TexasA&MUniversity-CorpusChristi

DepartmentofMusic

DEPARTMENTALPOLICIES,RULES,ANDPROCEDURES

2020-2021

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TAMU-CCDEPARTMENTOFMUSICPolicies,Rules,andProcedures

TableofContentsINTRODUCTION ............................................................................................................................................. 3

DEPARTMENTOFMUSICMISSIONANDGOALS .......................................................................................... 4

2020-2021MUSICDIRECTORY .................................................................................................................... 5

SAFETYPROCEDURESFORCOVID-19 ......................................................................................................... 6

MONITORYOURHEALTH.................................................................................................................................................................................6 THINGSYOUWILLNEEDTOBRING............................................................................................................................................................6 CORONAVIRUSFAQ............................................................................................................................................................................................6 SAFETYPROCEDURES ..................................................................................................................................... 6 CLASSESANDLESSONS ................................................................................................................................... 6 PERFORMANCES,RECITALSANDJURIES ........................................................................................................... 7 PRACTICEROOMSANDTEACHINGSPACES ....................................................................................................... 7

MUSICDEGREEOPTIONS .............................................................................................................................. 8

DEGREEDESCRIPTIONSANDLEARNINGOUTCOMES..........................................................................................................................................8

ADMISSIONTOMUSICDEGREEPROGRAMS .............................................................................................. 10

CHANGINGDEGREETRACKS.................................................................................................................................................................................11 DOUBLEMAJORSANDSECONDBACHELOR’SDEGREESINVOLVINGMUSIC.................................................................................................11

STUDENTASSESSMENTPROGRAMS .......................................................................................................... 13

JURYEXAMINATIONS..............................................................................................................................................................................................13 BASICMUSICSKILLSASSESSMENT(BMSA).....................................................................................................................................................14 TEXASEXAMINATIONOFEDUCATORSTANDARDS(TEXES)..........................................................................................................................15

APPLIEDMUSICPOLICIES ........................................................................................................................... 17

RECITALPOLICIES ....................................................................................................................................... 19

REQUIREDDEGREERECITALS..............................................................................................................................................................................19 OPTIONALRECITALS..............................................................................................................................................................................................20

SENIORCAPSTONEPROJECT ....................................................................................................................... 21

ACCOMPANISTPOLICIES ............................................................................................................................. 22

TAMU-CCRECITALPROGRAMSTYLEGUIDE ............................................................................................. 26

SAMPLESENIORRECITALPROGRAMEXAMPLE................................................................................................................................................28

STAGEETIQUETTEGUIDELINESFORMUSICIANS ..................................................................................... 29

BASICMUSICSKILLSASSESSMENT(BMSA) ............................................................................................... 32

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INTRODUCTION

WelcometotheIslanderMusicProgram!Onbehalfofthefacultyandstuff,weareexcitedthatyouhavechosenTexas&MUniversity-CorpusChristias thedestinationforyourmusiceducation. Thishandbook,reviewed and revised annually, is intended for the use of all Department of Music faculty, staff, andstudents. Its purpose is to ensure that all of us are aware of the responsibilities that each of usmustaddress as a citizen,musician, and scholar. Although it is the responsibility of theDepartmentChair toadministerandinterpretthesepolicies,rules,andprocedures,itistheresponsibilityofallfaculty,staff,andstudentstobeawareofthem,tounderstandthem,andtohonorthem.ThefacultyoftheDepartmentofMusiciscollectivelyresponsibletoreviewandamendthecontentofthishandbookonaregularbasis,orasneededtoaddresschangingcircumstances.Thepoliciesoutlinedareforyour benefit and to help you navigate one of the most challenging and rewarding degrees, so do nothesitatetoaskquestionsyoumighthave.Inaddition,wehaveaddedasectiononchangesduetothenovelcoronavirus,which is affectingprogramsacross the country andaround theworld. Thepolicies in thatsectionarebasedonuniversityrulesandguidanceprovidedbytheCenterforDiseaseControl.Thesewillalsobeavailableaseparatedocumentforquickreference.YoursafetyisofparamountimportancehereontheIsland.Onceagain,welcometotheDepartmentofMusic!

Dr.BrianShelton,ChairDepartmentofMusicSchooloftheArts,Media&Communicationbrian.shelton@tamucc.edu361.825.2761CA107A

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DEPARTMENTOFMUSICMISSIONANDGOALS

ThemissionoftheTAMU-CCDepartmentofMusicistoassiststudentsinthedevelopmentoftheiraural, aesthetic, and analytical capacities in music. This mission is accomplished within anurturing, student-centered environment where faculty and students strive together forattainmentofthefollowingprogramgoals:1. To prepare music majors for successful professional careers in music education, studio

teaching,musicindustry,andperformance;

2. To providemusic courses for all students that will acquaint themwith fundamental musicskills, variousmusical styles, historical periods and literature, the functions ofmusic in thecommunity,andtoprovideopportunitiestoparticipateintheliveperformanceofmusic;

3. To encourage students to be continually aware of music as an art form, and to seek

opportunitiesforcreativeexperiencesandpersonalenrichmentthatareinherentinthestudy,performance,andproductionofmusic;and

4. Tocontribute to theartistic and cultural lifeof the communitybyprovidingpublic concertsandrecitals,andotherformsofappropriatemusicalinvolvementoffacultyandstudents.

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2020-2021MUSICDIRECTORY

MUSICFACULTYName Office ExtensionDr.RossBernhardt,DirectorofChoralActivities CA137 2572Dr.SusandeGhizé,MusicTheoryCoordinator CA129 3319Dr.EllenDenham,OperaWorkshop,MusicAppreciation CA231C 3516Dr.JoséFlores,Violin,Viola&Orchestra CA130 3746Dr.SusanGouthro,Voice,Diction CA132 3943Dr.KennethIyescas,Asst.Dir.ofBands,Horn BH1.12 2280Dr.KsenijaKomljenivić,Percussion CA124 2305Mr.MichaelMoore,Guitar CA110 3267Dr.RachelMessing,MusicHistory,Oboe CA133 2375Dr.RaiMorales,Trombone,Mariachi BH1.13 2281Dr.DinoMulic,Piano CA138 2679Dr.ElizabethPetersen,MusicEducation,MusicAppreciation CA231A 5523Dr.CarriePierce,Cello,LichtensteinQuartet CA226 2371Dr.ScottPool,MusicAppreciation,Bassoon CA111 3648Dr.RonaldScott,SingleReeds,Conducting,MusicEducation CA131 3971Dr.BrianShelton,Chair,DirectorofBands CA107A 2761Dr.DanSipes,Tuba,MusicIndustry BH1.11 5659Dr.DianaSipes,AssociateDean,Flute CA134 2801Dr.BrianThacker,MusicIndustry,JazzBand CA109 3291Dr.MaryThornton,Trumpet,ChamberMusic CA135 3234

ADJUNCTMUSICFACULTY

Name Office ExtensionDr.PatriciaFagan-Miller,MusicTheory CA108 3079Mr.PhilipHii,GuitarMr.BradKisner,ClassPiano CA108 3079Mr.BradKisner,ClassPiano CA108 3079Dr.MichaelMazzatenta,MusicTheory,Composition CA108 3079Dr,MelissaMelendez,Viola CA108 3079

MUSICDEPARTMENTSTAFF

Dr.SangmiLim,CollaborativePianist CA128 3710Ms.ElisaThompson,AdministrativeAssistant CA107 5523Mr.WesJones,EventsSpecialist CA113A 3756

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SAFETYPROCEDURESFORCOVID-19The novel coronavirus has made a strong impact on higher education and the music profession. Thefollowingsectionwilldetailnewpoliciesdesignedtohelpkeepstudents,facultyandvisitorssafewheninmusicclassesand/orattendingperformances.MONITORYOURHEALTHAsimportantasitisforyoutoattendclassesandrehearsals,itismoreimportantthatyounotputyourselfand others at risk by coming to school when you are not feeling well. For more information aboutuniversitypolicies,visithttps://www.tamucc.edu/fall-2020/health-and-safety/.Theuniversityguidelinesaregeneralguidelines.Besensibleaboutyourhealthandconsiderothersinthedecisionsyoumake.Takecareofyourselvessowecanalltakecareofeachother.Ifyouarefeelingillorhavebeentestedpositiveforthecoronavirus,orifyoumayhavebeenexposedtosomeonewhohas,pleaseinformyourprofessorsandsubmittheCOVID19reportform.Itcanbefoundathttps://hr.tamucc.edu/coronavirus/index.html.

THINGSYOUWILLNEEDTOBRING1. Yourownmusicstand.Musicstandswillputawayforthetimebeing,soyouwillneedtoprovide

yourownstandforpracticeandrehearsal.Iwouldrecommendahigher-qualityfoldingstand.Youmaywishtoaskyourappliedinstructorforsuggestionsonwhatstandtopurchase.

2. Two containers of disinfecting wipes. This is for your personal use before and after usingcommunityequipmentinclassroomsandpracticerooms.Whilethedepartmentanduniversitywilldoitsbesttodisinfectareas,yourassistancewillgoalongwaytokeepingeveryonesafe.

3. Forbrassplayers:Awaterrag/towel.Forsafetyreasons,wecannolongerreleaseswaterfromthe instruments onto the floor, especially in carpeted areas. Pleasehave a towelwith you at alltimeswhenyouarepracticingorperformingtocatchthewaterfromyourinstrument.

CORONAVIRUSFAQSafetyProceduresWillIberequiredtowearamask?Inordertomaximizesafetyforstudents,facultyandstaff,maskswillberequiredinclassrooms,rehearsalrooms,andhallways(wheresix-footsocialdistancingisnotpossible).Thisisforyourprotectionandtheprotectionofthosearoundyou.Howwillsocialdistancingwork?Classroom are being reformatted to allow for social distancing. There are signs and remindersthroughoutthebuilding.Itiseveryone’sresponsibilitytofollowthesedirectionsinordertobetterensureasafeworkingenvironmentintheCenterfortheArts.

ClassesandLessonsWillmyclassesbeonlineorface-to-face?TheDepartmentofMusicfacultyrealizesthatitismostadvantageoustoholdmusicclassesinperson.Thatbeingsaid,wealsorecognizetheneedtoprotectyou,thestudentsasmuchaspossible.Assuch,manyofourclasseshavetransitionedtoaBlendedformat,amixofface-to-faceandonline. Yourprofessorswillcommunicatewithyouabouthoweachclasswillwork,butthereiscurrentlyaface-to-facecomponentinourmusiccourses.Pleasecheckyourscheduleforyourclasses’formats.

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Howwillprivatelessonswork?Appliedlessonswillbeprovidedaccordingtothesocialdistancingstandardsandthebestscienceavailable.Plansforeachstudio–andeachstudent–willvary.Thedepartmentispreparedtosupportstudentsandfacultytohelpensurethesafestdeliverywiththemosteffectiveresults.Accommodationswillbemadeasdictatedbyeachsituation.Howwillensembleswork?Ensemblescurrentlyplantohavein-personrehearsalswithsmallergroupsofstudents.Allrehearsalsandperformanceswillbedonewiththesafetyorstudents,facultyandstaffinmine.Appropriatesocialdistancingpracticeswillbeemployed.Contactyourensembledirectorformoredetailedrehearsalandperformanceplansforthesemester.

Performances,RecitalsandJuriesWilltherebeperformances? Yes. We plan on having a full slate of performances in the Performing Arts Center, utilizing all safetymeasures suchaswearingmasks (whenpossible) and socialdistancing. Live audienceswill be alloweddependingontheperformanceguidelinesfromtheuniversity. Wewillstreamallconcertsandrecognizesafetymeasurestobestprotectperformersandpatrons.AreWednesdayrecitalsstillhappening?The plan is to move forward with Wednesday afternoon recitals, recognizing safety guidelines forperformersandaudience.Thedepartmentwillfollowthesameprotocolasinpastsemesters.Arestudentsallowedtoscheduledegreerecitals?Yes.RecitaldateswillbereleasedafterconvocationonAugust26.Recitalswillbelivestreamed,andaliveaudiencemaybeinviteddependingontheuniversityguidelines.Arestudentsstillrequiredtoattendconcerts?Forthetimebeing,yes.Allstudentsarerequiredtoattend6concertspersemester,andthiswillcontinuesolongasperformancesareallowedoncampus.Willjuriesberemoteorin-person?DependingonthestatusofthepandemicinNovember,themusicfacultywilldeterminethebestformatforjuries.Studentswillbenotifiedonceadecisionhasbeenmade.

PracticeRoomsandTeachingSpacesWillpracticeroomsbeopen?Yes.Wecurrentlyplanonhavingpracticeroomsopenandavailable.Weaskthatyousanitizethepracticeroomsbeforeandafteryouusethem.Asmentionedearlier,weaskthatyouhaveapersonalcontainerofdisinfectingwipestofacilitatecleaning.Thedepartmentwillprovideasmanycleaningsuppliesasweareable,anditisallofourresponsibilitiestobesureequipmentissanitizedforyourandotherpeople’suse.WilltheCenterfortheArtsbecleanandsafe?Thecustodial andbuilding staffswillwork tokeep the teachingandperformingspaces sanitized. Extracleaningmeasures have been put in place. It is incumbent thatwe all do our part to help out aswell,sanitizingequipmentbeforeandafteruse.

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MUSICDEGREEOPTIONS

TAMU-CC offers two music degree options, each of which implies a rather specific career direction.Incomingstudentsoftenarenotcertainwhichoptionwouldbethebestchoiceforthem.Fortunately,alltwoof thebachelor’soptionsarequite similar through the firstyear. Thisprovides time to formulateamore informed degree track choice. We strongly advise students to spend time with their studioinstructors and faculty advisors/mentors who can help in making a wise and rewarding choice ofprofessionalpreparation.

DegreeDescriptionsandLearningOutcomes

1. TheBachelorofArtsinMusicoffersachoiceoftwoemphases.TheBA-Music,MusicStudiesEmphasisisadesirabledegreeforthosewhowishtostudymusicwithinatraditionalliberalartsframework.Thedegreeisappropriateforstudentswhowishtoengageinstudiesintheperformingarts,musicology,composition,andotheracademicmusicareas,orasinstructorsinprivatemusicstudios.TheBA-Music,MusicIndustryEmphasisisadesirabledegreeforthosewhowishtostudymusicwithinatraditionalliberalartsframeworkcombinedwithstudiesinmusicbusiness,recordingtechnology,andrelatedfields.Thedegreeisappropriateforstudentswhoseekcomprehensiveknowledgeandafoundationofskillsforworkandgrowthinthemusicindustry.

1.1StudentLearningOutcomes:

1.1.1 haveknowledgeofmusictheory,history,literature,andculture1.1.2 beabletoapplytheirknowledgethroughsingingorperformingonamusicalinstrument1.1.3 beabletoapplycriticalthinkingskillswhenhearingmusicalsounds

Inaddition,studentsundertakingtheMusicIndustryEmphasiswill:

1.1.4 haveaworkingknowledgeoftheoperationsofthemusicindustry1.1.5 operateprofessionalaudiorecordingsystems

2. TheBachelorofMusicinPerformanceisintendedforstudentswhoseskillsandinterestinthe

performanceofmusicarefocusedatthehighestprofessionallevel.Thisalsoisanappropriatedegreeforthosewhointendtobuildtheircareersascollege/universityteachers,butwhowillnotteachinpublicelementaryorsecondaryschools.However,thosewhoelectthisoptionmustbeawarethatultimatesuccessinperformance-centeredcareersnormallyinvolvesfurtherstudybeyondthebaccalaureatedegree,aswellasagrowingaccumulationofactualsuccessfulperformanceexperiences.Further,thosewhoseekdualcareersasperformersandstudioinstructorsatthecollege/universitylevelmustbepreparedtocontinuegraduatestudythroughthedoctoralleveltosecureeligibilityforfacultyappointment.ThevocalandinstrumentalperformanceBMdegreeplansaresimilar,butnotidentical.2.1 StudentLearningOutcomes:

2.1.2 gainknowledgeofmusictheory,history,literature,andculture;

2.1.2 acquire skillsnecessary toperform, conduct, and/or composemusic fromvariousperiodsandgenres;

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2.1.3 acquireknowledgeofperformanceliteratureappropriatetotheirmedium.

3 TheBachelorofMusicwithTeacherCertification(BMTC)istheappropriateprofessionaldegreeforstudents who seek careers in elementary and/or secondary music education. Degree tracks invocal/general or instrumental music are offered. Successful completion of this degree and apassing score on the Texas teacher licensing examination lead to Texas all-level certification inmusic.

TheBMTCcurriculumhasbeendesignedtoinsurereasonablecompetenceinallareasofmusicandmusicpedagogy.Consequently,itisbothrigorousandtimeconsuming.Althoughtheprogramcanbe completed in nine regular semesters, it requires very heavy course loads to do so. Studentswhosepersonallearningstylesdonotrespondwelltosuchpressure,orthosewhomustcontinuepartialemploymentshouldconsiderattendingseveral summersemestersand/orextending theirpersonal programs of study to 10 semesters. As with the Bachelor of Music in Performancedegrees,thevocalandinstrumentalBMTCdegreeshavegreatsimilarity.

A note on the name of this degree: Several years ago, the Texas Legislature enacted broadeducationalreformlegislation. Oneresultofthiswasabanontheuseoftheterm“education”inthetitleofacollege/universitycourseorundergraduatedegreeprogram.HenceTexansnowenjoykinesiology rather thanphysical education, amongother things. The regular title forTAMU-CC’sBMTC outside the state of Texas would be the BME, the Bachelor of Music Education, a degreeseparatefromboththeBMandBA.3.1StudentLearningOutcomes

3.1.1 StudentswhoearntheBachelorofMusicwithTeacherCertificationwill:

3.1.2 beabletoassessandcritiquemusicstudentperformances;3.1.3 haveknowledgeofmusictheory,history,literatureandculture;

3.1.4 beabletostructureandapplyappropriatemusicpedagogytoformeffectiveinstructionin

classroomsorensembles

4 Currentdegreeplansforalloptionsareavailableseparatelyonline.

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ADMISSIONTOMUSICDEGREEPROGRAMS

Allstudentsmustperformanauditionpriortoacceptanceintoanymusicprogramleadingtoabachelor’sdegreeorforthegeneralmusicminor(notthemusicindustryminor).Degree-seekingmusicmajorsareexpectedtoperformatincreasinglyhigherlevelsoftechnicalandartisticperformancethroughoutthecourseofundergraduatestudy.AssessmentofgrowthinperformanceisaccomplishedatthefinalexaminationforeachsemesterofPrincipalStudioenrollment.Thisconsistsofaperformancebeforeajurycommitteecomposedofmusicfacultymembers.Jurycommitteesarechargedwithtwotasks:first,theyrecommendanadvisoryjurygradetoeachstudent’sstudioteacher,andsecond,theydetermineifstudentswillpasstothenextcourseinthestudiosequence.Inordertoavoidasituationinwhichastudentattemptsthepursuitofamusicdegreeforwhichthereislittleornopracticalhopeofsuccess,thefollowingproceduresgoverningadmissiontoTAMU-CCmusicdegreeprogramsarecloselyfollowed.All music majors, regardless of the degree they are seeking, share a common first-year music courseenrollment,consistingofthefollowingcourses: MUSI1311–MusicianshipI MUSI1312–MusicianshipII MUSI1116–AuralTrainingI MUSI1117–AuralTrainingII MUSI1181–ClassPianoI(orsecondarylessonifpianomajor) MUSI1182–ClassPianoII(orsecondarylessonifpianomajor) MUAP11xx–FirstYearPrincipalStudioI MUAP11xx–FirstYearPrincipalStudioII MUEN11xx–AppropriateMajorEnsemble(twosemesters)1. ThejuryexaminationforFirstyearPrincipalAppliedStudioIIservesasanapplicationauditionforthe

BachelorofMusicorBachelorofMusicwithTeacherCertificationdegrees,ifdesired.Jurycommitteeswill approve applications based upon the jury performance and recommendations of the student’sprincipalstudioinstructor.

2. Because theBachelorofArts inMusicprogram ismorebroadly focusedandnot asdependentupon

performance, students who are not accepted into the Bachelor of Music or Bachelor of Music withTeacherCertificationprogramsmaycontinuewiththeBA.

3. Transferstudentswhohavecompletedtwoormoresemestersofprincipalstudioatanotherinstitution

shouldauditionforadmissiontotheBMorBMTCdegreesattheauditionsscheduledpriortoadmissionoratauditionsheldduringthefirstweekofclasseseachsemesterforthatpurpose.Ifthisauditionisnotaccomplished,thestudentwillremainontheBAdegreeplanuntilasuccessfuljuryisperformed.

4. Musiccoursesacceptedfortransfermaynotbeolderthan5years.Exceptionstothispolicymaybe

madebasedupontheresultsofplacementexamsinthegivenarea(s)andwithpermissionofthedepartmentchair.

5. Astudentwhosuccessfullyauditionsforthemusicprogram,butwithdrawsformorethanone

semesterforanyreason,maybeaskedtore-auditionuponhis/herreturntotheuniversity.6. Students may attempt to qualify for the Bachelor of Music or the Bachelor of Music with Teacher

Certificationprogramonlytwice.

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ChangingDegreeTracksStudentsoccasionallywishtochangefromonemusicdegreeplantoanother.Thiscanbeaccomplished,butstudentsmustbeawarethatthelaterintheirprogramthatsuchachangeismade,themorecomplexandcostlyitwillbe.Keyfactorstobeconsidered:1. ChangetotheBMinPerformance:Attheendofthefirstyearofstudy,performancemajorsmovetoa

levelofappliedstudioworkthathassignificantlyhigherperformanceexpectations.Therefore,achangefromtheBAortheBMTCtotheperformancedegreelaterthanthecloseofthefirstyearofstudyrequiresaseparateauditionforstudioplacement.Thisauditionwillordinarilybeaccomplishedattheend-of-semesterjuryexaminations.Oncethethirdyearofstudyhasbegun,studentsattemptingthischangemustexpecttobeplacednohigherthanthefirstsemesterjuniorstudiolevelintheperformancedegree.

2. ChangetotheBMTC:StudentsmaychangefromtheBMinperformancetotheBMTCsimplybyfilingan

officialChange-Of-Majorformandhavinganewdegreeplancreated.SubsequentstudioenrollmentwillbeattheBMTClevel.

3. ChangingfromtheBAtotheBMTC:Thischangewillrequireanaudition,asdescribedabove.Students

mustrealize,however,thattheBMTCbeginstoacquiresignificantmandatorysequencesofcoursesbeginninginthethirdyear.Dependinguponastudent’sindividualsituation,thischangecouldbemuchlesspracticalthanitfirstappears.TheremayalsobePrincipalAppliedStudiolevelimplications,asdescribedaboveforthosechangingfromtheBMTCtotheBM.

DoubleMajorsandSecondBachelor’sDegreesInvolvingMusicMusicstudentsoftenspeakofa“doublemajor”whentheyarethinkingofcombiningtheBMinPerformanceandoneoftheothermusicdegreetracks.Asarule,studentsarenotallowedtodoublemajorontheBMorBAdegrees.MoreinformationandUniversityregulationscanbefoundintheundergraduatecataloginthechapterdevotedtoUndergraduatePrograms.WithintheUniversityrulesandpolicies,theMusicFacultyofferthisadvice:1. DoublingtheBAinMusicwithanundergraduatemajorinanyotherdisciplinepresentsfewproblems.

ThissituationiscoveredcompletelybyUniversitypolicyasgivenintheUniversityCatalog.2. DoublingtheBAinMusicwitheithertheBMinPerformanceortheBMTC,however,isredundant.No

rationaladvantagecanaccrue,andthisismoststronglydiscouraged,evenifnominallycountenancedbyUniversitypolicy.

3. TheUniversityofficiallyregardsthePerformanceandTeacherCertificationdegreesinmusicas

separatetracksorconcentrationsofthesamedegree,theBachelorofMusic.Therefore,youcannotreceivethesamedegreetwice.However,inthebroaderworld,theBMTCisaseparateundergraduateprofessionaldegree—theBachelorofMusicEducation,orBME.TheNationalAssociationofSchoolsofMusicaccreditstheTAMU-CCBMinPerformanceandtheBMTCasseparatedegrees.Thiscloudstheissue.Therefore,thefollowingistheprocedureforcompletingthecourseworkforbothdegrees,thoughonlyonewillbeacknowledgedonthetranscript:

3.1. SelecttheBMTCoption,andcompleteallofitsspecifiedrequirements.

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3.2. Arrangewithyourinstructortotransitiontoperformancelevelappliedstudiosattheendofthe

firstyearofstudy,andcompletealllevelsrequiredbytheBM.

3.3. CompleteMUSI4340—StudiesinRepertoireandMUSI4360—StudiesinPedagogy.

3.4. PrepareandpresentbothaJuniorandSeniorrecital.

3.5. Planforsufficienttimetoallowthelearningandmaturationrequiredbybothtracks.Althoughwearenotabletoofficiallyacknowledgeitonyourtranscript,youwillbecompletingtwodemandingprofessionaldegreessimultaneously.

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STUDENTASSESSMENTPROGRAMSTheDepartmentofMusicmaintainsassessmentprogramsthatgofarbeyondtheregularclassroomroutineofquizzesandexaminations.Thegeneralpurposesoftheseassessmentsaretohelpstudentsmaintainawarenessoftheiroverallprofessional,academic,andartisticgrowthonanongoingbasis,andtoassistthemusicfacultyinmonitoringandmaintainingtheoveralleffectivenessoftheDepartment’sprograms.TherearethreesuchassessmentprogramsthatstudentsshouldkeepinmindduringtheirbaccalaureatecareersatTAMUCC:

JuryExaminationsJuriesarethefinalexaminationsforallPrincipalAppliedStudiocourses.Allstudentsenrolledinthosecoursesmustundergoajuryeverysemester.SecondaryStudiocoursesordinarilydonotrequireajuryexamination.Juriesareusuallyheldduringthefinalweekofclasseseachsemester.Juryschedulesareusuallypostedabouttwoweeksinadvance.1. PurposesoftheJuryExamination

1.1. ToprovidestudiofacultywithanadvisoryperformancegradeforeachoftheirPrincipal-level

students.Individualfacultymembersareresponsibletoassigngradesforeachoftheirstudents,buttheydoemployjuryresultsinformationinavarietyofwaysincalculatingtheirfinalcoursegrades.

1.2. ToassigntheachievementlevelforsubsequentPrincipalAppliedStudioenrollment,andfor

studentstransferringfromonedegreeplantoanother.AppropriatefacultyjuriesareresponsibleforallPrincipalAppliedStudiolevelassignments.

1.3. Toallowallstudiofacultymemberstobeawareoftheoveralllevelofdevelopmentwithintheir

performancearea.

1.4. Toprovideeachstudentwithanopportunitytodemonstratethegrowththeyhaveattainedasaperformer,theirknowledgeofmusicalstyleandnuance,pedagogicalprinciples,andthelike.

1.5. ToadministertheperformanceportionoftheBasicMusicalSkillsAssessment.

2. JuryCommitteesarecreatedforeachperformancearea(e.g.brass,woodwinds,etc.),andare

appointedbytheChairoftheDepartmentorbyadesignatedfacultymember.Adjunctstudiofacultymembersserveasmembersofjurycommitteesasaconditionoftheiremployment.Eachjurycommitteetypicallyincludesthreefacultymembersfullyconversantwiththeperformancepractice,literature,andtechniquesofeachperformancemedium,includingeachstudent’sindividualstudioteacherineachcase.

3. RulesgoverningJuryExaminations

3.1. Exceptincasesofgenuinepersonalemergency,failuretoappearforthejuryexaminationshallnotconstituteasufficientreasontowarrantawardingagradeofIncomplete(I).

3.2. Unexcusedfailuretoappearforthejuryexaminationwillmostlikelyresultinagradeof“F”forthe

course,althoughthisdecisionisreservedtoeachfacultymember.

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3.3. Allliteratureperformedatjuryexaminationsthatincludesaccompanyingorassistingpartsshall

beperformedwithaccompaniment.

3.4. The successful presentation of a required Junior or Senior Recital for a committee normally issubstituted for the jury examination in that semester. However, the studio instructormay alsorequirethejuryexaminationinunusualcircumstances.

3.5. AstudentmusthavecompletedallStudioClassandRecitalClassobligationsbeforeundergoingthe

juryexamination.Studentsalsomusthaveattendedaminimumof12weeklylessonsinordertostandforthejury.

3.6. Eachperformanceareamaintainsspecificrequirementsconcerningtheamountof literaturethat

mustbepreparedforthejuryexaminationbystudentsatdifferentachievementlevels.

3.7. Eachperformanceareamaintainsspecificrequirementsconcerningmemorizationofliteratureforjuryperformances.

3.8. Most students will be required to perform specific major and minor scales as part of the jury

examination.

3.9. Jury committeesmay include some oral examination components covering aspects of pedagogyand performance techniques as a part of the jury examination. Facultymembers, however, arerequiredtogivestudentspriornoticeifthiscomponentwillbeincluded.

3.10. Inorder toprogress to thenext levelofappliedprincipal lessons,a studentmustearnatleastan“A”or“B”inhis/herlessonsandalsoberecommendedtoadvancebythejurycommittee.A student who does not advance to the next level of lessons, as recommended by the jurycommittee, can earn no higher than a “C” in applied music. Students who do not advance inlessonsduetotheirineligibilitytotaketheBMSAduetootherfactors(i.e.theorysequenceissues)arenotheldtothisgradingpolicy.

3.11. Eachjurycommitteewillestablishitsownspecificprocedures.

BasicMusicSkillsAssessment(BMSA)1. AllmusicmajorsmustsuccessfullycompletetheBMSApriortobeginningupper-divisionlevelmusic

coursework(i.e.,MUAPandMUSIcourseswith3000and4000coursenumbers),withtheexceptionoftechniquescourses.StudentstypicallyundergoBMSAappraisalduringthesemesterinwhichtheyareenrolledinthefourthlevelofPrincipalAppliedStudio.ThenormalexpectationisthatastudentwillbenearingcompletionoftheMusicianship,AuralTraining,andClassPianosequencesduringthatsemester.StudentswhoarenotwithinonesemesterofcompletingtheMusicianship,AuralTraining,andClassPianosequencemaychoosetodefertheirBMSAuntiltheothercoursesarecaughtup;however,suchstudentswillremaininthefourthsemesterappliedlessonleveluntiltheypasstheBMSA.StudentsintheirfourthsemesterMusicianship,AuralTraining,andClassPianocoursesandfourthsemesterofappliedlessonsmusttaketheBMSAexam.

2. ThemusicalskillsreviewedbytheBMSAarenotthedomainofanyonecourse,butareacquiredand

developedacrossthemusiccurriculum.Therequiredlevelsofperformancereflectthecollectiveexpectationsofthemusicfacultyforstudentswhohavecompletedfoursemestersofmusicstudy.

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3. StudentsseekingtheBMinPerformanceortheBMTCwhofailtheBMSAtwicewillnotbeallowedto

continueinthosedegreetracks.SuchstudentsmaycontinueintheBAinMusicdegreeforonemoresemesterbutwillnotadvanceto3000-levellessonsuntiltheypasstheBMSAexam.ThemaximumnumberofBMSAattemptsforanystudentisthree.

4. BMSAresultsaremadeapartofeachstudent’spermanentrecord.5. TheBMSAincludesthefollowingfivecomponents:

5.1. Awrittenstatementfromthestudentarticulatingtheirreasonforchoosingtomajorinmusicandtheirprofessionalgoals,andaninterviewwithafacultyjurypanelbaseduponthisstatement.

5.2. Performanceproficiencyasjudgedbyajurypanelconsistingofatleastthreemembersofthe

musicfaculty.

5.3. Auralidentificationofmeter.

5.4. Sight-singingskills,includingbothmelodicandrhythmicmaterial.

5.5. Keyboardproficiency.6. Eachstudent isexpected tounderstand the requirementsandprocedures foreachpartof theBMSA

beforethereviewbegins.Anyquestionsorclarificationsshouldbeaddressedtothestudent’sprincipalstudio instructorwell in advance of the review as therewill be no time for questions of procedureduringthereview.

7. BMSAreviewsnormally takeplaceat theendof thesemester. Committeememberswill include the

department chair, the student’s applied instructor, and at least one other full-time music facultymemberwhonormallysitsonthejurypanelsforthestudent’sperformancearea. ThisBMSAreviewwill serve as the end-of-semester jury. The BMSA review schedule will be posted along with juryschedules late in the semester. Any studentwhobelieves theposted list is in errormustnotify theChairoftheDepartmentofMusicassoonastheerrorisdiscovered.

8. ThecompleteBMSApolicyisgivenonpages23-26.

TexasExaminationofEducatorStandards(TExES)TheTexasExaminationofEducatorStandards(TExES)istheofficiallicensureexaminationthatindividualsmustpasstoreceiveteachercertificationinTexas.TExESistheresponsibilityoftheStateBoardofEducatorCertification(SBEC),andislocallymanagedthroughtheCollegeofEducationbytheStateTestingCoordinator.TheTAMU-CCTExESwebsiteishttp://texes.tamucc.edu.TorequestofficialapprovaltotaketheTExES,usethewebaddresshttp://tar.tamucc.edu.ToreceiveapprovaltotaketheTExES,amusiceducationstudentatTAMU-CCmusthavecompletedthefollowingcoursework,allwithgradesof“C”orbetter:MUSI3252—FoundationsofMusicProgramsMUSI3253—BasicConductingMUSI3354—AdvancedConducting

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MUSI4334—HistoryofWesternMusicIMUSI4335—HistoryofWesternMusicIIMUSI4355—MusicforYoungChildrenMUSI4357—ChoralLiteratureandTechniquesORMUSI4358—InstrumentalLiteratureandTechniquesThislistofcoursesthatmustbecompletedpriortoseekingapprovalimpliesquitestronglythatmusiceducationstudentsshouldordinarilyplantotaketheTExESduringthestudentteachingsemesterorimmediatelypriortoit.

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APPLIEDMUSICPOLICIESAppliedMusic is the standard term that refers to private lessons inmusic performance at colleges anduniversities.AtA&M-CC,wetendtousetheterm“studio”somewhatlooselytorefertothisarenaofstudy.Weoffer both Secondary Studio courses andPrincipal Studio courses. Within each of these are severalachievementlevels.1. SecondaryStudiosareintendedprimarilyformusicmajorswhoseekprivatestudioinstructionoutside

theirareaofstudioconcentration.SecondaryStudiostudentsreceive7hours(30minutesperweek)ofprivate instructioneachsemester. Successfulcompletionprovidesonesemesterhourofcredit. Asageneral rule, Secondary Studios do not require Jury Examinations or other public performanceobligations.SecondaryStudiocoursesareavailabletostudentswhoarenotmusicmajors,butonlyinlimitedcircumstances,andwiththepermissionoftheChairoftheDepartmentofMusic.StudentsmustseetheDepartmentChairforfurtherinformationandregistrationpermits.

2. Principal Studios are intended for students enrolled as music majors in the BA, BM or the BMTC.

PrincipalStudiostudentsreceive14hours(60minutesperweek)ofprivateinstructioneachsemester.Principal Studios require Jury Examinations and appearances on one or more Recital Classes eachsemester.SomePrincipalStudiosareavailabletostudentswhoarenotmusicmajors,butonlyinverylimitedcircumstances,andwiththepermissionoftheChairoftheDepartmentofMusic.StudentsmustseetheDepartmentChairforfurtherinformationandregistrationpermits.

3. Both Principal and Secondary Applied Studios include eight separate achievement levels. A voice

performancemajor, for example,will be expected to completeMUAP1183,1184,2383,2384,3383,3384,4383, and4384 to complete thedegree. Principal StudioAchievementLevels areassignedbyJuryExamination.SecondaryStudioAchievementLevelsaretypicallyassignedbytheinstructor.

4. PerformancemajorsmustsuccessfullycompleteasequenceofeightPrincipalStudiocoursesinasingle

performancemedium.5. BMTCandBAmusicmajorsmustsuccessfullycompleteasequenceofsixPrincipalStudiocoursesina

singleperformancemedium.6. Performance Majors begin taking performance level studios at the start of the second year. The

durationof theprivate lessoneachweekremains thesame,but thecoursesresult in threesemesterhours of credit. This reflects the higher expectations placed upon the studio work of performancemajors.

7. BMTCandBAstudentscontinuetoreceiveonesemesterhourofcrediteachsemesteruntilthejunior

year,atwhichpointtheywillreceivetwohoursofcreditpersemester.8. Studentsenrolled inPrincipalStudiosarealsorequiredtoparticipateat leastonehoureachweekin

StudioClassesandRecitalClasses.

8.1. Studio Classes are relatively informal seminars organized by each studio instructor. StudioClasses are designed to dealwith performance issues that are of interest to all students in thestudio. Each studio instructor describes their studio classes more thoroughly in their coursesyllabi.

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8.2. RecitalClassesaremoreformalrecitalsthatfeaturefinishedperformancebyavarietyofstudentperformers.RecitalClassesarescheduledfrom2:00-2:50onWednesdayafternoons.AllstudentsenrolledinprincipalappliedmusicareexpectedtoattendallRecitalClasses.

9. Full-time music majors enrolled in Principal Studios are required to register for a major ensemble

appropriate to their performancemedium. Students who do not register for an appropriatemajorensemble will be dropped from lessons. Exceptions may only be made with permission of theDepartmentChair,EnsembleDirector,andStudioInstructor.

10. Lesson Attendance. Missing applied music lessons is a very serious issue in any school of music.

Individual instructors have the latitude to establish and enforce any studio attendance policy theychoose,aslongasitembracesthefollowingtwoconcepts.

10.1. Studentswhomisslessonsshouldnotifytheirstudioinstructorassoonaspossible.Studio

instructorsmayormaynotmakeuplessonsmissedbystudents.Theymaymakethesedecisionsonacasebycasebasis.Lessonsmissedbyinstructorsaretobemadeupatmutuallyconvenienttimes.

10.2. Studentsmustattendatleast12lessonsinasemesterinordertoqualifytostandforjury

examsthatsemester.

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RECITALPOLICIES

RequiredDegreeRecitalsRequiredJuniorandSeniorRecitalsarecapstoneeventsfortheBMandBMTCdegreesandaredesignedtoprovidestudentswithopportunitiestodemonstratetheircumulativemusicalandtechnicalknowledgeandskills.Assuch,therearespecificpoliciesandproceduresthatgoverntheseactivities.1. Theperformancedegreerequiresthesuccessfulpublicpresentationofa45-minuteJuniorRecitalanda

60-minuteSeniorRecital.2. TheBMTCdegreerequiresthesuccessfulpresentationofapublic,30-minuteSeniorRecital.3. Studentsmustbeenrolled in theproper zero-credit courseduring the semesterof the recital (MUSI

3085—Junior Recital, or MUSI 4085—Senior Recital). Students must also be enrolled in theappropriatePrincipalStudiocourseatthetimeoftherecital.

4. All required degree recitals are evaluated by faculty recital committees formed for that purpose.

Typically,thestudent’sPrincipalStudioinstructorservesaschairoftherecitalcommittee,withatleasttwoothermusicfacultymembersselectedbythestudentwiththeadviceoftheStudioinstructor.

5. Requireddegree recitals aremonitoredby theChair of theDepartment ofMusic,who serves as the

officialinstructorofrecordforMUSI3085andMUSI4085.TheChairwilldistributeadocumentearlyin each academic year that describes the step-by-step procedures involvedwith presenting amajorrecital. Studentsintendingtopresentrecitalsduringthatyearmustobtainthisdocumentandfollowthe guidelines that it presents. Failure to follow these requirements and procedures will result incancellationoftherecital.

6. Required degree recitals are not necessarily linked with specific studio achievement levels as

designatedbyPrincipalStudioCoursenumbers.7. Students presenting degree recitals must undergo a Pre-Recital Hearing with their evaluation

committeeat least twoweeksprior to the recital. ThePre-RecitalHearingwill result inoneof fouroutcomes:

7.1. Therecitalmayproceedasplanned.7.2. Thecommitteemaydirectthattherecitalbecancelled.

7.3. Therecitalmayproceed,butonlywithsomespecificchangesrequiredbythecommittee.

7.4. The committee may require that the recital be postponed until later in the academic year, or

perhapstothefollowingyear.8. StudentsmustbeawarethatasuccessfulPre-RecitalHearingdoesnotequatewithacceptanceofthe

recital.Thatdeterminationismadeonlyattheactualperformance.

9. Althoughnot specificallyprohibitedbypolicy, theMusicFaculty strongly recommends that studentsnotscheduledegreerecitalsduringthestudentteachingsemester.

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10. Degreerecitalsmaynotbescheduledduringthesummersemesters,exceptinthemostextraordinarycircumstances,andonlywiththeexpresspermissionoftheDepartmentChair.

11. Required degree recitals are monitored by the Chair of the Department of Music, who will publish

specificrequirementsandproceduresearly in the fallofeachacademicyear. Failure to followtheserequirementsandprocedureswillresultincancellationoftherecital.

12. The University provides printed programs for student performances. Students, however, are

responsible for providing complete and accurate program copy electronically twoweeks before therecital.Aprogramstyleguideisincludedinthehandbook.

13. DegreerecitalsarenormallyperformedinthePerformingArtsCenter.Schedulingofrecitals,however,

isdonethroughtheChairoftheDepartmentofMusic.

OptionalRecitals1. Studentsoftenwishtopresentarecital that isnotrequiredfortheirdegree. Theseoptional

recitals do not require a faculty evaluation committee or a Pre-Recital Hearing, but insteadshould be coordinated with the studio instructor. Students who present optional recitalswithoutafacultycommitteeshallstillperformajuryduringthatsemester.

2. Becauseof time and space constraints, optional recitalswill only rarelybe scheduled in the

PAC.3. TheUniversitywillsupplyprintedprogramsforoptionalrecitals.Studentsshouldfollowthe

sameguidelinesforprogramsthatareinplaceforrequireddegreerecitals(seeabove).4. Generally, similar accompanist fees andpolicieswill prevail for optional recitals. There are

manyforeseeablesituationsinwhichthiswillnotbethecase.Studentsshouldseekguidancefromtheirstudioinstructorsinthismatter.

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SENIORCAPSTONEPROJECT

StudentscompletingtheBachelorofArtsinMusic,MusicStudiesEmphasiswillcompletetheSeniorCapstonecourseinsteadofpresentingaseniorrecital.TheSeniorCapstoneisintendedtoprovideanopportunityforstudentstodemonstratetheirmusicalscholarshipthroughscholarlyanalysisandwritingwithinafieldoftheirchoosing.TheSeniorCapstoneisintendedtobecompletedduringthefinalyearofundergraduatestudy.Procedures

1. Theprojectedscopeofthecapstoneprojectrequiresthatstudentsconferwiththeirmentorspriortothesemesterinwhichtheprojectwillbeundertaken.

2. ProjectProposal:ThestudentisresponsibleforsubmittingaCapstoneProposalthatistyped

accordingtoanappropriatestyleguide(MLA,APA,etc.).Theproposalmustbesubmittedtothethreemembersofthecommitteebytheendofthethirdweekofthesemester.

3. Theprojectproposalmustaddresseachofthefollowing:

3.1. Atitlepagewiththestudent'sname,workingtitleoftheproposedproject,student'sdegreetrack,andexpectedgraduationdate.

3.2. Aone-paragraphminimumgoalstatementthatclearlyidentifiesthefocusoftheprojectandreasonswhythestudentwishestopursuethisparticularproject.

3.3Adetailedlistofalloftheprojectactivitiesthatmustbedoneinordertocompleteeachobjective.Thisshouldincludetheareasofliterature,interviews,surveys,web-basedactivities,orperformanceobjectivesthatcomprisetheproject.

3.4 Aclear,integratedresearchquestionorthesisstatementthatsummarizestheproject.

3.5 Abibliographyofatleastfivevalidsources,organizedusingtheappropriatestylemanual.

4. EvaluationCommittee:Finalpresentationswillbeevaluatedbyathree-memberfacultycommitteechairedbythestudent’sprojectmentor.ThecommitteemustalsoincludetheChairoftheDepartmentofMusic.Studentsmayidentifytheirchoiceofmentorandcommitteemembers,withapprovaloftheDepartmentChair.

5. TheSeniorCapstonemayincludeperformance,asinalecturerecital,butmusicalperformancemaycomprisenomorethan40%ofthecapstoneproject.

6. Finaldocumentationoftheprojectmustincludethegradeawardedbythestudent’scommittee,alongwiththesignaturesofallmembersofthecommittee.Finaldocumentationwillbecomepartofthestudent’spermanentfile.

7. CompleteguidelineswillbeprovidedintheSeniorCapstonesyllabus.

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ACCOMPANISTPOLICIES1. Literature performed at degree recitals, recital classes, and at jury examinations that includes

accompanyingorassistingpartsmustbeperformedwithaccompaniment.2. Timely Engagement: Students are generally responsible for making arrangements with their

accompanist,whether this refers to thedepartment’s full-time collaborativepianist or to a privatelycontractedpianist. Qualified accompanists arenotplentiful. Therefore, studentsmustuse excellentforesight in planning recitals and engaging their accompanist. One year in advance for a Junior orSeniorRecitalisnotatallunreasonable.

3. Accompanists for degree recitals: Students are responsible for contracting and compensating an

accompanistwho is approvedby the studio teacher. Studentsmustbe certain that all detailsof theengagementareclearat theoutset, includingperformancedate,hearingdate,andrehearsals. Studioinstructorswillassistinidentifyingandengagingsomeoneappropriate.

4. AccompanistFees

4.1. It is the policy of the Department to provide an accompanist for Recital Class performances.Studentsmustworkwiththeirstudioinstructorstomakespecificarrangements.

4.2. Aflatfeeof$30.00ischargedforjuryexaminationaccompaniment.Studentsareresponsiblefor

engagingtheaccompanistandbeingcertainthatrehearsalexpectationsareunderstood.Thefeeisduebeforethejuryexaminationtakesplace.

4.3. Accompanistfeesfordegreerecitalsandalldetailsoftheengagementmustbesettledbeforethe

accompanistwillcommittotheperformance.Paymentisexpectedpriortotherecital.

4.4. Accompanistsmustbepaidforrehearsalsintheeventthatarecitaliscancelled.5. Students are responsible to provide scores to accompanists as soon as is reasonably possible.

Accompanistsarewellwithin theirrights torefuse toaccompanyanyperformance in theevent theyhavenotbeengivenscoresintimetoallowadequatepreparation.

6. RehearsalswithAccompanists

6.1. As an issue of Departmental philosophy, timewith your accompanist is not to be spent by thestudent,theaccompanist,orthestudioinstructortoextensivelypracticesegmentsofawork,ortosimply“goover”selections.Theintendedpurposeofthistimeistodevelopmusicalensembleandnuanceinmusicthathasalreadybeenpreparedbyalloftheperformers.

6.2. Accompanist fees for typical degree recitals allow for four to six one-hour rehearsals with the

accompanist. Similarly, two half-hour rehearsals should normally be sufficient for Recital Classpreparation.

6.3. As a general rule, students should consider themselves prepared to work effectively with an

accompanistwhentheyareabletoperformtheirpartalonewithreasonablepitchandrhythmicaccuracy.

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GENERALDEPARTMENTPOLICIES

1. QualificationforJunior/SeniorLevelCourseWorkisaccomplishedbymeansofsuccessfulcompletionoftheBasicMusicSkillsAssessment(BMSA).PleaseseeadditionalinformationabouttheBMSAaboveinthe“StudentAssessment”section.

2. CountingCoursesTowardDegreeCompletion:AllMUSIandMUENcoursesrequiredforcompletionof

anymusicdegreemustbecompletedwithagradeof“C”orbettertobecountedtowardcompletionofthedegree.RequiredMUSIandMUENcourseswithgradeslowerthan“C”mustberepeated.InordertoadvanceinMUAPcourses,agradeof“B”orbettermustbeachievedalongwithapprovalofthejurycommittee.

3. Required Ensemble Participation. All music majors are required to enroll, participate, and earn a

passinggradeinthemajorensemblemostappropriatefortheirperformancemediumeverysemestertheyareenrolledasafull-timestudentattheUniversity.Full-timemusicmajorswhodonotenrollinacorrespondingmajorensemblewillbeineligibleforPrincipalStudiolessons.

3.1. Theprincipalreason for thispolicy is that themusic facultymembersare firmlyconvincedthathigh-levelensembleparticipationisanindispensablepartofamusician’sfundamentaltraining.

3.2. Amuchlessimportantbutstillvalidreasonforthispolicyistheoverwhelminglyimportantrolethatmajorperformingensemblesplay inestablishingandmaintaining the reputationofauniversitymusicdepartment,bothwithinthegeneralpublicandwithinthemusicalcommunity.3.3ExceptionstothispolicyaredeterminedbytheChairoftheDepartmentofMusicafterconsultationwith a student’s applied studio instructor and the director of the appropriate ensemble. Majorensembles at TAMUCC are defined as the Symphonic Winds, Concert Band, University Orchestra,UniversitySingers,CamerataIsla,andtheCorpusChristiChorale.

4. Classattendance:Allacademicmusiccoursesinthemajorhaveastrictattendancepolicy.Eachstudent

isallowedtomisstheequivalentoftwoweeksofacoursewithnopenalty.Aftertwoweeks,foreachabsence,thefinalgradeisreducedbyonefulldegree,as from“A”to“B”. However, finalattendancepolicieswillbedeterminedbyindividualinstructorsinthesyllabus,andmaybestricterthantheabovepolicy.Chronictardinessisequallyrudeandunprofessional.Individualinstructorswilladdressthisproblem,shoulditarise,intheirownways,whichmayincludeforfeitureofgradesorfailureofthecourse.

5. Academicintegrityandacademichonesty:ThesetwoconceptsareaddressedintheUniversityCatalogandtheStudentHandbookandCodeofConduct.TheDepartmentofMusicsupportsandenforcestheseUniversitypolicies. Pleasereadtheseresourcesandbecomefamiliarwiththeseissues. Ignoranceofthebehaviorsconsideredtobeoffensesagainstthesepolicies isoftentherootcauseofaninfraction.Nevertheless,allinfractionsareexamined,andpenaltiesareassessed.

5. ConcertandRecitalAttendance:Musicstudentsarerequiredtoattendaminimumofsixconcert/recital

performances each semester that they are enrolled in a Principal Applied Studio course. Studioinstructors may require additional concert/recital attendance, and/or they may specify whichperformancesastudentmustattend.Studioinstructorsmonitortheserequirements.Studentswhofallshortwillhavetheirstudiocoursegradesadverselyaffected.Specificrulesandrequirementsarefoundinthesyllabusforeachstudio.

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6. Academic Advising in the College of Liberal Arts is the responsibility of the professional academicadvisors in theCLAWhatleyAdvisingCenter inDriftwoodBuilding. Inadditionto thisresource, themusic faculty are also excellent sources of academic advice. Wise students will also monitor theirdegree plan progress every semester with the Department Chair when enrolling in Applied Studiocourses. However, studentsmust be aware that they, and they alone are responsible for academicdecisionsinvolvingmajors,tracks,requiredcourses,coursesequences,etc.

7. Course Sequences. One inconvenience of the music degrees is that there are several sequences of

coursesthatmustbecompletedinasetorder.Thisiscomplicatedbythefactthatmostmajorcoursesareonlyofferedonceeachyear. Carelessregistrationorfailuretoperformwellinmusiccoursescanleadtoextrasemestersrequiredfordegreecompletion.

7.1. Musicianship,AuralTraining,andClassPianocoursesmustbecompletedinstrictsequence,with

gradesof“C”orbetter. Thisisafoursemestersequence.Further,thesecoursesaredesignedtointeractwith one another. For example,Musicianship I, Aural Training I, and Class Piano I aredesignedtoworktogether.7.1.1. Asageneral rule, studentmustpassMusicianship inorder toprogress inAuralTraining

andClassPiano.7.1.1.1. Studentswho completeMusicianship but do not pass the corresponding levels of

AuralTrainingand/orPianomaycontinueintheMusicianshipsequence.7.1.1.2. Students who complete Aural Training and/or Class Piano but do not pass the

corresponding level of Musicianship may not continue in the sequence until theMusicianshipclassforthatlevelissuccessfullycompleted.

7.2. ElementsofMusicalStyle,HistoryofWesternMusicI,andHistoryofWesternMusicIIarealsoa

sequenceofthreecoursesthatmustbetakeninorder.

7.3. Applied Studio Courses must also be taken in strict sequence. Levels are assigned by jurycommittees.

7.4. Education coursework in the College of Education (formusic educationmajors) also follows a

strictsequence.8. ADepartmentalNotice Board ismaintained in the hallway outside the studios ofDr. Thornton,Dr.

McClung,andDr.Thacker.Thisnoticeboardisnotintendedasaspaceforcasualpersonalnoticesor“for sale” notices. It is intended to help faculty and students maintain reasonably reliableintercommunication.

9. StorageLockersmaybecheckedoutintheMusicOfficeatnocharge,onesemester/academicyearata

time. Manyof theavailable lockersarereservedforparticular instruments;othersaremoregeneralpurpose. LocksareissuedandcontrolledbytheDepartmentofMusic. Failuretoreneworcleanoutlockersattheendoftheissuanceperiodmayresultintheforfeitureofarticlesheldwithin.

10. Facilities andEquipment:TheDepartmentofMusic shares space in theCenter for theArtswith the

Departments of Art and Theatre. The CA is a tremendously overloaded facility, and it requiresproactivegoodwillonthepartofeveryonewhoworkstheretokeeptheenvironmentpositive.

11. StudentloungefacilitiesarenottrulyavailableintheCA.Bycustom,musicstudentshaveadoptedthe

mainhallwayoutsidethepracticeroomtunnelandthechoralensembleroomasanunofficial loungearea. We expect students to respect the sensibilities of other people passing through the area bykeepingthewalkwayopenandconversationsreasonablyrestrainedandcivil.

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12. PianosandinstrumentsbelongingtotheDepartmentrequireprotectionfromunduewearandtear.We

expectstudentsandfacultyaliketobeproactiveinrespectingthesetoolsofourtradeinrequiringthatothersdosoalso.ReportanydamageorobservedmisuseoffacilitiesorequipmentimmediatelytotheDepartmentOffice.

13. Secured Areas: Some rehearsal and class spaces must be kept secured to prevent loss of valuable

equipment and instruments and also tomaintain the physical security of people in the department.Whilethismaysometimescause inconvenience,weexpectthatneitherstudentsnorfacultywill takeanyactionofanykindtocircumventsecuritydevicesorprocedures.

14. Thepracticeroomareaissecuredbyswipecardaccess.Allmusicfaculty,staff,andstudentsenrolled

in music courses, with the exception of those enrolled in Understanding and Enjoying Music, haveaccessusingtheirSandDollarcards.Tomaintainsecurity,nooneistopropopentheswipelockdooratanytime.

15. HealthandSafetyGuidelines15.1 Students, faculty and staff are reminded thathearinghealth is essential to amusician’s lifelongsuccess.Avoidingoverexposuretoloudsounds,especiallyforlongperiodsoftime,iscrucial.Thebasicinformationguide,“ProtectingYourHearingHealth”,publishedbytheNationalAssociationofSchoolsofMusicandthePerformingArtsMedicineAssociationwillbeissuedateachsemester’sdepartmentalconvocation.15.2Studentsmust followsafetyprotocolswhenusingheadphoneswith thecomputersandpracticepianos. This includes turningdown thevolumeprior toputtingon theheadphones toavoidsuddenunexpectedloudnoises.Completesafetyprocedureswillbediscussedbythecourseinstructoratthebeginningofeachsemester.15.3Appliedinstructorstakeeachstudent’sphysicalsafetyseriouslyinthecontextofstudiolessons.Instructorswill emphasize safe practicemethods for their respective specialty areas, taking care todescribe guidelines for minimizing problems including tendinitis, carpel tunnel, hearing loss, vocaldamage,andthelike.15.4 Moving of equipment will be accomplished only by students, faculty, and staff who have thespecializedtrainingnecessarytomovesuchequipmentsafelyandwithoutdamagetothemselvesortheequipment.Thisincludespercussioninstrumentsandequipmentaswellasuprightandgrandpianos.Instructors are required to train students in their studios in the appropriate techniques fortransportinginstrumentsinasafemanner.15.5.AdditionalinformationaboutprotectingyourhearingmaybefoundontheNationalAssociationof Schools of Music website at the following web address: http://nasm.arts-accredit.org/site/docs/PAMA-NASM_Advisories/4a_NASM_PAMA-Student_Guide-Standard.pdf.TheDepartmentofMusicwebsitealsooffersalinktothisresource.

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TAMU-CCRECITALPROGRAMSTYLEGUIDETheUniversityprovidesprintedprogramsforstudentperformances. Students,however,areresponsibleforsubmittinglegible,complete,andaccuratecopyinatimelymanner.ProgramcopyforDegreeRecitalsmust be submitted to theDepartment ofMusic administrative assistant at least twoweeks prior to theperformancedate.Informationtobeprovidedincludes:

1. Nameoftheperformerandperformancemedium(e.g.,Clarinet,Tuba,Soprano,etc.).

2. Nameof theaccompanist, if any,andanyotherassistingperformers. Theperformancemediaofaccompanists and any other assisting performers should also be given (e.g., Thomas Tucker, FbShawm).

3. Complete titles of compositions in program order. It is appropriate to include opus numbers,

thematicindexnumbers(e.g.,K204),datesofcompositionorpremiereperformances,andnamesofmovementsaswell.Consistencywithinanygivenprogramisthegoal.

4. The names of composers should be given in a consistent format, usually including first and last

names. Birth/death dates are preferred and often included in program material, but are notrequired.

5. Itisusuallyappropriatetoincludethenamesofarrangers,editors,ortranscribers.Whenindoubt,

checkwithyourinstructor.

6. Students often wish to append a short dedication or acknowledgement to their degree recitalprograms.Thisisappropriateandshouldbesubmittedwithothercopy.

7. Programnotesarenotusuallyapartofastudentrecitalprogram. Ifused,however,theymaybe

placedaftereachtitleor theymaybegroupedtogether inaseparatesection followingthe listofworkstobeperformed.Whenused,theauthorshouldbeidentifiedintheprogram,usuallyattheendofthenotes.Ifyoucomposeyourownprogramnotes—mostappropriateforstudentrecitals—sign themwith your initials (SLL). The instructor should have adequate time to proofread theprogramnotespriortosubmission.

8. It is often appropriate to include translations of song texts that will be performed in a foreign

language; however, such translations normally are given on a sheet separate from the programitself. Studentsaregenerallyresponsibletocreateandprovidetranslationsheets;checkwiththestudioinstructorforspecificrequirements.

9. Plannedintermissionperiodsshouldbenotedinyourprogramcopy.Intermissionsarefullbreaks

in theprogramduringwhichtimetheaudiencemay leavethehallandstretchtheir legs. Donotconfuse intermissionswith the shortbreaks that aperformermay takebetweenmajorworksorbetweengroupsofshorterworks.

10. Programcopymustbesubmittedelectronicallytocourtney.noe@tamucc.edu.Somenotesonform

aregivenbelow:

• Titlesofmajorworksshouldbesetinitalicsorunderlined.[Faust,TheRiteofSpring,Golliwog’sCakewalk,etc.].Foreignwordsandtermsshouldalsobeitalicized.

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• Instrumentalcompositionswithgenerictitlesshouldnotbeitalicized,underlined,orplacedinquotationmarks.[SymphonyNo.5inBMinor;StringQuartetinAMajor,Opus14,No.3]

• Popularnamesornicknamesofworksmaybeplacedinquotationmarks.[SymphonyNo.94in

GMajor“Surprise”]• Song titles, or songs ormovements excerpted from largerworks eithermay be italicized or

placedinquotationmarks.Itisusuallyagoodideatoindicateahierarchybyemployingitalics(orunderlining) for the largerwholework, andquotationmarks for the shorter excerpt. Asnoted above, consistency within a given program is the principal goal in such matters.[“Summertime”fromPorgyandBess;“Madamina”fromDonGiovanni]

• Use great care in notating diacriticalmarks in foreign titles and texts. Mostwordprocessor

programshavequitecompletelibrariesofthesegadgetsinmostfonts.[Examples:áàãåçéèêëíìîïñóòôöõúùûü,etc.]

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SampleSeniorRecitalProgramExample

MarvellaKumquat,PedalHartuba

4214CupofHemlockDrive78412 CellPhone:123.456.7890Marvellaprincesscutiepie863@aololol.arg LandLine:098.765.43217:30pm,Monday,April27,2009 TAMU-CCPerformingArtsCenter

Assistedby

FrankLeeSpieking,IllTemperedSkilletWarrenSochs,LugWrenchHarmonium

Accompaniedby

StaphA.Kumpnist,PianoandCowbellConsort

Program

SonataNo.3forHártübainFbMinor R.L.Smythé (1833-96) I.Adagio II.AllegroVivo“Harold’sLastGasp”fromTheTravailsofTootsie B.Marcello (1689-1739) Ed.byM.Gardens Lucy’sDreadfulExcursion H.Metal (b.1744)

PremierePerformance

INTERMISSION

Etc.,Etc.,Etc

Acknowledgement

Thisrecitalislovinglydedicatedtomyparents,ArnoldandVioletKumquat,whohaveplacedthemselvesinhocktofundmy12yearsofundergraduatestudy.

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STAGEETIQUETTEGUIDELINESFORMUSICIANSTheseguidelinesareintendedassuggestions,notasrules.Theyofferguidanceincopinggracefullywiththeproblemsinvolvedwithbeingonstageasaprincipalorassistingperformerinatypicalrecitalsetting.TheStageNormally,routinerecitalstagingandlightingarrangementsrequirelittleadditionalattentionfromtheperformer.Itis,however,foolishnottopersonallychecktheseitemspriortoperformance.Ifchangesoradjustmentsarerequired,seekassistancefromthePACstaff.Donotattempttoworkwithexpensiveequipmentaboutwhichyouknowlittleorwithwhichyouhavenoexperience.Somegeneralconsiderations:1. Stagelightingshouldbeestablishedatsuchalevelthatdarkareasareeliminatedandperformershave

optimumreadingconditions.Sufficientfrontlightingshouldbeusedtoremoveshadowsfromthefacesoftheperformers.Speciallightingeffectsshouldbeavoidedunlesstheyareintegraltoaparticularpieceofliteratureorprogramtheme.Inexperiencedperformers—andsomeexperiencedonesaswell—veryoftenallowforfartoolittlelight,creatingadull,uninterestinganddepressingstagepicturefortheaudience.

2. Avoidunnecessarystagechanges.Planyourprogramsothatifchangesarerequired,theycanbedoneasefficientlyaspossible.

3. Houselightsshouldnormallybedimmedduringaperformance,butenoughlightshouldbeprovided

fortheaudiencetoreadprogramnotesandtranslations,ifprovided.4. Performersshouldenterthestagefromthewingsratherthanthroughthehouse.Therewillusuallybe

astagemanageronhandtoassistyou.DressWeliveinaregionnotoriousforitshotandhumidclimate.Thesefactorsencouragearelativelyhighlevelofinformalityofmanneranddress.Nevertheless,respectforyouraudienceandforyourownartisticworkdictatesatleastaminimallevelofacceptabilityinappearance.InformalDressforeventssuchasRecitalClassesandJuryExaminationsshouldbeyourbetterregularclothing.Shorts,teeshirts,andthelikearenotacceptable.Knee-lengthdressesanddressshoesareappropriateforwomen.Menshouldappearatleastindressshirtandtie,andappropriateshoesandsocks.Sportcoatsareappropriateunlessitisunbearableinthehall.FormalDressforJuniorandSeniorRecitalsandothermajorperformancesusuallyrequiresthatwomenwearformalgownsofanycolorandstylesuitedtotheirtaste.Thatsaid,restraintisinorder!Menshouldbeattiredinastandardblacktuxwithappropriateaccessories.Itisnormallyinappropriateformentoappearinshirtsleevesunlessthejacketphysicallyinterfereswiththeperformance.Cannyperformerswillweartheirperformanceattireinapracticesessionpriortotheactualperformancetolearnwhatadditionalchallengesaregenerated.Thisisespeciallysoifyouwillbewearingnewshoes!Thegoalofformalconcertdressistoavoidcompetingwiththemusicfortheattentionofyouraudience.Performersinmajorensembleconcertsmustdressinaprofessionalmanner,accordingtotheensemble’sdresscode.StageAssistantsandPageTurnersshoulddressinconspicuously,inamannerconsistentwiththatoftheperformers.Thisdoesn’tmeanyoushouldrequireyourpageturnertospringforatuxedorental.Reasonabilityistheorderoftheday,butonstagesloppinessbeforeanaudienceisneverappropriate.

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EntrancesandExitsEnterandleavethestageconfidentlyatadeliberatepace.Donotmosey,slouch,orgazeidlyattheaudienceorotherperformers.Whenmorethanoneperformerisinvolved,theorderofentranceandexitmustbedeterminedbeforehandtoavoidonstageawkwardness.Thisordernormallymaybedeterminedbyoneoftwostandardformulae:

• RANKORDER.ItisA’srecital,assistedbyBandaccompaniedbyC.Therefore,theorderofentranceandexitisA,B,C,regardlessofgender.

• FIVEOR FEWER PARTICIPANTSOF EQUAL RANK. Establish beforehand an order thatwill allow

enteringandexitingwithout crossingoneanother. Traditionally in these circumstances,womenprecedemen, both in entering and exiting the stage. In this case,men should cross upstage ofwomenwhenentering,andwomenshouldcrossdownstageofmenwhenexiting.

ResponsetoApplausePerformersmustlearntocontrolandappropriatelyrespondtoapplauseinavarietyofcircumstances.Completeattentionmustbegiventotheaudienceforthedurationofthetimetheperformerisonstageduringapplause.Itisabreachofetiquettetocollectmusic,mutes,sticksandmallets,totune,ortomovechairsandstandsduringapplause.1. Although there are many acceptable approaches to bowing, all good bows have certain features in

common:

• Movementsareslowandfluid,neverfast,angular,orjerky.• Startyourbowafteratwo-orthree-secondpauseinplaceastheapplausebegins.• Holdyourbowfromfourtosixseconds.• Generally, acknowledge applause from a standing position rather than nodding from your chair.

Therearecommonsenseexceptions.2. Upon entering the stage, stand in place after bowing until applause begins to fall, then assume the

performing position during the decline. Don’t fiddle aboutwithmusic, stands, footrests, chairs, etc.duringthistime.

3. Uponleavingthestage,oneortwobowsmaybetakenbeforeexiting,dependingupontheamountof

applause.Onceapplausehaspeakedandisfalling,exitimmediately.4. If applause remains constant for ten to fifteen seconds after exiting the stage, a curtain call is

appropriateandmaybetakennearthestagedoorratherthanatthecenterofthestage.Movequickly.5. If applause occurs between brief numbers in a group, wait in position if it is scattered and light,

acknowledgeitwithabowifitisforcefulandsustained.Anexpressionofdisgustorimpatienceisanabsoluteno-no.Inthisbusiness,youneedallthefriendsyoucanget.

6. Whenapplauseoccursbetweenmovementsofawork,donotacknowledgeitbybowing.Simplywait

in position until it subsides. Do not show impatience, disgust, or superiority toward any audiencereactionmeanttobecomplimentary.

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7. Atsharedrecitals,allperformersshouldshareasecondcurtaincallattheendoftheprogram,whetheror not they participated in the final work. In instances where limited audience response seems toindicatethatmorethanonecurtaincallisunlikely,allperformersshouldavoidreturningtothestage.

ThePianist:AccompanistorAssistant?Determiningifthepianistisanaccompanistoranequalpartner(i.e.,“assistedby”)inthepresentationoftheprogramcanbejudgedbytheimportanceofthekeyboardparttothestructureandsubstanceofthemusic.TheHarvardDictionaryofMusicdefinesaccompanimentas,“themusicalbackgroundprovidedforaprincipalpart.”Programlistingandfrequencyofbowsawardedtopianistsshouldaccuratelyreflecttheirroleintheperformance,asdeterminedbythenatureofthescore.Aftertherecitalisthasbowed,thepianistservingasanaccompanistisgivensolobowsattheendofgroupsof brief pieces, following extendedworks, and at the end of program halves. The recitalist and pianistshouldbowtogetherattheendoftheprogram.Otherassistantsmaybowwiththerecitalistormaybegivenasolobowfollowingtheworksinwhichtheyhaveparticipated,aswellasatsubsequentcurtaincalls.Theyarealsofrequentlyinvitedtoshareacurtaincallattheendoftherecital.____________________TheseStageEtiquetteguidelines havebeen freely adapted from:Meyer,RamonE. On Stage: AGuide toStageMannersforMusicians.Unpublishedpaper.TerreHaute,IN:TheIndianaStateUniversity,n.d.

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BASICMUSICSKILLSASSESSMENT(BMSA)TheBMSAistobesuccessfullycompletedbyallon-campusandtransfermusicmajorspriortobeginningJuniororSeniorlevelcoursework(i.e.,thosewith3000and4000coursenumbers),withtheexceptionoftechniquescoursesforBMTCstudents.Transferstudentsplacedinfifthsemesterlessonsoraboveonthebasis of their entrance auditions are considered to have attained the skills required by the BMSA. Thefourthprincipalappliedstudiojuryexaminationnormallywillbeapartoftheassessmentreview.Thelistof students scheduled for review in each semesterwill be posted alongwith jury schedules late in thesemester.AnystudentwhobelievesthepostedlistisinerrormustnotifytheChairoftheDepartmentofMusicassoonastheerrorisdiscovered.Themusicalskillsoutlinedbelowarenotthedomainofanyonecourse,butareacquiredanddevelopedacrossthemusiccurriculum.Therequiredlevelsofperformancereflectthecollectiveexpectationsofthemusicfacultyforstudentswhohavecompletedfoursemestersofcollege/university-levelmusicstudy.ThestudentisexpectedtounderstandtherequirementsandproceduresforeachpartoftheBMSAbeforethe reviewbegins. Anyquestionsor clarifications shouldbeaddressed to the student’sprincipal studioinstructorwell in advance of the review as therewill be no time for questions of procedure during thereview.ThecomponentsoftheBMSAareasfollows:Component1:WrittenStatement

Prepareaone-totwo-page(typed)paperstatingyourspecificreasonsforchoosingtobeamusicmajor,andlistyourprofessionalgoals. Submit4copiesofyourpaper(1forfiles,1foreachjurymember) to theMusic Department Chairperson 1week prior to the review. The paperwill bereviewed forcontent,mechanicalcompetence,andpresentationstyleandmay formthebasis fortheinterview.

Component2:PerformanceProficiency

BMSAperformanceproficiencyassessmentsaretotakeplaceattheendofthefourthsemesterofprivatestudy. AllstudentsenrolledinPrincipalStudiosarerequiredtoundergothisassessment,regardless of academicmajor or degree track. Studentsmust demonstratemastery of sufficientrepertoire and adequate vocal and/or instrumental musical progress in order to successfullycompletethispartoftheBMSA.

In the event that amusic student does not pass the BMSA performance proficiency, the studentmustenrollinlowerdivisionappliedmusicuntiltheproficiencyispassed.Notethatallproficiencyrequirementsstatedhereinareminimumlevels.Individualstudiopoliciesmayexceed theseminimumrequirements, andmaybecomeapartof the sophomoreproficiencyexaminationrequirementatthediscretionoftheappliedstudiofaculty.

Guitar: BMSA jury literaturemust represent artmusic from at least threemusical time periods(Renaissance, Baroque, Classical, Romantic, or Twentieth Century.) Students must demonstrateadequate growth in tone, phrasing, intonation, and agility, as well as knowledge of the entirefretboard.Studentsmustdemonstrateknowledgeoftwoandthreeoctavemajorscalesandatleasttwooctavesofallformsofminor.Pentatonicscalesarenotsufficient.

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Voice:BMSAjuryliteraturemustrepresentavarietyofmoodsandmusicalstyles.Theymustalsodemonstrate adequate growth in tone, phrasing, intonation, agility, diction, and other stylisticconsiderations toqualify thestudent foradvancedvocalstudy. Thestudentmustalsobeable tosingmajor,minor,diminishedandaugmentedtriads,aswellasmajorandthreeformsoftheminorscale in all keys, using note names. Voice repertoire lists should include art music in threelanguages (English, Italian, andGerman). Students shoulddemonstrate a goodunderstandingofdictionforalllanguagesrepresentedontheirrepertoirelist.

Woodwinds:BMSAjuryliteraturemustrepresentavarietyofmoodsandmusicalstyles.Studentsmust also demonstrate adequate growth in tone, phrasing, intonation, agility, articulation, andotherstylisticconsiderationstoqualifythestudentforadvancedwoodwindstudy.Thestudentwillberequiredtodemonstrateallmajorscalesandthreeformsoftheminorscalesfrommemory.Thenumberofoctavesrequiredwillvarydependinguponpracticalinstrumentalranges.Brass:BMSAjuryliteraturemustrepresentavarietyofmoodsandmusicalstyles.Theymustalsodemonstrate adequate growth in tone, phrasing, intonation, agility, and other stylisticconsiderations to qualify the student for advanced brass study. The studentwill be required todemonstrateallmajor scalesand three formsof theminor scales frommemory. Thenumberofoctavesrequiredwillvarydependinguponpracticalinstrumentalranges.

Percussion:BMSAjuryliteraturemustrepresentavarietyofmusicalstyles.Inordertopassthisexam, students must demonstrate mastery of sufficient repertoire and adequate technical andmusicalprogressinatleasttwoareasofpercussionperformancei.e.timpani,snaredrum,mallets,multiplepercussion,anddrumset.Atleastoneofthepiecesmarkedforthejuryperformancemustbeformalletpercussion.Juryrepertoiremustalsodemonstrateadequategrowthintone,phrasing,intonation,agility,andotherstylisticconsiderationstoqualifythestudentforadvancedpercussionstudy. Thestudentwillberequiredtodemonstrateallmajorscalesandthreeformsoftheminorscalesfrommemory.Piano: For the BMSA, the student must demonstrate proficiency in performing repertoire fromcontrasting style periods. A minimum of 10 pieces (sonata movements count as one each) ofappropriate difficultymust be learned before the BMSAmay be attempted. The studentwill berequiredtodemonstrateallmajorscalesandthreeformsoftheminorscalesfrommemory.ForBAandBMTCmajors, thescalesmustbeperformedtwooctaves,handstogether; forBMmajors, thescalesmustbeperformedfouroctaves,handstogether.

Strings:BMSAjuryliteraturemustrepresentavarietyofmoodsandmusicalstyles.Studentsmustalso demonstrate adequate growth in tone, phrasing, intonation, agility, and other stylisticconsiderations to qualify the student for advanced study. The student will be required todemonstrateallmajorscalesandthreeformsoftheminorscales.Thenumberofoctavesrequiredwillvarydependinguponpracticalinstrumentalranges.

Component3:MusicianshipProficiency

Aural IdentificationofMeter (TobeadministeredasapartofMUSI2117—AuralTraining IV):Listentorecordedexamplesandrespond.Exampleswillbeinduple,triple,orquadruplemeters,bothsimpleandcompound.

Sight-Singing(TobeadministeredasapartofMUSI2117—AuralTrainingIV):Melodiesforsight-singingwillbediatonic, inmajorandminorkeys,with skipsamong the tonic-dominantorother

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triads. Rhythmicvalueswillbeassmallasthedivisionofthebeat. Preparetosight-singagivenmelody according to the instructor’s directions. Generally, however, performance of themelodyneednotbeperfect,butshoulddemonstratethefollowing:

• Afirmgraspoftonalorientation.

a.Anerrorinpitchshouldbefollowedbyaquickreturntocorrectpitches,especiallyatacadenceorattonicharmony.

b.Anentirephrasesungastepormoretoohighorlowindicatesaweaktonalorientation;thereisnocreditfor“havingalltherightintervals,butstartingonthewrongpitch.”

• Rhythmiccontinuity

a.Beatandmetershouldbeclearintheperformance.b.Theperformanceshouldbeuninterrupted(aminimumofhesitationsorpauses).

RhythmicSight-Reading(TobeadministeredasapartofMUSI2117—AuralTrainingIV)Performeachrhythmbyclappingthepulsewhilecountingthebeatanddivisionaloud(e.g.1&2&3&4&;1te2te3te4te;etc.)

The performance of a rhythm should demonstrate a clear understanding of the relationshipbetweenthemeasure, thebeat, thedivisionof thebeat,andthesubdivisionsof thebeat;andtherhythmvaluesthatrepresenteach.Thebeatshouldbesteady,atamoderatetempo,andtheperformanceshouldnotbeinterruptedbyhesitationsorpauses.Rhythmic sight-readingmaterialswill include simple and compoundduple, triple and quadruplemeters,andnotevaluesassmallasone-fourthofthebeat.

Component4:PianoProficiency

AllmusicmajorsseekingBachelorofMusicdegreesmustcompleteandpasswithagradeofatleasta“B”thesequenceofclasspianocourses:(MUSI1181,1182,2181,2182).MUSI2182—ClassPianoIVincludesademonstrationofpianoproficiencyforsuccessfulcompletion.AseriesofSecondaryPiano Studio courses may be substituted for any or all of the class piano requirements at thediscretion of the piano faculty. All Bachelor of Music students are required to enroll in pianocourseseachsemesteruntiltheirproficiencyissatisfied. Specificpianoproficiencyrequirementsare established by the piano faculty andwill include performance, sight-reading, harmonization,scales, and harmonic progressions. Each proficiency requirement may be passed individuallyduringthecourseofpianostudy.BachelorofArtsinMusicstudentsmustcompletetheproficiencylevelrequiredattheconclusionofClassPianoII,MUSI1182.

Component5:Interview

Bepreparedtodiscusswiththereviewcommitteeyourreasonsforwantingtocontinueasamusicmajor,citingshort-rangeandlong-rangepersonalgoals.Thecommitteemaywishtoaskquestionsconcerningyourreactionstoyourstudyuptothispointandtochallengeyourgoalsinrelationtoyourrecordofaccomplishments.(Thecommitteememberswillhavereadyourwrittenstatement

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prior to the review). Your discussion should reflect your ability to communicate thoughts andfeelingsclearlyandconciselyandshoulddemonstratearealisticassessmentofyourabilitiesandattitudesrelativetoyourarticulatedlong-andshort-termgoals.