuition increase for the 2021–2022 academic year, highlighting affordability concerns amid pandemic-related economic hardships; demonstrators occupied administrative spaces from June 7 to 11, demanding a tuition freeze. Parallel efforts to advance equity, diversity, inclusion, and belonging (EDIB) initiatives included diversity symposiums and Ford Foundation-funded recruitment expansions, but faced backlash, such as a May 2021 online workshop simulating an auditory "slave experience" for training, which prompted an apology after complaints of trauma from participants. transitions addressed these pressures, with Provost Adam Meyer appointed in July 2020 and new roles filled in advancement and deanship by 2024–2025 to bolster and oversight. In response, Juilliard launched a $550 million campaign on April 24, 2025, aiming for a fully tuition-free model for college students starting fall 2025, with phased increases in aid recipients; this built on existing scholarships covering 95% of undergraduates and directly addressed 2021 protest demands, though Moody's downgraded the school's in August 2025 citing elevated and delayed recovery. Access reforms extended to K–12 outreach, including a multi-year with Compton Unified School District announced April 2, 2025, and the November 2024 Curriculum for Change Conference focused on inclusion. These measures prioritized empirical affordability metrics over broader ideological mandates, amid ongoing scrutiny of tuition costs exceeding $55,500 annually for 2025–2026.

Campus and Facilities

Location and Architectural Features

The Juilliard School is located at 60 Plaza in the complex on Manhattan's , , with its primary entrance at 155 West 65th Street between Broadway and Avenue. This positioning integrates the school directly with major cultural institutions such as the and . The school's main facility, the Irene Diamond Building, was originally designed in the Brutalist style by architect Pietro Belluschi in collaboration with Eduardo Catalano and Helge Westermann, and completed in 1969 as part of the Lincoln Center development. The structure features robust concrete forms characteristic of mid-20th-century Brutalism, emphasizing functionality for performing arts education amid the urban plaza setting. A major renovation and expansion from 2009 to 2011, led by with FXFOWLE and Arup, addressed overcrowding in the aging facility by adding a glazed four-level extension that projects over Columbus Avenue, fostering greater interaction with the street-level public realm. Key additions included a three-story entry lobby carved from underutilized spaces, a new , and enhanced circulation to improve accessibility and visibility. These modifications preserved core Brutalist elements while introducing transparent glass facades to contrast with the original massing, totaling over 100,000 square feet of new space.

Performance and Rehearsal Spaces

The Juilliard School maintains multiple venues within its campus, designed to accommodate student recitals, ensemble concerts, dance productions, and dramatic works. The Peter Jay Sharp Theater, with a capacity of 915 seats, serves as the primary space for large-scale events including orchestral performances by the Juilliard Orchestra, operas, and dance series such as New Dances and Juilliard Dances Repertory; it features a 60-foot stage and a pit accommodating up to 95 musicians. The Stephanie P. McClelland Drama Theater, seating 188 on a configuration, hosts the Drama Division's annual slate of plays, including Shakespearean works, enabling flexible staging for diverse productions. Smaller recital halls support and individual performances. The Paul Recital Hall, with 275 seats, is equipped with a Holtkamp organ and recording capabilities, facilitating up to four daily events for student recitals and faculty-led concerts. The adjacent Morse Recital Hall, at 150 seats with adjustable seating, accommodates master classes, lectures, and intimate ensembles. The Rosemary and Theater, a 98-seat venue spanning 2,000 square feet, provides advanced lighting, sound systems, and connectivity to the Music Technology Center, allowing cross-divisional experimentation in experimental and formats. Juilliard students also access the nearby , a 1,086-seat concert venue at renovated in 2009 for superior acoustics and multipurpose use, hosting orchestral and chamber performances by school ensembles. Rehearsal facilities emphasize functionality and acoustics tailored to specific disciplines. The Judith Harris and Tony Woolfson Orchestral Studio (Room 543), measuring 3,500 square feet with 29-foot ceilings and adjustable acoustical panels, supports large ensembles like the . The Glorya Kaufman Dance Studio, a 2,300-square-foot space added in 2009 with a glass wall overlooking Broadway, enables visible rehearsals and integrates with adjacent performance areas. Specialized rooms include the Edwin and Nancy Marks Jazz Rehearsal Room (Room 340, with Broadway views for small groups and the Jazz Orchestra), the Harold and Mimi Steinberg Studio (70 seats, Room 301 for intimate scene work), and the Ellen and James S. Marcus Vocal Arts Studio (Room 305, configured for vocal productions akin to drama studios). These spaces, available for rental under institutional approval, prioritize student preparation while incorporating modern technical infrastructure.

Student Housing and Amenities

The Juilliard School provides on-campus housing primarily through the Residence Hall, located in the Samuel B. and David Rose Building adjacent to the main campus at in . This facility accommodates 348 Juilliard students during the academic year from August to May, in addition to 66 residents from the affiliated School of American Ballet. Housing is mandatory for first-year college students and available on a space-permit basis for upperclassmen, transfer students, and graduates. Rooms in the Meredith Willson Residence Hall are arranged in suite-style configurations featuring single and double bedrooms along shared corridors, with each student assigned a twin XL , with drawers, two-drawer dresser, and or . Suites include a , mini-fridge with freezer compartment, and air purifier. The hall offers specialized housing options such as gender-inclusive floors, all-female floors, quiet floors for those over 21, and accommodations fostering a supportive environment for artistic development. Amenities emphasize convenience and artistic needs, including community kitchens, lounges equipped with televisions and access, pool and ping-pong tables, a reservable , a 22nd-floor fitness center, an 11th-floor , and soundproof practice rooms containing Steinway pianos. access is provided throughout, and a clinic on the 22nd floor delivers medical, therapy, and nutrition services. The Office of Housing and Residence Life, staffed by two full-time professionals, three graduate assistants, and 11 resident assistants, coordinates approximately 75 annual programs and activities to promote social, educational, and practical life skills, with 24/7 emergency support available. For students opting for or required to pursue off-campus living, particularly upperclassmen and graduates, the school supplies resources for navigating New York City's rental market, including tips on leases, neighborhoods, and services like Student Housing Works and 92NY Residence. Off-campus residents may access optional meal plans or declining balance options through the school's dining services. Visitor policies in the residence hall mandate sign-in at the 11th-floor desk from 6 a.m. to midnight with photo ID, while overnight guests require pre-registration via the MyJuilliard portal at least 72 hours in advance and roommate approval, with restrictions during semester transitions.

Governance and Administration

Leadership and Presidents

The president of The Juilliard School acts as the chief executive, directing artistic programming, academic policies, faculty appointments, and institutional strategy while collaborating with the board of trustees. The school's early under the Institute of Musical Art, founded in 1905 by , emphasized rigorous conservatory training modeled on European standards, with Damrosch serving as director until the late 1920s. Following the 1924 establishment of the Juilliard Graduate School under the Juilliard Musical Foundation, John Erskine assumed leadership as president from 1928 to 1937, advocating for advanced professional education in music. Ernest Hutcheson then served as president of the graduate from 1937 to 1945, maintaining focus on performance excellence amid financial constraints. William Schuman became the first president of the consolidated Juilliard School of Music after the 1946 merger of the Institute and Graduate School, holding office from 1946 to 1962; as a composer and winner, he centralized administration, relocated to planning, and prioritized American musical innovation over European emulation. Peter Mennin, a , succeeded Schuman as president from 1962 to 1983, during which the Drama Division launched in 1968 and the institution renamed itself The Juilliard School to reflect expanded disciplines. Joseph W. Polisi, appointed sixth president in 1984 at age 36, led for 33 years until 2017, overseeing enrollment growth from 600 to over 900 students, endowment tripling to $1 billion, and construction of new facilities including the Irene Diamond Building; his tenure emphasized interdisciplinary collaboration and outreach, though it drew critique for administrative expansion. Damian Woetzel, seventh president since July 2018 and a former principal, has advanced tuition reduction goals—cutting undergraduate costs by 20% via scholarships—and fostered partnerships for broader access, while navigating donor disputes and post-pandemic recovery.
PresidentTenureKey Initiatives
William Schuman1946–1962Merger consolidation; vision
Peter Mennin1962–1983Drama Division founding; name change
W. Polisi1984–2017Endowment growth; facility expansions
Damian Woetzel2018–presentAffordability reforms; access prioritization

Organizational Structure and Funding

The Juilliard School operates as a private nonprofit 501(c)(3) educational institution governed by a Board of Trustees, which provides strategic oversight and fiduciary responsibility. The board, chaired by Vincent A. Mai since July 2022, includes trustees such as Julie Choi as vice chair and is responsible for major decisions including presidential appointments and financial policy. The board works closely with the president, , who has led the school since 2017 and reports directly to it while directing day-to-day operations through executive officers and senior administrators. Administratively, the school is structured around key offices including the Office of the President, Office of the Provost (overseeing academic affairs), and specialized units such as development, , and . The academic enterprise centers on three primary divisions— (the largest and oldest, encompassing performance, composition, and classroom studies in areas like , , and ear training), , and —each headed by a dean or director who manages faculty, , and programs. Supporting structures include departments for and information resources, , public safety, and institutional advancement, ensuring operational alignment with the school's mission of elite artistic training. Funding for Juilliard derives primarily from a combination of earned , endowment distributions, and philanthropic contributions, reflecting its status as a tuition-dependent conservatory with significant private support. In 2024, the school reported total of $224 million against expenses of $191 million, with total assets of $1.66 billion including an endowment valued at approximately $1.32 billion at the end of 2023 (yielding a 3.22% return of $42.5 million). Endowment income sustains a portion of the operating while preserving principal, supplemented by tuition and fees from around 600 college-level students and additional from preparatory programs. Private donations and form a critical pillar, with endowed gifts invested to generate ongoing support for scholarships, , and facilities; institutional from foundations, corporations, and select agencies further bolster operations without reliance on broad public funding. This model has enabled amid rising costs, though liabilities stood at $236 million in 2024, underscoring the need for prudent endowment management and donor cultivation to maintain selectivity and program quality.

Academics

Divisions and Degree Programs

The Juilliard School structures its college-level academics into three divisions: , , and , each emphasizing intensive professional training through performance, technique, and artistry. Undergraduate programs lead to the (BM) in the Music Division or the (BFA) in Dance and Drama, typically spanning four years and requiring residency of at least two years for transfers. Graduate offerings include master's degrees, doctoral programs in music, and diplomas for advanced study. All undergraduate degree candidates must fulfill liberal arts requirements, comprising 24 credits in subjects such as , , , social sciences, arts, and languages to broaden intellectual development alongside specialized training. Music Division. This division provides the BM in specializations including composition, orchestral instruments (such as , woodwinds, strings, percussion, , and guitar), voice, jazz studies, orchestral , organ, and historical performance. The curriculum integrates private lessons, ensemble work, , , history, and keyboard studies, with opportunities for collaboration across genres and periods. Graduate programs encompass the two-year (MM) for advanced training in performance or composition, the Doctor of Musical Arts (DMA) for scholarly and performative expertise, and non-degree options like the Undergraduate Diploma, Graduate Diploma, and Artist Diploma for professional musicians seeking focused refinement without full academic credits. Dance Division. The BFA program trains students in , modern, and contemporary techniques over four years, incorporating , , , and production elements, with a minimum two-year residency for transfers. The MFA extends this with advanced , repertory, and teaching preparation in a two-year format. Both degrees mandate liberal arts integration, with the BFA requiring 18 credits in the department. Diplomas are available as alternatives to degrees for select candidates prioritizing technique over academics. Drama Division. Focused on acting, the BFA offers four years of rigorous training in movement, voice, speech, text analysis, and the Alexander Technique, including 18 liberal arts credits. The MFA builds on this with intensified ensemble work, classical and contemporary repertory, and professional preparation over four years post-undergraduate entry. Playwriting operates as the tuition-free American Playwrights Program, granting an Artist Diploma fellowship for up to five years to develop original works through workshops, readings, and collaborations with actors and directors, without a traditional degree structure.

Admissions and Selectivity

The admissions process at the Juilliard School prioritizes demonstrated artistic excellence over standardized academic metrics, requiring applicants to undergo prescreening via video submissions tailored to their division—such as performances for , choreography excerpts for , or monologues for —followed by live auditions for shortlisted candidates. Applications are submitted online through the official portal, with most undergraduate deadlines set for ; graduate programs, including MFAs and Artists Diplomas, have varying timelines, often earlier for prescreened tracks. Eligibility mandates a minimum age of 16 upon , a or equivalent, and submission of transcripts, though GPA and test scores like SAT/ACT are considered supplementary to audition performance. Live auditions, conducted in person in New York or occasionally virtually, evaluate technical proficiency, interpretive depth, and artistic potential by faculty panels, with decisions emphasizing innate talent and readiness for intensive training rather than prior formal education. International applicants must provide proof of English proficiency if their primary language of instruction was not English, and all candidates face holistic review including interviews for certain programs. The process yields enrollment of around undergraduates across divisions, reflecting a deliberate cap to maintain individualized instruction. Selectivity remains exceptionally stringent, with an acceptance rate of 8.96% for the 2023-2024 cycle, where 2,020 applications resulted in 181 offers; this aligns with historical trends of 7-10% over the past decade, driven by global applicant pools exceeding capacity and the school's reputation for producing elite performers. Program-specific rates can dip lower, such as under 5% in highly competitive areas like string instruments or , as faculty seek candidates with prodigious ability capable of thriving in a meritocratic environment. This low yield stems from prescreening elimination of most applicants, ensuring admitted students possess verifiable exceptionalism verifiable through repeated audition rounds.

Pre-College and Extension Programs

The Juilliard Pre-College Division, established in as the Preparatory Center, provides a conservatory-style for students aged 8 to 18 demonstrating exceptional talent and commitment. The program emphasizes rigorous training through private lessons on principal instruments, coaching, large ensemble participation (such as orchestras and choirs), and academic courses in music theory, , sight-singing, and electives like composition, , and . Instruction occurs primarily on Saturdays from 9:00 a.m. to 6:00 p.m. over approximately 28 sessions from to May, with additional performance opportunities and faculty drawn from Juilliard's college-level instructors. Admission requires competitive auditions tailored to specific majors, ensuring selection of candidates prepared for advanced study. Historically, the division evolved from early 20th-century Saturday sessions focused on eurhythmics, choral work, and basic technical skills, expanding post-World War II to include diverse instruments and international students. Key directors include Yoheved Kaplinsky, who has led since 2006, following figures like Andrew Thomas (1994–2006) and faculty such as Dorothy DeLay ( pedagogy, 1948–2002). Current enrollment exceeds 300 students annually, with about 30% from over 10 countries, contributing to the broader Preparatory Division's nearly 400 participants alongside the Music Advancement Program for younger beginners. Scholarships cover full or partial tuition for qualified applicants, supporting accessibility amid selective entry. Juilliard Extension, rebranded in 2021 from the Evening Division (itself rooted in classes offered since 1905 by the Institute of Musical Art, Juilliard's predecessor), delivers non-degree in to adults and high school students worldwide. Courses span , , analysis, and musicianship, with offerings in and , available in online, in-person, or hybrid formats at the campus or remotely. Targeted at enriching or professional skills without formal , the program includes full-semester classes, workshops, and specialized electives like guitar classes or history surveys. Extension features accredited certificate programs, such as the Certificate in Core Musical Skills requiring 18 credits in and , alongside options in music production and high school-level credentials. Enrollment surpasses 800 students per year, reflecting broad access to Juilliard faculty expertise beyond degree-seeking paths. These initiatives maintain continuity with the 's foundational public , adapting to modern demands for flexible, career-oriented training in a competitive landscape.

Educational Resources and Innovations

The Library serves as the primary research facility for Juilliard's students and faculty, housing over 87,000 music scores, books, recordings, and periodicals tailored to performance and scholarly needs. Complementing this are the Peter Jay Sharp Special Collections, which include rare manuscripts, first editions, and historical materials such as autograph scores, providing direct access to primary sources for advanced study. The Juilliard Archives maintain administrative records, historical documents, and documenting the institution's evolution since its founding, accessible for research into pedagogical and institutional history. Digital infrastructure enhances these physical resources through JUILCAT Plus, a catalog integrating streaming audio and video collections, e-journals, and reference databases for remote and on-campus use. JMedia functions as an internal digital repository aggregating recordings, programs, and metadata from past performances, enabling students to analyze historical interpretations and technical executions. These tools support curriculum demands in music theory, history, and analysis, with expanded online access implemented during disruptions like the 2020 remote learning shift. Innovations in educational delivery include the Center for Creative Technology (CCT), established to equip students with production and interactive skills, offering courses in music production, interactive technology, and scoring for film and television using software like and Max/MSP. This initiative integrates digital tools into traditional training, allowing composition and performance with electronic elements, as seen in independent studies and the annual Future Stages Festival showcasing student tech-driven works. Such programs address evolving industry needs, blending acoustic mastery with computational methods to foster hybrid artistry, with enrollment exceeding 1,200 in related extension offerings. Practice facilities, including reservable rooms equipped for solo and small-ensemble work, further underpin resource access, with instrument loans available for strings, winds, and keyboards to ensure equitable preparation.

Rankings, Reputation, and Outcomes

The Juilliard School is frequently ranked among the top institutions worldwide for . In the by Subject 2025 for Performing Arts, it placed 8th globally, scoring 86.2 out of 100, based on metrics including academic reputation, employer reputation, and citations per paper. For specifically, The Hollywood Reporter's 2025 list of best drama schools ranked Juilliard first, ahead of Yale and Carnegie Mellon, evaluating factors such as faculty quality and success in professional theater. In music, Niche ranked it 2nd nationally in 2025, behind only Institute, drawing from alumni earnings and student surveys. These subject-specific rankings reflect its specialized focus, though general university rankings like EduRank place it lower (1031st in the ) due to its narrow scope excluding broader research outputs. Juilliard's reputation stems from its emphasis on intensive, conservatory-style that produces technically proficient performers, often described as the "gold standard" in , , and . It attracts elite applicants, with and faculty including Grammy, Oscar, and Tony winners, contributing to strong employer recognition in professional arts circles. However, some industry observers note criticisms of its program as overly competitive and insular, potentially fostering a narrow skill set less adaptable to commercial or interdisciplinary careers, as echoed in musician forums questioning its value beyond elite classical paths. This prestige-driven aura persists despite limited diversification, with its Manhattan location enhancing networking in New York's ecosystem. Graduate outcomes show high completion rates but variable professional success aligned with the precarious economics of . The six-year graduation rate stands at 87%, with a four-year rate of 81% and retention rate of 96%, outperforming many peers in student persistence. Employment one year post-graduation reaches 91%, per Niche from surveys, though long-term trajectories vary widely. Median earnings six years after graduation average $22,129, and early-career salaries hover around $31,000, reflecting common in fields where many graduates pursue freelance, teaching, or non- roles amid limited and theater positions. Critics highlight that while Juilliard credentials open doors to auditions and fellowships, they do not guarantee , with some resorting to service jobs; this underscores causal realities of supply exceeding demand in elite performance sectors. Official disclosures for non-degree programs lack detailed placement rates, but the school's 25,000+ include leaders in major ensembles like the , indicating selective high-end success.

Student Life

Demographics and Enrollment

The Juilliard School's College Division enrolls 899 students for the 2024-2025 academic year, comprising both undergraduate and graduate programs across its Music, Dance, and Drama divisions. The institution also operates a Pre-College Division serving nearly 400 students from elementary through high school levels. Gender distribution varies slightly by program level: undergraduates consist of 52% males and 48% females, while graduates are 49% male and 51% female, resulting in an overall composition of 51% male and 49% female students. Non-U.S. residents and international students account for 35% of the College Division enrollment. Among U.S. students, racial and ethnic demographics include the following:
Race/EthnicityPercentage
28%
Asian14%
Black or African American8%
Hispanic or Latino7%
Two or more races6%
American Indian/Alaska Native, Native Hawaiian/Pacific Islander, or unknown0%
These figures reflect self-reported data and exclude the international cohort, which is categorized separately. Enrollment trends have remained relatively stable, with total College Division figures hovering around 800–1,000 students in recent years, emphasizing selective admissions focused on over demographic quotas.

Campus Culture and Extracurriculars

The campus culture at the Juilliard School emphasizes immersion in the performing arts, with students engaging in rigorous practice and spontaneous collaborations across music, dance, and drama divisions, fostering an environment of constant artistic activity. This atmosphere prioritizes openness, care, and collaboration to support diverse perspectives within a highly selective community of approximately 950 students. Participation in campus life is viewed as essential for holistic growth, balancing intense training with opportunities for intellectual and personal development, though the demanding schedule often requires deliberate efforts to incorporate rest and socialization. New Student Orientation, a week-long program, facilitates integration by introducing academic expectations, wellness resources, and peer connections. Extracurricular activities are coordinated through the Office of , which supports a range of student-led organizations, social programming, and leadership initiatives to promote and . Active groups include choral ensembles, an organization, and student government, alongside religious affiliations such as the Korean Christian Fellowship and minority student organizations. Cultural diversity events and on-campus gatherings, listed via the MyJuilliard portal, provide outlets for unwinding amid the urban setting, with residence life in the Residence Hall further encouraging communal bonds. These elements contribute to a culture where artistic excellence drives daily interactions, supplemented by health services and counseling to address the pressures of professional preparation.

Performing Ensembles and Opportunities

The Juilliard Orchestra, comprising all orchestral instrumental majors at the bachelor's and master's levels, serves as the school's largest and most prominent ensemble, performing more than 30 concerts per season in venues including Alice Tully Hall, David Geffen Hall at Lincoln Center, and Carnegie Hall. These performances feature repertoire spanning classical standards and contemporary works, conducted by guest artists such as John Adams, Yannick Nézet-Séguin, and annually by David Robertson. Complementing this are the conductorless Juilliard Chamber Orchestra, which emphasizes shared leadership under coach Eric Bartlett; the Wind Orchestra, focusing on wind-specific repertoire like Beethoven's Octet under faculty conductors including Elaine Douvas; and the student-led Lab Orchestra, which meets weekly and stages one performance per semester with participants receiving stipends. Chamber music forms a core component of student training, with the Honors Chamber Music program assigning string and piano groups by audition for three public performances annually in October, mid-spring, and April. Student-initiated independent ensembles receive faculty coaching and perform at least once per semester both on campus and off, while the annual ChamberFest selects 20 groups for a week-long intensive in January culminating in public concerts. Opportunities extend to specialized ensembles like the New Juilliard Ensemble (N.J.E.), an auditioned group of 13 to 30 players presenting two concerts per semester of recent compositions, and AXIOM, which focuses on 20th- and 21st-century works through case-by-case auditions and performs at Lincoln Center and other New York City sites. In jazz studies, students join the Juilliard Jazz Orchestra and smaller ensembles for regular professional gigs, including at the . Vocal arts majors participate in fully staged undergraduate productions—three per season, such as Mozart's in Peter Jay Sharp Theater—and opera scenes programs. Across divisions, these activities contribute to nearly 700 Juilliard-sponsored performances annually in , alongside dance repertory shows like New Dances and drama productions, providing platforms for collaboration with professionals and exposure in major venues.

Notable Individuals

Prominent Alumni and Their Achievements

The Juilliard School's alumni have achieved distinction across performing arts disciplines, earning numerous accolades including Grammy, Tony, Emmy, and Academy Awards. In music, violinist Itzhak Perlman, who completed studies at Juilliard in 1968 under Ivan Galamian and Dorothy DeLay, secured 16 Grammy Awards, four Emmy Awards, and a Kennedy Center Honor for his recordings and performances of classical repertoire. Pianist Van Cliburn, who enrolled at Juilliard at age 17 to study with Rosina Lhévinne, gained international acclaim by winning the inaugural International Tchaikovsky Competition in Moscow on April 11, 1958, at age 23, propelling his career with sold-out recitals and RCA Victor recordings that sold over 200,000 copies of Tchaikovsky's Piano Concerto No. 1 within months. Soprano Renée Fleming, a Juilliard graduate who later donated her personal archives to the institution, has received five Grammy Awards, including for Best Classical Vocal Solo in 2023 for Voice of Nature: The Anthropocene, alongside performances at major venues like the Metropolitan Opera. Composer Philip Glass, who studied composition at Juilliard in the 1950s with Vincent Persichetti and William Bergsma, pioneered minimalism with operas like Einstein on the Beach (1976) and symphonies performed by ensembles worldwide, influencing contemporary music through repetitive structures and collaborations with figures like Robert Wilson. In drama, Audra McDonald, who graduated from Juilliard's acting program, holds the record for most Tony Awards by an individual performer with six wins, starting with Best Featured Actress in a Musical for Carousel in 1994, followed by roles in Ragtime (1998), Master Class (2010), and Lady Day at Emerson's Bar and Grill (2014). Kevin Kline, a Juilliard-trained actor from the inaugural drama division class of 1970, won the Academy Award for Best Supporting Actor for A Fish Called Wanda in 1989, alongside two Tony Awards for On Borrowed Time (1991) and The Pirates of Penzance (1981). Viola Davis, who earned a Bachelor of Fine Arts from Juilliard in 1993, became an EGOT recipient with an Oscar for Fences (2017), Emmy for How to Get Away with Murder (2015), Tony for King Hedley II (2001), and Grammy for the Fences cast album (2017). Jessica Chastain, who studied acting at Juilliard before her 2003 graduation, received Academy Award nominations for The Help (2011) and Zero Dark Thirty (2012), and later an honorary doctorate from the school in 2024 for contributions to film and theater. Robin Williams, who attended Juilliard from 1973 to 1976 as one of only two students accepted into John Houseman's advanced acting program, won the Academy Award for Best Supporting Actor for Good Will Hunting (1997) after building a career in comedy and improvisation honed during his time there. Juilliard dance alumni include choreographer Robert Battle, a 1994 graduate, who served as artistic director of from 2011 to 2024, creating works like In Common Ground (2000) premiered at the Joyce Theater and expanding the company's repertoire to over 100 new pieces during his tenure. These accomplishments reflect the school's emphasis on technical mastery and artistic innovation, though individual success often stems from post-graduation opportunities and personal drive beyond institutional training.

Influential Faculty and Contributors

![Frank Damrosch, founder of the Institute of Musical Art][float-right] established the Institute of Musical Art in 1905 as a professional music school modeled after European conservatories, serving as its first director until 1924; this institution merged with the Juilliard Graduate School to form the core of the modern Juilliard School. Philanthropist , a wealthy merchant, provided a bequest upon his death in 1919 that funded the creation of the Juilliard Graduate School of Music in 1924, named in his honor and emphasizing graduate-level training. Early faculty at the Institute included European recruits such as flutist George Barrère, pianist Sigismond Stojowski, and violinist Franz Kneisel, who brought rigorous technical standards and performance expertise to American students. John Erskine, serving as president from to 1937, oversaw the formal merger of the Institute and Graduate School, integrating undergraduate and graduate programs while prioritizing artistic excellence over purely academic credentials. William Schuman, president from 1945 to 1962 and a Pulitzer Prize-winning , expanded Juilliard's scope by founding the Dance Division in 1951 under Martha Hill's direction; he recruited pioneering choreographers including , who taught from 1951 to 1977 and integrated her technique into the curriculum, alongside Antony Tudor and as founding faculty. In the Drama Division, established in 1968 under president Peter Mennin, as first director and Michel Saint-Denis as associate director shaped an ensemble-based training model emphasizing classical theater and collaboration. Violin pedagogue Dorothy DeLay, who joined the faculty in 1948 as assistant to and later headed the string department, profoundly influenced generations of performers through her emphasis on psychological preparation, musical interpretation, and career guidance; her students included , Cho-Liang Lin, and , many of whom achieved international solo careers.

Controversies and Criticisms

Diversity Initiatives and Backlash

In response to heightened scrutiny following the 2020 protests, the Juilliard School established the of Community and Culture to advance programs fostering cultural understanding and mutual respect among students, faculty, staff, and . This supports equity, diversity, inclusion, and belonging (EDIB) efforts, including the Community and Culture Council, which advises on related initiatives. In December 2021, Juilliard received a $50 million grant from the Los Angeles-based Ralph M. Parsons Foundation to expand its C.V. Starr Doctoral Program, targeting racial disparities in by providing intensive training primarily to and Latino youth from underserved communities. Additional measures include Diversity Advocates, student leaders trained to address inclusion issues impacting the , and resources promoting by underrepresented composers, such as curated lists of composers recommended by faculty. These initiatives faced significant backlash, particularly in 2021, amid perceptions that they prioritized ideological conformity over artistic merit in a conservatory historically grounded in rigorous, audition-based selection. Critics, including commentator , described a "strange anti-racist meltdown" triggered by a guest speaker on Black musical , who was accused of insufficiently aligning with post-Floyd equity demands, leading to broader institutional soul-searching and mandatory . A May 2021 "Slavery Saturday" workshop, part of an program, required participants to engage in an auditory simulation of enslavement on a , which some Black students reported as retraumatizing; the school subsequently apologized and halted similar sessions. In June 2021, renowned violinist Pinchas Zukerman's was terminated mid-session and its video withheld after he used phrases evoking cultural stereotypes toward Asian students, prompting Juilliard to issue apologies for "insensitive and offensive" remarks, despite Zukerman's subsequent personal apology. Skeptics argued these episodes reflected a post-2020 shift toward enhanced reporting, diversity curricula, and audition adjustments to boost representation—such as a reported 50% student share in certain cohorts, disproportionate to the 12% national population—potentially compromising Juilliard's meritocratic . The formation of the Juilliard Alumni Association in June 2021, citing systemic , amplified calls for but also fueled debates over whether such advocacy conflated historical underrepresentation with contemporary in a field demanding exceptional technical proficiency. While proponents viewed the initiatives as essential for inclusivity, detractors contended they risked subordinating objective excellence to subjective equity metrics, echoing broader cultural tensions in elite arts training.

Sexual Misconduct and Ethical Lapses

In December 2022, The Visionary and the Vision—A Journal of Applied Research in (VAN) published accounts from multiple former students alleging and coercive relationships by Robert Beaser, a longtime composition professor and former department chair at the Juilliard School, with incidents dating to the late and early . The accusers described Beaser using his authority to initiate intimate encounters, including inviting students to his apartment under professional pretexts and pressuring them into sexual acts, with some reports indicating alcohol was involved and that complaints to school officials at the time were dismissed or inadequately addressed. Juilliard administrators had previously investigated similar accusations during that period but permitted Beaser to retain his faculty position without significant repercussions, reflecting institutional shortcomings in enforcement mechanisms prior to enhanced protocols. Following the report, Juilliard placed Beaser on on December 16, 2022, and commissioned an independent investigation by the law firm . The inquiry, completed in 2023, uncovered substantial credible evidence of , prompting the school's termination of Beaser's employment on June 8, 2023. Beaser contested the findings, asserting that any relationships were consensual among adults and denying , while criticizing the retrospective application of modern standards to decades-old events. The case drew scrutiny to Juilliard's historical oversight of faculty-student dynamics, as internal surveys indicated that approximately 4% of respondents in a 2022 institutional review reported experiencing during programs or activities. The allegations spurred broader demands for reform, with over 500 musicians signing an on December 19, 2022, urging institutions, including Juilliard, to prioritize and overhaul reporting processes to prevent recurrence of unchecked power imbalances. In response, Juilliard affirmed its zero-tolerance policy and committed to strengthening protocols, though critics highlighted delays in addressing pre-#MeToo era complaints as evidence of systemic ethical gaps in safeguarding students from faculty exploitation. No other major faculty terminations for have been publicly documented in recent years, but the Beaser incident underscored vulnerabilities in elite conservatory environments where artistic mentorship can blur professional boundaries.

Pedagogical and Institutional Critiques

Critiques of Juilliard's pedagogical methods center on an alleged overemphasis on technical virtuosity and preparation, which some argue neglects practical skills essential for most musicians, such as orchestral and . A 2004 New York Times analysis of alumni outcomes noted complaints that the inadequately equips graduates for "bread-and-butter work" like symphony orchestra roles or , with many finding the school's focus on individual mastery ill-suited to ensemble dynamics or real-world employability. This perspective aligns with broader conservatory critiques, where evaluations and faculty hierarchies prioritize over holistic development, potentially stifling collaborative or adaptive musicianship. The school's rigorous practice demands—often exceeding eight hours daily—have drawn scrutiny for fostering burnout and strain, with empirical indicators including dedicated psychological services to address acute anxiety from performance pressures. Personal accounts from former students describe physical and leading to crises, such as lapses or chronic conditions exacerbated by unrelenting schedules, underscoring a causal link between the institutional culture of endurance and diminished . Critics contend this model, rooted in early 20th-century discipline under founders like , persists despite evidence that such intensity correlates with higher dropout risks and suboptimal long-term career sustainability in a contracting classical field. Institutionally, Juilliard has been faulted for insufficient adaptation to contemporary challenges, including the dominance of popular genres and evolving audience preferences, with calls for reforms to integrate innovation, cross-disciplinary training, and entrepreneurial skills to avert decline. A Juilliard alumnus argued in 2021 that rigid adherence to traditional risks obsolescence, as the school produces elite performers but fewer versatile artists equipped for diversified income streams like or . Financial decisions, such as the 2009 reduction of the outreach program for low-income youth amid budget constraints, have highlighted perceived and limited access to preparatory training, affecting institutional equity in talent pipelines. While enrollment remains selective—accepting fewer than 7% of applicants annually—these issues reflect tensions between preserving a high-stakes and addressing systemic barriers in education. Protests in 2021 over tuition increases further exposed strains on affordability, with students arguing that escalating costs (reaching $50,000-plus annually) exacerbate inequality without commensurate pedagogical evolution.

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