Music Handbook - Benedictine College · 4 Professional Skills 7.4 The teacher articulates a...

Resources for Students and Faculty

Music

Handbook Revised October, 2019

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TABLE OF CONTENTS

Overview of the Music Handbook ...................................................................................................... 1

Mission Statement ............................................................................................................................... 1

Accreditation ....................................................................................................................................... 1

Goals .................................................................................................................................................... 1

Kansas State Department of Education Music Standards .................................................................... 2

Degree Programs in Music .................................................................................................................. 4

Music Faculty & Staff ......................................................................................................................... 5

General Information

Accompanists ................................................................................................................................. 6

Advising ........................................................................................................................................ 7

Applied Music ............................................................................................................................... 7

Auditorium .................................................................................................................................... 7

Calendar ........................................................................................................................................ 7

Classrooms .................................................................................................................................... 7

Computers ..................................................................................................................................... 7

Concert Etiquette .......................................................................................................................... 7

Copyright Infringement ................................................................................................................ 8

Curriculum .................................................................................................................................... 8

Declaring a Major ......................................................................................................................... 8

Declaring a Minor ........................................................................................................................... 8

Ensembles ...................................................................................................................................... 8

Concert Chorale ......................................................................................................................... 8

Symphonic Band ....................................................................................................................... 8

Orchestra ................................................................................................................................... 8

Women’s Ensemble ................................................................................................................... 9

Men’s Choir ................................................................................................................................. 9

Chamber Ensembles .................................................................................................................. 9

Faculty Office Hours ..................................................................................................................... 9

Fees ............................................................................................................................................... 9

Health and Safety .......................................................................................................................... 9

Instrument Loan and Rental ........................................................................................................ 10

Keys ............................................................................................................................................ 10

Library ........................................................................................................................................ 10

Lockers ........................................................................................................................................ 10

Participation Awards ................................................................................................................... 10

Practice Rooms ........................................................................................................................... 11

Purchasing Music ........................................................................................................................ 11

Scheduling of Lessons ................................................................................................................ 11

Academic Policies and Procedures

Application & Admission to the Department ............................................................................. 11

Complaint Policy ........................................................................................................................ 12

Concert Attendance ..................................................................................................................... 13

Credit/Time Requirements .......................................................................................................... 13

Grading Policies .......................................................................................................................... 15

Junior and Senior Recitals .......................................................................................................... 15

Senior Recital - Composition Emphasis ....................................................................................... 15

Jury Examinations ....................................................................................................................... 15

Jury Evaluation ............................................................................................................................. 16

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Jury Evaluation – Composition Emphasis .................................................................................... 16

Piano Proficiency Examination ................................................................................................... 16

Practice Logs ............................................................................................................................... 16

Programs ..................................................................................................................................... 16

Portfolios ..................................................................................................................................... 16

Recital Performance .................................................................................................................... 17

Students with Disabilities ........................................................................................................... 17

Forms, Documents, and Worksheets

Application for Acceptance to the Music Department as a Major .............................................. 19

Freshman Interview/Jury Sheet ................................................................................................... 20

Sophomore Barrier Jury Sheet .................................................................................................... 22

Jury Repertoire Sheet .................................................................................................................. 24

Jury Evaluation Form .................................................................................................................. 25

Composition Jury Repertoire Sheet .............................................................................................. 26

Composition Sophomore Barrier Jury Sheet ................................................................................ 27

Composition Jury Evaluation Form .............................................................................................. 29

Concert Attendance Form ........................................................................................................... 30

Noon Recital Attendance Form .................................................................................................. 31

Noon Recital Performance Form ................................................................................................ 31

Piano Proficiency Examination ................................................................................................... 32

Curriculum Worksheets

Bachelor of Arts in Music ........................................................................................................ 33

Bachelor of Arts in Music/Emphasis in Composition ............................................................. 36

Bachelor of Music Education .................................................................................................. 39

Music Minor ............................................................................................................................ 43

Suggested Courses of Study – 4 year suggested sequence

Bachelor of Arts in Music ........................................................................................................ 44

Bachelor of Arts in Music/Emphasis in Composition ............................................................. 45

Bachelor of Music Education .................................................................................................. 46

Petition for Acceptance to a MAJOR Program ........................................................................... 47

Petition for Acceptance to a MINOR Program ............................................................................. 48

Current Student Ensemble Participation Award Agreement ........................................................ 49

Protect Your Hearing Every Day .................................................................................................. 50

Protect Your Neuromusculoskeletal and Vocal Health Every Day .............................................. 56

Faculty Resources .............................................................................................................................. 65

Repertoire lists

Brass/Percussion ......................................................................................................................... 67

Piano ........................................................................................................................................... 76

Organ .......................................................................................................................................... 77

Strings ......................................................................................................................................... 77

Guitar .......................................................................................................................................... 78

Vocal ........................................................................................................................................... 79

Woodwinds ................................................................................................................................. 80

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OVERVIEW OF THE MUSIC DEPARTMENT HANDBOOK The Handbook contains important information for students regarding the policies and curricula of the music department. Students should use the Handbook as a resource for planning for the major and accessing information regarding departmental policies and procedures.

MISSION STATEMENT

The mission of the Benedictine College Music Department complements the mission of the college as presented in the catalog, and is accepted by the music faculty and all constituents of Benedictine College:

The Benedictine College Music Department strives to present opportunities for students that meet the

artistic, creative, and scholarly demands of those who intend to pursue teaching, performance or other

careers in music. The Department enhances the cultural activities of the college and serves the student body

with offerings in applied music and with vocal and instrumental ensembles.

ACCREDITATION

Benedictine College is accredited as a degree-granting institution of higher education by: North Central

Association of Colleges and Schools; National Association of Schools of Music; and the National Council for

Accreditation of Teacher Education.

GOALS

1. The Music Department aims to provide for students in the liberal arts degree programs (Bachelor of Arts

degree with a major in Music, Bachelor of Arts with a major in Music with Emphasis in Music Composition,)

educational opportunities, performance experiences, and expectation of standards on a national level to

prepare them for entrance into study on the graduate level and/or preparation for a professional career in

music.

2. The Music Department aims to provide professional training for those students desiring to teach PreK-12

general music through the Bachelor of Music Education degree program.

3. The Music Department aims to successfully meet standards required by the appropriate accrediting

agencies: National Association of Schools of Music (NASM), Kansas State Department of Education (KSDE),

Council for the Accreditation of Educator Preparation, (CAEP).

4. The Music Department aims to provide to all students the opportunity to perform in ensembles, participate

in music courses and applied music, and to attend musical events for their cultural development.

5. The Music Department aims to provide an atmosphere that fosters scholarship and independent research

to reflect the character of Benedictine College as America's Discovery College.

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KANSAS STATE DEPARTMENT OF EDUCATION MUSIC STANDARDS

In addition to the goals, objectives, and competencies set for all teacher education students at Benedictine College, the Department of Music adheres to the following educational objectives that are specific to music education students and are issued by the Kansas State Department of Education. The Benedictine College Music Department and the Department of Education present programs for PreK-12 instrumental, vocal and general music. KSDE Standards for PreK-12 General Music are as follows:

Standard # 1 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in pedagogy (planning, delivering instruction, and assessment) for vocal, instrumental, and general music.

Content Knowledge 1.1 The teacher understands repertoire and pedagogy appropriate for various

developmental stages.

1.2 The teacher knows representative works of the past and present from the solo, small, and large ensemble literature.

1.3 The teacher utilizes a variety of pedagogies appropriate to teaching singing, performing, listening, moving, creating, and reading/writing.

Professional Skills 1.4 The teacher performs alone with musical understanding and technical proficiency

sufficient to interpret and model representative works of the past and present. 1.5 The teacher performs alone and in small and large ensembles (vocal and instrumental). 1.6 The teacher demonstrates the ability to access musical and literary resources for vocal

and/or instrumental music. 1.7 The teacher develops pedagogy appropriate for various developmental stages, and

models/implements musical skills, such as singing, performing, listening, moving, creating, and reading/writing.

1.8 The teacher demonstrates singing effective for instructional purposes. 1.9 The teacher demonstrates functional knowledge of various instruments and musical

technologies.

Standard # 2 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in creating, arranging, and improvising.

Content Knowledge 2.1 The teacher knows the characteristics, ranges and traditional usages of various musical sound sources to make the discipline accessible and meaningful for learners to assure mastery of content.

Professional Skills 2.2 The teacher improvises melodies and accompaniments that are stylistically appropriate over various harmonic progressions for modeling and teaching improvisation. 2.3 The teacher performs written accompaniments on the music keyboard or chord instrument and transposes accompaniments to developmentally appropriate keys and ranges. 2.4 The teacher creates music appropriate for various developmental stages. 2.5 The teacher transcribes or arranges selected music for voices and instruments other than those for which the pieces were written in ways that preserve or enhance musical expression.

Standard # 3 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in reading and writing music.

Content Knowledge 3.1 The teacher understands the aural and notational skills required for creating and recreating music for instruction.

Professional Skills

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3.2 The teacher conducts from a variety of scores, reading multiple staves, transpositions, clefs, and contemporary notation. 3.3 The teacher performs music notation at sight vocally and instrumentally. 3.4 The teacher notates music from aural sources. 3.5 The teacher can develop and use criteria for evaluating selecting materials for reading and writing musical compositions. 3.6 The teacher selects, maintains, and integrates technology to facilitate music reading and writing.

Standard # 4 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in listening to, analyzing, describing, and performing music.

Content Knowledge 4.1 The teacher knows technical and symbolic vocabulary of music. 4.2 The teacher understands the organization of sound in musical forms.

4.3 The teacher understands the common elements of music and their interaction through aural and visual analysis.

Professional Skills 4.4 The teacher identifies, through visual and aural analysis, composers and music representing diverse styles, periods, cultures, genres, and techniques of musical organization. 4.5 The teacher describes and models relevant performance practices, techniques, and compositional devices. 4.6 The teacher demonstrates effective strategies for developing students’ growth through a variety of active musical experiences.

Standard # 5 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in selecting, analyzing, interpreting, presenting, and evaluating music and music performance within the context of music education.

Content Knowledge 5.1 The teacher understands criteria for evaluating the quality and effectiveness of teaching materials (i.e. compositions, arrangements, improvisations) and performances.

Professional Skills 5.2 The teacher evaluates a varied repertoire of music through planning, engaged instruction, performance, and assessment. 5.3 The teacher demonstrates effective strategies for student exploration of the music of various historical periods and cultures as appropriate for various developmental stages. 5.4 The teacher facilitates student self-evaluation of music and musical performances. 5.5 The teacher develops, plans and implements music classroom instruction and performance at all developmental levels (i.e. inclusive, solo, chamber, auditioned).

Standard # 6 - The teacher of PK-12 music (Instrumental, Vocal, General) can assess musical knowledge and skills.

Content Knowledge 6.1 The teacher understands and uses multiple methods of assessment to measure student growth, monitor student progress, and inform both student and teacher decisions.

Professional Skills 6.2 The teacher selects, designs, and applies music assessment strategies that evaluate the program to ensure students’ learning, skill, and artistic development.

Standard # 7 - The teacher of PK-12 music (Instrumental, Vocal, General) demonstrates professional responsibility and reflective practice.

Content Knowledge 7.1 The teacher understands cognitive, affective, and psychomotor aspects of music education to meet the needs of each learner. 7.2 The teacher is aware of the impact of a program within a community. 7.3 The teacher understands appropriate professional, ethical, administrative (financial, management, organizational, and operational) aspects of an overall music program.

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Professional Skills 7.4 The teacher articulates a philosophy of music education.

7.5 The teacher provides musical experiences that enhance students’ intellectual, personal, emotional, social and career development. 7.6 The teacher articulates the unique musical contributions of cultural diversity. 7.7 The teacher manages the classroom and instructional time effectively through appropriately structured learning activities, efficient transitions and pacing, balanced presentations of music education materials, and music for performance. 7.8 The teacher operates and maintains musical instruments and equipment. 7.9 Teachers seek leadership roles and collaborative opportunities to ensure learner growth and to advance the profession. 7.10 The teacher demonstrates abilities in knowledge of technology and its pedagogical application within the classroom to deepen the students’ understanding of musical content.

DEGREE PROGRAMS IN MUSIC

Bachelor of Arts in Music: A degree designed for those students wishing to enrich their lives with the study of music. Those students desiring a professional career should pursue this degree program and consider further studies in graduate school. Bachelor of Arts in Music with Emphasis in Music Composition: A degree designed for those students seeking a career as a composer or continuing graduate studies in composition. Bachelor of Music Education: A degree designed for those students wishing to teach Pre-K-12 music. This program is approved by the Kansas State Department of Education (KSDE), Council for the Accreditation of Educator Preparation, (CAEP), and the National Association of Schools of Music (NASM). Music Minor: A program of study for those persons majoring in a discipline other than music who wish to acquire a basic background in music.

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MUSIC FACULTY AND STAFF Name & Office Number Extension & E-mail Dr. John Paul Department Chair 7598 Professor Theory, History [email protected] BFH 308 Dr. Christopher Greco Theory, Orchestration, 7599 Professor Woodwinds [email protected] BFH 323 Composition Mr. Ted Hanman Bands, Brass, Music Ed, 7996 Assistant Professor Percussion [email protected] JPIISC Rehearsal Room Instrumental Conducting Mr. Tim Tharaldson Choral Ensembles, Voice, 7597 Assistant Professor Choral Conducting [email protected] BFH 318 Dr. Brian Casey Orchestra Conductor [email protected] Adjunct Dr. Mackenzie Phillips Voice, Class Voice 7449 Adjunct Opera Workshop [email protected] BFH 205 Dr. Lara West Organ 7353 Adjunct World Music Literature [email protected] BFH 202 Music Appreciation Mrs. Laura Goehner-Moreno Piano 7347

Adjunct Staff Accompanist [email protected] BFH 301 Mrs. Judy Koster Strings 7347 Adjunct [email protected] BFH 301 Ms. Michelle Rautmann Piano 7347 Adjunct [email protected] BFH 301 Mr. Jason Riley Guitar 7353 Adjunct [email protected] BFH 202 Ms. Alyssa Toepfer Voice 7449 Adjunct [email protected] BFH 205 Mrs. Lois Niemann Administrative Assistant 7477 BFH 309 [email protected]

mailto:[email protected]





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GENERAL INFORMATION

ACCOMPANISTS Students have the opportunity to serve as accompanists within the department. Please see the Chair if you would like to serve. We are fortunate to retain the services of an outstanding professional accompanist, Ms. Laura Goehner-Moreno. Here are the guidelines for you to follow to use her services:

♫♫♫♫♫♫♫ Laura Goehner-Moreno ♫♫♫♫♫♫♫

Benedictine College

Staff Accompanist/Piano Collaborator

Voice ~ Woodwinds ~ Brass ~ Strings ~ Percussion

~Guidelines~ Please call or e-mail to schedule an appointment at least 3 weeks before a performance. Remember to include all your available days and times when you first email me.

Deliver the music to my bulletin board. If the music is in the public domain, print out the music yourself and post it to my bulletin board in Fink, room #205. I should receive the music near the time you first contact me, about 3 weeks before we practice.

Print guidelines: music must be single-sided, very black notes (not gray), white paper (not beige), no cut-off notes and include title. Remember to write your name on the first page so that I know whose music it is.

Contact info:

E-mail: [email protected]

Hone phone: 913-370-9413

Cell phone (for urgent needs): 650-704-6917, text is fine

Accompanying hours vary and are arranged on an individual basis. I am on campus Mondays - Thursdays. Practices are in the afternoon, ending by 3:15pm.

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ADVISING You will be assigned an advisor for your first year of study. The advisor may or may not be a music faculty member. If you intend to pursue a music major please inform the registrar’s office so that an appropriate advisor may be assigned. Please see your advisor frequently concerning academic issues. Your advisor is your best resource. The advisor may offer advice concerning available resources to aid you in other areas of your college experience. APPLIED MUSIC Applied music is at the heart of your music study. Your teacher will set goals for you to reach in regard to technique and literature. You are expected to regard your applied study as a priority. In a normal semester you should receive approximately 14 lessons (dependent upon breaks in the schedule). You will be expected to practice a minimum of five hours for 1 credit or 10 hours for 2 credits weekly. As a major in music, you will be required to perform a senior recital during your last formal semester. AUDITORIUM All recitals, unless otherwise noted on the music calendar, will be held in O’Malley-McAllister Auditorium in the Student Union. This includes Noon recitals, Junior and Senior recitals and any other special performances. Organ recitals and other special events may be scheduled in the Abbey church. You must reserve additional auditorium time through the music department administrative assistant. The auditorium is used for activities by the entire campus so please plan ahead to reserve the venue. CALENDAR You will be emailed a Music Department calendar at the beginning of the year. You should make an attempt to attend as many events as possible. Concert Attendance (MUSC-ATT1-6) requires six noon recitals and eight major events. For college calendars visit www.benedictine.edu.

CLASSROOMS

All music classrooms are located on the second and third floors of Bishop Fink Hall and St. John Paul II Student Center Rehearsal Room.

COMPUTERS Several computers are located in rooms 315 and 310 of Bishop Fink Hall that provide a variety of software in theoretical exercises and composition.

CONCERT ETIQUETTE Please dress appropriately for participation in a recital or concert. Your appearance gives the audience a first impression of the performance experience. Ensemble directors are explicit on the uniform dress for their events. In an ensemble, avoid anything that makes you “stand out” from the other participants.

Recitalists: If the audience applauds your entrance you must acknowledge them graciously. Following your performance bow and then acknowledge your accompanist and other performers.

Audience: Concerts require intense listening by the audience. Any distraction to either the performer or the audience is not acceptable. PLEASE no talking, excessive movement, paper shuffling, candy wrappers, or any other distractive practices are allowed. Always arrive early but if you arrive after the program has started, do not look for a seat until the next applause has begun. Please turn off all electronic devices. Food or drink is never permitted in a concert venue. Give your attention to the performer. Applaud when the performer arrives on stage. Do not applaud between movements of a multi-movement work. Applause is the only appropriate response to a performance. PLEASE no yelling, cheering or whistling. Absolutely no flash photography is allowed during a recital or concert. Never leave in the midst of a selection. If you must exit, do so at the next applause. While children are encouraged to attend recitals, a distracting child should be removed IMMEDIATELY to preserve a positive experience for the performer and for the audience.

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COPYRIGHT INFRINGEMENT

Xeroxing more than 10% of a work for educational purposes is strictly forbidden by law. Soloists cannot legally supply Xerox copies for their accompanists unless the music is in the public domain. Please plan ahead to have the originals available. Please review the law online at: http://www.copyright.gov/. CURRICULUM All students should be familiar with the requirements for each degree as they are outlined in the worksheets for their respective degrees. As stated before, constant communication with your advisor is crucial to your success in obtaining a degree from Benedictine College (see Curriculum Worksheets on pp. 33-43). There is a four-year suggested sequence of courses for the music majors located in the documents section of this handbook (pp. 44-46) Adjustments may be required dependent upon course availability but you should plan a similar course of study for your music major. DECLARING A MAJOR Students accepted into the music program should complete a Petition for Acceptance to a MAJOR Program (see p. 47) This can be done after formal acceptance to the department following the sophomore barrier. The Chair of the Music Department must sign this petition. A copy is kept in the Music Department and the official copy must go to the Registrar’s Office. DECLARING A MINOR Students wishing to declare a music minor should complete a Petition for Acceptance to a MINOR Program (see p. 48). This can be done upon completion of MUSC 1000. The Chair of the Music Department must sign this petition. A copy is kept in the Music Department and the official copy must go to the Registrar’s Office. ENSEMBLES All music majors seeking a Bachelor of Arts in Music degree, or a Bachelor of Arts degree with emphasis in Composition, must take 8 credits of a major ensemble. A major ensemble is defined as Concert Chorale, Women’s Ensemble, Men’s Choir, Symphonic Band, or Orchestra. Ensemble requirements for music education majors are as follows: instrumental majors must complete 7 semesters band, 3 semesters choir; vocal majors must complete 7 semesters choir, 3 semesters band; string majors must complete 7 semesters orchestra, 3 semesters total, band and choir combined. Music education majors must also take 2 credits of a chamber ensemble as described below. Benedictine College offers the following ensembles:

CONCERT CHORALE A chorus of approximately 70 voices, the Concert Chorale performs a variety of choral music from the sacred and secular repertoire. The choir performs two concerts each semester and meets from 2:25-3:15 P.M. on Tuesdays and Thursdays in the Rehearsal Room of St. John Paul II Student Union. Mr. Timothy Tharaldson, Director

SYMPHONIC BAND A concert ensemble performing standard band repertoire, open to all students with prior experience. They perform two major concerts each semester. The class meets from 4:05-5:00 P.M. on Tuesdays and Thursdays in the Rehearsal Room of St John Paul II Student Union. Mr. Ted Hanman, Director

ORCHESTRA

The BC/Atchison Community Orchestra is open to all string players and selected players. The group meets on Thursdays from 7:30 – 9:30 P.M. in the Rehearsal Room of St. John Paul II Student Union, and performs one major event each semester. Dr. Brian Casey, Conductor.

http://www.copyright.gov/

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WOMEN’S ENSEMBLE An ensemble that performs standard SSA literature and is open to all female students. The group meets on Tuesdays and Thursdays from 1:00-1:50 P.M. in the rehearsal room of St. John Paul II Student Union. Mr. Timothy Tharaldson, director. MEN’S CHOIR Men’s Choir performs standard TTBB literature and is open to all male students. The group meets on Monday and Wednesday, 4:00-4:50 P.M. in Bishop Fink Hall 307. Mr. Timothy Tharaldson, director.

CHAMBER ENSEMBLES

• Chamber Singers is an audition group of around twenty-four SATB singers. Extensive time commitment and travel required. Mr. Timothy Tharaldson, director

• Jazz Band performs standard jazz and big band charts. This ensemble is by permission only. Mr. Ted Hanman, director.

• BC Brass Ensemble open to all brass players and performs each semester in concert. Mr. Ted Hanman, director.

• BC Drumline: This audition ensemble performs at home football games, occasional basketball games and college events. Mr. Ted Hanman, director.

• Voice, Woodwind, brass, percussion and string chamber ensembles are developed as needed. See the appropriate instructor if you are interested in participating.

• Opera Workshop: Performs scenes during the spring semester. FACULTY OFFICE HOURS All music faculty members will have their office hours and schedules posted outside their office doors. Students should consult these postings and contact the faculty for appointments during these posted times.

FEES

Music majors receive 8 semesters applied lessons (7 for BME) of the major instrument plus an optional 1 credit per semester for an additional instrument without charge. Any additional applied study will result in an appropriate fee per credit hour. Music minors will receive 2 semesters (1 credit each) of their major instrument without charge. Additional applied study will incur the applied lesson fee. Anyone who enrolls in any applied lessons, class voice, class guitar or composition class, will be assessed a one-time Music Technology fee per semester. Students in choral groups, class voice and applied music (except percussion, piano, organ, guitar) are assessed a fee for the use of the staff accompanist. Applied music study by non-majors or non-minors will be assessed the applied lesson fee. Choral groups are assessed a class materials fee.

HEALTH AND SAFETY

For information pertaining to protecting your hearing health, vocal health and musculoskeletal health, refer to the documents section of this handbook: Protect Your Hearing Every Day (p. 50) and Protect Your Neuromusculoskeletal and Vocal Health Every Day (p. 56) provided by National Association of Schools of Music and Performing Arts Medicine Association

(1) Hearing Health Instructors must advise students in high -risk situations, particularly wind and percussion ensembles, of the risks for hearing loss and provide preventative measures, such as earplugs for potentially dangerous situations. Students in the MUSC 3200 Pk-12 Music Methods Course are also advised of the policies for prevention and education of their students in practicums, as well. Faculty members are also instructed to monitor situations across campus in which students may be exposed to excessive levels of noise and report to the Music Chair. Students engaging in amplified sound situations within the department are also introduced to the potentials of hearing loss at sustained high levels

(2) Vocal Health Information on maintaining general vocal health is included in the applied music syllabus. MUSC 2200 - Vocal Communication and Technique includes pedagogical aspects that address laryngeal health and function, as well as the general vocal health issues similar to those outlined in the

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applied syllabus. Students are introduced to general vocal health issues in the choral ensembles in regard to dangerous methods of singing that can potentially harm the voice.

(3) Musculoskeletal Health Students in applied music and ensembles are instructed on the benefits of correct breathing, posture and muscular use to prevent injury. Correct conducting techniques in regard to and musculoskeletal health are presented in MUSC 3201- Introduction to Conducting, MUSC 4200 - Instrumental Conducting, and MUSC 4201 - Choral Conducting. Students are urged to develop safe practice habits and to know the limitations of the body in regard to issues for the particular instruments. Pianists are particularly vulnerable to carpal tunnel syndrome or other muscular/skeletal issues. Applied piano teachers identify preventative measures in their syllabi. Students are referred, when necessary, to appropriate medical professionals.

(4) Safety Many procedures have been initiated to assure the safety of students on campus. Enhanced lighting for nighttime has increased the sense of safety of students and staff on campus. Accessible rules and procedures for emergency preparedness have provided clarity to all constituents in various emergency situations. Students are also given information on multiple health issues including mental health and counseling procedures. The institution is required to submit for public viewing by the Clery Act an annual security report and fire safety report for every calendar year. The report is available in pdf form online at: https://www.benedictine.edu/about/facilities/security/index

The report addresses many issues in regard to security including campus law enforcement policies, disciplinary procedures and crime prevention and reporting. The buildings and campus are monitored by security officers and the hours are posted.

INSTRUMENT LOAN AND RENTAL The Music Department does not have instruments available for rental. Please see the appropriate applied instructor for inquiries concerning instrument availability. Students should be responsible to own their instruments with the exception of large brass, string or percussion instruments such as the Sousaphone, string bass, drums, etc. that support the ensembles. KEYS Keys may be checked out for the practice rooms in Bishop Fink, band room, woodwind, brass, and percussion rooms. Each key requires a $10 deposit, refundable when the key is returned. Keys for practice rooms in Bishop Fink may be checked out in the music office, Bishop Fink Hall 309. Mr. Hanman will check out keys for the band room. LIBRARY Records, scores and CD’s are located in room 315 of Bishop Fink Hall. This room houses 1200 choral titles, over 2000 scores, and 6000 records and has study space for students. Students are not allowed to remove any recordings from the Music Library. The main library houses all other books and reference materials. The music library maintains several listening stations for records and compact discs.

LOCKERS There are a limited number of lockers available for books and instruments. Lockers are located in the third-floor hallways by the practice rooms in Bishop Fink Hall. You may provide your own padlock. PARTICIPATION AWARDS Students, prior to matriculation, may audition for a participation award in one of the large ensembles. Students must remain in the assigned ensemble to receive a participation award on an on-going basis. The participation awards for incoming students are considered as part of the entire financial package for students. Therefore, current students may not apply for participation awards. If you are receiving a participation award you must sign a contract every semester, which must be returned to the music office. Please refer to the Current Student Ensemble Participation Award Agreement (p. 49) in the documents section of this handbook.

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PRACTICE ROOMS Students are assigned practice rooms at the beginning of the semester. You will be sharing this room with several students so it is important to develop a schedule for the room. Practice rooms are located on 2nd and 3rd floors of Bishop Fink Hall. We ask that no food or drink, other than water be taken into the practice rooms. We are fortunate to be an “All-Steinway School” and we ask you to be good stewards of these fine instruments. Please do not open windows in the practice rooms or place anything on the pianos that could harm them.

PURCHASING MUSIC

There are many resources online for purchasing music. Please ask your applied teacher for the appropriate companies or sites. Music majors need to begin purchasing music, recommended by their applied teachers, in order to build their private libraries. Students are assessed fees in several ensembles to cover the cost of music purchases. PLEASE adhere to copyright laws. SCHEDULING OF LESSONS You should provide your applied teacher with a copy of your schedule approximately 2 weeks prior to the beginning of the term. The teacher will determine your lesson time based upon your mutual availability.

ACADEMIC POLICIES AND PROCEDURES

APPLICATION AND ADMISSION TO THE DEPARTMENT All students desiring to be music majors must successfully complete the procedure for acceptance by the department. The first screening procedure occurs in the freshman year after the successful completion of Fundamentals of Music (MUSC 1000). Step One:

February 15th of each year: All freshmen desiring to major in music must fill out an application as part of the requirements for acceptance into the Music Program as a major (see Application for Acceptance to the Music Department as a Major, p. 19).

Step Two: During the last two weeks of school a 15 minute interview and jury will be administered (see Freshman Interview/Jury Sheet p. 20). Students will prepare music representing contrasting styles in a 10 minute performance for the jury (The student may prepare more but the faculty will hear a performance of no more than 10 minutes.). Decisions on literature and memorization are at the discretion of the instructor. This jury will substitute for the regular end-of-the-semester jury. The student will be asked to identify reasons for wanting to be accepted into the department. Students will be asked to bring their practice logs. All music faculty will be present and will contribute to the discussion regarding the student’s progress in applied music, ensembles and coursework. Following the interview/jury the Music Faculty will discuss the student and make one of the following decisions:

• Entrance into the program with no reservations

• Entrance into the program with reservations

• Probationary entrance into the program

• Denial of entrance into the program Students denied entrance into the program will be asked to make an appointment with the Chair to discuss other options for a major in a different area. Results of the discussion will be submitted on the Freshman Jury/Interview form to be placed in the student’s file. The music department will send a copy of the form stating the results of the interview/jury. All forms should be typed using the computer. An electronic copy of the form will be emailed to each student.

Rationale: This process should provide early identification of problems in all areas as well as raising the bar for progress in applied music and academic courses.

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Step Three: Every semester students will be evaluated in the regular jury until the Sophomore Barrier (The exception to this is the first semester freshman vocal students who are enrolled in class voice. They will not present a jury that semester). At the end of the sophomore year, those students will present a 15 minute jury with the student preparing music representing contrasting styles in a 10 minute performance for the jury. (Student may prepare more but faculty will only hear a 10 minute performance.) Decisions on literature and memorization are at the discretion of the instructor. Scales and sight reading will be required during the Sophomore jury/interview (see Sophomore Barrier Jury Sheet p. 22). A short discussion will be held following the performance so that all faculty are aware the progress of the student. The music faculty will submit (collectively) a form with the information for the student’s file. A letter to the student will follow identifying strengths, weaknesses and the determination of the status of the student:

Continuation in the Music Program with no reservations. Continuation in the Music Program with reservations. Probationary continuation in the Music Program. Denial of continuation in the Music Program. This procedure is designed to provide constant monitoring of music majors throughout their college careers. Early detection of inability to proceed as a music major will be beneficial to help students investigate other avenues. The jury experience for all other students will remain the same as outlined on p. 15 in the section “Jury Examinations”.

COMPLAINT POLICY

(from the Benedictine College Student Handbook, 2018-19, p. 66-68) or online at: https://www.benedictine.edu/student-life/complaints

1. Complaint and Grievance Policy Benedictine College is committed to treating all students fairly and respectfully. The College’s policies that apply to students are published annually in the Benedictine College Catalog and in the Benedictine College Student Handbook. These publications are available on-line on the Benedictine College website.

In an instance of perceived violation of a College policy, a student may file a complaint. This policy provides two avenues for pursuing a complaint: an Informal Resolution Procedure and a Formal Resolution Procedure. Students may utilize either or both procedures.

This policy is intended as an avenue of redress when a student has a general complaint against the College or an administrator of the College that is not clearly encompassed by another College policy. If a student has a complaint dealing with conduct explicitly covered by another policy, such as sexual harassment, the explicity policy (in the example, the Sexual Misconduct Policy and Procedures) will apply.

Informal Resolution Procedure The student arranges a meeting with the person involved with the complaint and/or with the direct supervisor of the person involved.

For example, a student who perceives that he or she has been graded unfairly on an assignment should meet with the faculty member who assigned the grade. In this example, the meeting with the faculty member may be followed up with a meeting with the department chair or the original meeting might be with the department chair.

Another example would be a complaint to the Student Life Office involving a Resident Director. The student would meet with Resident Director or the Director of Residence Life and attempt to resolve the issue in this way. If the informal process does not resolve the complaint, the student may utilize the formal complaint procedure.

Formal Resolution Procedure A formal complaint is in writing and sets forth a statement of the issue, the College policy or procedures violated, and the specific remedy sought.

13

The complaint is normally submitted using an online form found on the Benedictine College website on the Student Complaints page. The complaint can also be submitted on paper to the Office of Assessment & Institutional Research (Library 210) and it will be forwarded to the appropriate office if you are not aware of where to submit it. Many areas already have specific ways to handle complaints that closely parallel the steps specified below. In cases such as these, a formal complaint will be directed to the appropriate person and the previously approved appeal process will be followed.

LEVEL 1 Normally, the person to whom the complaint has been submitted (the investigator), conducts, within seven (7) business days of receiving the complaint, a formal conference with the student, permitting her or him to provide any necessary relevant information. The investigator confers with the other person or persons involved and conducts an additional investigation as he or she deems necessary.

Normally, a written recommendation is sent within seven (7) business days of the first formal conference. The recommendation is sent to the student and the other person or persons who are directly involved. The written recommendation states the background information, the rationale for the recommendation, and the recommended action, if any. Copies of the original complaint and the written recommendation are kept for a minimum of five years.

LEVEL 2 If any of the parties involved in the complaint do not feel it is adequately resolved in Level 1, they may submit a written appeal within fourteen (14) business days of receipt of the Level 1 recommendation to the direct supervisor of the person who wrote the recommendation. The written appeal must specify the conditions that s/he believes were not adequately or appropriately taken into consideration in Level 1.

Normally, the supervisor holds a hearing within fourteen (14) business days of receipt of the appeal or complaint and a written recommendation is sent to the student and others within fourteen (14) business days of such hearing. In cases of appeals to Level 2, copies of the original complaint and the Level 1 and Level 2 written recommendations are kept for a minimum of five years.

LEVEL 3 Except in the case of a complaint against the President, where the Board of Directors has final authority, written appeals of the Level 2 recommendation must be submitted to the President within fourteen (14) business days. The written appeal must specify the conditions that s/he believes were not adequately or appropriately taken into consideration in Level 2. The President makes the final decision. Normally, the President's written decision is sent to the student and other parties within fourteen (14) business days of receiving the Level 3 appeal. In cases of appeals to Level 3, copies of the original complaint, the previous written recommendations, and the final decision are kept for a minimum of five years.

To access the Benedictine College Student Handbook go to: https://www.benedictine.edu/Assets/uploads/files/student-life/benedictine-college-student-handbook.pdf

CONCERT ATTENDANCE

Please review carefully the concert attendance policy: Students must attend 14 events to receive credit (P) for the class. Attendance at six noon recitals is required. The Noon Recital Attendance Form is distributed at the beginning of each recital and must be signed and turned in to the attending faculty member at the conclusion of the recital (see Noon Recital Attendance Form, p. 31). Eight of the 14 events are to be major events on or off-campus. For all 8 major events, students must complete an electronic form with a short review of the performance, and, for off-campus performances, must submit a program. The electronic form will be emailed to you at the beginning of the semester. Forms and programs must be submitted to the music office within 1 week after the event. No handwritten forms will be accepted (see Concert Attendance Form, p. 30) CREDIT/TIME REQUIREMENT

Credit Hour formulas and policies 1. Formulas

a. Benedictine College (1) The basic formula identifies that one semester credit hour (50 minute class) requires two

hours outside of class. (2) Citation and location

14

Credit Hour Definition Benedictine College uses the “Carnegie Unit” as a guide when defining a credit hour for undergraduate classes. A semester credit hour represents a minimum of one fifty-minute class period a week for the semester. In addition, the student is expected to spend an average of two hours outside of class for each “hour” in class. (pg. 4 in 2018-2019 Benedictine College Catalog)

b. Music Unit Benedictine College Music Department Credit hour compliance guidelines for (1) Applied Music: MUSC 1005, 4997, 2001-4002, all applied lessons (2) Ensembles: MUSC 1300-4301, 1302-4303, 1304-4305, 1306-4307, 1308-4309, 1320-4321, 1322-4323, 1324-4325, 1330-4331, 1332-4333, 1334-4335, 1336-4337, 1338-4339, 1350-4350, (3) Music Education and Conducting: MUSC 1200, 1201, 1202, 2200, 3200, 3201, 4200, 4201 (4) Music History: MUSC 1100, 1101, 1102, 4100, 4101 (5) Music Theory: MUSC 1001, 1001, 1002, 2000, 3000, 3003, 3004, 3005, 4003 We define the following for the average student for these courses:

Activity

Assigned readings

(4) At least 1 hour per class meeting (5) 2 hours per textbook chapter

Writing

(3) (4) At least 5 hours per semester

Problem sets

(5) 1-2 hours per assignment

Technology-aided learning (5) 1 hour per week

Oral presentation preparation (3) 5 hours (5) 2.5 hours per presentation

Service Learning or Civic Engagement

Lab, Studio, or (music) practice time

(1) 5 hours per week per credit (2) 2 hours per week

Research

(4) at least 8 hours per project

Individual projects

Group projects

Practicum/clinicals

(3) 50 hours observation

Study/review

(3) (4) (5) at least 5 hours each exam

Required time for a semester course

# of credit hours

# of minutes in-class meeting each week

# of required minutes outside of class per semester

1 50 minutes 1680 minutes





15

GRADING POLICIES Following the freshman year all new music majors shall be evaluated by the music faculty for continuance as a music major. Any student receiving lower than a “C-” in any music course shall be placed on departmental probation for one semester. After one semester the student shall be reviewed for acceptance or dismissal within the department. In addition, a student may be placed on probation in the applied area at the discretion of the applied teacher and with the consensus of the entire music faculty. For all music majors and minors, no grade less than a “C-” in any music course will be accepted for graduation. JUNIOR AND SENIOR RECITALS Presentation of a senior recital is compulsory for music majors in the BA and BME programs. Options for the composition emphasis are listed below. Junior recitals are optional and presented as preparation for the senior recital and at the discretion of the applied teacher. Junior recitals will be joint recitals. Only music majors are eligible to present junior and senior recitals. The department chair and the applied teacher will schedule the recital and decide who will share the event. Students presenting senior recitals will perform only on the major instrument. Secondary instruments may not be included on the senior recital since the recital should be representative of the cumulative work in a particular applied area. A student must successfully pass a jury prior to 30 days before the recital date or the recital will be postponed. Students are responsible for scheduling the recital jury. One faculty member should be involved in addition to the applied teacher. All junior and senior recitals will be scheduled at 4:00 P.M. on Fridays during the academic year when possible. SENIOR RECITAL – COMPOSITION EMPHASIS The Senior Composition Recital requirement for this degree can be met in any of the four following ways: a. A recital of original work with the option of a lecture/recital format. b. A recital consisting of two-thirds original composition and one-third performance on the primary

instrument/voice. c. Five composition premiere performances on major concerts or recitals during the sophomore

through senior years of study documented by score, program, and recording. d. One composition for orchestra or concert band and three composition premiere performances

documented by score, program, and recording. JURY EXAMINATIONS All music majors enrolled in applied music must perform a jury examination at the end of each semester. The applied teacher shall approve a piece to be presented to the entire music faculty. Memorization is at the discretion of the applied teacher. Jury Repertoire Sheets (see p.24) should list pieces, exercises studied and performances accomplished during the semester. Performances pertain to the material studied in the applied lessons. All music majors must complete a jury repertoire sheet which should be included in their portfolios. Music majors will be responsible for any literature listed on the Jury Repertoire Sheet. While the entire music faculty will hear each student and assign a grade, the final grade will remain the responsibility of the applied instructor. All students in applied music (non-majors and minors) will perform on a noon recital in lieu of a jury. The department will schedule a special noon recital(s) for non-majors and minors at the end of the semester, which will fulfill the jury requirement. A student may also fulfill the jury requirement by performing on a regular noon recital with the following condition: In the fall semester, the recital performance must be after November 1, and in the spring semester, the recital performance must be after April 1. In this case, the student will not have to perform again on the non-major/minor recital at the end of the semester. A student may perform a jury waiver at an earlier date only at the discretion and permission of the applied teacher. A junior/senior who presents a recital or major performance may not be required to present a jury at the end of the same semester. This decision is left to the discretion of the applied teacher. All students (majors, non-majors, minors) must submit an electronic copy of the jury repertoire sheet to the department administrative assistant prior to the time of their jury or jury waiver performance. The Jury Repertoire Sheet (p. 24) is used for all jury performances except the Freshman/Interview Jury, and the Sophomore Barrier Jury (both of which have a separate repertoire sheet).

16

JURY EVALUATION All jury performances will be evaluated using a jury evaluation form. Scores will be averaged from all music faculty present and comments will be compiled on one form, which will be sent electronically to each student for inclusion in their portfolios. A copy will also be placed in the student’s personal file in the music department (see Jury Evaluation Form, pg. 25). JURY EVALUATION FOR COMPOSITION EMPHASIS

Freshman pursuing a degree with emphasis in music composition will follow the procedure for Freshman Admittance to the Department as outlined on p. 11, steps 1 and 2. Composition emphasis majors will begin the course of study for composition in the sophomore year. Student compositions will be performed on the Composition Student Recital offered during each academic year. Their composition will be evaluated by each faculty member using the Composition Jury Evaluation Form (p. 29). Each semester, students will need to complete a Composition Jury Repertoire Sheet (p. 26), which they will submit electronically to the music office. Following the Freshman Jury interview, students in the BA in Music with Emphasis in Music Composition, will not be required to participate in the juries until the Sophomore Barrier Jury time at the end of the second semester of the sophomore year. This will determine the status as a major in music. They will need to complete the Composition Sophomore Barrier Sheet (p. 27). At that time, a short discussion will be held so that all faculty are aware of the progress of the student. The music faculty will submit (collectively) a form with the information for the student’s file. A letter to the student will follow identifying strengths, weaknesses and the determination of the status of the student:

Continuation in the Music Program with no reservations. Continuation in the Music Program with reservations. Probationary continuation in the Music Program. Denial of continuation in the Music Program.

PIANO PROFICIENCY EXAMINATION All music majors must pass the Piano Proficiency Examination (p. 32) prior to graduation. Music education students must pass the examination by the semester prior to student teaching. Students should schedule the piano proficiency examination with Ms. Michelle Rautmann, Adjunct Instructor, piano. PRACTICE LOGS All students in applied lessons must submit a weekly practice log to their applied instructor. (Practice logs will be developed and distributed by each individual instructor.) Students enrolled in 1 hour of credit must document 5 hours (minimum) a week of practice. Students enrolled in 2 credits must document 10 hours (minimum) a week of practice. The Music Department Faculty adopted the following policy: No student shall receive an “A” in applied music if the practice logs are not submitted or if the student is deficient in the requisite number of practice hours. PROGRAMS All students performing junior or senior recitals must have the program information to the administrative assistant no less than ten days prior to the event. Birth and death dates of the composers are mandatory. The applied instructor must approve of the recital program and any notes before acceptance by the administrative assistant. Students performing in noon recitals must fill out the Noon Recital Performance Form (p. 31) and turn in by noon the day before the recital. Students will not be allowed to perform if the form is not turned in on time. PORTFOLIOS Benedictine College Music Department will require the collection of artifacts for portfolio assessment for music majors. All students from the beginning of their tenure at Benedictine College would begin gathering hardcopy information. The portfolios can be creative and contain information of interest to the students but must contain the following:

1. Copies of programs in which the student has participated (solos, ensembles)

17

2. List of concerts attended (this would be merely a summary list from the concert attendance forms) 3. Jury repertoire sheets from all semesters 4. Freshman Jury/Interview summary sheet 5. Sophomore Barrier Jury Sheet 6. Examples of works of pride in music courses (examinations, assignments, papers, compositions, etc.) 7. Copy of the application to the department (Feb. of freshman year) including the statement of intent

to become a music major. 8. Jury evaluation summary sheets (post-juries) 9. Junior/Senior Recital programs 10. Piano Proficiency evaluation form 11. Practice logs 12. Optional section – anything they do outside of the major – awards, internships, auditions, etc. Be

creative. Students should bring portfolios to the jury at the end of the semester for review by the faculty. All majors who are not required to perform a jury must submit their portfolio, to the Department Chair, for examination by the first scheduled day of finals. Final review of the portfolio will be included in the P/F for the senior comprehensive (MUSC SRCOMP). RECITAL PERFORMANCE Students must complete a Noon Recital Performance Form (p. 31) for inclusion on the program for noon recitals. This form requires the signatures of the applied instructor, the accompanist (if applicable) and the student performer. It is the responsibility of the student to obtain all necessary signatures and submit the form to the music office by noon of the day before the recital. Information pertaining to the selection must be written clearly and accurately. Each studio teacher has a policy for the number of performances on student recitals per semester. STUDENTS WITH DISABILITIES Benedictine College complies with federal law requiring reasonable accommodations for individuals with documented disabilities that may affect their performance in a class or otherwise affect the individual’s ability to enjoy the programs and services offered by the College. If a student requests accommodations please contact Coordinator of Disability Services, in the Student Success Center located in Guadalupe Hall, at 913-360-7517.

18

FORMS

DOCUMENTS

CURRICULUM

WORKSHEETS

REPERTOIRE LISTS

19

Application for acceptance to the Music Department as a major

You must pass MUSC 1000 prior to submitting this application.

Application Due Date: February 15th.

Please click the shaded area to enter your information, then tab to

next field.

Name:

Campus address:

Phone:

Email address:

Check Desired Degree Program:

Bachelor of Music Education Bachelor of Arts

Bachelor of Arts with Emphasis in Music Composition

Instrument:

Number of semesters of completed applied music:

Applied Instructor:

Essay: Please write an essay of no less than 250 words

explaining your desire and intent to be accepted into the

Music program as a major.

20

FRESHMAN INTERVIEW/JURY SHEET Recommendation for Entrance into the Music Department as a Major

______Semester, 20 ___

NAME ____________________

APPLIED TEACHER ____________________

DEGREE SOUGHT: BA _____ BME _____ MAJOR EMPHASIS: _______________

PRIMARY INSTRUMENT ____________________

ON/OFF CAMPUS SOLO PERFORMANCES THIS SEMESTER

(Please list where performed, date and name of composition)

(Please do not list participation in large ensembles)

COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER

Technique (scales, arpeggios, etudes, vocalises) & other repertoire

studied,accompaniments

REPERTOIRE FOR JURY

Selections (2 or more) should include contrasting styles of music to equal

at least 10 minutes.

21

Freshman Interview/Jury, page 2

COMMENTS

Date of Decision: ________

RECOMMENDATION:

_____Entrance into the program with no reservations _____Entrance into the program with reservations

_____Probationary entrance into the program. _____Denial of entrance into the program.

22

SOPHOMORE BARRIER JURY SHEET Recommendation for Continuation of Study

______Semester, 20 ___

NAME ____________________

APPLIED TEACHER ____________________

DEGREE PROGRAM: BA ____ BME _____ MAJOR EMPHASIS: ________________

PRIMARY INSTRUMENT____________________

ON/OFF CAMPUS APPLIED MUSIC PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition)



Technique (scales, arpeggios, etudes, vocalises) & other repertoire

studied,

accompaniments

REPERTOIRE FOR JURY

Selections (2 or more) should include contrasting styles of music to equal

at least 10 minutes.

23

Sophomore Barrier, page 2 COMMENTS

Date of Decision: ________

RECOMMENDATION:

______Continuation in the Music Program with no reservations.

______Continuation in the Music Program with reservations.

______Probationary continuation in the Music Program.

______Denial of continuation in the Music Program.

24

JURY REPERTOIRE SHEET

Semester, 20___

NAME

APPLIED TEACHER

MAJOR

INSTRUMENT

MUSIC MAJORS: Is this your primary instrument?

Number of semesters studied

Freshman Sophomore Junior Senior

ON/OFF CAMPUS SOLO PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition)


COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Technique (scales, arpeggios, etudes, vocalises) & other repertoire

studied, accompaniments.

REPERTOIRE FOR JURY

25

BENEDICTINE COLLEGE MUSIC DEPARTMENT

JURY EVALUATION FORM

____End of Semester Jury ____FreshmanJury/Interview ____Sophomore Barrier Jury

____Jr. Recital Jury ____Jr. Recital ____Sr. Recital Jury ____Sr. Recital

Student Name: _____________________________

Date of Recital/Jury: ________________________

Instrument: _____________________ Primary Instrument Yes No

Juror: _______________ Degree Program: BA BME Minor ExCurr

Unacceptable

The student does not meet the basic criteria for the standard indicated. (0-.99)

Acceptable The student meets the basic criteria and is considered proficient. (1-1.99)

Distinguished The student exceeds the basic criteria to be considered proficient. (2.0-3.0)

0 .1 .2 .3 . 4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Preparedness 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Technical Proficiency 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Appropriate Literature 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Musicality 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Stage Presence 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Overall Evaluation 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

AVERAGE:

PRACTICE LOG : ____ SATISFACTORY

____ UNSATISFACTORY

____ NA (Not applicable)

26

COMPOSITION - JURY REPERTOIRE SHEET _____________________ Semester, 20 ___

NAME ____________________ APPLIED TEACHER ________________

Degree Sought: BA in Music with Emphasis in Music Composition

Primary Instrument____________________

On/Off Campus Performances this Semester (Please list where performed, date and name of composition)


Composition

• Texts:

• Scores/Analysis:

• Compositions:

1} 2}

• Composition Assignments:

27

COMPOSITION - SOPHOMORE BARRIER JURY SHEET

Recommendation for Continuation of Study

_______ Semester, 20____

NAME _________________________ APPLIED TEACHER ________________

Degree Sought: BA in Music with Emphasis in Music Composition

Primary Instrument__________________

On/Off Campus Performances this Semester (Please list where performed, date and name of composition)


Composition

• Texts:

• Scores/Analysis:

• Compositions:

1} 2}

• Composition Assignments:

28

Sophomore/Composition Barrier, page 2

COMMENTS

RECOMMENDATION:

______Continuation in the Music Program with no reservations.

______Continuation in the Music Program with reservations.

______Probationary continuation in the Music Program.

______Denial of continuation in the Music Program.

29


COMPOSITION JURY EVALUATION FORM – Bachelor of Arts in

Music with Emphasis in Music Composition Student Name: _____________________________

Date of Performance: _______________________

Music Faculty Member witness: _______________

Unacceptable

The student does not meet the basic criteria for the standard indicated. (0-.99)

Acceptable The student meets the basic criteria and is considered proficient. (1-1.99)

Distinguished The student exceeds the basic criteria to be considered proficient. (2.0-3.0)

0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

Music Faculty: Check all that apply. Give numeric overall evaluation as per the rubric.

Composition Completed For composition, the goal here is to indicate that the work was completed; a finished composition intact. Each year a primary goal is finished works, either smaller or larger (2nd or third year) forms.

Composition Performed For composition, the goal here is that a work is performed. Another primary goal is that works are performed, either acoustically, acoust/electronics, or in the case of larger works or works for unavailable instruments, midi performance.

Composition Small Inst Form (1-2)

Indicates here if the work performed was small instr form (1-2). You should see a few of these in the first year of comp studies. (Over the three years of lessons, one should see categories checked from both small and larger scale compositions.)

Composition Med-Lar Inst Form (3-12+)

One indicates here if the work performed was med-large (3-12+). You should see these as comp studies progress in to year 2 and 3.

Technical Proficiency This is technical proficiency of the composition: number of instruments used, variety of compositional structural practices (tonal works, non-tonal works, combination of other chord/scalar materials), standard and non-standard forms, contrapuntal / homophonic sophistication, imitation/canon/fugue, harmonic languages used, skill of instrumental use with instrumental combinations in a variety of presentations.

Overall Evaluation 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0

30

CONCERT ATTENDANCE

MUSC-ATT1-6

Requirements: 14 concerts including 6 noon recitals, 8 major events: Ensemble

Concerts; Faculty, Junior, Senior Recitals; Professional concerts on or off campus.

For the 8 major events: use this form to write a short critical review of the concert that reflects your

reaction to the music and performance. This form will be sent to you electronically at the beginning

of the semester. Complete and return this form, electronically, to the Music Office, within a week

following the event. You should include this review in your portfolio. Handwritten forms will

not be accepted. No reviews will be accepted if they are not submitted within a week of the event.

NAME:

CONCERT NAME:

DATE:

31

NOON RECITAL ATTENDANCE FORM

NAME_____________________________________________

DATE_____________________________________________

CONCERT ATTENDED______________________________

This form must be turned at the conclusion of the event to receive

credit for Concert Attendance – MUSC-ATT 1-6

****************

NOON RECITAL PERFORMANCE FORM (Please print clearly)

Recital Date ____________________________________________________________

Student Name___________________________________________________________

Instrument/Voice Type ___________________________________________________

Composition and Movement _______________________________________________

Composer ______________________________________________________________

Accompanist____________________________________________________________

Length in Minutes_______________________________________________________

Student’s Signature______________________________________________________

Instructor’s Signature____________________________________________________

Accompanist’s Signature _________________________________________________

Jury Waiver (NonMajors Only) YES NO

*ALL APPROPRIATE SIGNATURES ARE REQUIRED BEFORE SUBMITTING

FORM TO THE MUSIC OFFICE

FORM DUE BY NOON ON THE DAY BEFORE THE RECITAL

32


PIANO PROFICIENCY EXAMINATION

Student Name: _________________________________

Degree Program: BA BME BA with Emphasis in Music Composition

Date of Examination:___________________

Examiner:_______________________

Music Faculty: Circle the number that reflects your evaluation of the specific concept.

Unacceptable

The student does not meet the basic

criteria for the standard indicated.

(0-.99)

Acceptable

The student meets the basic criteria

and is considered proficient.

(1-1.99)

Distinguished

The student exceeds the basic criteria

to be considered proficient.

(2.0-3.0)

0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

1) Play all major and 3 forms of the minor scales throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

2) Play the five-finger scale plus the major, minor, diminished, and augmented triads on each tonic. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

3) Play the I, IV6/4, I, V7, I throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

4) Harmonize the following melody using primary and secondary triads. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

5) Harmonize the following melody using primary and secondary triads with a stylistically appropriate

accompaniment pattern. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

6) Transpose the following piece either a half step up of down. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

7) Sightread a four-part hymn or Bach chorale. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

8) Improvise a melody over the given chord structure. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

Overall Evaluation: 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0

PASS FAIL

NAME________________________________ MAJOR: Bachelor of Arts in Music Revised September 18, 2018

General Education Requirements - Core

NUMBER COURSE REQUIRED COMPLETED GRADE ENGL 1010 English Composition or 3 ____________ ________

ENGL 1000 English Composition

________ Foreign Language 4 ____________ ________

________ Foreign Language 4 ____________ ________

PHIL 1750 Principles of Nature 3 ____________ ________

THEO 1100 Introduction to Theology 3 ____________ ________

GNST 1000 BC Experience 1 ____________ ________

EXSC 1115 Wellness for Life 1 ____________ ________

________ Health (EXSC Activity course) 1 ____________ _______

TOTAL 20

General Education - Foundations: (a course may satisfy one requirement) Aesthetic experience (6 credit hours)

(This foundation is achieved through the following courses)

________ World Music Literature MUSC 1101 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6

Faith (6 credit hours) Any two courses from the approved list.

________ __________________________________________ 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6

Historical Inquiry (6 credit hours) ________ Music History I MUSC 4100 3 ____________ ________

________ Music History II MUSC 4101 3 ____________ ________

________ or any course from the approved list ____________ ________

Total 6

Mathematical Reasoning (3 credit hours) (Any course from the approved list.)

________ ____________________________________________ 3 ____________ ________

Person and Community in the Contemporary World (3 credit hours) Any course from the approved list.

________ ___________________________________________ 3 ____________ _______

Philosophical Inquiry (6 credit hours) Any two courses from the approved list.

________ __________________________________________ 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6

Understanding the Natural World (7 credit hours) ( One course must include a lab, and must be taken in two different disciplines.)

________ Acoustics (with lab) PHYS 1200 (Suggestion) 4 ____________ ________

________ ___________________________________________ 3 ____________ ________

Total 7

34

General Education-Skills and Perspectives: (a course may satisfy three requirements)

Global Perspective (1 course)

Any course from approved list.

_______ World Music Literature MUSC 1101 (suggested) 3 ____________ ________

_______ ____________________________________________ ____________ ________

_Oral Communication (1 course) Any course from the approved list.

________ ___________________________________________ 3 ____________ ________

Scientific Method (1 course) (This requirement is fulfilled by PHYS 1200 as listed earlier, or any course from approved list)

________ Acoustics PHYS 1200 OR ____________ ________

________ ____________________________________________ ____________ ________

Visual Communication (1 course) Any course from the approved list.

________ Introduction to Conducting MUSC 3201 (suggested) 1 ____________ ________

________ ____________________________________________ ____________ ________

Western Perspective (1 course) (any course from approved list)

________ ____________________________________________ ____________ ________

Written Communication (2 courses) ________ Music History I MUSC 4100 (suggested) 3 ____________ ________

________ ________________________________________ 3 ____________ ________

Total 6

Total General Education 76

Music Requirements-Basic Musicianship and Performance Basic Musicianship MUSC 1000 Fundamentals of Music 2 ____________ ________

MUSC 1001 Music Theory and Aural Skills I 3 ____________ ________

MUSC 1002 Music Theory and Aural Skills II 3 ____________ ________

MUSC 1003 Functional Keyboard I 1 ____________ ________

MUSC 1004 Functional Keyboard II 1 ____________ ________

MUSC 1101 World Music Literature 3 ____________ ________

MUSC 2000 Music Theory and Aural Skills III 3 ____________ ________

MUSC 3000 Music Theory and Aural Skills IV 3 ____________ ________

MUSC 3201 Introduction to Conducting 1 ____________ ________

MUSC 4100 Music History & Literature I 3 ____________ ________

MUSC 4101 Music History & Literature II 3 ____________ ________

PIAPROF Piano Proficiency P ____________ ________

MUSC 4997 Senior Recital 1 ____________ ________

SRCOMP Senior Comprehensive Cr ____________ ________

Applied Music/Performance Major Instrument (8 semesters)

________ Major Instrument 1 ____________ ________




35





Major Ensemble (8 semesters)

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

MUSC-ATT1 Concert Attendance P ____________ ________






Music Electives - 6 credits of upper division music courses 6 ________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

Total Departmental Credits 49

PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION.

(MUST INCLUDE 40 HRS UPPER DIVISION CREDITS) ________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ______ ________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

TOTAL CREDITS 128

36

NAME_________________________ MAJOR: Bachelor of Arts in Music with Emphasis in

Music Composition – Revised September 18, 2018

General Education Requirements - Core

NUMBER COURSE REQUIRED COMPLETED GRADE ENGL 1010 English Composition or 3 ____________ ________

ENGL 1000 English Composition w/Review

________ Foreign Language 1** 4 ____________ ________

________ Foreign Language 2** 4 ____________ ________

(**Students are required to have competency through second semester of same language)





________ Health (EXSCActivity course) 1 ____________ ________

TOTAL 20

General Education - Foundations: (a course may satisfy one requirement)

Aesthetic experience (6 credit hours)

(This foundation is achieved through the following courses)


________ Seminar in Composition MUSC 3004 3 ____________ ________

________ or any course from the approved list. ____________ ________

Total 6


________ __________________________________________ 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6

Historical Inquiry (6 credit hours) ________ Music History I MUSC 4100 3 ____________ ________

________ Music History II MUSC 4101 3 ____________ ________

________ or any course from the approved list ____________ ________

Total 6

Mathematical Reasoning (3 credit hours) (Any course from the approved list.)

________ ____________________________________________ 3 ____________ ________

Person and Community in the Contemporary World (3 credit hours) Any course from the approved list.

________ ___________________________________________ 3 ____________ ________


________ __________________________________________ 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6



________ ___________________________________________ 3 ____________ ________

Total 7

37

General Education-Skills and Perspectives: (a course may satisfy three requirements)

Global Perspective (1 course) ________ MUSC 1101 World Music Literature (suggested) 3 ____________ ________

________ __________________________________________ ____________ ________

Oral Communication (1 course) Any course from the approved list.

________ ___________________________________________ 3 ____________ ________


________ Acoustics PHYS 1200 (suggested) ____________ ________

________ ____________________________________________ ____________ ________

3-4

Visual Communication (1 course) ________ MUSC 3201 Introduction to Conducting (suggested) 1 ____________ ________

________ ____________________________________________ ____________ ________

Western Perspective (1 course) (any course from approved list)

________ _______________________________________________ 3 ____________ ________

Written Communication (2 courses)

________ Music History I MUSC 4100 (suggested) 3 ____________ ________

________ ___________________________________________ 3 ____________ ________

Total 6


Music Requirements – Basic Musicianship and Performance Basic Musicianship: MUSC 1000 Fundamentals of Music 2 ____________ ________











PIAPROF Piano Proficiency P ____________ ________


SRCOMP Senior Comprehensive Cr ____________ ________

Applied Music/Performance: Major Instrument (4 semesters)






________ Major Ensemble 1 ____________ ________

38

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________

________ Major Ensemble 1 ____________ ________







Composition Emphasis: MUSC 3003 Orchestration/Arranging 2 ____________ ________

MUSC 3004 Seminar in Composition 3 ____________ ________

MUSC 3005 Counterpoint 2 ____________ ________

MUSC 2001 Music Composition 2 ____________ ________







PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION.

(MUST INCLUDE 40 HRS UPPER DIVISION CREDITS) ________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

________ ______________________________________ ____________ ________

TOTAL CREDITS 128

39

NAME____________________________ MAJOR: BACHELOR OF MUSIC EDUCATION (Revised September 18, 2018)

General Education Requirements

Core Classes

NUMBER COURSE REQUIRED COMPLETED GRADE

ENGL 1010 English Composition or 3 ____________ ________

ENGL 1000 English Composition w/Review





________ Approved EXSC Fitness Activity Course 1 ____________ ________

TOTAL 12

General Education - Foundations: (a course may satisfy one requirement)

Aesthetic experience (6 credit hours) (This foundation is achieved through the following courses)


________ Music History and Literature II MUSC 4101 3 ____________ ________

Total 6


________ __________________________________________ 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6

Historical Inquiry (6 credit hours) (MUSC 4100 fulfills half the requirement)

________ World Civilization HIST 1100 or HIST 1101 (required) 3 ____________ ________

________ Music History and Literature I MUSC 4100 3 ____________ ________

Total 6

Mathematical Reasoning (3 credit hours) MATH 2110 Statistics (required) 4 ____________ ________

Person and Community in the Contemporary World (3 credit hours) This foundation is achieved through the following required course:

________ General Psychology PSYC 1000 (required) 3 ____________ ________

Total 3


________ Philosophy of Education EDUC 4451 3 ____________ ________

________ __________________________________________ 3 ____________ ________

Total 6



________ World Regional Geography SOCI 2300 3 ____________ _____

Total 7

40

General Education -Skills and Perspectives: (a course may satisfy three requirements)

Global Perspective (1 course required)

________ HIST 1100 or HIST 1101 World Civilization

(Satisfies both Global and Western Perspective) 3 ____________ ________

Oral Communication (1 course)

________ Vocal Communication & Technique MUSC 2200 2 ____________ ________


________ Acoustics PHYS 1200 OR ____________ ________

________ ____________________________________________ ____________ ________

Visual Communication (1 course) Any course from the following list.

________ Psycho Ed Development EDUC 2220 or 3 ____________ ________

________ Introduction to Conducting MUSC 3201 1 ____________ ________

Western Perspective (1 course required) ________ HIST 1100 or HIST 1101 World Civilization

(Satisfies both Global and Western Perspective) 3 ____________ ________

Written Communications (2 courses) ________ Music History and Literature I MUSC 4100 3 ____________ ________

________ Student Teaching Seminar EDUC 4470 1 ____________ ________

Total 4

(Note: Music Ed. Majors must take one of the following courses in their General Ed. Requirements to meet Education Dept.

requirements for Secondary Education: SOCI-2300, SOCI-1000, SOCI-2350)


Professional Education Requirements EDUC 2200 Introduction to Education 2 ____________ ________

EDUC 2201 Intro to Education Field Experience 1 ____________ ________

EDUC 2220 Psychoeducational Development 3 ____________ ________

EDUC 2222 Psychology of Individual with Exceptionalities 3 ____________ ________

EDUC 3357 General Secondary Methods and Media 3 ____________ ________

(Must enroll in MUSC-3200 concurrently. Music Ed: do not enroll in EDUC-3358.)

EDUC 3312 School as Community 3 ____________ ________

EDUC 3313 Community Research & Field Experience 1 ____________ ________

EDUC 3332 Teaching Reading in the Content Area 2 ____________ ________

(Co-req EDUC 3332F)

EDUC 3332F Field Experience for Reading in the Content Area 0

Effective Instructional Technology – online certificate completion ____________ ________

EDUC 4451 Philosophy of Education 3 ____________ ________

(The following courses are part of the student teaching semester. You will automatically be enrolled)

EDUC 4455 Differentiated Instruction 3 ____________ ________

EDUC 4462 Classroom Management 2 ____________ ________

EDUC 4470 Student Teaching Seminar 1 ____________ ________

EDUC 4492 Supervised Student Teaching-Elementary 5 ____________ ________

EDUC 4496 Supervised Student Teaching-Secondary 5 ____________ ________

41

EDUC DIVPROF

Diversity Competencies CR ____________ ________

EDUC TECHPROF

Technology Proficiency CR ____________ ________

EDUC CNTX

Content Area Exam (Licensure Requirement) CR ____________ ________

EDUC COMP

Senior Comprehensive – Final Educ. Portfolio CR ____________ ________

Total Professional Education 37

Music Requirements-Basic Musicianship and Performance

Basic Musicianship: MUSC 1000 Fundamentals of Music 2 ____________ ________





MUSC 1005 Class Voice 2 ____________ ________







MUSC PIAPROF Piano Proficiency P ____________ ________


MUSC COMP Senior Comprehensive (EDUC-CNTX) Cr ____________ ________

Applied Music/Performance ________ Major Instrument 2 ____________ ________








________ Major Ensemble (Major area) 1 ____________ ________













Music Education Requirements MUSC 3003 Orchestration/Arranging 2 ____________ ________

MUSC 1350 Opera Workshop 1 ____________ ________

MUSC 1200 Stringed Instruments 2 ____________ ________

MUSC 1201 Woodwind Instruments 2 ____________ ________

42

MUSC 1202 Brass & Percussion Instruments 2 ____________ ________

MUSC 2200 Vocal Communication & Technique 2 ____________ _______

MUSC 3200 Music Methods PK-12 (Corequisite: EDUC 3357) 3 ____________ ________

MUSC 4200 Instrumental Conducting 1 ____________ ________

MUSC 4201 Choral Conducting 1 ____________ ________

Secondary Ensemble (3 semesters)

________ Secondary Ensemble 1 ____________ ________



________ Chamber Ensemble 1 ____________ ________

________ Chamber Ensemble 1 ____________ ________

Total Music Department Credits 71

43

MUSIC MINOR REQUIREMENTS NAME:_________________________ Minor Declaration Form on file: Yes_______________ No__________ Date______________

Number Course Required Hrs. Completed Grade

MUSC 1000 Fundamentals of Music 2 _____________ ________

MUSC 1001 Music Theory and Aural Skills I 3 _____________ ________

MUSC 1003 Functional Keyboard I 1 _____________ ________

MUSC 1101 World Music Literature 3 _____________ ________

________ Major Instrument 1 _____________ ________

________ Major Instrument 1 _____________ ________

________ Major Ensemble 1 _____________ ________

________ Major Ensemble 1 _____________ ________

CONATT I Concert Attendance Cr _____________ ________

CONATT II Concert Attendance Cr _____________ ________

PLUS 9 CREDIT HOURS OF ANY ADDITIONAL MUSIC COURSES (may use ensembles & applied lessons) ________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

________ _________________________________ _____________ ________

Total 9 __


NOTE: Transfer students pursuing a music minor must take a minimum of 40% of the coursework

required for the minor at Benedictine College.

44

SUGGESTED COURSES OF STUDY

4 year Suggested Sequence - Bachelor of Arts degree in Music

Freshman Year

MUSC-1000, Fund. Music & Aural Skills 2 MUSC-1001, Music Theory/Aural Skills I 3

MUSC-1003, Functional Keyboard I 1 MUSC-1004, Functional Keyboard II 1

THEO-1100, Introduction to Theology 3 Foreign Language 4

ENGL-1010, English Composition 3 MUSC-1101, World Music Literature 3

Foreign Language 4 Applied Music 1

EXSC-1115, Wellness for Life 1 Ensemble 1

Applied Music 1 MUSC-ATT 2, Concert Attendance P

Ensemble 1 Music electives 4

GSNT-1000, BC Experience 1

MUSC-ATT 1, Concert Attendance P

Music elective 1

__ __

18 17

Sophomore Year

MUSC-1002, Music Theory/Aural Skills II 3 MUSC-2000, Music Theory/Aural Skills III 3

Approved EXSC Fitness Activity course 1 Oral Communication 3

Applied Music 1 Understanding the Natural World 4

Ensemble 1 Aesthetic Experience 3

MUSC-ATT 3, Concert Attendance P Applied Music 1

PHIL-1750, Principles of Nature 3 Ensemble 1

Electives 6 MUSC-ATT 4, Concert Attendance P

__ __

15 15

Junior Year

MUSC-3000, Music Theory/Aural Skills IV 3 MUSC-4100, History of Music I 3

Philosophical Inquiry 3 Quantitative Analysis 3

Upper Division Music Electives 3 Applied Music 1

Faith 3 MUSC-PIAPROF, Piano Proficiency cr

Applied Music 1 Ensemble 1

Ensemble 1 MUSC-ATT 6, Concert Attendance P

MUSC-ATT 5, Concert Attendance P Music electives 1

Upper Division Music Elective 3 Western Perspectives 3

Electives 3

__ __

17 15

Senior Year

MUSC-3201, Introduction to Conducting 1 Person & Community 3

MUSC-4101, History of Music II 3 Philosophical Inquiry 3

Upper Division Electives 5 Understanding the Natural World 3

Ensemble 1 Applied Music 1

Faith 3 Ensemble 1

Applied Music 1 MUSC-4997, Senior Recital 1

Written Communication 3 MUSC-SRCOMP, Senior Comprehensive cr

Upper Division Music Electives 3

__ __

17 15

45

4 year Suggested Sequence - Bachelor of Arts in Music/Emphasis in Composition

Freshman Year

MUSC-1000, Fund. of Music/Aural Skills 2 MUSC-1001, Music Theory & Aural Skills I 3


THEO-1100, Introduction to Theology 3 Foreign Language 4

ENGL-1010, English Composition 3 MUSC-1101, World Music Literature 3

Foreign Language 4 Applied Music 1

EXSC-1115, Wellness for Life 1 Ensemble 1

Applied Music 1 MUSC-ATT 2 Concert Attendance P

Ensemble 1 Elective 3

GNST-1000, BC Experience 1

MUSC-ATT 1 Concert Attendance P __ __

17 16

Sophomore Year

MUSC-2001, Music Composition 2 MUSC-2000 Music Thy & Aural Skills III 3

MUSC-1002, Music Theory/Aural Skills II 3 MUSC-2002, Music Composition 2

Approved EXSC Fitness Activity Course 1 Oral Communication 3

Applied Music 1 Understanding the Natural World 3

Ensemble 1 Electives 3

MUSC-ATT 3 Concert Attendance P Applied Music 1

PHIL-1750, Principles of Nature 3 Ensemble 1

Elective 6 MUSC-ATT 4 Concert Attendance P

__ __

17 16

Junior Year

MUSC-3000, Music Theory & Aural Skills 3 MUSC-3002, Music Composition 2

MUSC-3001, Music Composition 2 MUSC-3201, Introduction to Conducting 1

Philosophical Inquiry 3 MUSC-4100, History of Music I 3

Quantitative Analysis 3

Faith 3 MUSC-PIAPROF, Piano Proficiency P

Ensemble 1 Ensemble 1

MUSC-ATT 5 Concert Attendance P MUSC-ATT 6 Concert Attendance P

Upper Division Elective 3

MUSC-3005, Counterpoint 2 Written Communication 3

_____ __

17 16

Senior Year

MUSC-4001, Music Composition 2 Person and Community 3

MUSC-3003, Orchestration/Arranging 2 MUSC-4002, Music Composition 2

MUSC-4101, History of Music II 3 Philosophical Inquiry 3

Ensemble 1 Understanding the Natural World 4

Faith 3 Ensemble 1

Elective 2 MUSC-4997, Senior Recital 1

MUSC-3004, Seminar in Composition 3 MUSC-SRCOMP, Senior Comprehensive Cr

__ __

16 14

46

4 year Suggested Sequence - Bachelor of Music Education degree

Freshman Year

MUSC-1000 Fund of Music & Aural Skills 2 MUSC-1001, Music Theory & Aural Skills I 3


THEO-1100, Introduction to Theology 3 MUSC-1101, World Music Literature 3

Applied Music 2 MUSC-1201, Woodwind Methods 2

MUSC-1005, Class Voice 2 MUSC-1350, OperaWorkshop 1

Ensemble 1 Ensemble 1

MUSC-ATT 1 Concert Attendance P MUSC-ATT 2 Concert Attendance P

GNST-1000, BC Experience 1 HIST-1100 or HIST-1101, World Civ 3

EDUC-2200, Introduction to Education 2 MATH-2110, Applied Statistics 4

EDUC-2201, Introduction to Ed Field Exp 1 Applied Music 2

ENGL-1010, English Composition 3 __

18 20

Sophomore Year

MUSC-1002, Music Theory & Aural Skills II 3 MUSC-2000, Music Thy & Aural Skills III 3

PYSC-1000, General Psychology 3 MUSC-2200,Vocal Communication/Tech 2

Faith 3 Understanding the Natural World 4

Applied Music 2 EDUC-2222, Psych of Indiv With Excep 3

Ensemble 1 Applied Music 2

MUSC-ATT 3 Concert Attendance P Ensemble 1

EXSC-1115, Wellness for Life 1 MUSC-ATT 4 Concert Attendance P

EDUC-2220, Psych Ed Development 3 Chamber Ensemble 1

SOCI-2300, World Regional Geography 3 MUSC-1200, Stringed Instruments 2

_ Secondary Ensemble __1 __

19 19

Junior Year

Approved EXSC Fitness Activity Course 1 MUSC-3003, Orchestration/Arr 2

MUSC-3201, Introduction to Conducting 1 MUSC-4100, History of Music I 3

MUSC-1202, Brass & Percussion 2 Applied Music 2

EDUC-3312, School as Community 3 MUSC-4200, Instrumental Conducting 1

EDUC-3313, School as Comm/Field Ex 1 Secondary Ensemble 1

MUSC-3000, Music Theory & Analysis IV 3 EDUC-4451, Philosophy of Education 3

PHIL-1750, Principles of Nature 3 EDUC-3332, Teach Reading/Content Area 2

Co-Req EDUC 3332F – Field Experience 0

Faith 3 MUSC-PIAPROF, Piano Proficiency P

Applied Music 2 Ensemble 1

Ensemble 1 MUSC-ATT 6, Concert Attendance P

MUSC-ATT 5, Concert Attendance P MUSC-3997, Junior Recital (optional)

Philosophical Inquiry 3 __

20 18

Senior Year

MUSC-4101, History of Music II 3 EDUC-4455, Differentiated Instruction 3

MUSC-3200, K–12 Music Methods 3 EDUC-4462, Classroom Management 2

EDUC-3357, General Sec Meth & Media 3 EDUC-4470, Student Teaching Seminar 1

(Music Ed majors do not take EDUC-3358) EDUC-4492, Supervised Stud Teach/Elem 5

Applied Music 2 EDUC-4496, Supervised Stud Teaching/Sec 5

Ensemble 1 EDUC-CNTX, Content Area Exam cr

MUSC-4997, Senior Recital 1 EDUC-COMP, Senior Comprehensive cr

Chamber Ensemble 1 (Satisfies MUSC-SRCOMP)

MUSC-4201, Choral Conducting 1 EDUC-TECHPROF, Tech Proficiency cr

Secondary Ensemble 1 EDUC-DIVPROF , Diversity Competencies cr

16 16

47

Petition for Acceptance to a MAJOR Program

Name of student making application: _________________________________________ ______________________

(Please Print) BC ID #

Catalog Year(s): ______________________ Anticipated Degree Date: ______________________

I have already declared a major in: I want to KEEP / DROP it (circle one)

To the Student: Take this form to the Chair of the Department to which you are petitioning for a major along with a

current copy of your transcript.

To be completed by the Chair of the Department to which the student is petitioning, in consultation with the

student:

Department to which student is petitioning for acceptance as a major: ____________________________________

Intended Degree: B.A. B.S. B.S.N B.M.E. Art Education

Intended Major: _______________________________________________________________________________

Area of Specialization or Concentration (if applicable): ________________________________________________

(Note: This must be an approved area of specialization as given in your Catalog.)

I accept this student into this department. ___________________________________________ ______________

Signature of Department Chairperson Date

To the Registrar: Please assign ____________________________________ as the student’s major advisor.

For the student’s senior year, the department chairperson will often be the advisor.

Signature of student: ___________________________________________ Date: _______________________

To the Department Chair: Please make a copy of this form and retain it in the student’s file.

To the student: Return this form to the Office of Academic Records and Registration, 113 St. Benedict Hall, to be

officially registered in your major.

For Office Use Only:

Program:_________________________________________Minors:

Catalog: ____________________ Expected Completion Date:

Honors Program? _________Majors Linked?__________ Minors Linked? _________ Processed Date: ___________________ Initials:

Updated: July 6, 2018

MAJOR

48

Petition for Acceptance to a MINOR Program

Name of student:

(Please Print) BC ID #

Catalog: ______________________ Anticipated Degree Date: _______________________

Major: ________________________________ 2nd Major: ____________________________ (If a double Major, indicate both)

Advisor: _______________________________ 2nd Advisor: ___________________________ (If double Major, indicate both)

To the Student: Take this form to the Chair of the Department to which you are petitioning for a minor along with a

current copy of your transcript. (You may print a copy of your current and past courses from Colleague.)

To be completed by the Chair of the Department to which the student is petitioning, in consultation with the

student:

Department to which student is petitioning for acceptance as a minor: ____________________________

The name of the minor for which the student is applying for: ____________________________________

I accept this student as a minor in this department. ________________________________ __________

Signature of Department Chairperson Date

Signature of Student: ______________________________________ Date:_________________

To the Department Chair: You are encouraged to make a copy of this form and retain it in your file.

To the student: Return this form to the Office of Academic Records and Registration, 113 St. Benedict Hall, to be

officially registered in your minor.

For Office Use Only:

Program:_________________________________________Majors:

Catalog: ____________________ Expected Completion Date:

Honors Program? _________Majors Linked?__________ Minors Linked? _________

Processed Date: Initials:

Updated: 5 July 2018

49

Current Benedictine College Students You are currently receiving an award for participating in an ensemble. This agreement must be completed each semester and returned either electronically, or as a hard copy to: Mrs. Lois Niemann ([email protected]) in Bishop Fink Hall 309.

ENSEMBLE PARTICIPATION AWARD AGREEMENT

Student Musician: Click or tap here to enter text.

Student ID# Click or tap here to enter text.

Benedictine email address: Click or tap here to enter text.

INSTRUMENT/VOICE TYPE: Click or tap here to enter text.

NAME OF ASSIGNED ENSEMBLE Click or tap here to enter text.

Course Number for next semester of participation: Click or tap here to enter text.

SIGNATURE:

Student Musician: Click or tap here to enter text. Date: Click or tap here to enter text.

Award explanations/conditions:

1) Student must enroll in the assigned ensemble to receive an award in every semester while at Benedictine College. 2) Student will be allowed one (1) semester of non-participation in assigned ensemble for one of the following

reasons: a. Study abroad semester b. A major course (a required course within your major) conflicts with the ensemble c. Student teaching semester

3) More than one semester of non-participation (for any reason) will result in the removal of the scholarship from the students’ financial aid package.

4) If the award has been removed the student may petition for reinstatement after one semester of additional participation.

5) Student must return this document to the Music Department after preregistration and before December 1st (for consideration for spring semester award) and April 15th (for consideration for fall semester award). It is the responsibility of the student to ensure that all deadlines are met.

6) The Music Department reserves the right to remove a student’s scholarship for failure to comply with the terms of this agreement. The Music Department will notify the Financial Aid Office of any/all Music Department scholarship additions/removals.

If you are unable to participate in the upcoming semester, please indicate reason below:

☐ Study abroad semester

☐ Required major course conflict. Please list course: Click or tap here to enter text.

☐ Student teaching semester


50

Protect Your Hearing Every Day

National Association of Schools of Music Performing Arts Medicine

Association

This document is not copyrighted. It may be reproduced in whole or in part in the

interest of education and institutional development. This resource may be edited

to fit the local needs of departments, schools, or institutions. Any organization

or institution may reproduce the document in quantities sufficient for its own

use, but not for sale. Notice of credit to NASM and PAMA should appear on all

versions of this resource, both original and as edited for local use.

Introduction

In working toward a degree in music, you are joining a profession with a long and honored history. Part of the

role of any professional is to remain in the best condition to practice the profession. For all of you, as aspiring musicians, this involves safeguarding your hearing health. Whatever your plans after

graduation – whether they involve playing, teaching, producing, or simply enjoying music – you owe it to

yourself and your fellow musicians to do all you can to protect your hearing.

As you may know, certain behaviors and your exposure to certain sounds can, over time, damage your hearing.

You may be young now, but you’re never too young for the onset of hearing loss. In fact, in most cases, noise-

related hearing loss doesn’t develop overnight. (Well, some does, but we’ll address that issue later in our

presentation.) As I was saying, the majority of noise-induced hearing loss happens gradually.

So the next time you find yourself blasting music through those tiny earbuds of your iPod or turning up the

volume on your amp, ask yourself, “Am I going to regret this someday?” You never know; you just might.

And as a musician, you cannot afford to risk it.

The bottom line is this: If you’re serious about pursuing a career in music, you need to protect your hearing.

The way you hear music, the way you recognize and differentiate pitch, the way you play music; all are

directly connected to your hearing. Do yourself a favor: protect it. I promise you won’t regret it.

Disclaimer

Okay, first a quick disclaimer. The information in this presentation is generic and advisory in nature. It is not a

substitute for professional, medical judgments or advice. It should not be used as a basis for medical treatment.

If you are concerned about your hearing or think you may have suffered hearing loss, consult a licensed

medical professional.

We can help you in so far as we can refer you to the health center on campus. The health center staff will take

it from there.

Purpose of this Presentation

The purpose of our presentation is to share with you some information on hearing health and hearing loss and

let you know about the precautionary measures that all of us should practice daily. Music and Noise

Throughout our presentation we’ll be referring to “noise-induced” hearing loss. You may be wondering why

we’re referring to music—this beautiful form of art and self-expression—as “noise.”

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Here’s why: What we know about hearing health comes from medical research and practice. Both are based in

science where “noise” is a general term for sound. Music is simply one kind of sound. Obviously, there are

thousands of others. In science-based work, all types of sound, including music, are regularly categorized as

different types of noise.

Terminology aside, it’s important to remember this fundamental point: A sound that it too loud, or too loud for

too long, is dangerous to hearing health, no matter what kind of sound it is or whether we call it noise, music,

or something else.

Music itself is not the issue. Loudness and its duration are the issues. Music plays an important part in hearing

health, but hearing health is far larger than music.

All of us, as musicians, are responsible for our art. We need to cultivate a positive relationship between music

and our hearing health. Balance, as in so many things, is an important part of this relationship.

Noise-Induced Permanent Hearing Loss

Let’s first turn to what specialists refer to as “noise-induced permanent hearing loss.”

The ear is made up of three sections, the outer, middle, and inner ear. Sounds must pass through all three

sections before sending signals to the brain.

Here’s the simple explanation of how we experience sound:

Sound, in the form of sound waves, enters the outer ear. These waves travel through the bones of the middle

ear. When they arrive in the inner ear, they are converted into electrical signals that travel via neural passages

to the brain. It is then that you experience “hearing” the sound.

Now, when a loud noise enters the ear, it poses a risk to the ear’s inner workings.

For instance, a very loud sound, an explosion, for example, or a shotgun going off at close range, can actually

dislodge the tiny bones in the middle ear, causing conductive hearing loss, which involves a reduction in the

sound level experienced by the listener and a reduction in the listener’s ability to hear faint sounds. In many

cases, this damage can be repaired with surgery. But loud noises like this are also likely to send excessive

sound levels into the inner ear, where permanent hearing damage occurs.

The inner ear, also known as the cochlea, is where most hearing-loss-related ear damage tends to occur.

Inside the cochlea are tiny hair cells that are responsible for transmitting sound waves to

the brain. When a loud noise enters the inner ear, it can damage the hair cells, thus impairing their ability to

send neural impulses to the brain.

The severity of a person’s noise-induced hearing loss depends on the severity of the damage to these hair cells.

The extent of the damage to these cells is normally related to the length and frequency of a person’s

exposure to loud sounds over long periods of time.

Because noise-induced hearing loss is painless, you may not realize that it’s happening at first. Then suddenly

one day you’ll realize that you’re having more and more trouble hearing high frequency sounds – the ones that

are the most high-pitched. If you don’t start to take precautions then, your hearing loss may eventually also

affect your ability to perceive both speech sounds and music.

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It is very important to understand that these hair cells in your inner ear cannot regenerate. Any damage done to

them is permanent. At this time, there is simply no way to repair or undo the damage.

Noise-Induced Temporary Hearing Loss

Now it’s also important to note that not all noise-induced hearing loss is necessarily permanent. Sometimes,

after continuous, prolonged exposure to a loud noise, we may experience what’s called “noise-induced

temporary hearing loss.”

During temporary hearing loss, known as Temporary Threshold Shift (TTS), hearing ability is

reduced. Outside noises may sound fuzzy or muted. Normally, this lasts no more than 16 to 18 hours, at which

point your hearing levels will return to normal.

Often during this Temporary Threshold Shift, people will experience tinnitus, a medical condition

characterized by a ringing, buzzing, or roaring in the ears. Tinnitus may last only a few minutes, but it can also

span several hours, or, in extreme instances, last indefinitely.

Also, if you experience a series of temporary hearing losses, you may be well on the way to permanent

damage sometime in the future.

Noise Levels and Risk

Now, how do you know when a noise or sound is too loud—when it’s a threat to your hearing health? Most

experts agree that prolonged exposure to any noise or sound over 85 decibels can cause hearing loss.

You may have seen decibels abbreviated “little ‘d,’ big ‘B.’” They are the units we use to measure the

intensity of a sound.

Two important things to remember:

1. The longer you are exposed to a loud noise, the greater the potential for hearing loss.

2. The closer you are to the source of a loud noise, the greater the risk that you’ll experience some

damage to your hearing mechanisms.

At this point, it helps to have some frame of reference. How loud are certain noises?

Consider these common sounds, their corresponding decibel levels, and the recommended maximum exposure

times established by the National Institute for Occupational Safety and Health (NIOSH), a branch of the

Centers for Disease Control and Prevention (CDC).

A whisper is 30 dB. There’s no risk involved at this level of sound intensity. Your average conversation is

around 60dB. Again, there’s no risk.

An alarm clock is 80 dB. No real risk, but it would certainly be annoying if you listened to it for very long.

85 dB is the magic number. Sounds above the 85 dB threshold pose a potential threat to your hearing.

Blenders, food processers, blow-dryers, and the subway come in at 90 dB. The recommended maximum

exposure time for 90 dB sounds is around 2 hours.

MP3 players at full volume, lawnmowers, and snowblowers come in at 100 dB. The recommended maximum

exposure time for these items is 15 minutes.

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Now, before you get too worried and give up mowing the lawn, remember, there are ways to reduce your

exposure.

For instance, turn down the volume on your MP3 player. Did you know that normally, MP3 players generate

about 85 dB at one-third of their maximum volume, 94 dB at half volume, and 100 dB or more at full volume?

Translated into daily exposure time, according to NIOSH standards, 85 dB equals 8 hours, 94 dB equals 1

hour, and 100 dB equals 15 minutes. Do yourself a favor, and be mindful of your volume.

Also, remember to wear a pair of earplugs or earmuffs when you mow the lawn or when you use a

snowblower.

Here are some other figures for you:

Rock concerts, certain sporting events, and power tools come in at 110 dB. At full volume, the recommended

maximum exposure time is 2 minutes. (Again, remember there are precautions you can take!)

Jet planes at take-off – 120 dB

Sirens, race cars, and jackhammers – 130 dB Gun shots and fireworks at close range – 140 dB

When you’re dealing with sounds like these, those that produce between 120 and 140 dB, you’re putting

yourself at risk for almost immediate damage. At these levels, it is imperative that you utilize protective ear-

coverings. Better yet, if it’s appropriate, avoid your exposure to these sounds altogether.

Musicians and Noise-Induced Hearing Loss

Nowadays, more and more is being written about the sound levels of certain musical groups. It’s no secret that

many rock concerts expose performers and audiences to dangerously high levels of noise. The ringing in your

ears after a blaring rock concert can tell you that. But now professional and college music ensembles are

receiving attention.

It’s true that musicians are exposed to elevated levels of sound when they rehearse and perform music. But

that doesn’t equal automatic risk for hearing loss.

Take for instance a typical practice session on the piano. When taken at close range to the instrument over a

limited period of time, a sound level meter fluctuates between a reading of 60 and 70 decibels. That’s similar

in intensity to your average conversation (60dB). There will, of course, be moments when the music peaks and

this level rises. But these moments are not sustained over several hours. At least not under normal practice

conditions.

While the same is true for most instruments, it is important to understand that certain instrumental sections

tend to produce higher sound levels. Sometimes these levels relate to the piece of music being performed and

to notational requirements (pianissimo, fortissimo); other times, these levels are what naturally

resonate from the instrument.

For example, string sections tend to produce decibel levels on the lower end of the spectrum, while brass,

percussion, and woodwind sections generally produce decibel levels at the higher end of the spectrum.

What’s important is that you are mindful of the overall volume of your instrument and of those around you. If

you’re concerned about volume levels, share your concerns with your instructor.

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Mindful Listening

Now, let’s talk about how you can be proactive when it comes to music and hearing loss. It’s important to

think about the impact noise can have on your hearing health when you:

1. Attend concerts;

2. Play your instrument;

3. Adjust the volume of your car stereo;

4. Listen to your radio, CD player, and MP3 player.

Here are some simple ways to test if the music is too loud:

It’s too loud (and too dangerous) when:

1. You have to raise your voice to be heard.

2. You can’t hear someone who’s 3 feet away from you.

3. The speech around you sounds muffled or dull after you leave a noisy area.

4. You experience tinnitus (pain, ringing, buzzing, or roaring in your ears) after you leave a noisy area.

Evaluating Your Risk for Hearing Loss

When evaluating your risk for hearing loss, ask yourself the following questions:

1. How frequently am I exposed to noises and sounds above 85 decibels?

2. What can I do to limit my exposure to such loud noises and sounds?

3. What personal behaviors and practices increase my risk of hearing loss?

4. How can I be proactive in protecting my hearing and the hearing of those around me?

Basic Protection for Musicians

As musicians, it’s vital that you protect your hearing whenever possible. Here are some simple ways to reduce

your risk of hearing loss:

1. When possible, avoid situations that put your hearing health at risk.

2. Refrain from behaviors that could compromise your hearing health and the health of others.

3. If you’re planning to be in a noisy environment for any significant amount of time, try to maintain a

reasonable distance from the source of the sound or noise. In other words, there’s no harm in enjoying

a fireworks display, so long as you’re far away from the launch point.

4. When attending loud concerts, be mindful of the location of your seats. Try to avoid sitting or standing

too close to the stage or to the speakers, and use earplugs.

5. Keep the volume of your music and your listening devices at a safe level.

6. Remember to take breaks during a rehearsal. Your ears will appreciate this quiet time.

7. Use earplugs or other protective devices in noisy environments and when using noisy equipment.

Future Steps

Now that we’ve shared with you some of the basics of hearing health and hearing loss prevention, we

encourage you to keep learning. Do your own research. There’s a wealth of information out there, and it’s

yours to discover.

Conclusion

We hope our presentation has made you think more carefully about your own hearing health. Just remember

that all the knowledge in the world is no match for personal responsibility. We’ve given you the knowledge

and the tools; now it’s your turn. You are responsible for your exposure to all sorts of sounds, including music.

Your day-to-day decisions have a great impact on your hearing health, both now and years from now.

Do yourself a favor. Be smart. Protect your precious commodity. Protect your hearing ability.

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Resources – Information and Research Hearing Health Project Partners

National Association of School of Music (NASM)

http://nasm.arts-accredit.org/

Performing Arts Medicine Association (PAMA)

http://www.artsmed.org/index.html

PAMA Bibliography (search tool)

http://www.artsmed.org/bibliography.html General Information on Acoustics

Acoustical Society of America (http://acousticalsociety.org/) Acoustics.com (http://www.acoustics.com)

Acoustics for Performance, Rehearsal, and Practice Facilities Available through the NASM Web site (click

here to purchase) Health and Safety Standards Organizations

American National Standards Institute (ANSI) (http://www.ansi.org/)

The National Institute for Occupational Safety and Health (NIOSH) (http://www.cdc.gov/niosh/)

Occupational Safety and Health Administration (OSHA) (http://www.osha.gov/) Medical Organizations Focused on Hearing Health

American Academy of Audiology (http://www.audiology.org/Pages/default.aspx) American Academy of Otolaryngology – Head and Neck Surgery (http://www.entnet.org/index.cfm)

American Speech-Language-Hearing Association (ASHA) (http://www.asha.org/)

Athletes and the Arts (http://athletesandthearts.com/)

House Research Institute – Hearing Health (http://www.hei.org/education/health/health.htm)

National Institute on Deafness and Other Communication Disorders – Noise-Induced Hearing Loss

(http://www.nidcd.nih.gov/health/hearing/noise.html) Other Organizations Focused on Hearing Health

Dangerous Decibels (http://www.dangerousdecibels.org)

National Hearing Conservation Association (http://www.hearingconservation.org/)

http://www.osha.gov/

http://www.nidcd.nih.gov/health/hearing/noise.html

http://www.hearingconservation.org/

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Protect Your Neuromusculoskeletal and Vocal Health

Every Day

Information and Recommendations for Student Musicians

National Association of Schools of Music Performing Arts Medicine

Association

This document is not copyrighted. It may be reproduced in whole or in part in the interest of education and institutional

development. This resource may be edited to fit the local needs of departments, schools, or institutions. Any organization

or institution may reproduce the document in quantities sufficient for its own use, but not for sale. Notice of credit to

NASM and PAMA should appear on all versions of this resource, both original and as edited for local use.

Protect Your Neuromusculoskeletal and Vocal Health Every

Day

Introduction

In working toward a degree in music, you are joining a profession with a long and honored history. Part of the

role of any professional is to remain in the best condition to practice the profession. For all of you, as aspiring

musicians, this involves safeguarding your neuromusculoskeletal and vocal health. Whatever your plans after

graduation – whether they involve playing, teaching, producing, or simply enjoying music – you owe it to

yourself and your fellow musicians to do all you can to protect yourself.

The neuromusculoskeletal system refers to the complex system of muscles, bones, tendons, ligaments, and

associated nerves and tissues that support our body’s physical structure and enable movement.

In this resource document, the term “neuromusculoskeletal” is used to encompass not only overt physical

movements (the pressing of a key, the strumming of a string) and overall body alignment, but also the small

internal movements our bodies make, for example to produce breath and modify vocal sounds.

Therefore, vocal health is referred to as a component of neuromusculoskeletal health. When the term

“neuromusculoskeletal” is used, vocal health is included. A number of direct references to vocal health are

interspersed throughout this guide. Special attention is devoted to issues of vocal health in the sections

neuromusculoskeletal issues affecting the voice and vocal protection.

Good health and healthy behaviors are important to all musicians, regardless of instrument or area of

specialization.

Vocal health is important, too. As current music students and future music professionals, you not only use your

voice to speak, but now or sometime down the road, you may find yourself engaged with the singing voice in

your role as a conductor, coach, teacher, recording engineer, researcher, therapist, or other music professional.

Of course, there are certain behaviors, especially those involving excessive physical and vocal stress and

strain, which can endanger your neuromusculoskeletal and/or vocal health.

Sometimes our bodies and voices recover from strenuous behaviors rather quickly, but other times the effects

linger. Our recovery time is often tied to our level of fitness and ability.

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Many of you may be picturing a novice athlete who doesn’t warm up properly, who plays too hard during a

game or match, and who then ends up with an injury – maybe a sprained ankle or a pulled muscle. But, as you

know, athletes aren’t the only ones who train and practice in order to reach the pinnacle of performance.

Musicians do that, too.

The work of musicians, like that of athletes, is physically demanding. And musicians, just like athletes, need to

warm up. They need to utilize proper form. They need to take breaks. They need to avoid “overdoing it.” And

they need to take the proper precautions to safeguard their neuromusculoskeletal and vocal health, so that they

can continue to play and sing the music they love for years to come. Some of you may have already been

diagnosed with some sort of neuromusculoskeletal or vocal condition or disorder. It may be tied to your

genetic makeup. It may be linked to a past injury or infection. Or it may be linked to a particular repeated

behavior, your posture, or something else.

The purpose of this resource document is two-fold. First, it’s intended to inform you about some of the most

common neuromusculoskeletal and vocal conditions and disorders that affect musicians. And second, its

contents can help to empower you to take control of your own neuromusculoskeletal and vocal health. The

majority of these conditions are preventable. But you’ve got to be proactive and protective of your health.

Avoid putting yourself at risk.

The bottom line is this: If you’re serious about pursuing a career in music, you need to treat your body with

respect. You need to demonstrate proper form and technique when playing and singing. And you need to

recognize your physical limitations. Sometimes, the most important thing you can do is take a deep breath and

take a break.

Disclaimer

The information in this presentation is generic and advisory in nature. It is not a substitute for professional,

medical judgments or advice. It should not be used as a basis for medical treatment. If you are concerned about

your physical dexterity or your voice, or think you may be experiencing the symptoms of a particular neural,

musculoskeletal, or voice disorder, consult a certified or licensed medical or healthcare professional.

Purpose of this Resource Document

The purpose of our presentation is to share with you some information on neuromusculoskeletal and vocal

health, conditions, and disorders and to let you know about the precautionary measures that all of us should

practice daily.

Music, the Musician, and Neuromusculoskeletal and Vocal Health

So, for most of you, practice is paramount to your success as a musician. It’s likely that the days when you

don’t practice are few and far between. It takes a lot of time, dedication, and skill to be a successful musician.

The act of practicing our music gradually takes a toll on us, especially when practice involves long hours and

infrequent breaks.

We practice alone, we practice with others, we practice for concerts, we practice for juries, and we practice for

competitions. In other words, we practice a lot. We practice to be the best we can be. And from time to time,

we experience aches and pains. All of us know that the life of a musician is busy and strenuous. Decisions

about when and how we practice – and for how long – have an effect on our neuromusculoskeletal and vocal

health. So, too, does our behavior outside of music classrooms, rehearsal halls, and concert venues.

As musicians, are responsible for our art. We need to cultivate a positive relationship between music and our

neuromusculoskeletal and vocal health. Balance, as in so many things, is an important part of this relationship.

58

The Neuromusculoskeletal System

The neuromusculoskeletal system refers to the complex system of muscles, bones, tendons, ligaments, and

associated nerves and tissues that allow us to move and to speak and sing. Also, this system supports our

body’s physical structure.

The “neuro” part of the term “neuromusculoskeletal” refers to our nervous system, which coordinates the ways

in which our bodies move and operate. The nervous system consists of the brain, the spinal cord, and the

hundreds of billions of nerves responsible for transmitting information from the brain to the rest of the body

and back to again, in an endless cycle. Our nervous systems allow us to move, to sense, and to act in both

conscious and unconscious ways. We could not listen to, enjoy, sing, or play music without these structures.

Vocal Anatomy

Our vocal system is a part of our larger neuromusculoskeletal system. Our voice is produced by four

component systems. These are often referred to as the “generator,” the “vibrator,” the “resonator,” and the

“articulator.”

The “generator” is our breath that is provided to us by our lungs. The diaphragm, along with numerous other

muscles within our abdomen, ribs, chest, and back, help us to move breath throughout our respiratory system.

The “vibrator” is the larynx, commonly referred to as the “voice box.” Horizontally stretched across the larynx

are two folds of mucous membrane. These are called the “vocal folds,” or “vocal cords.” And so, when breath

from our lungs passes along our vocal folds, vibrations occur.

The “resonator” is the resonating cavity above the larynx that gives the voice its particular tonal quality. The

resonator includes the vocal tract, much of the pharynx, or throat, the oral cavity, and the nasal passages.

The “articulator” includes our tongue, lips, cheeks, teeth, and palate. Together, these parts help us to shape our

sounds into recognizable words and vocalizations; they help us to articulate.

These four component parts – the “generator,” the “vibrator,” the “resonator,” and the “articulator” – work

together to produce speech, song, and all order of vocalizations.

Disorders of the Neuromusculoskeletal System

Sometimes, within our complex physical bodies, something goes wrong, and we find ourselves victim to a

neuromusculoskeletal disorder. The causes and contributing factors vary, but such disorders generally fall into

one of the following three categories: 1) disorders with a genetic link; 2) disorders resulting from trauma or

injury; and 3) disorders that are related to our behavior.

Some common symptoms of all neuromusculoskeletal disorders include pain, stiffness, aching, throbbing,

cramping, and muscular weakness. Some disorders may be permanent, while others may be temporary. In

some cases, a simple change in behavior or some rest and relaxation can help to eliminate or reduce certain

symptoms. Other times, it’s not so simple, and medical professionals may need to prescribe certain treatments,

such as surgery, therapy, or medication.

Contributing Factors

The exact causes of behavior-related neuromusculoskeletal disorders are manifold. However, these causes

generally fit into one of two basic categories or factors. They are: 1) musculoskeletal overuse and/or misuse

and 2) genetic factors.

1. Overuse/Misuse (and Abuse)

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Overuse

The human body, as we all know, has certain physical limits. In arts medicine terminology, “overuse” is

defined as a practice or activity in which anatomically normal structures have been used in a so-called

“normal” manner, but to a degree that has exceeded their biological limits. Overuse produces physical changes

in our muscles, tendons, ligaments, etc., and that’s when we experience symptoms, such as pain and

discomfort.

So, how much activity is too much? What exactly constitutes overuse? Well, there’s no simple answer to either

of these questions. The amount of excessive activity needed to produce these results varies from person to

person. Often, it’s tied to a person’s individual anatomy and physiology.

Musicians who are dealing with changes to their musical routine may find themselves “overdoing it.” In the

face of high self-expectations, musicians who are beginning at a new school or who are starting lessons with a

new instructor may be more apt to overdo it, to push themselves too hard. Similarly, musicians who are taking

up a new instrument may overdo it, as they work to quickly advance their skills. Really, any musician who

rapidly increases his or her practice time or intensity is likely to overdo it and increase his or her level of risk.

When it comes to overuse, what we need to ask ourselves the following questions: “Is my body well

conditioned enough to handle this kind and amount of physical activity? Am I changing my musical routine

too drastically or too quickly? Why am I making this change?” These are questions that require honest and

individualized answers.

Misuse

“Misuse” is when we use our bodies to perform physical tasks in abnormal ways – and sometimes to excessive

degrees. When we misuse certain bodily structures, we put them under stress. This can lead us to experience

symptoms such as pain and discomfort.

In music, an example of physical misuse is improper technique. Improper technique can involve poor or “lazy”

posture. For instrumentalists, it can involve playing with excessive pressure or force. It can also involve a

physical mismatch between player and instrument. For singers, it can involve singing too loudly or singing out

of range.

Remember, good posture and technique are important. They’ll make playing and singing easier, and you’ll be

less likely to hurt yourself.

Abuse

Abuse is related to both overuse and misuse. We abuse our own bodies when we perform an activity not only

excessively or improperly, but also in a conscious, willful manner, over a sustained period of time. A common

example is “playing through the pain.” Football players can be frequent perpetrators, but so are some

musicians. In their quest to be the best, they let their own physical well-being take a back seat, and end up

hurting themselves.

Playing or singing through the pain is not an acceptable option. If you’re hurting, stop. Tell your instructor that

you’re not okay. Your instructor will likely have a protocol in place. This may include asking you to sit on the

sidelines and make notes in your music, or you may be excused from class to seek treatment. Ultimately, if

you are experiencing chronic pain, consult with a medical professional, and follow the treatment plan they

provide. Your health is too important to be playing through the pain.

Abuse can also involve the use of alcohol or other dangerous substances. Don’t smoke or use any drug not

prescribed by a medical professional licensed to do so.

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2. Genetic Factors

There are also some genetic predispositions that can increase a person’s risk of developing one or more

behavior-related disorders.

One of the most common genetic factors in this category is double-jointedness. Medically known as

“hypermobility,” people with this condition have joints, ligaments, and tendons with an extended range of

motion. Such joint instability can increase a person’s risk of developing various muscle pain syndromes. It can

also lead to tendinitis, an inflammation of the tendon. (Tendons, as you may know, are the tough bands of

fibrous tissue that connect muscle to bone.)

Individuals with hypermobile joints tend to compensate for this instability by over-tensing their muscles.

While this extra muscle tension can help them to better control their movements, it can also increase their risk

of damaging or straining a muscle. People with hypermobility are generally encouraged to monitor and

actively reduce the amount of tension that they carry in their muscles in order to reduce the risk of future pain

and discomfort. Specific strengthening exercises may be recommended, or they may employ external methods

of joint support, such as small ring splints or tape.

Neuromusculoskeletal Issues Affecting the Body

Below are a number of neuromusculoskeletal complications and disorders that are likely to affect the

musician’s body.

1. Muscle Pain

For musicians, muscle pain can be the result of overuse, misuse, poor posture, tension, technical problems, or

poor conditioning.

Muscles that are fatigued are less able to contract as strongly and frequently as “normal” muscles. With

continued use, fatigued muscles are placed under greater stress, and this can lead to microscopic damage and

disruption of the muscle fibers, a condition known as muscle strain.

Muscle contraction is both a physical and a chemical process. When the necessary chemical compounds are in

short supply, muscles can no longer operate at optimal efficiency. When muscles contract, they produce lactic

acid. When lactic acid builds up in tissues, it minimizes the muscle’s ability to continue efficient contractions.

Some kinds of muscle pain may subside once an activity is stopped, but others will linger.

In the case of muscle strains, the pain may dissipate, but a regimen of rest, ice, and/or anti- inflammatory

medications may be necessary in order to reduce swelling and help facilitate a quicker recovery. As always,

it’s best to get your advice and treatment plan from a medical professional.

For musicians, muscle pain that stems from performing music is commonly felt in specific body locations. The

neck and shoulders; the hands, wrists, and fingers; and the lower back are the most frequently affected areas.

Some musicians are more susceptible to certain injuries than others. For example, clarinetists are at greater risk

for right thumb pain. Double bass players are more likely to experience pain in the lower back.

So, just remember this, when it comes to muscle pain, give your body a break and rest your weary muscles for

as long as it takes. Resuming activity prematurely often exacerbates the problem and leads to more trouble in

the long run.

2. Neuropathies

“Neuropathy” is a general medical term that refers to diseases or malfunctions of the nerves. Neuropathies are

classified by the types or locations of the nerves they affect.

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Focal neuropathies are those focused on one nerve or group of nerves within a particular area of the body.

Symptoms usually appear suddenly and can include pain; sensory disturbances, such as numbness, tingling,

“pins of needles” sensations, burning, or even itching; and weakness. In the case of bodily extremities, the pain

may occur at the site of a nerve compression or entrapment. Nerve compressions, or entrapments, occur when

a nerve passes through a narrowed channel bounded by bone, fibrous bands, bulky muscles, or enlarged

arteries on its way to or from its ultimate destination – either toward or away from the brain and spinal cord.

In other cases, the pain may be distributed anywhere along the course of the nerve. Individuals with this kind

of nerve pain may later on find themselves experiencing muscle weakness and impaired dexterity.

Three of the most common entrapment neuropathies for musicians include: 1) carpal tunnel syndrome, 2) ulnar

neuropathy, and 3) thoracic outlet syndrome.

Carpal Tunnel Syndrome

Often associated with people who type for a living, carpal tunnel syndrome occurs when the median nerve,

which runs from the forearm into the palm of the hand, becomes pressed or squeezed at the wrist. The carpal

tunnel – a narrow, rigid passageway of ligament and bones at the base of the hand – contains the median nerve

and several tendons. When irritated or strained, these tendons may swell and narrow the tunnel, compressing

the median nerve. The result can be pain, weakness, or numbness in the hand and wrist that radiates up the

arm.

Although some experts tie carpal tunnel syndrome to repeated actions, especially those involving the hands

and wrists, others cite a genetic predisposition. It is also associated with certain medical conditions, including

diabetes, arthritis, and hypothyroidism. It is often very difficult to determine the precise cause of carpal tunnel

syndrome. Whatever the cause, it is a good idea to occasionally rest and to stretch the hands and wrists when

performing repetitive tasks or musical exercises. For individuals diagnosed with carpal tunnel syndrome, a

doctor may recommend the use of a wrist splint, especially at night.

Ulnar Neuropathy

Ulnar neuropathy is a condition in which the ulnar nerve, which runs from the neck along the inside edge of

the arm into the hand, becomes inflamed due to compression of the nerve. Symptoms include tingling,

numbness, weakness, and pain, primarily along the elbow, the underside of the forearm, and along the wrist or

edge of the hand on the little (pinky) finger side.

Compression of the ulnar nerve is often linked to repetitive wrist or elbow movements. Musicians of bowed

instruments are at a heightened risk for developing this condition, because playing a bowed instrument

involves sustained elbow flexion.

Treatment for ulnar neuropathy may involve pain medication, the use of splints to restrict motion, and various

exercises.

Thoracic Outlet Syndrome

Thoracic outlet syndrome refers to a group of disorders that occur when the blood vessels or nerves in the

thoracic outlet – the space between the collarbone and first rib – become compressed. It is most often the result

of poor or strenuous posture, or of constant muscle tension in the neck and shoulder area. Symptoms include

pain in the neck and shoulder areas and numbness in fingers.

Doctors may prescribe a variety of stretches and exercises in order to treat the symptoms of thoracic outlet

syndrome. Proper body alignment and sufficient muscle strength can both help to decrease the risk of thoracic

outlet syndrome among musicians.

62

3. Dystonia

Dystonia involves sustained muscular contractions. These muscular contractions produce unwanted

movements or abnormal postures in people. The exact cause of dystonia is unclear. Like a focal neuropathy,

focal dystonia is focused on a particular area of the body, and certain sets of muscles within that area of the

body are involved. Because men are more frequently affected than women, it is possible that genetic or

hormonal factors are to blame.

Also, as is the case with carpal tunnel syndrome, repetitive movements, especially those that are painful, seem

to be a trigger for dystonia. In the instrumental musicians, these sustained muscle contractions frequently

affect the upper arm. This is especially true for keyboard, string, percussion, and woodwind players. In brass

and woodwind players, the embouchure may be affected.

Neuromusculoskeletal Issues Affecting the Voice

There are also a number of neuromusculoskeletal issues that can adversely affect the musician’s voice. Some

common medical conditions affecting the voice are phonatory instability, vocal strain, and vocal fold motion

abnormalities.

1. Phonatory Instability

Phonation, as you may know, is the process by which air pressure, generated by the lungs, is converted into

audible vibrations. One method of phonation called “voicing” occurs when air from the lungs passes along the

elastic vocal folds at the base of the larynx, causing them to vibrate. Production of a tonal, pleasant voice with

smooth changes in loudness and pitch depends upon the symmetrical shape and movement of the vocal folds.

Phonatory instability occurs when there is asymmetrical or irregular motion of the vocal folds that is

superimposed on the vocal fold vibration. Short-term causes of phonatory instability include fatigue, effects of

medication, drug use, and anxiety. These problems tend to resolve rapidly if the cause is removed. Fatigue is

another common cause of short-term phonatory instability.

Additionally, over-the-counter allergy medications, anti-depressants, and highly caffeinated drinks, which

stimulate the nervous system, can often cause vocal tremors, a form of phonatory instability. Drug use, alcohol

use, and smoking all adversely affect our control of vocal folds and should be avoided.

2. Vocal Strain

Another issue for vocal musicians is vocal strain. Overuse of the voice in any capacity – singing or speaking –

can produce vocal strain. Singers must be aware of problems associated with singing at the extremes of vocal

range, especially the upper end. Both duration and intensity of singing are as important as they are for

instrumentalists. In other words, avoid overdoing it. Singers should also avoid attempting repertoire that is

beyond their individual stage of vocal maturity and development. Improperly learning and practicing certain

vocal styles is also dangerous.

3. Vocal Fold Abnormalities

Prolonged overuse can, in some cases, lead to the development of nodules on the vocal folds. The nodules

appear initially as soft, swollen spots on the vocal folds, but overtime, they transform into callous-like

growths. Nodules require specialized and prolonged treatment and rehabilitation and can be of grave

consequence to singers.

Basic Protection for All Musicians

As musicians, it’s vital that you protect your neuromusculoskeletal health whenever possible.

63

Here are some simple steps you can take:

1. When possible, avoid situations that put your neuromusculoskeletal health at risk.

2. Refrain from behaviors that could compromise your neuromusculoskeletal health and the health of

others.

3. Warm up before you practice and perform.

4. Take regular breaks from practice and rehearsal. A good rule of thumb is a 5-minute rest every half

hour.

5. Limit excessive practice time.

6. Avoid excessive repetition of difficult music, especially if progress is slow.

7. Insomuch as possible, avoid playing and/or singing music that is beyond your physical abilities or

outside your natural range.

8. Refrain from sudden increases in practice and playing time.

9. Maintain good posture in life and when you practice and perform music. Be mindful of alignment,

balance, and weight distribution.

10. Use external support mechanisms, such as shoulder rests, neck straps, and flute crutches, when

necessary.

11. Maintain good “mental hygiene.” Get adequate sleep, good nutrition, and regular exercise.

12. Refrain from recreational drug use, excessive alcohol use, and smoking.

13. Do your best to limit and control stressors. Plan ahead.

14. Give yourself time to relax.

Vocal Protection

Here’s some extra advice for safeguarding your voice:

1. Drink plenty of water, at least 8 glasses a day.

2. Limit your consumption of caffeine and alcohol.

3. Don’t smoke.

4. Be aware that some medications, such as allergy pills, may dry out your vocal tissues. Be aware of

side effects and talk to your doctor if you have questions.

5. Avoid dry air environments. Consider using a humidifier.

6. Avoid yelling or raising your voice unnecessarily.

7. Avoid throat clearing and loud coughing.

8. Opt to use vocal amplification systems when appropriate.

9. Rest your voice, especially if you are sick. Your voice and your body need time to recover.

Marching Musicians

Musicians in marching bands and drum corps need to maintain a high level of physical conditioning, strength,

and endurance. Their rehearsals and performances are very physical and require very precise movements, all

while carrying an instrument. Marching musicians are at an increased risk for sprained ankles, toe contusions,

and knee strains, and the heavy instruments that you carry place great amount of physical stress on the neck,

torso, lower back, and legs.

In some climates, high heat, humidity, and extended sun exposure may place added strain on these musicians.

Thorough physical warm-ups, sufficient rest periods, appropriate sun protection, and adequate hydration are

essential in promoting the neuromusculoskeletal health of these musicians.

Future Steps

Now that you’ve learned about the basics of neuromusculoskeletal and vocal health, we encourage you to keep

learning. Do your own research. Browse through the links provided at the end of this document. There’s a

wealth of information out there, and it’s yours to discover.

64

Conclusion

We hope this resource document has made you think more carefully about your own neuromusculoskeletal

and vocal health. Just remember that all the knowledge in the world is no match for personal responsibility.

We’ve given you the knowledge and the tools; now it’s your turn. You are responsible for your behavior in

and outside of the music unit. Your day-to-day decisions have a great impact on your neuromusculoskeletal

and vocal health, both now and years from now. Do yourself a favor. Be smart. Protect your body and your

voice. Don’t take unnecessary risks. Take care of yourself. You owe it to yourself.

Resources – Information and Research Neuromusculoskeletal and Vocal Health Project

Partners

National Association of School of Music (NASM)

http://nasm.arts-accredit.org/

Performing Arts Medicine Association (PAMA)

http://www.artsmed.org/index.html

PAMA Bibliography (search tool)

http://www.artsmed.org/bibliography.html

Medical Organizations Focused on Neuromusculoskeletal and Vocal Health

American Academy of Neurology (http://www.aan.com)

American Academy of Orthopaedic Surgeons (http://www.aaos.org) American Academy of Otolaryngology – Head and Neck Surgery (http://www.entnet.org)

American Academy of Physical Medicine and Rehabilitation (http://www.aapmr.org)

American Association for Hand Surgery (http://www.handsurgery.org)

American Laryngological Association (http://www.alahns.org)

The American Occupational Therapy Association, Inc. (www.aota.org)

American Psychiatric Association (www.psych.org)

American Psychological Association (www.apa.org)

American Physical Therapy Association (http://www.apta.org)

American Society for Surgery of the Hand (www.assh.org)

American Speech-Language-Hearing Association (http://www.asha.org)

National Center for Complementary and Alternative Medicine (http://nccam.nih.gov)

Other Resources on Neuromusculoskeletal and Vocal Health

Athletes and the Arts (http://athletesandthearts.com)

National Association of Teachers of Singing (http://www.nats.org)

65

FACULTY RESOURCES Blackboard is an important resource containing vital information. You should have been issued credentials upon hiring for Blackboard. In Blackboard go to “Faculty Forum.” This site contains the following information that you will need: General Information Includes academic calendars and general education miscellaneous information. Academic Forms Any forms regarding change of enrollment, grades, substitutions, audits, etc. Colleague Guide Entering grades, granting permission to enroll, attendance, etc. Please note that all grades must be issued at midterm and final for all classes. The Registrar will issue deadlines. It is imperative that you adhere to these. Applied music enrollment: If a student wishes to study applied music with you, you must give permission to the student (you will need the student ID#) on Ravenzone for the correct enrollment number. The student only then is able to enroll for applied music with you. You should report your enrollments for applied music to the department administrative assistant. Only music majors in the primary applied area may enroll for 2 credits. All other students should enroll for 1 credit. Parking on campus: Please see the administrative assistant to aid you in the application for your parking sticker. Syllabi: Your syllabi will be chosen at random to ensure that the required items are included. Instructor name: Date: Course: Reviewed by:

Approved? Item Comment

1a) Instructor name

1b,c) Course name, number

& section

1d) Course description

from Catalog

1e) Semester

1f) Instructor contact info

(phone, email, office

number)

66

1g) Office hours

2) General education

requirements met

3) Course objectives &, if

appropriate., Foundation

Learning Goals

4) Teaching method

5) Attendance

requirements

6) Text(s)

7) Basis for determining

grades, including # of

exams

8) Disability Statement

9) Course outline with

dates/assignments (can

verify that credit hour

requirement is met)

67

REPERTOIRE LISTS

These repertoire lists represent the competency

levels that a Music Major should be able to

demonstrate in their applied studies. These lists

have been compiled by the respective music

faculty, and are only a recommended list, not a

required list of repertoire. 1000=Freshmen level,

2000=Sophomore, 3000=Junior, 4000=Senior.

BRASS AND PERCUSSION

This list represents a recommendation of Brass and

Percussion literature to be studied at progressive

levels. It is not intended to be a required

repertoire list for graduation. Many pieces have

been chosen from the Associated Board of the

Royal Schools of Music required lists and students

are encouraged to apply for international

accreditation through ABRSM exams given

externally.

1000 LEVEL FRENCH HORN

Brahms Scherzo and Trio (from Serenade No.1 in

D,Op.11). Time Pieces for Horn,Vol.2,arr.Harris

and Skirrow (ABRSM Publishing)

Danzi Concerto in Eb:2nd movt,Romanze

(Heinrichshofen N 6217/Peters)

Handel I See a Huntsman (from Julius Caesar). No.

5 from Solos for the Horn Player, ed. Jones

(Schirmer/Music Sales)

Mozart Horn Concerto No.1 in D,K.412/514:1st

or2nd movt,Allegro or Rondo:Allegro (D/F

edition:Bärenreiter BA 5314a)

Mozart Horn Concerto No.2 in E b,K.417:2nd

movt,Andante (Eb/F edition:Bärenreiter BA 5311a)

Rosetti Horn Concerto in D minor:2nd

movt,Romanze (with cadenza)(Simrock

3061/MDS)

Saint-Saëns Morceau de Concert,Op.94:Allegro

moderato to fig.3 (Durand/UMP)

BozzaEn Irlande (Leduc/UMP)

Dunhill Allegro vivo and Slow Minuet:No.2 and

No.5 from Cornucopia,Op.95 (Boosey &

Hawkes/MDS)

HindemithHorn Sonata (1939):2nd movt,Ruhig

bewegt (Schott ED 3642/MDS)

KodályIntermezzo from Háry János. Absolutely

Horn,arr.Bissill (Brass Wind)

Ridout Concertino for Horn:1st movt (Emerson)

Guy WoolfendenSpanish Dance or Lotus

Waltz:from Horn Dances(Brass Wind)

Studies

Andrew Clark16 Etudes:Suite 1,Etude 3 (Mitre

Music/Emerson)

Concone Study No.25 (Op.9 No.29). Concone

Studies for Horn in F,arr.Ashworth (Emerson)

Kopprasch 60 Selected Studies for French

Horn,Book 1:No.13 (Carl Fischer 02790/MDS)

Peter Lawrance Restless:from Featuring

Melody(&brass edition:Brass Wind)

Maxime-Alphonse 200 New Studies for

Horn,Book 3:No.6 in C or No.16 in B

b(Leduc/UMP)

Lowell E.ShawJust Desserts – Frippery Style:No.1

(The Hornist’s Nest/Emerson)

TRUMPET

Banchieri Canzona 5. The Baroque

Trumpet,arr.Miller (Bb/D edition:Faber)

Bruckner Ave Maria,arr.Mortimer (Bb/C

edition:Editions Marc Reift/MusT)

Handel Ev’ry Valley Shall Be Exalted (from

Messiah). Three Handel Arias,arr.Street (Studio

Music)

Mozart Andante (from Piano Concerto No.21).

The James Watson Collection,Vol.2,arr.Bennett

(Unlimited Music/ Maecenas)

L.Otto Trumpet Concerto in Eb:3rd

movt,Rondo:Allegro grazioso (Bb/Eb edition:Brass

Wind)

Purcell Sonata for Trumpet:1st and 3rd movts

(Bb/C edition:IMC 2089/MDS)

Anon. Mexican Hat Dance or La Cucaracha. No.2

or No.3 from Play Latin for Trumpet,arr.Gout and

Farley (Faber)

Clare Grundman Conversation for Cornet

(Boosey & Hawkes/MDS)

Jim Parker Soldier,Soldier or Ground Force. The

Music of Jim Parker for Trumpet (Brass Wind)

Studies

Arban14 Studies for Cornet:No.5 in C (Boosey &

Hawkes/MDS)

Concone 25 Lessons,Op.10:No.19. Concone The

Complete Solfeggi,trans.Korak (Balquhidder

Music—Carl Fischer/ MDS)

John Miller Stealthy Living or Morning:No.11 or

No.13 from Progressive Brass Studies (Faber)

Ernest Piper The Well-Tempered Player:No.2 in C

minor (Winwood Music)

Allen Vizzutti Irish Reel:No.6 from 20 Dances for

Trumpet (De Haske)

Malcolm Weale Challenging Brass:No.15 in C

minor or No.16 in G minor (&edition:Winwood

Music)

68

TROMBONE

J.S.BachAnglaise (from French Suite No.3). Bach

for Trombone,arr.Mowat (?or &editions:Brass

Wind)

GalliardSonata No.1 in A minor:1st and 2nd

movts,Cantabile and Spiritoso e Staccato A Tempo

Moderato (Peters H 752a)

Mendelssohn Theme from Symphony No.5

(Reformation). First Solos for the Trombone or

Baritone Player,trans.Smith

(?edition:Schirmer/Music Sales)

Pergolesi Aria (from La Serva Padrona). No.7

from Second Book of Trombone

Solos,arr.Goodwin and Pearson (?/& edition:Faber)

Purcell When I am Laid in Earth (from Dido and

Aeneas). The Baroque Trombone,arr.Wills (Faber)

Rimsky-Korsakov Trombone Concerto:2nd

movt,Andante cantabile(?/&edition:Brass Wind)

Keith Amos Dragon Dance:No.1 from Dragon

Dance(?/&edition:CMA Publications 282)

Eileen Clews Scherzando:No.4 from Four Pieces

for Trombone (Paterson/Music Sales)

JacobTrombone Sonata:1st movt,Adagio

(Emerson)

Christopher Mowat Bone Idyll. Slide Show for

Trombone,arr.Mowat (?or &editions:Brass Wind)

Christopher NortonJust that Minute:No.12 from

Microjazz for Trombone (Boosey &

Hawkes/MDS)

Ridout Concertino for Trombone:1st movt, Lento

(Emerson)

Studies

Keith Amos 12 Miniatures for Solo Euphonium or

Trombone: No. 7, Alla Viennoise, or No. 9, Alla

Grecque (?/& edition:CMA Publications 155)

Derek Bourgeois Bone

ofContention,Op.112:No.13,Allegretto

grazioso(?or &editions:Brass Wind)

Derek Bourgeois Splinters

ofBone,Op.130:No.24,Allegretto(?or

&editions:Brass Wind)

Nigel Clarke Pandora:from Featuring Rhythm– 9

Graded Studies for Trombone (?or


John Edney L’Espagnole:No.26 from Up Front

Melodic Studies for Trombone, Book 2(?or


Christopher Mowat Unlocking the Tenor

Clef:No.17,Allegro (Brass Wind)

Jérôme Naulais Études Variées de Virtuosité et de

Technique,Vol.2 – 23 Études:No.21,Promenade

(Billaudot/UMP)

EUPHONIUM

Elgar Serenade,arr.Wilson (&edition:Winwood

Music)

B. Marcello Sonata No.1 in F:1st and 2nd movts,

Largo and Allegro, or 1st and 4th movts, Largo and

Presto (Allegro)

(?edition arr.Ostrander:IMC 1978/MDS or&edition

arr.Mortimer:Editions Marc Reift/MusT)

Purcell Suite,arr.Sturzenegger for Euphonium:1st

and 2nd movts,Rondeau and Rigaudon

(&edition:Editions Marc Reift/MusT)

Saint-Saëns The Swan (from The Carnival ofthe

Animals),arr. Mead (?/&edition:Studio Music)

Wagner Sigmund’s Love Song (from The

Valkyrie) or Walter’s Prize Song (from The

Mastersingers). Wagner Three

Operatic Arias, arr.Wright (?/&edition:Brand

Publications/Smith)

Ernest Young Euphonium Sonata:2nd

movt,Intermezzo (?/&edition:Brand

Publications/Smith)

Keith Amos Dragon Dance:No.1 from Dragon

Dancefor Euphonium:(?/&edition:CMA

Publications 282)

John Golland Peace (?/&edition:Hallamshire

Music)

Peter Lawrance Andante and Badinage: Nos 5 and

6 from Badinage(?or &editions:Brass Wind)

Robert Sanders Square-Dance (&edition: Stainer

&Bell)

Keith Amos Miniature No. 9, Alla Greque, or No.

12, Moderate March: from 12 Miniatures for Solo

Euphonium(?/& edition:CMA Publications 155)

Nigel Clarke Pandora: from Featuring Rhythm(?or


Studies

Dubois 14 Studies for Trombone:No.11 or No.12

(?edition:Leduc/UMP)

Gaetke 60 Studies for Trombone:No.21 or No.25

(?edition:IMC 1456/MDS) (restricted availability)

Alwyn GreenEuphonium Eurhythmics:Study

No.5,P.30 (?or &editions:Warwick Music)

Mark Nightingale The Suntan Samba:No.9 from

Tipping the Scales(?or &editions:Warwick Music)

Reinhardt Selection of Concone Studies for

Trombone:No.9 or No.10 (?edition:Elkan-

Vogel/UMP)

TUBA

Arthur Frackenpohl Concertino for Tuba:2nd and

3rd movts,Lento and Allegro (Robert King/UMP)

Hindemith Sonata (1955):2nd movt,Allegro assai

(Schott ED 4636/MDS)

JacobTuba Suite:No.2 or No.4,Hornpipe or

Bourrée (Boosey & Hawkes/MDS)

69

TUBA(CONT.)

Vivaldi Allegro,arr.Swanson (with repeat) (Belwin

Mills/Maecenas)

Keith Amos Compositae (?/&edition:CMA

Publications 041)

Jean-Michel Defaye Suite Marine:1st and 4th

movts,L’Otarie and L’Éléphant de Mer

(Leduc/UMP)

Walter HartleySuite for UnaccompaniedTuba:any

three movts (Elkan-Vogel/UMP)

Bryan Kelly Tarantelle:No.4 from Dordogne

Dances(?/&edition:Emerson)

Jim Parker Ground Force. The Music ofJim Parker

for EbBass/Tuba (?or &editions:Brass Wind)

William ReltonThe Trouble with the Tuba is

...(Eb&edition:Kirklees Music)

Alan Richardson In the Lowlands:complete (Music

Sales)

Burnet Tuthill Fantasia for Tuba,Op.57 (Ensemble

Publications/Music Sales)

Studies

Blazhevich70 Studies for B bTuba,Vol.1:No.11 or

No.14 (Robert King/UMP)

Derek Bourgeois Happy:from Per Tuba ad

Astra(?or &editions:Brass Wind)

Alwyn GreenTuba Eurhythmics:Study No.5,P.30

(?) orP.29 (&)(?or &tuba editions:Warwick Music)

Kopprasch 60 Selected Studies for BbTuba:No.26

(Robert King/UMP)

PERCUSSION MALLETTS

J. S. BachInvention No. 10 in G, BWV781

Handel Allegro, from Sonata in F, Op. 1 No. 12*

JoplinMaple Leaf Rag*

MendelssohnSong without Words, Op. 102 No. 3

Johann Strauss Radetsky March, Op. 228

TelemannVivace, from Fantasia No. 5 in F (1st

Dozen)

TIMPANI

Unsquare Dance

Square Dance

Diversions

Scherzoid

SNARE DRUM

Malvern March

Con anima

Fanfare and Dance

Waltz Variations

Midsummer Dream

Con forza

Graded Music for Snare Drum, Book

3(ABRSMPublishing)

Graded Music for Timpani, Book

3(ABRSMPublishing)

Graded Music for Tuned Percussion, Book 3

(ABRSMPublishing)


BorodinIntermezzo:No.1 from Five Pieces from

Little Suite(Israel Brass Woodwind

Publications/MusT)

Glazunov Rêverie,Op.24 (Belaieff343/MDS)

GounodSix Pièces mélodiques

originales,Vol.2:No.4 (Billaudot/UMP)

Mozart Horn Concerto No.3 in Eb,K.447:1st or 3rd

movt,eitherAllegro (Eb/F edition:Bärenreiter BA

5312a)

Mozart Horn Concerto No.4 in Eb,K.495:3rd

movt,Rondo:Allegro vivace (Eb/F


NielsenCanto Serioso (Skandinavisk

Musikforlag/Music Sales)

Rosetti Horn Concerto in D minor:3rd movt,Rondo

(Simrock 3061/MDS)

Franz Strauss Nocturno,Op.7 (Universal

1368/MDS)

Bartoš Rondo:from Adagio Elegiaco e

Rondo(Schott COR 5/MDS)

BozzaChant Lointain (Leduc/UMP)

Gordon Carr Idyll:No.2 from A Day in the

Country(Broadbent & Dunn)

Arnold Cooke Rondo in Bb(Schott ED

10231/MDS)

Jean-Michel Damase Pavane Variée

(Lemoine/UMP)

HindemithHorn Sonata (1939):1st movt,Mässig

bewegt (Schott ED 3642/MDS)

Bertold Hummel Sonatine for Horn,Op.75a:3rd

movt,Finale:Presto (Schott COR 7/MDS)

Guy WoolfendenSword Dance:from Horn

Dances(Brass Wind)

Studies

J.S.BachCello Suite No.5:7th movt,Gigue. Bach

Six Suites for Horn Solo,arr.Orval (Editions Marc

Reift/MusT)

Kopprasch 60 Selected Studies for French

Horn,Book 1:No.33 (Carl Fischer CFO 2790/MDS)

Peter Lawrance Hornpipe orLa Chase:from

Featuring Melody(&brass edition:Brass Wind)


Horn,Book 3:No.23 in E bor No.32 in

C(Leduc/UMP)

de Pré 20 Études pour le Cor grave:No.1 orNo.5

(Billaudot/UMP)



70

TRUMPET

Elgar Idylle. No.18 from Second Book of Trumpet

Solos arr. Wallace and Miller

Hummel The Noble Savage (Indian Rondo).

No.14 (Faber)

Fantini Sonata detta del Niccolini. The Baroque

Trumpet,arr.Miller (Bb/D edition:Faber)

Keller Sonata No.2 for Trumpet: complete. No.3

from Baroque Music for Trumpet ed. Wastall

(Boosey & Hawkes/ MDS)

Laue Trumpet Concerto:1st and 2nd

movts,Allegro and Adagio (Brass Wind)

Purcell Sound the Trumpet (from The Duke

ofGloucester’s Birthday Ode),arr.Wiggins

(Fentone/De Haske)

Zubiaurre Audition Piece for Trumpet or Cornet

(Brass Wind)

Copland Laurie’s Song (from The Tender Land).

Copland 2000 for Trumpet (Boosey &

Hawkes/MDS:piano accomp. published separately)

Gershwin Prelude No.1 or No.2. Gershwin Three

Preludes,arr.Kearns (Stainer & Bell)

Edward Gregson Danse Macabre:from Cameos for

Trumpet (Brass Wind)

Ronald Hanmer Arioso and Caprice for Flugelhorn

(Brand Publications/Smith)

Dominic Muldowney Two Tone Tattoo. Unbeaten

Tracks – Trumpet,ed.Miller (Faber)

Shostakovich Prelude 18. Russian Roulette for

Trumpet,arr.Archibald (Brass Wind)

Studies

Arban14 Studies for Cornet: No.6 in F (Boosey &

Hawkes/MDS)

Derek Bourgeois Fantasy Pieces for

trumpet:No.1,Allegro vivace,orNo.2,Andante e

pesante(Brass Wind)

Herbert Clarke Characteristic Studies for the

Cornet:No.22 in G minor (Carl Fischer

02281/MDS)

John Miller Seventh Heaven or Alpine

Waltz:No.21 or No.22 from Progressive Brass

Studies (Faber)

Ernest Piper The Well-Tempered Player:No.20 in

A minor (Winwood Music)

Allen Vizzutti Flamenco:No.4 from 20 Dances for

Trumpet (De Haske)

Malcolm Weale Challenging Brass:No.22 in B

minor (&edition:Winwood Music)

TROMBONE

J. S. BachPrelude in Ab(from 48 Preludes and

Fugues, Book 1). Bach for Trombone, arr. Mowat

(?or &editions: Brass Wind)

Berlioz Recitative and Prayer (from Grande

Symphonie Funèbre et Triomphale,Op.15)

(?/&edition:Brass Wind)

Gluck Che farò senza Euridice (from Orfeo ed

Euridice). The Baroque Trombone arr. Wills

(Faber)

B.Marcello Sonata in G,arr.Brown:1st and 2nd

movts Andante and Allegro (IMC2203/MDS)

L. Mozart Serenade for Trombone,arr.Clack:1st

movt,Allegro(B/&edition:Winwood Music)

Rimsky-Korsakov Trombone Concerto:1st

movt,Allegro vivace (?/&edition:Brass Wind)

Jacques Castérède Sonatine for Trombone:2nd

movt,Andante sostenuto (Leduc/UMP)

James Curnow Fantasy for Trombone

(?/&edition:Winwood Music)

Edward Gregson Divertimento for Trombone:2nd

and 3rd movts,Canzona and Scherzino

(?/&edition:Studio Music)

Jim Parker Dances with Bears. Jazzed Up Too for

Trombone,arr.Parker (?or&editions:Brass Wind)

Robert Ramskill Ballad. From Vivaldi to Fats

Waller for Trombone (?or &editions:Brass Wind)

Studies

Denis ApIvor 24 Exercises:No.1 (Allegro vivace)

(?or &editions:Warwick Music)

Derek Bourgeois Bone of

Contention,Op.112:No.14,Moderato ritmico (?or


Derek Bourgeois Fantasy Pieces for tenor

trombone:No.4,Moderato cantabile(?or


Christopher Mowat Unlocking the Tenor

Clef:No.29 or No.30 (Brass Wind)


Technique,Vol.2 – 23 Études:No.22,Latin Funk

(Billaudot/UMP)

Jérôme Naulais Trombone Plaisir,Vol.3 – 18

Études:No.5,Medium Fast Swing (Billaudot/UMP)

EUPHONIUM

Elgar Idylle,Op.4 No.1,trans.Wilson


Elgar Salut d’Amour,Op.12,trans.Childs. Monti’s

Czardas,ed.Wilson(&edition:Winwood Music)

Handel Prelude and Fugue,arr.Sturzenegger for

Euphonium (&edition:Editions Marc Reift/MusT)

Michael HopkinsonConcerto for Tuba (Concerto

Euphonique): 1st movt, Allegro moderato

(Bb&edition:Kirklees Music)

Mozart Concerto in 2

Movements,K.412,arr.Lethbridge for Euphonium

or Baritone (?/&edition:Brand Publications/ Smith)

71

EUPHONIUM(CONT.)

Ernest YoungEuphonium Suite: 1st and2nd movts,

Allegro Giocoso and Romanza: Lento, or 2nd and

3rd movts,

Romanza:Lento andScherzando (?/&edition:Brand

Publications/Smith)

James CurnowRhapsody for Euphonium


Joseph Horovitz Euphonium Concerto:2nd

movt,Lento (&edition:Novello/Music Sales)

Rodney NewtonBaritone Aria (?/&edition:Editions

Marc Reift/MusT)

Philip Sparke Aubade (&edition:Studio Music)

David Uber Danza Espagnola (?/&edition:Virgo)

Vaughan Williams Concerto for Tuba: 2nd movt,

Romanza (separate &euphonium part, and piano

score with ?part: OUP)

Studies

Dubois 14 Studies for Trombone:No.13

(?edition:Leduc/UMP)

Gaetke 60 Studies for Trombone:Nos 52 and 53

(?edition:IMC 1456/MDS) (restricted availability)



Mark Nightingale Barking Mad:No.8 from

Tipping the Scales(?or &editions:Warwick Music)


Trombone:No.12 (?edition:Elkan Vogel/UMP)

TUBA

Anon. Hornpipe. No.14 from First Solos for the

Tuba Player,arr.Wekselblatt (Schirmer/Music

Sales)

HindemithSonata (1955):1st movt, Allegro pesante


JacobTuba Suite: No.8,Galop (with cadenza)

(lower 8ve optional) (Boosey & Hawkes/MDS)

Senaillé Introduction and Allegro

spiritoso,arr.Catelinet (?/&edition:Peters H 853)

TelemannAdagio and Allegro (from Trumpet

Concerto in D),arr.Friedman (Southern Music

Co/Valentine Music)

Eugène Bozza Thème Varié (Leduc/UMP)

Jean-Michel Defaye Suite Marine:2nd and 3rd

movts, Le Cachelot and Le Requin (Leduc/UMP)

Merle HoggSonatina: complete (Ensemble

Publications/Music Sales)

Joseph Horovitz Tuba Concerto:2nd movt,

Andante (?/Eb&edition:Studio Music)

Simon Proctor Ulloco or Oca:from Tuber

Music(?or &editions: Brass Wind)

Vaughan Williams Concerto for Tuba: 2nd movt,

Romanza (OUP)

Alec Wilder Sonata (No.1) for Tuba and Piano: any

three movts (Richmond/Emerson) (now out of

print)

Studies

Blazhevich70 Studies for BbTuba,Vol.1:No.15 or



tuba:No.1,Allegro moderato,or No.4,Commodo

(Brass Wind)



Kopprasch 60 Selected Studies for BbTuba:No.11

(Robert King/UMP)

Weissenborn,arr.Leslie Lake 12 Studies for Bass

Trombone or Tuba:No.4 (NeuschelMusic/Studio

Music)

PERCUSSION

MALLETTS

J. S. BachBourrée anglaise, from Flute Sonata in

Aminor, BWV1013

Handel Allegro, from Sonata in E, Op. 1 No. 15

JoplinThe FavouriteandRagtime Two Step

Kreisler Liebesfreud*

Johann Strauss Thunder and Lightning Polka, Op.

324

Vivaldi Presto, from Concerto in Aminor, Op. 3

No. 6*

TIMPANI

Tchaikovsky Plus

Conflict in Verona

Impulse

Soliloquy

SNARE DRUM

Contemporary Patterns

Scherzo Caprice

Light Infantry

Allegro giocoso

Prelude and Scherzo


4(ABRSMPublishing)


4(ABRSMPublishing)

Graded Music for Tuned Percussion, Book

4(ABRSMPublishing)


Beethoven Horn Sonata in F,Op.17:2nd and 3rd

movts,Poco adagio,quasi andante and

Rondo:Allegretto moderato (Boosey &

Hawkes/MDS)

Danzi Concerto in Eb:3rd movt,Rondo:Allegro

(Heinrichshofen N 6217/Peters)

HaydnHorn Concerto No.1 in D,Hob.VIId/3:1st

movt,Allegro (D/F edition:Boosey &

Hawkes/MDS)

72

FRENCH HORN (CONT.)

Mozart Horn Concerto No.2 in Eb,K.417:1st or 3rd

movt,Allegro or Rondo:Allegro (Eb/F


Mozart Rondo in Eb,K.371 (Eb/F


Hermann NeulingBagatelle (Pro Musica

196/Emerson)

Ferdinand Ries Horn Sonata in F,Op.34:3rd

movt,Rondo:Allegro (Schott COR 3/MDS)

Rosetti Horn Concerto in Eb: 1st or 3rd movt,

Allegro moderato or Allegretto non troppo (Eb/F

edition:IMC 1977/ MDS)

Richard Strauss Horn Concerto No. 1 in Eb, Op.

11: 1st and2nd movts, Allegro and Andante, or 3rd

movt, Rondo: Allegro (Universal 1039/MDS)

Malcolm ArnoldFantasy for Horn,Op.88 (Faber)

Julia GomelskayaBagatelle (1996) (Guildhall

School ofMusic & Drama/Faber)

Hindemith Horn Concerto (1949):1st and 2nd

movts,Moderately fast and Very fast (Schott ED

4024/MDS)

HindemithHorn Sonata (1939):3rd movt,Lebhaft


Poulenc Élégie (Chester/Music Sales)

Anthony Randall Nocturne and Scherzo

(Broadbent & Dunn:pieces published separately)

Gilbert Vinter Hunter’s Moon (Boosey &

Hawkes/MDS)

J.S.BachCello Suite No.1:5th and 6th

movts,Minuetto I and II. Bach Six Suites for Horn

Solo,arr.Orval (Editions Marc Reift/MusT)


horn:No.2,Andante espressivo,or No.3,Scherzando

e grottesco (in the written keys) (Brass Wind)

Studies

Andrew Clark16 Etudes:Suite 2,Etude 5 (Mitre

Music/Emerson)

Alison Davies Le Basquish:No.4 from Four

Studies(Broadbent & Dunn)


Horn,Book 3:No.40 in F minor(Leduc/UMP)

de Pré 20 Études pour le Cor grave:No.9 orNo.10

(Billaudot/UMP)

Verne Reynolds 48 Etudes for French Horn:No.5

(Schirmer/Music Sales)



TRUMPET

Handel Sonata No.3 (Op.1 No.12):1st and2nd

movts,Adagio and Allegro,or 3rd and4th movts,

Largo and Allegro (IMC 2493/MDS)

Haydn Trumpet Concerto in Eb,Hob.VIIe/1:1st

and2nd movts,Allegro andAndante,or2nd and3rd

movts, Andante and Allegro(Bb/Eb

edition:Universal HMP 223/MDS)

Hindemith Sonata for Trumpet:1st movt. Mit Kraft


W.Lloyd Webber Suite in F:2nd,3rd and 4th

movts,Allegro vigoroso,Larghetto e mesto and

Allegro vivace (Stainer & Bell)

J.K.J.Neruda Trumpet Concerto in Eb:1st and2nd

movts,Allegro andLargo (with cadenzas),or 2nd

and3rd movts, Largo andVivace (with cadenzas)

(Bb/Eb edition:Brass Wind)

Tchaikovsky Ballet Suite (from The

Nutcracker,Op.71). Russian Roulette for Trumpet

arr. Archibald (Brass Wind)

Büsser Andante et Scherzo,Op.44 (Bb/C

edition:Leduc/UMP)

Copland Fanfare for the Common Man. Copland

2000 for Trumpet (Boosey &Hawkes/MDS:piano

accomp.published separately)

Robert Eaves Rhapsody for Eb Soprano Cornet

(Brand Publications/Smith)

Petr Eben Fantasia Vespertina (Schott TR3/MDS)

Martinu˚ Sonatine for Trumpet(Bb/C edition:

Leduc/UMP)

Michael Short Eccentrico and Cantilena or

Cantilena and Giga:Nos 3 and4,orNos 4 and5 from

Five Inventionsfor solo trumpet (Studio Music)

Denis Wright Concerto for Bb Cornet:1st

movt,Allegro (with cadenza) (Studio Music)

Studies

Arban14 Studies for Cornet:No.2 in E (Boosey &

Hawkes/MDS)


trumpet:No.4,Slow waltz,orNo.5,Allegro

vivace(Brass Wind)

Herbert Clarke Characteristic Studies for the

Cornet:No.9 in E or No.19 in A (Carl Fischer

02281/MDS)

John Miller Mr Logic:No.30 from Progressive

Brass Studies (Faber)

Ernest Piper The Well-Tempered Player:No.6 in D

minor (Winwood Music)

Allen Vizzutti Polka:No.20 from 20 Dances for

Trumpet (De Haske)

TROMBONE

Galliard Sonata No.5 in D minor:complete (Peters

H 752e)

Guilmant Concert Piece (Morceau

Symphonique),Op.88(?/&edition:Brass Wind)

Mahler Trombone Solo from Symphony No.3,1st

movt (?/&edition:Brass Wind)

B.Marcello Sonata in F,trans.Ostrander:complete

(IMC 1978/MDS)

Florentin Morel Pièce in F minor

(Billaudot/UMP)

73

TROMBONE (CONT.)

Pergolesi Sinfonia,arr.Bucher and Balli:complete

(Editions Marc Reift/MusT)

Saint-Saëns Cavatine,Op.144 (?/&edition:Brass

Wind)

Jacques Castérède Sonatine for Trombone:1st

movt,Allegro vivo (Leduc/UMP)

Hindemith Sonata for Trombone (1941): 3rd and

4th movts, Swashbuckler’s Song: Allegro pesante

and Allegro moderato maestoso (Schott ED

3673/MDS)

Jan Koetsier Sonatina for Trombone,Op.58

No.1:2nd and 3rd movts,Andante mesto and Molto

vivace (Editions Marc Reift/MusT)

Lars-Erik Larsson Concertino for

Trombone,Op.45 No.7:2nd and 3rd movts, Aria:

Andante sostenuto and Finale:Allegro giocoso

(Gehrmans Musikförlag)

Serocki Sonatina for Trombone:2nd and 3rd

movts, Andante molto sostenuto and Allegro

vivace (Moeck 5302)

Šulek Sonata ‘Vox Gabrieli’for Trombone

(Editions Marc Reift/MusT)

Studies

Denis ApIvor 24 Exercises:No.2 (Moderato) or

No.6 (Allegro con bravura) (?or

&editions:Warwick Music)

Derek Bourgeois Fantasy Pieces for tenor

trombone:No.2,Andante cantabile,or No.3,Allegro

molto (?or &editions: Brass Wind)


Technique,Vol.3 – 18 Études:No.13,Ragtime

(Billaudot/UMP)

Jérôme Naulais Trombone Plaisir,Vol.3 – 18

Études:No.3,Rock,or No.4,Valse Jazz

(Billaudot/UMP)

EUPHONIUM

J.S.BachCello Suite No.1:5th,6th and 7th

movts,Menuetto 1 and 2,and Gigue. Bach Cello

Suites,arr.Lafosse for

Trombone (Leduc/UMP) (edition largely in tenor

clef:may be rewritten in? or&)

Bizet Flower Song (from Carmen). Softly,As I

Leave You,ed.Wilson (&edition:Winwood Music)

Elgar Romance,Op.62,trans.Wilson

(&edition:Winwood Music)

B.MarcelloSonata No.1 in F:complete (?edition

arr.Ostrander:IMC 1978/MDS or &edition

arr.Mortimer:Editions Marc Reift/MusT)

Weber Rondo Giocoso (from Bassoon Concerto in

F),arr.Siebert (&edition:Studio Music)

Ernest YoungEuphonium Sonata: 1st and 3rd

movts, Pentalude and Scherzando (?/&edition:

Brand Publications/ Smith)

Arthur Butterworth Partita for

Euphonium,Op.89:complete (?/&edition:Comus

Edition)

Walter HartleySonata Euphonica (1979):complete

(?/&edition:Tenuto Publications/UMP)

Joseph Horovitz Euphonium Concerto:1st or 3rd

movt,Moderato or Con moto

(&edition:Novello/Music Sales)

Monti Czardas,trans.Wilson (&edition:Winwood

Music)

Philip Sparke Fantasy (&edition:Brand

Publications/Smith)

Philip Sparke Rhapsody for BbBaritone

(&edition:Studio Music)

Studies

Marcel Bitsch15 Rhythmical Studies for

Trombone:No.3 or No.7 (?edition:Leduc/UMP)



Mark Nightingale The Flat Finisher and You Made

It!:Nos 11 and12 from Tipping the Scales(?or

&editions:Warwick Music)


Trombone:No.14 (?edition:Elkan-Vogel/UMP)

TUBA

Brahms Hungarian Dance No.5. Classics for Tuba,

arr. Woods and Death (?/Eb & edition: Studio

Music)

Capuzzi Andante and Rondo, arr. Catelinet

(?/&edition:Peters H 1474)

Edward Gregson Tuba Concerto:1st and2nd movts,

Allegro deciso and Lento e mesto (Novello/Music

Sales)

Bernhard Heiden Concerto for Tuba:1st and 2nd

movts, Allegro risoluto andAndante,or 2nd and 3rd

movts, Andante and Vivace (Peer Southern/Music

Sales)

Lebedjew Konzert: complete (Hofmeister/Music

Sales:special order)

Alan Ridout Concertino for Tuba:complete

(Emerson)

Malcolm Arnold Fantasy for Tuba (solo),Op.102

(Faber)

Harold East Sonatina for Tuba:1st and 2nd movts

(Ricordi/UMP)

Joseph Horovitz Tuba Concerto:1st movt,Allegro

(?/E

b&edition:Studio Music)

Vincent Persichetti Serenade No.12 for Solo

Tuba,Op.88:complete (Elkan-Vogel/UMP)

Simon Proctor Ysano:from Tuber Music(?or


Leonard SalzedoSonata,Op.93:complete

(Chester/Music Sales)

74

TUBA (CONT.)

Vaughan Williams Concerto for Tuba:1st and 2nd

movts,Allegro moderato and Romanza (OUP)

Studies

Blazhevich70 Studies for BbTuba,Vol.1:No.27 or



tuba:No.5,Allegro moderato e pesante,or

No.6,Allegro moderato (Brass Wind)



Kopprasch 60 Selected Studies for BbTuba:No.60a

or b (Robert King/UMP)

Weissenborn,arr.Leslie Lake 12 Studies for Bass

Trombone or Tuba:No.12 (Neuschel Music/Studio

Music)

PERCUSSION MALLETTS

J. S. BachGigue, from Violin Partita No. 2 in D

minor, BWV1004

Bizet Danse Bohème, from ‘Carmen’

George BotsfordBlack and White Rag*

Kreisler Schön Rosmarin

Monti Czardas

Mozart Alla Turca, from Sonata in A, K. 331*

Johann and Josef Strauss Pizzicato Polka

Vivaldi Allegro, from Concerto in Aminor, Op. 3

No. 6

TIMPANI

Bacchanale

Modern Times

Burlesque

Waltz Variations

SNARE DRUM

Sicilienne

Overture to Accents

A Bar from Mars

Scheherazadia


4(ABRSMPublishing)


4(ABRSMPublishing)

Graded Music for Tuned Percussion, Book 4

(ABRSMPublishing)


Malcolm Arnold Concerto no.2, Op.58: complete

(F/Ebhorn edn: Paterson/Music Sales)

Derek Bourgeois Fantasy Pieces for solo horn:

no.9, Con fuoco (in the written key)(Brass Wind)

Y. Bowen Sonata in Eb, Op.101: complete

(Emerson)

Peter Maxwell Davies Sea Eagle for solo horn


Anthony Halstead Suite for solo horn: complete

(Emerson)

Iain Hamilton Sonata Notturna: complete (Schott

ED 10971/M.D.S.)

J. Haydn Concerto no.2 in D, Hob.VIId/4:

complete (F/D horn edn print on demand: Boosey

& Hawkes/M.D.S.)

Hindemith Concerto (1949): complete (Schott ED

4024/M.D.S.)

G. Jacob Concerto: complete (Stainer & Bell)

Koechlin Monodie for solo horn, Op.218 bis

(Billaudot/U.M.P.)

John McCabe Any of the 3 pieces from ‘The

Goddess Trilogy’: Castle of Arianrhod, Floraison,

Shapeshifter (published separately: Novello/Music

Sales: special order)

Mozart Concerto no.2 in Eb, K.417: complete

(F/Ebhorn edn: Bärenreiter BA 5311a)

Concerto no.4 in Eb, K.495: complete (F/Ebhorn

edn: Bärenreiter BA 5313a)

Thea Musgrave Music for Horn and Piano:

complete (Chester/Music Sales: special order)

Schumann Adagio and Allegro in Ab, Op.70

(Schirmer/Music Sales: special order)

Humphrey Searle Aubade, Op.28 (Schott ED

10500/M.D.S.)

Seiber Notturno (Schott ED 10336/M.D.S.)

R. Strauss Concerto no.2 in Eb: complete (Ebhorn

edn: Boosey & Hawkes/M.D.S.)

Julia Usher The Old Man of the Sea (Primavera)

Weber Concertino in E minor, Op.45: complete

(F/E horn edn: Editions Marc Reift 2082/MusT or

E horn edn: Breikopf & Härtel 2509or Ebhorn edn:

International 2337/M.D.S.)

TRUMPET

Peter Maxwell Davies Sonata for trumpet in D

(1955): complete (D trumpet edn: Schott ED

11067/M.D.S.)

Enescu Légende (C trumpet edn: Enoch/U.M.P.)

Edward Gregson Trumpet Concerto (1983):

complete (Novello/Music Sales)

Anthony Halstead Suite for solo trumpet: complete

(Emerson)

Hans Werner Henze Sonatina for solo trumpet

(1974): complete (Schott TR 19/M.D.S.)

Gilles Herbillon Sonatine for trumpet: complete

(Bb/C trumpet edn: Billaudot/U.M.P.)

J.W. Hertel Trumpet Concerto no.1 in Eb:

complete (McNaughtan/MusT)

Hummel Trumpet Concerto in E: complete

(Bb/C/E trumpet edn: Universal 25030c/M.D.S.)

Jolivet Concertino for trumpet: complete (C

trumpet edn: Durand/U.M.P.)

75

TRUMPET (CONT.)

L. Mozart Trumpet Concerto in D: complete (D

trumpet only)(D trumpet edn: Kunzelmann GM

809/Peters)

Michael Nyman Flugelhorn and Piano


Raymond Premru Trumpet Concerto (1983):

complete (Tezak 1019/MusT)

Philip Sparke Concerto for trumpet or cornet

(1993): complete (Studio Music)

Eino Tamberg Trumpet Concerto, Op.42: complete

(Bb/C trumpet edn: Editions Marc Reift

6012/MusT)

Tartini Concerto in D: complete (D trumpet

only)(D trumpet part: Brass Wind)

Tomasi Trumpet Concerto in C: complete (C

trumpet edn: Leduc/U.M.P.)

Triptyque: complete (B b/C trumpet edn:

Leduc/U.M.P.)

Allen Vizzutti Andante (for trumpet) andCapriccio

(for piccolo trumpet)(Bella Musica/Studio Music)

(now out of print)

TROMBONE

J.S. Bach Cello Suite no.2, BWV 1008: 1st and3rd

movts, PréludeandCourante.

Bach Cello Suites, arr. Lafosse

(Leduc/U.M.P.) or arr. Barbez for bass trombone

(Leduc/U.M.P.)

Derek Bourgeois Trombone Concerto, Op.114:

complete (Brand Publications/Smith)

Fantasy Pieces for solo trombone: no.8, Allegro

moderatoandno.9,Adagio cantabile(tenor or bass

trombone edns: Brass Wind)

Roger Boutry Capriccio (Leduc/U.M.P.)

Bozza New Orleans for bass trombone

(Leduc/U.M.P.)

Thème Variée for bass trombone (Leduc/U.M.P.)

Büsser Étude de Concert, Op.79 (Leduc/U.M.P.)

Stephen Dodgson Concerto for bass trombone: 3rd

and4th movts (Studio Music)

Françaix Concerto for trombone (1983): complete

(Schott ED 7253/M.D.S.)

Edward Gregson Trombone Concerto: complete

(Novello/Music Sales)

Walter Hartley Sonata Brève for solo bass

trombone: complete (Theodore Presser

2423/U.M.P.)

Hindemith Trombone Sonata (1941): complete


Elgar Howarth Concerto for trombone: complete

(Chester/Music Sales: special order)

G. Jacob Trombone Concerto: complete (Stainer &

Bell)

Alain Margoni Après une Lecture de Goldini for

bass trombone (Leduc/U.M.P.)

Frank Martin Ballade (1940) (Universal

32359/M.D.S.)

Tomasi Trombone Concerto: complete

(Leduc/U.M.P.)

Simon Wills Concerto for trombone: complete

(Studio Music)

EUPHONIUM

Jean-Michel Defaye 2 Danses: complete (bass

trombone edn: Leduc/U.M.P.)

Elgar Romance, Op.62, arr. Wilson (bass/treble

clef edn: Winwood Music)

Studio Music)

John Golland Rhapsody no.2 for baritone (‘Don

Quixote’), Op.89 (treble clef edn: Kirklees Music)

Guilmant Morceau Symphonique, Op.88

(bass/treble clef edn: Editions Marc Reift

2013/MusT)

Derek Bourgeois Euphonium Concerto, Op.120:

1st and2nd movts, or2nd and3rd movts (treble clef

edn: Brass Wind)

Bozza Allegro et Finale (bass trombone/tuba edn:

Leduc/U.M.P.)

Martin Ellerby Euphonium Concerto: any

threemovts (bass/treble clef edn: Studio Music)

John Golland Euphonium Concerto (no.1), Op.64:

complete (bass/treble clef edn: Chester/Music

Sales: special order)

Euphonium Concerto no.2, Op.77: complete

(bass/treble clef edn: Studio Music)

Paul Mealor Baritone Concerto: complete (treble

clef edn: Con Moto Publications/Mostyn Music)

Ponchielli Concerto for euphonium: complete

(bass/treble clef edn: Editions Marc Reift

243/MusT)

John Reeman Sonata for euphonium: complete


Philip Sparke Euphonium Concerto: complete


Philip Wilby Concerto for euphonium: complete

(bass/treble clef edn: Winwood Music)

TUBA

Malcolm Arnold Fantasy for solo tuba, Op.102

(Faber)

Derek Bourgeois Fantasy Pieces for solo tuba:

no.8, Moderato pesanteandno.9, Allegro

vivace(Brass Wind)

P.M. Dubois Piccolo Suite for tuba: complete

(Leduc/U.M.P.)

Harold East Sonatina for tuba: complete

(Ricordi/U.M.P.)

Jennifer Glass Sonatina for tuba: complete

(Emerson)

Prelude, Waltz and Finale for solo tuba: complete

(Emerson)

76

TUBA (CONT.)

Edward Gregson Tuba Concerto: complete

(Novello/Music Sales)

Bernhard Heiden Concerto for tuba (1976):

complete (Peer Southern/Music Sales)

Hindemith Sonata for tuba (1955): complete


Jan Koetsier Sonatina for tuba, Op.57: complete

(Editions Marc Reift 239/MusT)

Claude Pascal Sonate en 6 minutes 30 for tuba:

complete (Durand/U.M.P.)

Pierre Petit Fantaisie for tuba (Leduc/U.M.P.)

Leonard Salzedo Sonata for tuba, Op.93: complete


Roger Steptoe Concerto for tuba: complete (Stainer

& Bell)

David Uber Sonata for tuba: complete (Edition

Musicus 964/MusT)

Derek Bourgeois Tuba Concerto, Op.38: any

threemovts (Brass Wind)

Jennifer Glass Prelude, Waltz and Finale for solo

tuba: complete (Emerson)

John Golland Tuba Concerto, Op.46: complete

(bass/treble clef edn: Con Moto

Publications/Mostyn Music)

Alain Margoni Après une Lecture de Goldini for

tuba (Leduc/U.M.P.)

Rodney Newton Capriccio for tuba (bass/treble

edn: Winwood Music)

Philip Sparke Concertino for tuba: complete (treble

clef edn: Studio Music)Tuba: FRSM

Christopher Wiggins Soliloquy X for solo tuba,

Op.94 no.10 (Studio Music)

Vaughan Williams Tuba Concerto in F minor:

complete (O.U.P.)

PERCUSSION MALLETTS

Minoru Miki Time for marimba (Ongaku No Tomo

Sha Corp./Southern Percussion)

Ney Rosauro Bem Vido for vibraphone (Pro

Percussão/Southern Percussion)

Marimba Concerto: 1st, 2nd and4th movts

(Southern Percussion)

Paul Smadbeck Rhythm Song for one or more

marimbas (Southern Percussion)

Toshimitsu Tanaka 2 Movements for marimba:

complete (Ongaku No Tomo Sha Corp./Southern

Percussion)

TIMPANI

John Beck 3 Movements for 5 timpani: complete

(Meredith Music/Southern Percussion)

Elliot Carter March: no.8 from ‘8 Pieces for 4

Timpani’ (Schirmer/Music Sales)

Graham Whettam Suite for timpani: any

threemovts (Meriden Music/Southern Percussion)

SNARE DRUM

Askell Masson Prime (Iceland Music/Southern

Percussion)

Geryt Mortensen March-Cadenza (Southern

Percussion)

MULTIPLE PERCUSSION

Morton Feldman King of Denmark (Peters EP

6963)

Dave Hollinden Cold Pressed (Southern

Percussion)

Poul Ruders Cha cha cha (Hansen/Music Sales)

PIANO 1000 LEVEL PIANO

Chopin: Preludes, Mazurkas

Bach: Two-Part Inventions

Debussy: Reverie, Arabesques

Kuhlau: Sonatinas

Schumann: Album for the Young,

Kinderszenen

Mozart: Sonata in C Major, K.545

Beethoven: Sonata No.1 in F Minor

MacDowell: Woodland Sketches

Clementi: Sonatinas

2000 LEVEL PIANO

Bach: Prelude and Fugue in C (WTC)

Beethoven: Early Sonatas

Scarlatti: Sonatas

Mozart: Sonata in F

Debussy: Children’s Corner

Prokofieff: Visions Fugitives

Chopin: Nocturnes

Mendelssohn: Songs Without Words

Toch: The Juggler

Gershwin: Three Preludes

3000 LEVEL PIANO

Bach: Well-tempered Clavier

Beethoven: Sonata, Opus 13

Chopin: Etudes

Haydn: Sonata No. 38 in F Major

Mozart: Fantasy in D Minor

Schumann: Kreisleriana

Debussy: Preludes (Books I and II)

Mendelssohn: Rondo Capriccioso, Op. 14

Bartok: Mikrokosmos, Vol. I-VI

Liszt: Liebestraums

4000 LEVEL PIANO

Bach: Partitas, French Suites, English

Suites

Beethoven: Sonata (Waldstein)

Chopin: Ballades

Ginastera: Danzas Argentinas

Debussy: L’isle joyeuse

77

Griffes: The White Peacock

Mozart: Fantasy in C Minor

Grieg: Sonata, Op. 7

ORGAN 1000 LEVEL ORGAN

Bach: Eight Little Preludes and Fugues,

BWV 553-560

Frescobaldi: Canzonas

Couperin: Messe pour les Paroisses

S. Wesley: Twelve Short Pieces, Six

Introductory Movements

2000 LEVEL ORGAN

Bach: Orgelbuchlein

Messiaen: Le Banquet celeste

Lubeck: Preludes and Fugues

Mendelssohn: Preludes and Fugues

3000 LEVEL ORGAN

Bach: Prelude and Fugue in A Minor,

BWV 543

De Grigny: Premier Livre d’orgue

Titelouze: Hymnes de l’Eglise…

Mendelssohn: Six Sonatas

4000 LEVEL ORGAN

Bach: Toccata and Fugue in D Minor,

BWV 565

Buxtehude: Chorale Variations, Preludes and

Fugues

Franck: Chorales

Vierne : 24 Pieces en Style Libre

Alain: Litanies

STRINGS

VIOLIN 1000 LEVEL VIOLIN Sonatina, G Major - Dvorak Concerto, A minor - Vivaldi Concerto, G minor - Vivaldi Scene de Ballet - deBeriot Wohlfahrt etudes Sevcik exercies in scales; shifting; bowing and

double stops 2000 LEVEL VIOLIN Schubert, Sonatina, D Major Nardini - Concerto, E minor Concerto, A minor - deBeriot Two Romances (F Major, G Major) - Beethoven Romance (Concerto, D minor) - Wieniawski Mazas etudes Sevcik scales, shifting, bowing and double stops

3000 LEVEL VIOLIN Legende - Wieniawski Hejre Kati - Hubay Concerto, E minor - Mendelssohn Handel - Six Sonatas, Violin and Piano Grieg - Sonata, G minor - Violin and Piano Kreutzer etudes Sevcik scales, shifting, bowing and double stops

4000 LEVEL VIOLIN Chaconne - Vitali Concerto, D minor - Wieniawski Introduction and Rondo Capriccioso - Saint-Saens Havanaise - Saint-Saens Concerto, G minor - Bruch Rode etudes Carl Flesch scale studies

VIOLA 1000 LEVEL VIOLA Sonata, D Major - Schubert Concerto, G Major - Telemann Wohlfahrt etudes - transcribed Sevcik exercises - transcribed

2000 LEVEL VIOLA Solo viola, Mozart Sinfonie Concertante Sonata, A minor - Vivaldi Hoffmeister Concerto Handel Sonatas Kayser etudes - transcribed Sevcik exercises - transcribed

3000 LEVEL VIOLA Hopak - Musorgsky Concerto, B minor - Handel (Casadesus) Concerto, C minor - J. C. Bach Marcello Sonatas Kreutzer etudes - transcribed Sevcik exercises - transcribed

4000 LEVEL VIOLA Andante & Hungarian Rondo - Weber Concertpiece - Enesco Unaccompanied Cello Suites - Bach Kol Nidrei - Bruch Beethoven Sonatas Suite Hebraique - Bloch Kreutzer etudes Paginini - Raby - 24 Caprices Selected orchestral studies

CELLO 1000 LEVEL CELLO Concerto, C minor - J. Chr. Bach Chanson Triste - Tschaikowsky

78

The Swan - Saint-Saens Aria - Purcell Sonata, F Major – Handel Dotzauer etudes 2000 LEVEL CELLO Sonata, C Major - Breval Sonata, d minor - Corelli Sonata, G minor - Handel Adagio and Allegro - Marcello Apres un Reve - Faure Dotzauer etudes

3000 LEVEL CELLO Six Sonatas - Vivaldi Sonata, C Major - Romburg Waltz - Prokofieff Vocalise - Rachmaninoff Concerto, A minor - Saint-Saens Dotzauer etudes

4000 LEVEL CELLO Sonata, G minor - Eccles Concerto - Dvorak Suite Francaise - Bazelaire Solo cello, Brahms Double Concerto Solo Cello, Beethoven Triple Concerto Raymond Stuhl - thumb position etudes

STRING BASS

1000 LEVEL STRING BASS

Sonata no. 5, Antonio Vivaldi

Sonatina, Ludwig van Beethoven (arr.

Zimmerman)

La Frescobalda, Girolamo Frescobaldi (arr.

Charles Hoag)

Etudes: 30 Etudes, Franz Simandl


Adagio cantabile, Op. 65, Giuseppe Tartini (arr.

Drew)

Sicilienne, Op. 78, Gabriel Fauré (arr. Zimerman)

Sonata in E minor, Bernhard Romberg (arr.

Sankey)

Etudes: 30 Etudes, Franz Simandl

Selections from 86 Studies, vol I., Josef Hrabě


Concerto for bass, Antonio Capuzzi

Vocalise, Sergei Rachmaninoff (arr.

Zimmmerman)

Bourrée from Cello Suite no. 3, J. S. Bach (arr.

Zimmerman)

Etudes: 57 Studies, vol I., Emmanuel Storch -

Josef Hrabě


Concerto for bass, Domenico Dragonetti

Sonata in G minor, Henry Eccles

Prayer, Ernest Bloch (arr. Proto)

Etudes: 57 Studies, vol I., Emmanuel Storch –

Josef Hrabě

GUITAR 1000 LEVEL GUITAR

Medieval/Renaissance—Greensleeves (Anon.), My

Lord Willoughby’s Welcome Home (Dowland,

J.), Lesson for Two Lutes (Anon.)

Baroque—Minuet, Jesu Joy of Man’s Desiring

(Bach, J.S.)

Classic/Romantic—Andante in G, Andante in Am

(Carulli, F), Etudes ((2) Carcassi, F. and

Guiliani, M.

Contemporary— Etudes ((2) Villa-Lobos, H.) or

Prelude ((1) Ponce, M.), Etude ((1) Brower, L.)

Ensemble: Participation in Guitar ensemble. One

multi-movement guitar duo.

Written Paper (Required):

(1) one page single-spaced paper discussing key

guitarist or appropriate subject.

Technical Requirements:

Scales— M.M. 1/4=112

#1 Major, Melodic and Harmonic minor.

Played with quarter notes, one 8va,

ascending & descending, and using i,m in

all keys.

Chords—15 basic 1st position chords. E,A,D,G,C,

F, Em, Am, Dm, E7, A7, D7, G7, C7, B7

Reading— To play a short simple melody in 4/4

time in the key of C major and accompaniment

using above voicing.

Required Studies—Specified warm-ups and studies

(Guiliani, Carcassi, Sor, etc.).

2000 LEVEL GUITAR

Medieval/Renaissance—Six Lute Pieces of the

Renaissance (Chilisotti, O. ed.), Pavanes ((2)

Milan, L.)

Baroque— Bouree in Em or Prelude in Dm (Bach,

J.S. ), Suite, free choice ((1) deVisee, R.)

Classic/Romantic—Canarios (Sanz, G.) Etudes ((2)

Sor, F.) Bagatelles ((2) Guiliani, M.) Preludes

(2) (Tarrega, F.)

Contemporary— Etudes ((2) Villa-Lobos, H. or

Brower, L.) Preludes ((2), Villa-Lobos)

Ensemble: Participation in Guitar ensemble.

Instrumental duo or ensemble (not with other

guitar).

Written Paper (Required)


79




#2 Major, Melodic and Harmonic minor.

2000 LEVEL GUITAR (CONT.)

Played with triplet 1/8th notes, One 8va,

ascending & descending, and using i,m in

all keys.

Chords—Major, Minor and Dominant 7th Bar

chords with roots on the 6th and 5th strings in all

keys.

Reading— To play a short simple melody in 4/4

time in the key of D,F,G and A major

and accompaniment using above voicing.

Required Studies— Specified warm-ups and

studies (Guiliani, Carcassi, Sor, etc.).

3000 LEVEL GUITAR

Medieval/Renaissance—Free Choice ((1)

Dowland, J.)

Baroque—Variations on Guardame las Vacas (de

Narvaez, L.) or Capriccio in D minor (Weiss,

S.L.)

Classic/Romantic—Adelita/Mazurka (Tarrega, F.)

and Sonata Op. 15 (Guiliani, M. or Sonata in C or

A (Diabelli, A.)

Contemporary-Sunburst, Lullaby (York, A.) or

Valse (Ponce, M.), Sonatina (Torroba, F.)

Ensemble: Participation in Guitar ensemble. Free

choice: With vocalist.






Major, Melodic and Harmonic minor,

Chromatic. Played with triplet 1/8th and

1/16th notes, two 8va’s, ascending &

descending, using im , ma, and ia in all

keys.

Chords—Three 4-note voicings for Maj7, Dom.7,

Min7, 1/2Dim. and diminished in all keys.

Reading— To play a short simple melody in a

major and minor key equal in difficulty to this

level repertoire.


(Guiliani)

4000 LEVEL GUITAR

Medieval/Renaissance—Fantasia (Mudarra, A.),

Free choice.

Baroque—Lute Suite or Prelude, Fugue and

Allegro ( Bach, J.S.)

Classic/Romantic—Capriccio Arabe or Requerdos

de Alahambra (Tarrega, F) and Sonata or

Variations on a theme by Mozart (Sor, F.)

Contemporary—Valse Venezolano ((2) Lauro, A.),

Leyenda (Albeniz, I.) or Folias

(Takemitsu, T.) or Vortex for Prepared Guitar

(Yates, S.)

Ensemble: Participation in Guitar ensemble. Free

choice: Solo Concerto






Major, Melodic and Harmonic minor,

Chromatic and Diminished.

Played with triplet 1/8th notes, two 8va’s

(three where possible), ascending and

descending, using im , ma, and ia in all

keys.

Chords—Triad inversions for Maj, Dom.7, Aug.,

Min, 1/2Dim. and Diminished in all keys.

Reading— To play a short simple melody in a

major and minor key equal in difficulty to this

level repertoire


(Guiliani, Carcassi, Sor,)

VOCAL

Sophomores should learn 6 songs per semester,

that might include:

English (examples: Quilter, Copland, Britten, M.

Head, Finzi, S. Foster, Burleigh, A. Beach, Ives, J.

Duke, T. Chanler, S. Barber, P. Bowles, L.

Bernstein, N. Rorem, L. Hoiby, D. Argento,

Purcell, Campion, Dowland, Vaughan-Williams,

Quilter, Ireland, Butterworth, Warlock, etc)

Italian (26 or 24 Italian Songs and Arias, easy

Mozart, Bellini songs, Donaudy, Gluck, Handel,

etc)

German lieder (Schubert, Schumann, Brahms,

Wolf, Strauss, Haydn, Mozart songs and easy arias,

etc.)

The literature might include other languages if the

student has previous experience in that language.

These examples are a minimum and the final

determination will be made by the Applied Voice

teacher.

80

WOODWINDS

Freshman / Sophomore (1000-2000 Level)

(culminating in the Sophomore Barrier Exam)

In the applied private woodwind lesson the student

will study the principles of tone production, air

support, embouchure formation, technical facility,

musical phrasing, intonation, articulation, vibrato

(and senza vibrato), rhythmic subdivision, and

sight-reading. Emphasis will be given to technical

facility development through the practice of major,

minor and chromatic scales, thirds, arpeggios (each

accomplished in varied articulations, and through

the full range of the instrument), and the study of

representative etudes and literature. As the student

advances from freshman to the sophomore year of

study there will be a continued emphasis on

fundamental principles, but with the inclusion of

progressively more difficult literature/etudes and a

greater expectation in the area of mature

musicianship and personal discipline.

Musical etudes will be studied from the following

example etude collections:

FLUTE

Anderson -24 Studies, Op. 33

Berbiguier -18 Exercises

Cavally -Progressive Studies

Gariboldi -15 Etudes

Moyse –De la Sonorite

Wagner -Foundation to Flute Playing

OBOE

Andraud -Practical & Progressive Oboe Method

Andraud -Vade-Mecum of the Oboist

Barrett –Complete Oboe Method

Ferling -48 Famous Studies

Gillet -Etudes

Prestini -Collection of Studies for Oboe

CLARINET

Baermann -Complete Method for Clarinet, Op. 63

Cavallini -30 Caprices

Jeanjean -18 Etudes

Klose -Complete Method for Clarinet

Rose -32 Etudes

BASSOON

Giampieri -16 Daily Studies for Perfection

Kovar -24 Daily Exercises

Milde -25 Studies in All Keys, Op. 24

Weissenborn -Practical Method for the Bassoon

SAXOPHONE

Ferling -48 Famous Studies

Klose -25 Daily Exercises

Mule –Etudes Variees

Salvianni -Exercises in All Practical Keys

Voxman –Selected Studies

Each semester the student’s performance jury and

required solo performances on the Student Recital

Series will include pieces such as the following

examples of literature for their instrument:

FLUTE

Bach, J.S. -Sonatas (6)

Bozza -Image

Debussy -Syrinx

Dutilleux -Sonatine

Faure -Fantaisie, Op. 79

Handel -Sonata in C Major

Mozart -Concerto in G Major

Telemann -12 Fantasies

OBOE

Albinoni -Concerto, Op. 9

Barlow -The Winter’s Passed

Cimarosa -Concerto in C

Handel -Concerto No. 1 in B-Flat

Hindemith -Sonate

Marcello -Concerto

Nielsen -Fantasiestucke, Op. 2

Telemann -Sonata in A minor

CLARINET

Arnold -Sonatina

Bernstein -Sonata

Bozza -Aria

Finzi -Five Bagatelles

Heiden -Sonatina

Jeanjean -Arabesques

Mozart -Concerto

Saint-Saens -Sonata

Von Weber -Concertino

BASSOON

Dunhill -Lyric Suite, Op. 96

Dutilleux -Sarabande et Cortege

Elgar -Romance, Op. 62

Galliard -Six Sonatas

Ibert -Arabesque

Jacob -Four Sketches for Bassoon

Mozart -Concerto

81

SAXOPHONE

Absil -Sonata, Op. 115

Bozza -Aria

Debussy -Rhapsodie

D’Indy -Chorale Varie

Eccles-Rascher -Sonata

Francaix-Cinq Danses Exotiques

Heiden-Sonata

Hindemith -Sonata

Tcherepnine -Sonatine Sportive

Ward -An Abstract

_________________________________________

Junior / Senior (3000-4000 Level) (culminating

in the Senior Solo Recital)

At this level of study a greater emphasis will be

given to preparing students for public

performances of literature leading to the Senior

Recital on their major instrument. (The inclusion of

a shared junior recital is a possibility at the

discretion of the instructor.) In this upper level of

applied study the successful woodwind student will

continue to progress with the study of more

difficult literature, and they will expand their

ability to perform works that are representative of a

variety of styles. Their will be a greater expectation

of the student for growth of mature musicianship

and personal discipline, and the emphasis of

studies will be on standard solo literature of the

major instrument. The continued development of

technical facility and etude studies will remain an

essential aspect of the student’s practice regime,

benefiting the student’s evolution toward a more

secure and effective approach to technical

challenges and performance solutions.

Examples of musical etudes at this level of study

are as follows:

FLUTE

Altes -26 Selected Studies

Anderson -24 Studies, Op. 30

Boehm -24 Caprices

Demerrseman -50 Melodic Studies

Jeanjean -Etudes Modernes

Karg-Elert -30 Caprices Op. 107

OBOE

Bozza -18 Etudes

Brod -Etudes

Lacour -24 Etudes Atonales

Rothwell -Difficult Passages Vol. 1-3

Salviani -Etudes, Vol. 1-4

Sellner –Etudes

CLARINET

Caravan -Preliminary Exercises & Etudes in

Contemporary Techniques

Jeanjean -16 Etudes Modernes

Jettl -The Accomplished Clarinetist, Book 1-3

Kroepsch-416 Progressive Daily Studies, Book 1-4

Stark-Arpeggio Studies, Op. 39

Uhl-48 Studies, Vol. 1-2

BASSOON

Jancourt -26 Melodic Studies

Kolbinger/Rinderspacher -Test Pieces for

Orchestral Auditions

Orefici -Melodic Studies

Ozi -42 Caprices

Slama -66 Studies for Bassoon

SAXOPHONE

DeLibero -Contemporary Saxophone Studies

Frascotti/Ronkin -The Orchestral Saxophonist, Vol.

1-2

Karg-Elert -25 Caprices and Sonata

Lacour -8 Brilliant Etudes

Londeix -Les Gammes

Mule -53 Etudes, Book 1-2

Rascher -158 Exercises

Examples of solo literature studied at this upper

level would include the following pieces, and are

possible selections for the student’s Senior Recital

(or literature of comparable difficulty and

substance). (400 Level)

FLUTE

Bach -Sonatas (6)

Bloch -Suite Modale

Griffes -Poem for Flute and Orchestra

Martin -Ballade

Mozart -Concerto in D Major

Muczynski –Sonata Op. 14

Poulenc -Sonata

Prokofiev -Sonata in D

Reinecke -Sonata

Varese -Density 21.5

OBOE

Albinoni -Concerti

Bach J.S. -Sonata in D minor

Britten -Six Metamorphoses

Head –Three Pieces

Hindemith-Sonate

Mozart -Concerto in C Major

Piston -Suite

Poulenc -Sonata

Vaughan Williams -Concerto

82

CLARINET

Brahms -Sonata in F minor

Copland -Concerto

Finzi -Concerto

Hindemith -Sonata

Lutoslawski -Dance Preludes

Mozart -Quintet

Poulenc -Sonata

Schumann -Fantasy Pieces Op. 73

Stravinsky -Three Pieces

Weber -Grand Duo Concertant

BASSOON

Arnold -Fantasy

Bach, J.C. -Six Suites

Bozza -Fantasie

Etler -Sonata

Hindemith -Sonata

Hummel -Concerto

Jacob -Concerto; Partita

Mozart -Concerto

Weber –Fantasy and Hungarian Rondo

SAXOPHONE

Bach-Mule -Sonata No. 6

Bassett -Music for Saxophone & Piano

Bonneau -Caprice en forme de valse

Creston -Sonata

Glazunov -Concerto

Hartley -Petite Suite

Ibert -Concertino da Camera

Maurice -Tableaux de Provence

Milhaud -Scaramouche

Villa Lobos -Fantasia

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