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School of Music Student Handbook

2019-2020

UTRGV SCHOOL OF MUSIC �1

WELCOME!

The School of Music at University of Texas Rio Grande Valley is committed to improving the quality of life of its student body through education and the desire for all students to succeed through the practice of high ethical standards. The UTRGV School of Music is comprised of highly motivated, talented and caring students as well as dedicated and outstanding faculty.

We provide a nurturing environment with very high standards and consider the School of Music a place where dedicated musicians collaborate, thrive, and grow. Our programs and curricula are designed to help prepare students for a professional career in music. It is our hope that you will take full advantage of the educational and musical opportunities that we have to offer.

As you embark upon the first steps of your musical career, our faculty and staff are ready to serve your educational needs. We are very pleased that you have chosen the University of Texas Rio Grande Valley School of Music as the place to further your musical education and we wish you every success in the coming years.

Sincerely, Kurt Martínez Director of the School of Music Professor of Guitar


INTRODUCTION 6

MISSION STATEMENT 6

SCHOOL OF MUSIC ADMISSIONS 6

Theory/Piano Entrance Exam 6

ADVISEMENT 7

Academic Advisement & Mentoring Center (AAMC) utrgv.edu/advising 7

School of Music Advising Coordinator 7

Advisement Holds 8

MUSIC FACILITIES AND SERVICES 8

Facilities Usage 8

Practice/Rehearsal Facilities 8

Lockers 9

Calendar Requests: UTRGV Library Auditorium 9

MUSIC ENSEMBLES 10

CHAMBER MUSIC 10

ACADEMIC POLICIES AND PROCEDURES 11

Grading Policy 11

Testing Policy 11

Excused Absences 11

Cell Phone Policy 12

SCHOOL OF MUSIC POLICIES 12

Applied Lesson Grading 12

Failure to enroll in Applied Study 13

Ensemble participation 13

Juries 13

Performing with Collaborative Pianists 13

Recital Lab Performance and Concert Attendance 16


Junior/Senior Recital Requirements 18

Practice Expectations 18

Purchasing of Music/Scores/Études/Technique books 19

Textbooks and Course Materials 19

ACCEPTABLE USE OF UTRGV PROPERTY 19

Instrument/Equipment Check-out 19

ACADEMIC COURSEWORK 20

RECITAL AND CONCERT INFORMATION 22

Junior Recital - Requirements for the BM in Applied Music 22

Senior Recital - Requirements for the BM in Music Education 22

Senior Recital - Requirements for BM in Applied Music 23

Recital Hearing 23

COLLEGE OF EDUCATION POLICIES 23

College of Education Admission Requirements 24

Procedures for Application Submission and Deadlines 25

FERPA Consent 25

Interview of Applicants 25

UNIVERSITY POLICIES 25

Mandatory Course Evaluation Period 26

Attendance 26

Scholastic Integrity 26

Sexual Harassment, Discrimination, and Violence 26

Academic Misconduct 27

HEALTH AND SAFETY INFORMATION FOR MUSICIANS 27

Performance Injuries 28

What Instrumentalists Should Do 28

What Singers Should Do 29


What All Musicians Should Do 30

Noise-Induced Hearing Loss 30

Noise-Induced Healing Loss (NIHL) 31

RESOURCES 32

Information and Research Hearing - Health Project Partners 32

General Information on Acoustics 33

SCHOLARSHIPS 33

SCHOOL OF MUSIC DEGREE PLANS 34

SCHOOL OF MUSIC FACULTY AND STAFF 34

Faculty listing by Area 35


INTRODUCTIONThe Music Student Handbook is designed to provide information concerning your musical studies at the UTRGV School of Music. It contains information about departmental policies and procedures, programs, facilities, services, curricula, and degree plans. The Music Student Handbook is considered official School of Music policy and is current as of January 2018. Please realize that there may be changes in policies, procedures, curricula, and degree plans that occur periodically. These policy changes will be updated in the handbook at appropriate times based upon the implementation of such new policies and procedures. For more information about the University policies and procedures, please read the Undergraduate Catalog and Graduate Catalog. Please consider the Music Student Handbook as a resource and tool to aid you in the successful completion of your musical education. As such, it is incumbent upon each student to be familiar with and to refer to the handbook periodically to ensure that all requirements and policies are being followed.

MISSION STATEMENTThe UTRGV School of Music prepares students to succeed as teachers, performers, and scholars by studying diverse musical styles, genres, and traditions; conducting research; and collaborating with each other as well as with local, national, and global communities. Through extensive community engagement, service learning, and exceptional performance opportunities, we expand the understanding of music and enrich the cultural life in our local communities and beyond.

SCHOOL OF MUSIC ADMISSIONSPerformance Audition In addition to being admitted to the University, all potential music majors (including transfer students) must schedule and perform an entrance audition to be considered for admission to the School of Music. Audition dates, as well as audition material, will be posted on the UTRGV School of Music website. However; if a student misses the scheduled auditions they should contact the applied music professor in their instrumental/vocal area to schedule an audition. Acceptance to the university does not guarantee acceptance into the School of Music.

Theory/Piano Entrance ExamAll new music majors and music minors are required to take an entrance exam in music theory/piano. The exam will be given on the first day of class in the Fall semester. The exam allows the department to place you in the proper theory course for your first year at UTRGV. The specifics of the exam, as well as some study recommendations, will be sent to all incoming students in the summer. Students that do not do not pass the exam will have to take the Fundamentals of Music course in the Fall then take Music Theory I in the Spring and Music Theory II in the summer.


ADVISEMENTEvery music major has a music faculty advisor who is the student’s applied teacher. It is incumbent upon the student to keep the faculty advisor informed of all plans relative to coursework taken each semester. The faculty advisor will meet with the student each semester to pre-register for courses to be taken the next semester.

If you are a Freshman or Sophomore: 1. Visit the UTRGV Academic Advising Center. 2. Meet with your Applied teacher for music advisement. If you are a Junior or Senior: 1. Contact your applied instructor for advisement.

Academic Advisement & Mentoring Center (AAMC) utrgv.edu/advisingOne West University Blvd. Main, Rm 1.400 Brownsville, TX 78520 Phone: 956-882-7362

1201 West University Dr. Southwick Hall, Rm 101 A Edinburg, TX 78539 Phone: 956-665-7120 Email: [email protected]

School of Music Advising CoordinatorDr. Jason Mitchell Office: BMSLC 2.221 E-mail: [email protected]


http://utrgv.edu/advising

mailto:[email protected]

Advisement HoldsAn advisement hold is released after a student has been advised by a professional staff advisor or a faculty advisor. Mandatory Advisement usually begins two weeks before registration in the Fall and Spring Semesters. Departmental advisement is available on school days during the Fall and Spring semesters. Please plan ahead and schedule advisement during the Mandatory Advisement periods; advisement may not be available during Winter Break and Summer sessions.

Rotation of Courses:

For information on courses not offered every semester, students should follow the guidance of their applied instructor, ensemble director, or other appropriate faculty member.

MUSIC FACILITIES AND SERVICESThe UTRGV School of Music is housed within the Performing Arts Complex on the Edinburg campus, BMSLC, and at the TSC Arts Center on the Brownsville campus. The Music Buildings on both campuses contain offices, studios, classrooms, storage areas, practice rooms, rehearsal halls, electronic keyboard lab, and computer music lab.

Facilities UsageMusic facilities are available for student use whenever the buildings are scheduled to be open. The music facilities are to be used only for university-sponsored events or ensembles. The Music Building days and hours of operation are as follows: Monday through Thursday: 7:00 am to 11:30 pm Friday: 7:00 am to 6:00 pm Saturday and Sunday: 7am-11:30pm *Please note: Music facilities are not available during holidays when the campus is closed.*

Practice/Rehearsal FacilitiesMany areas within the Music Building are designated as practice/rehearsal areas and may be utilized by students. Certain practice areas are restricted for use by permission only. To gain permission to utilize a restricted practice facility, the student must fill out a facility use form which is available at the School of Music Office. A faculty member must sign the form to enable the student to use the facility. Also, the student must have a copy of the signed form with them when using the facility. *Please note: Music facilities are not available during holidays when the campus is closed.* *Classrooms: Permission required *Please note: Use of any of these facilities requires that a faculty member be present and the student must reset the room to its original condition at the conclusion of the rehearsal.


LockersA limited number of instrument lockers are available for student use. Lockers are checked out to students on a “first-come, first served” basis. Lockers will be issued to students and assigned according to the type and size of instrument they play. Students who check out a locker must provide their own lock, and provide the department with either the combination to the lock or a spare key.

• Students may only use a locker specifically assigned to that student. • Assignment of a locker size is solely the purview of the School of Music. • No stickers or writing on any surface of the lockers, inside or out. • Only locks assigned by the department are permitted. • Students may not share the locker combination with anyone. • Students must remove all contents of lockers and return locks to the department before the end of the final exam week in May. • Lockers are available approximately around June 1 for summer use but must be cleared and locks returned before the end of Summer Session II to be reissued for fall semester. • A lock that is lost, damaged, or stolen will be replaced at the student’s expense of $8.00. • UTRGV’s Handbook of Operating Procedures 5.5.2 states “Student Code of Conduct” regarding University Policies will apply to all student issued lockers and locks. • Failure to comply with these policies will result in loss of privileges and potential disciplinary action by the School of Music at UTRGV.

Calendar Requests

Faculty may request calendar dates for concerts, recitals, workshops, clinics, guest recitals, and other events that relate to the School of Music. Any event that impacts the School of Music must be submitted and approved by the School of Music director before event can be officially scheduled. Student junior/senior recitals must be booked by a faculty member, not by students, and date must be approved by the student’s applied instructor and piano accompanist, if needed, before the date is officially approved.

Calendar Requests: UTRGV Library AuditoriumThe School of Music is responsible for all bookings within the Library Auditorium. To schedule an event, faculty must submit a calendar request form to Norma Salinas, Administrative Assistant for the School of Music.


MUSIC ENSEMBLESMusic Ensembles perform on campus and in various communities throughout Texas and the nation. Ensembles are open to all students, regardless of major, and may serve as elective courses in any college of the university. Please note which ensembles require an audition for participation. A limited number of instruments are available to students who wish to join these groups. Large Ensembles: • Wind Symphony • Wind Ensemble • Concert Band • Symphony Orchestra • University Choir • Master Chorale • Opera Workshop • Guitar Ensemble • Jazz Ensemble • Latin Ensemble • Jazz Combo • Mariachi Aztlán

CHAMBER MUSICChamber music stresses the study, preparation and performance of small-ensemble music in like-instrument groupings, mixed-instrument ensembles and vocal ensembles. Many applied music studios have formed ensembles with their music majors. Many of the ensembles have performed at regional, national, and international venues such as the Texas Music Educators Association State Convention, the National Trumpet Competition, the Eastern Trombone Workshop, and the International Tuba/Euphonium Conference. Current chamber music offerings include: • Flute Choir • Clarinet Choir • Saxophone Quartets • Trumpet Ensemble • Horn Ensemble • Trombone Choir • Tuba/Euphonium • Percussion Ensemble • Brass Choir Ensemble • String Quartet • Guitar Quartet • Pep Band


ACADEMIC POLICIES AND PROCEDURESGeneral Requirements All full-time (12 semester hours or more) music majors are required to adhere to the following policies and procedures: All students seeking the BM degree in Music must: 1) Register for and participate in their prescribed major ensemble until degree requirements are completed. 2) Register for applied music until degree requirements are completed. The student should have satisfied all jury and recital requirements. 3) Register for and pass three semester hours of class piano. 4) Perform in at least one public recital per semester. 5) Fulfill all solo recital requirements as prescribed. 6) Make a grade of “C” or better in every music course taken toward the degree. In sequential music courses, a grade of “C” must be made in order to progress to the next music course in the sequence.

Grading PolicyIt is departmental and university policy that faculty list grading procedures and policies in their course syllabi. Faculty will follow the grading policies as outlined in their syllabi. Grades are assigned to students in a fair and equitable manner based upon the grading policies and procedures listed in the syllabi. Music Faculty grade and return homework, tests, and other assignments in a reasonable and timely manner given the circumstances of their teaching assignments. Faculty maintain accurate grades of students' work and will make available an accounting of a student's academic standing when requested by the students through a scheduled appointment.

Testing PolicyIt is departmental and university policy that all tests be administered in a fair and equitable manner. Students are expected and required to follow testing procedures and policies in an atmosphere of honesty and truthfulness. The following policies have been adopted by the Music Department and are required procedures for exams and tests:

Excused AbsencesAccording to UTRGV policy, absences that may be excused include the following: 1. Absences for University-Recognized Activities 2. Religious Holy Days 3. Active Military Service 4. Injury or Serious Illness 5. Jury Duty


Cell Phone Policy Cell phones and other electronic devices may not be used or displayed in a classroom, rehearsal, recital, concert or other academic or musical event. A faculty member may ask the student to leave the classroom or venue until the conclusion of the class, rehearsal, or concert if the student is found in violation of this policy.

SCHOOL OF MUSIC POLICIESApplied Lessons Students must pass an audition for a panel of faculty members in the specific applied area in order to begin applied lesson study. Applied study is prioritized first for majors in that applied area, then for secondary and music minors. Enrollment in specific applied studios is at the discretion of the applied instructor and available hours within their teaching load. Those not sufficiently advanced for college level applied lessons are encouraged to enroll in “class” lessons, if offered in that semester.

All students in applied lessons must also enroll in appropriate major ensembles related to the area of study (i.e.Choir for voice,Orchestra for strings, etc.). Students admitted to the School of Music outside of the performance track may re-audition for consideration as a Performance Major either during School of Music audition days or at end of semester juries before a panel of faculty members in the specific applied area.

At the beginning of each semester, in order to be assigned a lesson time, a complete class schedule must be submitted to the assigned applied instructor by the first day of classes. Lesson time assignments are at the discretion of the applied teacher in reference to registered course conflicts of the students. Students must schedule their primary lesson time prior to scheduling secondary applied lessons or coaching times. Non-university conflicts are not guaranteed to be accommodated in applied lesson scheduling. Lessons may be assigned anytime in the normal class hours of the university.

Applied Lesson GradingApplied lesson grades are determined with the following ratio: 75% as determined by applied instructor based on weekly lesson grades, effort, improvement, practice habits, etc.; 25% averaged grade from jury grades. Note: failure to achieve an averaged grade of 70 from the jury panel results in a non-passing grade for the semester and will require re- enrollment in that section of applied study in order to move forward in the degree plan. The grade may be adversely affected by unexcused absences, as specified by the applied instructor in their syllabus. Students must inform the applied instructor at least 24 hours in advance of the absence in order to be considered for “excused” status. One excused student absence is allowed each semester. Excused absences may be made up at the discretion and convenience of the applied instructor. Unexcused absences will not be considered for a make-up lesson. Students must receive a "C" or higher to advance to the next level of applied lessons.


Failure to enroll in Applied StudyIf prior to completion of your degree recitals, you do not enroll in applied lessons for two consecutive semesters, you will be administratively dropped from the degree. You will be notified by the School of Music that you will be required to audition for re- admittance into the music program of study.

Ensemble participationEach student must register for and participate in the appropriate major ensemble each semester. Certain small ensembles may be considered in fulfilling this requirement. See your applied teacher for more information. Once the minimum required number of semesters has been met for the student’s degree plan, students are encouraged to continue to register under Audit. Upper or lower level registration is to align with applied lessons, depending on the result of the upper level audition.

JuriesJuries are a formal performance covering all the work over the course of the semester. The jury, at the end of each semester, makes up 25% of your applied lesson grade. In some performance areas, students may be required to play a scale or technique jury, earlier in the semester. The day and time of the jury are assigned by the applied area. Students must receive no less than a 70 average from all faculty members hearing the jury to receive credit for an applied lesson course. Note that in semesters that students have successfully performed a degree recital, they are not required to play a jury. Also, faculty in a specific applied area may decide that other substantive performances within the same semester can count as sufficient “performance testing” to waive the jury requirement. Such performances may include principal operatic roles, concerto performances, non-degree recitals, etc. Vocal juries are expected to include music in a suitable mix of languages, from memory as appropriate to performance practice, and in a quantity as deemed appropriate by the applied instructor. Other areas have specific requirements concerning memorization and repertoire.

Performing with Collaborative PianistsStudents are to sign-up for coaching times with the Piano Faculty member who is responsible for the collaborative duties in each specific area (voice, winds/brass, or strings). Each collaborative pianist will set schedules for coaching times and will decide upon specific policies in relation to their work as collaborator. It is the student’s responsibility to be fully communicative with the Piano Faculty member in terms of repertoire, performance dates, and any scheduling issues.


Instrumental and Vocal Collaborative Piano:POLICIES• Collaborative pianists will cover all student needs that are described within the degree plan. These

include: I. Accompanying juries for music majors on their primary instrument. II. Degree recitals. III. Studio recitals (maximum one recital per studio per semester). IV. Lab performances. V. Voice Auditions on official audition dates.

• Collaborative pianists will allot the following number of 30-minute rehearsals for each student in the following hierarchy: I. Graduate Students: 12 rehearsals per semester maximum. II. Senior Recitals: 10 rehearsals per semester maximum. III. Upper-Level Students and Junior Recitals: 8 rehearsals per semester maximum. IV. Sophomore Recitals/Hearing: 5 rehearsals per semester + 1 Hearing maximum.

a. Sophomore recitals/hearing must be scheduled during normal business hours (9:00am-5:00pm) or during a student’s semester jury. V. Lower-Level Students: 4 rehearsals per semester maximum.

• Collaborative pianists will not be available to accompany • non-required degree recitals • music minors • non-majors • secondary students (i.e. music majors taking a secondary instrument) • concurrent enrollment students • Outside events including (but not limited to) NATS, the Concerto Competition, off-campus recitals,

and any performance that is not explicitly specified on the degree plan.

• A student’s coaching time is allotted on a weekly basis and may not be cumulatively spent at a later part of the semester (i.e., if a student does not come to rehearsals until a later part of the semester, their allotted time earlier in the semester is forfeit).

• Collaborative pianists will spend a maximum of 3 hours of contact time per week accompanying students for every hour of release time granted. This is all-inclusive towards rehearsals, seminars, and ensembles.

• Collaborative pianists will organize and schedule their accompanying activities in a manner to best serve students and to avoid long periods of unsafe, continuous or excessive accompanying.

• Collaborative pianists are not available to rehearse with students over Winter, Spring, or Summer break.

• Collaborative pianists will play for student recordings if the recording is made during a regular coaching time and is completed within said rehearsal time. There are no exceptions to this provision.

• Collaborative pianists are available to accompany UTRGV faculty recitals and guest artists as per availability, with the minimum notice and receipt of all scores five weeks prior to performance.


a. Pianists can accompany one guest artist master class per year, per studio as long as they take place during regular business hours (Monday-Friday, 9:00am-5:00pm).

• Upon request, the piano faculty will provide a list of outside accompanists available for hire. Instrumental and Vocal Collaborative Piano: PROCEDURES3. Provide the collaborative pianist with the music three weeks prior to first rehearsal and five

weeks prior to performance. A. The deadline for submission of all scores is November 1 for Fall Semester and April 1 for Spring Semester. If a student has not submitted their score by these dates, they must hire an outside accompanist. B. Students must be adequately prepared for their coaching sessions so that the time is used effectively.

C. If a student intends to give a required degree recital, the applied teacher must schedule the student’s hearing and recital date prior to the first rehearsal. Rehearsals will not begin until all dates are schedule and confirmed with the student and their Collaborative pianist. This procedure also applies to studio recitals.

D. Rehearsals will not begin until all dates are scheduled and confirmed with the student and their pianist. E. Students must perform their recital during the semester of preparation in order to receive a weekly rehearsal with a collaborative pianist. F. Students will not receive additional rehearsal time if they intend to give their recital in the following semester. For example, if a student wishes to perform a recital in January or \ February, then they will receive a weekly rehearsal time in January and February only. G. Collaborative pianists will perform with a recital student only for the amount of time officially defined by the Applied Area Handbooks. If a student wishes to perform a degree recital that exceeds the official length, they are required to hire an outside accompanist for the remaining portion of their recital.

4. Provide their collaborative pianist with two-sided copies of the music with holes punched, original copies, or electronic copies sent in .PDF format.

• Please retain the original page turns from the score. • Pages may be taped together but should not be stapled. • Copies must be legible. • Copies need to include all the notes to be played. • If the music is illegible or incomplete, it will be returned to the student and the rehearsal will be cancelled.

5. Collaborative pianist must be notified immediately if repertoire or schedule changes must be made; accommodation is not guaranteed.

6. Collaborative pianists will provide an email address, sign-up sheet, or schedule students in person in their office on individual basis.

A. Please check with your accompanist to see which method they prefer.


B. If a student does not sign up for their first coaching by October 15 for Fall Semester and March 15 for Spring Semester, they are responsible for hiring an outside accompanist. C. If a student is absent from a rehearsal, the rehearsal cannot be made up.

D. All student recitals without exception must be completed by the end of finals week. E. If a student recital is scheduled for after finals week, the student must hire an outside accompanist.

F. Applied instrumental and vocal faculty are welcome to attend rehearsals to check for balance and ensemble provided that advance notice is given and is performance-ready.

Recital Lab Performance and Concert AttendanceSubject to the approval of his or her applied instructor, each student is to perform at least once per semester in Music Lab (applied instructors may submit, at their discretion, seminar, studio class, or recital performances to satisfy this requirement). This is to be a full and complete performance, with all parts present, (i.e. if it is written with piano, it must be performed with piano). Your applied professor will submit the Music Lab form to the Music Lab coordinator ahead of time.

POLICIES: ANY music student taking lessons, chamber music group registered for coaching with UTRGV faculty, or student enrolled in academic courses is eligible to perform or present a topic on the Recital Lab. All Labs will run from 12:30pm-1:45pm on Tuesday or Thursday. A complete schedule for both campuses will be available through the Blackboard page as well as on the Recital Lab request form on the SoM Website.

• 15 Lab Concerts will be offered on each campus each semester • Weekly Recital Labs in Brownsville will be held in the Blue Room • Weekly Recital Labs in Edinburg will be held in the Library Auditorium, except for 1 Lab each

semester, that will be held in the Band Room (with preference given to percussion studio members on that date)

• STC Transfer students with a completed associates degree should complete 2 semesters of recital lab at UTRGV

PROCEDURES – to Perform or Present: The online Lab Request Form, located on the School of Music website (http://www.utrgv.edu/music/ under “Quick Links”) must be filled out by the Applied Faculty, Academic Faculty, or Chamber Coach.

• All available semester Lab dates can be found on the Lab request form. • Lab requests must be submitted no later than 1 week prior to the requested Lab performance date. • The Recital Lab schedule is final – no additional Lab dates will be added. • Incomplete requests will not be accepted. • Requests are accepted on a first-come first-served basis.


http://www.utrgv.edu/music/

http://www.utrgv.edu/music/

• Any student requesting multiple Lab dates will be placed on wait-list status for additional dates and can perform as time allows.

• Any student requesting to perform more than one work, or more than one movement on any single Lab date will be placed on wait-list status for the additional selections, and can perform as time allows.

• Student performers/presenters and all appropriate Faculty members will receive a copy of the Lab program via email by no later than the previous Tuesday (for Thursday Labs) or the previous Friday (for Tuesday Labs).

• Students who need to cancel their appearance on the Lab program must notify the Lab Coordinator for their campus via email before the program is created.

• Failure to provide ample notification will result in forfeiture of any and/or all future Lab performances in that semester.

• Performing students and all appropriate faculty will receive a recording of the performance via emailed link, following each performance.

CONCERT/LAB ATTENDANCE Updated 1/8/18 POLICIES: Concert/Lab Attendance is a Departmental requirement. Undergraduate music majors are required to attend 15 events per semester. The 15 events can be any combination of on-campus concerts (in which the student does not perform) and Lab performances (even those in which the student performs). The student may substitute any of the 15 required events with a maximum of two off-campus concerts per semester.

• BM Education degree requires 5 semesters concert attendance to graduate. • BM Performance degree requires 5 semesters concert attendance to graduate. • Music minors and Graduate students do not have a SoM concert attendance requirement, but are

welcome to attend/perform/present.

PROCEDURES – to Receive Attendance Credit: Students must self-enroll in the Concert Attendance/Lab organization through Blackboard each semester.

• There is no charge for the Attendance/Lab course. • The organization name is “S2017 Recital Lab” • Directions on how to self-enroll in the Recital Lab organization can be found at the

following URL: http://www.utrgv.edu/online/_files/documents/student%20handouts/blackboard/self-enrolling-organization.pdf

Students may attend any UTRGV School of Music event on either campus to meet the attendance requirement. This includes scheduled concerts, recitals, Patron of the Arts concerts, and Masterclasses on the either campus.

Most on-campus concerts and musical events (e.g. Masterclasses) will be attended by attendance work study students, who will assist with verifying event attendance. On-campus concerts or musical events added to the calendar after the first week of the semester may not have a work study student present, however, those events may still be attended for credit. In the case that no


http://www.utrgv.edu/online/_files/documents/student%2520handouts/blackboard/self-enrolling-organization.pdf



work study student is present to verify attendance, the faculty organizer must provide a sign-in/sign-out sheet that includes: the name of the event, the date of event, student names, and student ID numbers. After the event, the faculty organizer will need to scan and email the sign-in/sign-out sheet to the Faculty Attendance Coordinator on their campus and then shred the hard copy. This should be emailed within one week of the event. If the faculty organizer has any questions about their event, please contact one of the Faculty Attendance Coordinators.

Off-Campus Concerts: In order to receive attendance credit for a maximum of 2 off-campus concerts/events per semester, the student must do the following:

• Approve the concert at least 2 weeks in advance by emailing the Faculty Attendance Coordinator with the following information:

o student name and student ID number o location of venue o performer(s) o date of event

• Email a copy of the ticket or program to the Faculty Attendance Coordinator no later than one week after attending the approved concert.

• Faculty Attendance Coordinators: o Edinburg Campus: Dr. Krista Jobson ([email protected]) o Brownsville Campus: Dr. William Haugeberg ([email protected])

Junior/Senior Recital RequirementsPrerequisites: Students must pass Theory IV, Aural Skills IV, complete Class Piano II (MUSI 1115), and have passed an upper level audition before they can be approved for a Junior or Senior Recital. Students must complete the full sequence of applied lessons (12xx-42xx) in order to fulfill their applied lesson requirement within the degree plan. Students must successfully pass a sophomore barrier in order to be considered for upper level lesson enrollment. If they do not pass the sophomore barrier they will be required to retake lower level applied lessons. Sophomore barrier requirements will be determined by each applied area.

STC transfer students must successfully pass an entrance audition equivalent to the sophomore barrier in order to be considered for upper level lesson enrollment. If they do not pass the entrance audition they will be accepted into the program but will be required to retake lower level applied lessons as determined by the audition committee.

Practice ExpectationsStudents are required to practice exercises, repertoire, and all assignments given by their applied instructor for a minimum of 12 hours per week. Students may be assigned to maintain a journal of practice habits by their applied instructor which can be counted in the semester grade as determined by their applied instructor. Since all applied students (Performance or Education tracks) receive the same amount of applied instruction, practice expectations are the same for both degree tracks. The specific applied instructor is permitted to alter this requirement as appropriate to each student and the needs of their development on their instrument.


mailto:[email protected])


Purchasing of Music/Scores/Études/Technique booksYou MUST provide your own sheet music for applied lessons either via purchasing complete scores, anthologies, or collections; purchasing individual selections either via traditional publications or authorized online options; or through public domain resources such as imslp.org. In order for the UTRGV School of Music to be in compliance with copyright laws and to maintain National Schools of Music Association accreditation standards, this rule must be strictly followed. It is permissible for your applied instructor to duplicate a page or two of a solo or etude to get you started working on your lessons. However, they are not permitted to duplicate an entire work or its accompaniment. You must also purchase your own method books. To assist you in finding a vendor you may want to ask your applied instructor for suggestions. The following is an incomplete list of vendors that may carry the music that you will need. Many of them can be found online through a Google search: http://sheetmusicplus.com http://www.hickeys.com https://www.dornpub.com http://www.penders.com http://imslp.org http://www.rbcmusic.com https://robertkingmusic.com https://www.steveweissmusic.com

Textbooks and Course MaterialsAll students are expected to purchase the required texts for each course immediately after the first class and once the syllabus for that class has been received. An instructor will be within his/her rights to drop a student for failure to comply with this policy. Students are encouraged to purchase textbooks at the University Bookstore.

ACCEPTABLE USE OF UTRGV PROPERTYEquipment and materials belonging to the Department of Music may not be used for any performance or event not directly associated with UTRGV. This includes, but is not limited to, all instruments, electronic gear, chairs, music stands, and sheet music. You are not allowed to remove any items from classrooms, practice rooms, or storage areas without the specific permission of a faculty member of the department. You must return all materials promptly to their original location after you use them.

Instrument/Equipment Check-outSome UTRGV School of Music equipment and instruments are available for check out by students for a limited period of time (typically a month or a semester) to enable them to fulfill course requirements. All students borrowing any of this equipment must sign the provided Equipment/Instrument Use Agreement. You must return all instruments you have checked out immediately


http://sheetmusicplus.com

http://www.hickeys.com

https://www.dornpub.com

http://www.penders.com

http://imslp.org

http://www.rbcmusic.com

https://robertkingmusic.com

https://www.steveweissmusic.com

after the applied jury each semester or by the date stipulated on the Agreement. Your semester grades will be held until you return the assigned instrument to the School of Music. If a piece of equipment or instrument is damaged or stolen, it is your responsibility to repair it or replace it, as specified on the Equipment/Instrument Use Agreement. Any UTRGV School of Music equipment is required to be stored in a locked locker if left on campus. Do not leave any UTRGV equipment/instruments in an unsecured location even for a moment. NEVER leave your UTRGV equipment/instrument in your car. Please make certain that renters/home owners insurance policy covers the replacement cost of the instrument. If not, you should purchase instrument insurance for the UTRGV equipment/instrument as you will be held fully accountable for its replacement should it be misplaced, stolen, or destroyed. It is assumed that any long-term need of equipment/instruments will result in the purchase of that item by the student.

ACADEMIC COURSEWORKMusic Theory All music students must be proficient in music theory and the related coursework. Initially, all students will take a theory placement exam to determine any theoretical knowledge prior to attending college, or in the case of transfer students, to determine proficiency and knowledge of theory taken at previous institutions. Results of the placement exams will determine where students will begin their music theory sequence at UTRGV. Music Theory and corresponding Ear-Training/Sight-singing courses should be taken during the same semester to ensure coordination of material studied. Students should not proceed in the sequence of coursework without passing both the theory and ear-training courses.

Music History All students must be proficient in music history and related coursework. The sequence for music history courses is as follows: MUSI 1308 Music History and Literature I MUSI 3301 Music History and Literature II MUSI 3302 Music History and Literature III M

The following two courses are required by music majors to satisfy the core curriculum: MUSI 1309 World Music Cultures (satisfies Gen. Ed 040- language, philosophy and culture) MUSI 1308 Music History and Literature I (satisfies Gen. Ed 050- creative arts)

There are other courses that may be taken by music majors as areas of interest and enrichment. MUSI 1306 Music Appreciation MUSI 1310 History of Rock

Music Education Students pursuing a degree in Teacher Certification must take several courses in Music Education. Courses include secondary methods courses, conducting courses, and music education courses. Many of the courses in this area require public school observations as an integral component of the coursework.


Secondary Methods Courses These courses are designed to provide music students with knowledge and techniques involved in teaching instruments and voice other than their major area. Fundamentals of teaching and pedagogy are stressed along with some basic, practical performing experience. The required Methods courses varies by degree concentration. See below for the methods courses required by degree concentration:

Guitar- MUSI 1166 Woodwind Methods I MUSI 1167 Woodwind Methods II Choose one: MUSI 1178 High Brass Methods MUSI 1179 Low Brass Methods MUSI 1183 Vocal Methods MUSI 1188 Percussion Methods MUSI 1192 Guitar Methods Choose one: MUSI 1195 High String Methods MUSI 1196 Low String Methods

Piano- MUSI 1183 Vocal Methods MUSI 1197 Instrumental Methods

Strings- MUSI 1183 Vocal Methods Choose 6 hours from the following: MUSI 1166 Woodwind Methods I MUSI1167 Woodwind Methods II MUSI 1178 High Brass Methods MUSI 1179 Low Brass Methods MUSI 1188 Percussion Methods MUSI 1192 Guitar Methods MUSI 1195 High String Methods MUSI 1196 Low String Methods

Voice- MUSI 1197 Instrumental Methods

Wind, Brass and Percussion- MUSI 1183 Vocal Methods


Choose 6 hours from the following: MUSI 1166 Woodwind Methods I MUSI1167 Woodwind Methods II MUSI 1178 High Brass Methods MUSI 1179 Low Brass Methods MUSI 1188 Percussion Methods MUSI 1192 Guitar Methods MUSI 1195 High String Methods MUSI 1196 Low String Methods

Conducting Courses There are two required courses in conducting, MUSI 3102: Instrumental Conducting I, and MUSI 4102: Instrumental Conducting II for instrumentalists and MUSI 3101: Choral Conducting I and MUSI 4101 Choral Conducting II for vocalists. These courses are typically taken during the junior year.

Music Education Courses There are several required courses in music education: MUSI 2313: Introduction to the The Music Teaching Profession MUSI 4312 Implementing and Assessing Effective Secondary Music Content Pedagogy MUSI 4313: Elementary Music Techniques

RECITAL AND CONCERT INFORMATIONThe following information is intended to inform students of the procedures and requirements involved in the recitals that are required for the various degree plans.

Junior Recital - Requirements for the BM in Applied Music

The actual timing of the music should be a minimum of 45 minutes. The inclusion of a piece of chamber music is highly recommended and may count for eight minutes of the required music, although the piece may actually be longer in duration. As an alternative, improvised pieces, original compositions, or other non-standard repertoire may be performed at the discretion of the applied instructor, but may not be considered as fulfilling more than eight minutes of the time required. Maximum time for junior recitals is 55 minutes and intermission is granted with permission of the applied instructor. Vocal recitals are expected to include music in a suitable mix of languages.

Senior Recital - Requirements for the BM in Music Education

The actual timing of the music should be a minimum of 40 minutes, although some applied teachers may require a longer program. The inclusion of a piece of chamber music or a work for small ensemble is required and may count for eight minutes of the required music, although the piece may actually be longer in duration. Maximum time for junior/senior recitals is one hour, including a five-minute intermission. Vocal recitals are expected to include music in a suitable mix of languages.


Senior Recital - Requirements for BM in Applied Music

The actual timing of the music should be a minimum of 55 minutes. The inclusion of a piece of chamber music or a work for small ensemble is required and may count for eight minutes of the required music, although the piece may actually be longer in duration. Maximum time for senior recitals is one hour and fifteen minutes, including a five-minute intermission. Vocal recitals are expected to include music in a suitable mix of languages.

Recital HearingIn order to perform a junior or senior recital, the student must first perform and pass a recital hearing. The hearing is essentially a performance of the recital performed for the Faculty Recital Panel consisting of the applied teacher and two other music faculty. The Panel will critique the performance and vote to either pass or fail the hearing. The hearing must occur a minimum of two weeks before the scheduled recital. If the recital hearing is not passed, the student must reschedule the recital in a subsequent semester and cannot reschedule the recital later in the same semester in which the hearing was failed.

COLLEGE OF EDUCATION POLICIESCompleting your Music Education Degree Requirements for K-12 Teaching – Certification through the College of Education: The All-Level Certification Program consists of a sequence of professional education courses designed for art, music, and kinesiology majors who are following a degree plan with certification. These courses are sequenced developmentally and are known as “The Blocks.” Students who are seeking All-Level certification, upon passing the TExES exam in their content area and in the area of Pedagogy and Professional Responsibilities (PPR), will be certified to teach children and adolescents in grades K-12 in Texas schools.

Educator Preparation & AccountabilityEdinburg: EEDUC 2.510, Brownsville: BMAIN 2.200M Email: [email protected] Phone: Edinburg: (956) 665-7952, Brownsville: (956) 882-4139

Upon admission to the University, undergraduate students should meet with an academic advisor in order to follow a certified degree track, indicating to the advisor that the student is seeking teacher certification. During the sophomore year, students must prepare to apply for formal admission to the Teacher Education Program(s). Students must then apply for admission to the Teacher Education Program at the Office of Educator Preparation and Accountability. All admission requirements are in accordance to Texas Administrative Code rules §227.10 and the HEA Title II accountability requirements. All applicants must meet the current certification requirements in effect at the time of application, regardless of the catalog year of degree plan. Students are responsible for completing the following:



College of Education Admission RequirementsStudents must be core complete, have 60 semester credit hours, and meet program GPA and testing requirements. Junior Status and GPA

1. Junior status (60 hours toward degree plan with teacher certification) and an overall GPA of 2.5 or higher is required.

2. Sixty-hours of coursework includes core completion. Students must be core complete at time of admission.

3. Electives and language proficiency courses are not included in the 60 hours. 4. Students seeking secondary or all level teacher certification must have 12 20 semester

credit hours completed in the major. 5. Math/Science majors (UTeach Program) for 7-12 grade certification must have 15

semester credit hours completed in the major.

Required Exams Attain minimum passing score on one of the following exams (may mix and match): • THEA: Reading -260, MATH 230, Writing 240 • Compass: Reading 87, Math 39, Writing 59 with 5 or any score with 6 • ACCUPLACER: Reading-82, Math-82, Writing-80 with 5 or any score with 6 • ACT: Composite Score of 19 • SAT: 910 (Verbal + Math) • Subject to change Register for exams at utrgv.edu/step

(FOR INTERNATIONAL STUDENTS ONLY)- Students must take all four parts of the Test of English as a Foreign Language-Internet Based Test (TOEFL- iBT) and obtain a minimum score of 26 on the Speaking portion. Exam is required for students that graduated from a Non-English speaking High School outside the United States. Prerequisite Coursework and Grades ENGL 1301 with C or better ENGL 1302 with C or better EDUC 1301 (Elementary Teacher Education Program only) EDFR 2301 (Elementary Teacher Education Program only) UTCH 3301 (UTeach Program only) UTCH 3302 (UTeach Program only)

School of Music Student Teaching Policy Students must complete the following prerequisites in order to be granted approval to student teach:

• Students must pass committee hearing and perform their Senior Recital before student teaching

• Students must pass the TeXes content exam before student teaching.


Procedures for Application Submission and DeadlinesComplete the application once the admissions period begins and return to MAIN 2.200 at Brownsville Campus or EDUC 2.510 at Edinburg Campus. Applications must be submitted via Tk20. For additional questions contact the Office of Educator Preparation and Accountability at [email protected](956) 665-7952 or (956) 882-4139.

Criminal Background Check of Applicants Teacher Education Program(s) requires field work in the public schools. This requires that a student be able to clear a criminal background check conducted by the University of Texas Rio Grande Valley during formal admission and during the program by school districts. It is the responsibility of the student to determine if their criminal history background will present a problem before applying for admission to the teacher education program.

Note that students with a problematic criminal history will encounter difficulty in completing any field work requirements and therefore, may not be able to complete the program. Questions about criminal history background checks can be referred to the Office of Educator Preparation and Accountability.

The applicant must submit a Criminal Background Check (CBC) through the following link: https://www.fcbackground.com/FCApply/UTRGV-CEP. Read all items carefully and submit the required information. Print the payment confirmation page and submit with application. Note: Admission to Teacher Education Program may be denied or rescinded based on a review of the background check.

FERPA ConsentFERPA Consent and Acknowledgment of Candidate’s Acknowledge Statement of Professional Dispositions. All applicants must complete and sign a FERPA Consent form and a Candidate’s Acknowledgement Statement of Professional Dispositions. These forms are available as part of the application and must be submitted with application.

Interview of ApplicantsAll applicants will be interviewed as part of the application process. After submission of the application, the student will be contacted for the interview.

UNIVERSITY POLICIESStudents with disabilities If you have a documented disability (physical, psychological, learning, or other disability which affects your academic performance) and would like to receive academic accommodations, please inform your instructor and contact Student Accessibility Services to schedule an appointment to initiate services. It is recommended that you schedule an appointment with Student Accessibility Services before classes start. However, accommodations can be provided at any time. Brownsville


Campus: Student Accessibility Services is located in Cortez Hall Room 129 and can be contacted by phone at (956) 882- 7374 (Voice) or via email at [email protected]. Edinburg Campus: Student Accessibility Services is located in 108 University Center and can be contacted by phone at (956) 665-7005 (Voice), (956) 665-3840 (Fax), or via email at [email protected].

Mandatory Course Evaluation PeriodStudents are required to complete an ONLINE evaluation of this course, accessed through your UTRGV account (http://my.utrgv.edu); you will be contacted through email with further instructions. Students who complete their evaluations will have priority access to their grades.

AttendanceStudents are expected to attend all scheduled classes and may be dropped from the course for excessive absences. UTRGV’s attendance policy excuses students from attending class if they are participating in officially sponsored university activities, such as athletics; for observance of religious holy days; or for military service. Students should contact the instructor in advance of the excused absence and arrange to make up missed work or examinations.

Scholastic IntegrityAs members of a community dedicated to Honesty, Integrity and Respect, students are reminded that those who engage in scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and expulsion from the University. Scholastic dishonesty includes but is not limited to: cheating, plagiarism, and collusion; submission for credit of any work or materials that are attributable in whole or in part to another person; taking an examination for another person; any act designed to give unfair advantage to a student; or the attempt to commit such acts. Since scholastic dishonesty harms the individual, all students and the integrity of the University, policies on scholastic dishonesty will be strictly enforced (Board of Regents Rules and Regulations and UTRGV Academic Integrity Guidelines). All scholastic dishonesty incidents will be reported to the Dean of Students.

Sexual Harassment, Discrimination, and ViolenceIn accordance with UT System regulations, your instructor is a “responsible employee” for reporting purposes under Title IX regulations and so must report any instance, occurring during a student’s time in college, of sexual assault, stalking, dating violence, domestic violence, or sexual harassment about which she/he becomes aware during this course through writing, discussion, or personal disclosure. More information can be found at www.utrgv.edu/equity, including confidential resources available on campus. The faculty and staff of UTRGV actively strive to provide a learning, working, and living environment that promotes personal integrity, civility, and mutual respect in an environment free from sexual misconduct and discrimination.


Course Drops According to UTRGV policy, students may drop any class without penalty earning a grade of DR until the official drop date. Following that date, students must be assigned a letter grade and can no longer drop the class. Students considering dropping the class should be aware of the “3-peat rule” and the “6-drop” rule so they can recognize how dropped classes may affect their academic success. The 6-drop rule refers to Texas law that dictates that undergraduate students may not drop more than six courses during their undergraduate career. Courses dropped at other Texas public higher education institutions will count toward the six-course drop limit. The 3-peat rule refers to additional fees charged to students who take the same class for the third time.

Academic MisconductYou are expected to adhere to the highest academic standards of behavior and personal conduct in this course and all other courses. Students who engage in academic misconduct are subject to university disciplinary procedures. Make sure you are familiar with your Student Handbook, especially the section on academic misconduct, which discusses conduct expectations and academic dishonesty rules.

HEALTH AND SAFETY INFORMATION FOR MUSICIANS

Introduction The School of Music, as required by the National Association of Schools of Music, is obligated to inform students and faculty of health and safety issues, hazards, and procedures inherent in practice, performance, teaching, and listening both in general and as applicable to their specific specializations. This includes but is not limited to information regarding hearing, vocal and musculoskeletal health, injury prevention, and the use, proper handling, and operation of potentially dangerous materials, equipment, and technology. The School of Music has developed policies, protocols, and operational procedures to guard against injury and illness in the study and practice of music, as well as to raise the awareness among our students and faculty of the connections between musicians' health, the suitability and safety of equipment and technology, and the acoustic and other health-related conditions in the University's practice, rehearsal, and performance facilities.

It is important to note that health and safety depends largely on personal decisions made by informed individuals. The University of Texas Rio Grande Valley has health and safety responsibilities, but fulfillment of these responsibilities cannot and will not ensure any individual's health and safety. Too many factors beyond the university's control are involved.

Each individual is personally responsible for avoiding risk and preventing injuries to themselves before, during, and after study at the University of Texas Rio Grande Valley. The policies, protocols, and operational procedures developed by the School of Music do not alter or cancel any individual's personal responsibility, or in any way shift personal responsibility for the results of any individual's personal decisions or actions in any instance or over time to the University.


Performance InjuriesAnyone who practices, rehearses or performs instrumental or vocal music has the potential to suffer injury related to that activity. Instrumental musicians are at risk for repetitive motion injuries. Sizable percentages of them develop physical problems related to playing their instruments; and if they are also computer users, their risks are compounded. Instrumental injuries often include carpal tunnel syndrome, tendinitis, and bursitis. Incorrect posture, non-ergonomic technique, excessive force, overuse, stress, and insufficient rest contribute to chronic injuries that can cause great pain, disability, and the end of careers.

What Instrumentalists Should Do

1. Evaluate your technique. Reduce force, keep joints in the middle of their range of motion, use large muscle groups when possible, and avoid fixed, tense positions.

2. Always warm up. As an athlete would not begin a vigorous physical activity without warming up, a musician must warm up carefully before practice or performance.

3. Take breaks to stretch and relax. Take short breaks every few minutes and longer breaks each hour. Two or more shorter rehearsals each day are more productive than marathon single sessions. Even in performance, find those opportunities to relax a hand, arm, or embouchure to restore circulation.

4. Pace yourself. No pain, no gain is a potentially catastrophic philosophy for a musician. Know when enough is enough, and learn to say 'no' to certain performances or lengths of performing that might result in injury. 5. Check out your instrument. Does your instrument place undue stress on your body? Is your instrument set up optimally for you to relieve pressure on hands, joints, etc.? Is there a strap, carrier, or stand available to relieve the stress?

6. Evaluate other activities. Pains and injuries affecting your music making could be caused by other activities in your daily life. Computer use is notorious for causing afflictions including carpal tunnel syndrome and tendinitis.

7. Pay attention to your body. Pain is the mechanism by which your body tells you that something is wrong. Listen to your body; if it hurts, stop what you are doing.

8. Get medical attention. Do not delay in seeing a doctor. A physician may prescribe a minor adjustment or, in worst-case scenarios, stipulate not performing for a period of time. As drastic as this may sound, a few months of rest is better than suffering a permanent, career ending injury. Likewise, the demands placed on singers' voices are immense. Hardly a month goes by where a top singer is not forced to interrupt a tour, take a break, or undergo a medical procedure due to problems with their voice. Medical professionals are making the case that the demands put on


one's voice when singing one to three hours is as intense as those made on an Olympic marathon runner's body. Additional factors such as nutrition, smoking, drug use, noisy environments, and proper voice training (or the lack of it) all play a role in a singer's ability to perform at her/his best.

What Singers Should Do

1.Maintain good general health. Get adequate rest to minimize fatigue. If you do become ill, avoid "talking over your laryngitisee" - see your physician and rest your voice.

2. Exercise regularly.

3. Eat a balanced diet. Including vegetables, fruit and whole grains, and avoid caffeinated drinks (coffee, tea, and soft drinks) and alcohol. Avoid spicy, acidic, and dairy foods if you are sensitive to them.

4. Maintain body hydration; drink two quarts of water daily.

5. Avoid dry, artificial interior climates. Las Vegas has an average daily humidity of 36%, a relatively low amount of moisture. Using a humidifier at night might compensate for the dryness.

6. Limit the use of your voice. High-ceilinged restaurants, noisy parties, cars and planes are especially damaging to the voice. If necessary, use amplification for vocal projection.

7. Avoid throat clearing and voiced coughing.

8. Stop yelling, and avoid hard vocal attacks on initial vowel words.

9. Adjust the speaking pitch level of your voice. Use the pitch level in the same range where you say, "Umm-hmm?"

10. Speak in phrases rather than in paragraphs. Breathe slightly before each phrase.

11. Reduce demands on your voice - don't do all the talking!

12. Learn to breathe silently to activate your breath support muscles and reduce neck tension

13. Take full advantage of the two free elements of vocal fold healing: water and air.

14. Vocal athletes must treat their musculoskeletal system as do other types of athletes;


therefore, vocal warm-ups should always be used prior to singing. Vocal cool-downs are also essential to keep the singing voice healthy.

What All Musicians Should Do

1. Stay informed. Awareness is the key. Like many health-related issues, prevention is much easier and less expensive than cures. Take time to read available information concerning injuries associated with your art.

2. Read. Musicians might find the following books helpful: Conable, Barbara. What Every Musicians Needs to Know About the Body (GIA Publications, 2000) Klickstein, Gerald. The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford, 2009) Norris, Richard N. The Musician's Survival Manual (International Conference of Symphony and Opera Musicians, 1993)

The following links may be useful: Performing Arts Medicine Association (PAMA), an organization comprised of dedicated medical professionals, artists educators, and administrators with the common goal of improving the health care of the performing artist. http://www.artsmed.org

Texas Voice Center, founded in 1989 for the diagnosis, treatment, and prevention of voice disorders. National Center for Voice and Speech (NCVS), conducts research, educates vocologists, and disseminates information about voice and speech. http://www.texasvoicecenter.com

Vocal Health Center, University of Michigan Health System, recognized locally, regionally and nationally as a leading institution for the treatment and prevention of voice disorders. At the heart of the Center is a professional team comprised of experts from the University of Michigan Health System and U-M School of Music, encompassing the fields of Laryngology, Speech Pathology, and Vocal Arts. http://www.uofmhealth.org/conditions-treatments/vocal-health-center

Associated Board of the Royal Schools of Music (ABRSM), the world's leading authority on musical assessment actively supporting and encouraging music learning for all. https://us.abrsm.org/en/home

Noise-Induced Hearing Loss

Note - The information in this document is generic and advisory in nature. It is not a substitute for professional, medical judgments. It should not be used as a basis for medical treatment. If you


http://www.artsmed.org

http://www.texasvoicecenter.com

http://www.uofmhealth.org/conditions-treatments/vocal-health-center

https://us.abrsm.org/en/home

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

Part of the role of any professional is to remain in the best condition to practice the profession. As an aspiring musician, this involves safeguarding your hearing health. Whatever your plans after graduation - whether they involve playing, teaching, engineering, or simply enjoying music - you owe it to yourself and your fellow musicians to do all you can to protect your hearing. If you are 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. Music & Noise In the scientific world, all types of sound, including music, are regularly categorized as noise. 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.

Noise-Induced Healing Loss (NIHL)We experience sound in our environment, such as the sounds from television and radio, household appliances, and traffic. Normally, we hear these sounds at safe levels that do not affect our hearing. However, when we are exposed to harmful noise-sounds that are too loud or loud sounds that last a long time, sensitive structures in our inner ear can be damaged, causing noise-induced hearing loss (NIHL). These sensitive structures, called hair cells, are small sensory cells that convert sound energy into electrical signals that travel to the brain. Once damaged, our hair cells cannot grow back. NIHL can be caused by a one-time exposure to an intense "impulse" sound, such as an explosion, or by continuous exposure to loud sounds over an extended period of time. The humming of a refrigerator is 45 decibels, normal conversation is approximately 60 decibels, and the noise from heavy city traffic can reach 85 decibels. Sources of noise that can cause NIHL include motorcycles, firecrackers, and small firearms, all emitting sounds from 120 to 150 decibels. Long or repeated exposure to sounds at or above 85 decibels can cause hearing loss. The louder the sound, the shorter the time period before NIHL can occur. Sounds of less than 75 decibels, even after long exposure, are unlikely to cause hearing loss. Although being aware of decibel levels is an important factor in protecting one's hearing, distance from the source of the sound and duration of exposure to the sound are equally important. A good rule of thumb is to avoid noises that are "too loud" and "too close" or that last "too long."It is very important to understand that the hair cells in your inner ear cannot regenerate. Damage done to them is permanent. There is no way to repair or undo this damage. According to the American Academy of Audiology, approximately 26 million Americans have hearing loss. One in three developed their hearing loss as a result of exposure to noise. As you pursue your day-to-day activities, both in the Department of Music and in other educational, vocational, and recreational environments, remember:

1. Hearing health is essential to your lifelong success as a musician.


2. Your hearing can be permanently damaged by loud sounds, including music. Technically, this is called Noise-Induced Hearing Loss (NIHL). This danger is constant.

3. Noise-induced hearing loss is generally preventable.

4. You must avoid overexposure to loud sounds, especially for long periods of time.

5. The closer you are to the source of a loud sound, the greater the risk of damage.

6. Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing. Recommended maximum daily exposure times to sounds at or above 85 dB are as follows: 85 dB (vacuum cleaner, MP3 player at 1/3 volume) - 8 hours 90 dB (blender, hair dryer) - 2 hours 94 dB (MP3 player at 1/2 volume) - 1 hour 100 dB (MP3 player at full volume, lawnmower) 15 minutes 110 dB (rock concert, power tools) - 2 minutes 120 dB (jet planes at take- off) - without ear protection, sound damage is almost immediate.

7. Certain behaviors (controlling volume levels in practice and rehearsal, planning rehearsal order to provide relief from high volume works, avoiding noisy environments) red your risk of hearing loss.

8. The use of earplugs (Sensaphonics, ProGuard, Sensorcom) helps to protect your hearing health.

9. Day-to-day decisions can impact your hearing health, both now and in the future. Since sound exposure occurs in and out of the Department of Music, you also need to learn more and take care of your own hearing health on a daily, even hourly basis.

10. If you are concerned about your personal hearing health, talk with a medical professional.

11. If you are concerned about your hearing health in relationship to your study of music, consult with your applied instructor, ensemble conductor, or Department Chair.

RESOURCES

Information and Research Hearing - Health Project PartnersNational Association of School of Music (NASM) https://nasm.arts-accredit.org

Performing Arts Medicine Association (PAMA) http://www.artsmed.org

Bibliography (search tool) http://www.artsmed.org/bibliography


https://nasm.arts-accredit.org

http://www.artsmed.org

http://www.artsmed.org/bibliography

General Information on AcousticsAcoustical 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: https://nasm.arts-accredit.org

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 https://www.audiology.org

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 https://www.nidcd.nih.gov/health/noise-induced-hearing-loss

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

SCHOLARSHIPSUTRGV offers numerous scholarships as well as other forms of financial aid. Music Scholarships are based upon musical talent and potential as displayed through a music entrance/scholarship audition. Scholarship auditions take place on the UTRGV campus during the Spring semester. In order to receive a scholarship all students must be enrolled full-time (12 hours) maintain a GPA of 3.0 or higher and be a Music Major.


http://acousticalsociety.org

http://www.acoustics.com

https://nasm.arts-accredit.org

http://www.ansi.org/

http://www.cdc.gov/niosh/

http://www.osha.gov/

https://www.audiology.org

http://www.entnet.org/index.cfm

http://www.asha.org/

http://athletesandthearts.com/

http://www.hei.org/education/health/health.htm

https://www.nidcd.nih.gov/health/noise-induced-hearing-loss

http://www.hearingconservation.org/

SCHOOL OF MUSIC DEGREE PLANSPlease see the catalog and/or the School of Music website to view copies of the degree plans listed below.

Undergraduate Degree Plans BM - Bachelor of Music in Music Education: A professional degree leading toward a career in teaching music, most likely in a public school setting. This degree prepares a student for the Texas state certification exam in K-12 music education. This degree requires a senior recital, coursework in the College of Education, and a semester of student teaching internship in local public school music classrooms.

BM - Bachelor of Music in Applied Music: A professional degree leading the student toward graduate study and/or a career in music performance. This degree requires proficiency in a secondary instrument as well as junior and senior recitals in the major area of study. *Students, in conjunction with their applied teacher, choose to specialize in Music Education or Applied Music upon entrance to the School of Music. Students wishing to change their track from Music Education to Performance (or vice-versa) are subject to the most current degree plan and must audition at the next semester jury*

Graduate Degree Plans MM - Master of Music- Performance: which will result in the improvement of students’ musical skills and techniques, as well as knowledge of music literature beyond the scope of undergraduate training.

MM- Master of Music- Conducting, which will provide graduate level knowledge in choral, instrumental, and orchestral conducting.

MM-Master of Music- Music Education, which will provide graduate level knowledge to teach at the elementary, secondary, college, and university levels.

MM-Master of Music- Ethnomusicology, which will provide music students the opportunity for concentrated study with an emphasis on the folk styles, instruments, literature, and music history of Mexico.

SCHOOL OF MUSIC FACULTY AND STAFFDr. Kurt Martinez Director of the School of Music Professor of Guitar Office: PAC B2.108 Phone: 956-665-2992 E-mail: [email protected]



Dr. Mark Joseph Ramírez Associate Director of the School of Music Professor of Percussion Office PAC B1.125 [email protected]

Ms. Norma Salinas Administrative Assistant II Office: PAC B2.108 Phone: 956-665-3471 E-mail: [email protected]

Ms. Adriana Vela Roman Administrative Assistant II Office: BMSLC 2.214 Phone: 956-882-7768 [email protected]

Faculty listing by Area

Dr. Justin Writer, Theory and Composition Area Coordinator - [email protected] Dr. Virginia Davis, Music Education Area Coordinator - [email protected] Dr. Susan Hurley-Glowa, Musicology/Ethnomusicology Area Coordinator - [email protected] Dr. Peter Dabrowski, Conducting Area Coordinator - [email protected] Dr. Daniel Hunter-Holly, Voice Area Coordinator - [email protected] Dr. Joel Pagan, String Area Coordinator - [email protected] Dr. Jonathan Guist, Woodwind and Double Reed Area Coordinator Dr. Scott Roeder, Brass Area Coordinator - [email protected] Dr. Mark Joseph Ramirez, Percussion Area Coordinator - [email protected] Dr. Brendan Kinsella, Piano Area Coordinator - [email protected] Dr. Michael Quantz, Guitar Area Coordinator - [email protected]

Dr. Rachel Mann, Theory - [email protected] Dr. Katrina Roush, Music Theory- [email protected] Dr. Kristina Weimer, Music Education - [email protected] Mr. Hector Silva, Music Theory- [email protected] Ms. Sally Sandoval, Music Education - [email protected] Mr Gabriel Bauza, Music Education - [email protected] Dr. Silvia Lazo, Musicology/Ethnomusicology - [email protected] Dr. Andres Amado, Musicology/Ethnomusicology - [email protected]






















Dr. Saul Torres, Wind Ensemble and Athletic Bands - [email protected] Dr. Krista Jobson, Flute - [email protected] Dr. William O’Neil, Clarinet - [email protected] Dr. Cynthia Cripps, Saxophone - [email protected] Dr. Jared Broussard, Trumpet - [email protected] Dr. Art Brownlow, Trumpet, Music History - [email protected] Dr. Pedro Martinez, Trombone - [email protected] Dr. William Haugeberg, Tuba, Euphonium - [email protected]

Dr. Kurt Martinez, Guitar - [email protected] Mr. Hector Rodriguez, Guitar - [email protected] Mr. Francisco Loera, Mariachi - [email protected]

Dr. Tido Janssen, Cello - [email protected] Dr. George Amorim, Double Bass - [email protected] Dr. Diana Seitz, Violin [email protected]

Dr. Shoko Kinsella, Piano - [email protected] Dr. Liudmila Varlamova, Piano Proficiency - [email protected] Dr. Ken Saxon, Piano - [email protected] Dr. Juan Pablo Andrade, Piano - [email protected] Dr. Stacy Kwak, Piano - [email protected]

Dr. Bethany Mamola, Voice - [email protected] Dr. Sean Taylor, Voice Master Chorale, University Choir - [email protected] Dr. Daniel Hunter-Holly, Voice/Opera - [email protected] Dr. Wendell Davis, Voice - [email protected] Dr. Rebecca Coberly, Voice Area Coordinator - [email protected] Dr. David Sadlier, Voice/Opera - [email protected]
























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