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MMuussiicc SSttuuddeenntt HHaannddbbooookk (Revised Spring 2014)

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Table of Contents

Foreword ....................................................................................................................4

Overview of the Music Department ...........................................................................4

Mission Statement

Goals

Music Department Objectives....................................................................................5

Accreditations ............................................................................................................5

Memberships ..............................................................................................................5

Student Organizations ................................................................................................6

Office Hours...............................................................................................................6

Facilities and Instruments ..........................................................................................6

Bulletin Boards ..........................................................................................................7

Academic Advising ....................................................................................................7

Department of Music Faculty ...................................................................................8

Ensemble Conductors ................................................................................................8

Musculoskeletal, Hearing, and Vocal Health and Injury Prevention.........................9

Music Department Policies .......................................................................................10

Auditions

Applied Lessons

Recital/Performance Seminar Attendance

Juries

Ensembles

WSSU Accompanying Guidelines .............................................................................11

Scheduling

Music

Rehearsals and Lessons

Recital Dates

Seminar Performances

Piano Proficiency .......................................................................................................12

Applied Music Exit/Senior Recital/Project Requirements ........................................12

Class Attendance and Repertoire Requirements ........................................................12

Music Major ...............................................................................................................13

Departmental Entrance Requirements

Minimum Grade Requirement

Audition Requirements for Prospective Music Majors .............................................13

Applied Piano Audition Requirements

Applied Voice Audition Requirements

Applied Strings Audition Requirements

Applied Flute Audition Requirements

Applied Clarinet Audition Requirements

Applied Saxophone Audition Requirements

Applied Trumpet Audition Requirements

Applied Trombone, Euphonium, and Tuba Audition Requirements

Applied Percussion Audition Requirements

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Programs of Study......................................................................................................22

Bachelor of Arts in Music

Bachelor of Arts in Music – Music Education Licensure

Bachelor of Arts in Music – Music Business Concentration

Concentration in Music

Music Business Minor

Minor in Music

Scholarships ...............................................................................................................25

Departmental Music Scholarships

Ensemble Scholarships ..............................................................................................26

Choral

Choral Scholarship Audition Requirements

Instrumental

Band Scholarship Audition Requirements

String Ensemble Audition Requirements

Appendix A: Recommendation for Admittance to Teacher Education Program ......30

Appendix B: Recommended Plans of Study for Music Programs .............................31

Appendix C: Applied Music Jury Forms ...................................................................35

Appendix D: Important University Contacts .............................................................46

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FOREWORD

This handbook has been designed as a supplement to the university catalog to help music majors

better understand requirements, expectations, student rights and privileges, and departmental and

university policies and procedures. It is not to be used as a substitute for the university catalog.

Students are asked to keep this booklet, refer to it often, and follow the policies and procedures.

All questions should be directed towards the assigned academic advisor for clarification of any

part of this handbook.

OVERVIEW OF THE MUSIC DEPARTMENT

The Department of Music offers several different programs of study in music as well as general

education course offerings and performance opportunities for all students. Students who major in

music have options in music, music with a concentration in music business or with a

concentration in music education that leads to teacher education licensure. Graduates of these

programs are prepared to teach in grades K-12, work in the music industry and allied fields in

music, and pursue graduate study. The department also provides instruction in music to any

student as part of the university’s general education offerings and in an effort to promote the

study and enjoyment of music for healthy and enriched living. Instruction is provided by faculty

committed to teaching effectiveness, scholarship, and service toward the enhancement of the

artistic and cultural life of the university and the greater community.

Many events, performances, and seminars are provided for the university community and the

greater community of Winston-Salem and Forsyth County by faculty and students. Faculty

members are well-recognized professionally with diverse performance and educational training

which encourages students to investigate and appreciate various forms of music expression.

Mission Statement

The mission of the Music Department is to offer courses of study and opportunities for

performance in music to diverse and motivated students and to engage the campus and

community in the enjoyment of music through a variety of expressions. In addition, specialty

courses in music develop knowledge, musicianship, and skills needed to appreciate, teach and

direct music activities from early childhood through secondary school, and to pursue careers in

or related to the music business industry.

Goals

1. To provide major programs in the areas of music.

2. To provide courses in music as part of the general education curriculum and electives.

3. To provide students with skills and knowledge necessary to succeed in their chosen field

of study in music.

4. To prepare students to pursue graduate study in music and related disciplines.

5. To promote faculty production in the areas of scholarship and teaching effectiveness.

6. To provide a venue for student performance in music.

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7. To extend the role of Winston Salem State University as a contributor to the music

industry and business community.

8. To contribute to the enrichment of the musical life of Winston Salem State University

and the community.

MUSIC DEPARTMENT OBJECTIVES

Upon successful completion of the program, students will be able to do the following:

1. Demonstrate effective verbal and written communication skills critical to the music

profession.

2. Utilize and create multimedia and relevant technology for music education and the music

industry.

3. Demonstrate musicianship and proficiency in both a major and minor performance area.

4. Demonstrate knowledge, understanding, and appreciation of music and related

philosophies from past and present cultures.

5. Demonstrate an understanding of the physical, intellectual, emotional, and social

development of children and adolescents and the implications of personal growth

upon music education.

6. Develop a standards-based music education program that meets the needs and interests of

learners in grades K-12, including exceptional learners.

7. Demonstrate a variety of teaching and evaluation methods, techniques, and strategies for

application in music education.

8. Demonstrate knowledge of music literature and repertoire to maintain a high level of

interest and involvement of students.

9. Demonstrate proficiency in behavioral management skills that promote self-discipline, a

positive learning climate, and self-concept that are conducive to successful

musicianship and teaching.

10. Participate effectively in a competitive music career market.

ACCREDITATIONS

Southern Association of Colleges and Schools; North Carolina Department of Public Instruction;

North Carolina Association of Colleges and Universities; National Council for Accreditation of

Teacher Education; National Association of Schools of Music.

MEMBERSHIPS

American Association of State Colleges and Universities; American Council on Education;

American Association of Colleges for Teacher Education; Intercollegiate Music Association, Inc.

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STUDENT ORGANIZATIONS

The Collegiate National Association for Music Education (CNAfME) is a chartered, student-run

organization in the Music Education Area of the Department of Music. CNAfME collegiate

membership is a pre-professional unit of the National Association for Music Education. It

provides for student participation at the university level in the activities of the organization.

Membership benefits include: The Music Educators Journal; The North Carolina Music

Educators Journal; collegiate membership in the North Carolina Music Educators Association;

mentoring by professional music educators; discounts on NAfME publications and conference

registration fees, and a membership card. For more information and application forms, go to the

NAfME Website at http://www.nafme.org/ or contact the faculty advisor.

Greek music organizations are an important part of the collegiate experience within the

Department of Music. Members of Tau Beta Sigma, Kappa Kappa Psi, and Phi Mu Alpha

Sinfonia devote service to the department and serve as musical ambassadors throughout the

university. Students interested in membership should contact the appropriate officers within each

organization.

OFFICE HOURS

Administrative offices are open daily from 8:00 a.m. to 12:00 noon and 1:00 to 5:00 p.m.

Monday through Friday, except on official university holidays. Music faculty members will post

individual office hours on or near their office doors. The University’s telephone number is (336)

750-2000. The Music Department’s telephone number is (336) 750-2520. The fax number is

(336) 750-2522.

The Fine Arts Building is open on Monday – Friday from 7:00 a.m. – 7:00 p.m., 8:00 a.m. – 1:00

p.m. on Saturday, and is closed Sunday except as needed for special events, ensemble

rehearsals/performances, etc. The main entrance doors lock automatically at the times listed

above.

FACILITIES AND INSTRUMENTS

Practice rooms are available on a first-come, first-served basis during the building’s open hours

to students taking applied music or ensembles. To get a practice room key, students must see the

departmental administrative support associate.

Some university-owned instruments are available to ensemble participants. See each ensemble

conductor concerning the use of instruments. All instruments must be returned at the end of each

semester.

Lockers are available in the music area on the first floor of the Fine Arts Building and may be

requested through the Music Department’s office and departmental administrative support

associate.

http://www.nafme.org/

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BULLETIN BOARDS

The bulletin boards in the Fine Arts Building/Music Department are reserved for announcements

of interest to music students. The boards may contain messages from faculty to students,

announcements concerning upcoming recitals and concerts, free or discounted concert tickets,

advertisements from graduate schools or summer music programs, and other information.

Students should check the boards daily.

ACADEMIC ADVISING

Music Advisor:_________________________________ Office location:____________

Phone number: ______________ Email address: ______________________________

The Department of Music will assign an advisor who will oversee the major level course of

study, assist with (and approve) class scheduling each semester, and provide academic

counseling. In some cases, this individual may be the applied music teacher. Students may not

change advisors without permission from the department chair. The student is ultimately

responsible for meeting with his/her advisor each semester and making sure that all requirements

for graduation are met.

Department Chair: Dr. Michael Magruder

Phone: 336-750-2535, Email: [email protected]

The Department Chair (Fine Arts 112A) is responsible for the scope, content and quality of

courses and instructions of the department. The chair is responsible for cooperative planning

with members of the department, directing the work of the department, and cooperating with

heads of other departments on matters regarding policies of mutual interest. Additional

responsibilities include arranging courses, preparing the departmental budget, caring for

departmental property, and making library acquisitions. The chair maintains an open door policy.

Students should feel free to consult with advisors and/or the department chair if problems arise,

or to make suggestions which could benefit the department.

Administrative Support Associate: Ms. Evetter Culcleasure

Phone: 336-750-2520, Fax: 336-750-2522, Email: [email protected]

The administrative support associate (Fine Arts 112) assists the dean, department chair, faculty

and students. Duties include word processing, preparing requisitions, data entry, duplications,

scheduling work-study students, and receiving and routing communications coming into the

music unit.

mailto:[email protected]


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FULL-TIME MUSIC FACULTY

Dr. James Armstrong – Lecturer of Music/Associate Director of Bands: Brass

Dr. Anthony Artimisi - Assistant Professor of Music: Music Business and Percussion

Dr. Myron Brown – Assistant Professor of Music: Piano

Mrs. D’Walla Simmons Burke – Lecturer of Music: Voice/Choral

Dr. Brent Harvey – Assistant Professor of Music: Low Brass and Music Theory

Dr. Tohm Judson – Associate Professor of Music: Music Theory and Low Strings

Dr. Lee David Legette – Professor of Music: Woodwinds/Jazz Band/Music Education

Dr. Michael Magruder – Professor of Music: Woodwinds/Director of Bands

Mr. Raymond Mietus – Instructor of Music/Assistant Director of Bands: Percussion

Ms. Deena Moore – Lecturer of Music: Voice

Dr. Debra O’Connell – Associate Professor of Music: Music Education

Dr. Christina Placilla – Associate Professor of Music: Strings and Music History/Chamber

Orchestra

Dr. Karen Rice – Assistant Professor of Music: Piano

Dr. Gregory Thompson – Associate Professor of Music: Piano and Music History

Dr. Donna Wiggins – Associate Professor of Music: Music Education

ENSEMBLE CONDUCTORS

Dr. James Armstrong – Brass Ensemble, Jazz Ensemble II

Mrs. D’Walla Simmons Burke – University Choir, Burke Singers, Schola Cantorum

Dr. Lee David Legette – Jazz Ensemble, Woodwind Ensemble

Dr. Michael Magruder – Marching Band, Wind Ensemble, Symphonic Band, Pep Band

Mr. Raymond Mietus – Percussion Ensemble

Dr. Christina Placilla – Chamber Orchestra

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MUSCULOSKELETAL, HEARING, AND VOCAL HEALTH AND INJURY PREVENTION

The activities of music practice and performance increase the possibility of numerous types of

injury. The music faculty at Winston-Salem State University takes the education of preventative

measures very seriously in the interest of guiding students towards the goal of being healthy,

lifelong music consumers and performers.

One type of health risk is “Repetitive Strain Injury” (RSI) which is experienced by some

musicians as a result of, among other things, poor technique and/or posture, muscle overuse, lack

of rest, and/or stress. Researchers in this area have recommended some common methods to

reduce the likelihood of suffering a RSI including stretches, taking frequent practice breaks,

engaging in a warm-up routine prior to beginning difficult music, and stopping at the first sign of

pain.1 Students are advised to consult with the Applied Instructor if musculoskeletal pain is

experienced during musical practice or performance.

The maintenance of vocal health should be taken into consideration for student vocalists. Injury

to the vocal folds can occur through dehydration, smoking, prolonged singing without rest,

improper technique, and poor nutrition. Ignoring these considerations places the student at risk

for vocal fold damage which may require extended rehabilitation time or surgery to correct.2

Vocal students are encouraged to discuss these areas with their applied voice instructors as they

begin study at the university level.

All music students are at risk of Noise-Induced Hearing Loss (NIHL). NIHL can happen as a

result of “a one-time exposure to an intense “impulse” sound… or by continuous exposure to

loud sounds over an extended period of time.”3 Music students are routinely exposed to sound

levels above 85 decibels during individual practice times and ensemble rehearsals and

performances. Students are encouraged to use ear plugs as needed and have their hearing tested

yearly.

Works Cited

Emory Health Care. “Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory

Healthcare.” Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory

Healthcare. Accessed February 17, 2014. http://www.emoryhealthcare.org/voice-center/faqs-

tips.html.

Marxhausen, Paul. “Musicians and Injuries,” n.d. http://rsi.unl.edu/music.html.

Mitchell, Tamara. “Microsoft Word - Musicians - Musicians.pdf,” n.d. http://www.working-

well.org/articles/pdf/Musicians.pdf.

NIDCD. “Noise-Induced Hearing Loss.” Noise-Induced Hearing Loss, October 2013.

http://www.nidcd.nih.gov/health/hearing/pages/noise.aspx.

1 Marxhausen, “Musicians and Injuries”; Mitchell, “Microsoft Word - Musicians -

Musicians.pdf.” 2 Emory Health Care, “Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory Healthcare.”

3 NIDCD, “Noise-Induced Hearing Loss.”

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MUSIC DEPARTMENT POLICIES

Auditions

All incoming and transfer students must audition to be accepted into the music degree program.

The audition will consist of one to two prepared pieces and select technical exercises to be

performed for the music faculty as well as an interview. Five (5) copies of the selected pieces

must be provided for the faculty. Acceptance into the program will be based on faculty

consensus. If the department is given sufficient notice, an accompanist will be provided.

Auditions will be scheduled on specified dates and times throughout the year. A music theory

skills assessment examination must be taken on the day of the audition to determine proper

placement in the music theory and sight singing sequence of courses. A student may request

consideration for a scholarship at the end of the audition.

Applied Lessons

All music majors are required to complete 4 semesters of major applied lessons. Applied lesson

times are arranged in consultation with the applied instructor at the beginning of each semester.

Students are responsible for contacting the instructor before or during the first week of classes.

Recital/Performance Seminar Attendance

Student performance seminars, master classes, student meetings, and guest clinicians are

scheduled at 3:30 p.m. on Tuesdays and Thursdays during the school year. All music majors are

expected to perform at least once per semester. Some applied music teachers may require more

than one performance per semester. Music majors are required to attend all master classes,

recitals and department-sponsored concerts each semester, unless excused by their applied

teachers. A minimum attendance of 80% is required. A list of approved concerts will be posted

on the bulletin boards of the Music Area. Attendance will be taken at all of these events.

Students are responsible for their attendance at these events. Failure to comply with this policy

may result in the lowering of the applied music grade by one level. Concerts outside the

department may qualify for credit with prior approval by the applied music teacher.

Juries

All students enrolled in applied major lessons must perform before a music faculty jury at the

end of each semester, with exceptions granted for seniors giving recitals in that particular

semester. Failure to do so may negatively affect the final applied lesson grade. An unexcused

absence from a jury will result in failure in Applied Music. The jury grade will count as 10% of

the student’s final grade given by the applied teacher.

Juries will be announced prior to the end of the semester and will be held before the final

examination period. The performance will consist of appropriate repertoire for the instrument or

voice, to be selected by the applied music teacher. Music majors may also be requested to sight-

read and/or play scales in their principal performance medium. Juries are approximately 10

minutes long.

The departmental grading policy for juries states that the final grade given by the applied music

instructor cannot be more than one grade (higher or lower) than the jury grade. The applied

teacher is required to attend the jury, but will not grade the student for this performance.

Students who are performing for master classes, recitals, recital hearings, and juries are required

to dress appropriately. Dress attire should be business style. Causal dress such as jeans, baggy

pants, sneakers, t-shirts, midriff tops, etc. are not acceptable. For further instructions regarding

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dress, contact the individual applied instructor. Students who dress inappropriately will not be

allowed to perform.

Ensembles

All music majors must perform with at least one ensemble each semester, except during that of

student teaching. Ensembles include the following: University Choir, University Singers (Burke

Singers), Schola Cantorum (University Men), Marching Band, Symphonic Band, Wind

Ensemble, Jazz Ensemble, Pep Band, String Ensemble, Woodwind Ensemble, Brass Ensemble,

Percussion Ensemble, and Guitar Ensemble. Participation is extended to non-majors as well.

Qualified students are urged to participate in more than one ensemble.

WSSU ACCOMPANYING GUIDELINES

Scheduling

Students should schedule a weekly 30-minute rehearsal with their assigned accompanist

at the beginning of the semester. It is the student’s responsibility to contact the

accompanist.

Students must inform the accompanist in advance any time they are unable to attend their

weekly accompanying sessions. They should only cancel due to illness or other

emergency.

If an accompanist misses a rehearsal, the rehearsal will be made up at a time convenient

for both the accompanist and student. If a student misses a rehearsal with an excused

absence approved by private instructor, the accompanist will attempt to make up the

rehearsal if time permits.

Music

All music should be given to the accompanist as soon as applied instructor assigns

repertoire for the semester.

Accompanists should receive music at least two weeks prior to a rehearsal.

Rehearsals and Lessons

There should be at least two rehearsals of any repertoire before it is performed.

The applied instructor must hear the student and accompanist at least once before a

performance. This hearing will be scheduled based on time availability for all involved.

Accompanists are authorized to dismiss unprepared students from rehearsals.

Accompanists may coach students but should not teach them.

Accompanists must attend rehearsals and will attend lessons as agreed upon by written

contract at the beginning of the semester by instructor and accompanists.

Recital Dates

Recital dates should be discussed with the studio instructor and accompanist prior to

setting a date. The accompanist should be aware of and agree to student’s recital date at

least one month in advance.

Dress rehearsals should be scheduled in advance with the accompanist.

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Seminar Performances

Accompanists will not perform with students on Performance Seminar under the following

conditions:

If a student has not attended rehearsals/lessons on a regular basis.

If an accompanist has not received music by deadlines stated above.

If a student signs up for a performance without first notifying his or her accompanist.

PIANO PROFICIENCY

The student may attempt to pass the piano proficiency a maximum of three (3) times. Those

failing to pass will be expected to re-enroll in Music 2114 and take the proficiency again.

Students must attempt the piano proficiency during Music 2114. Students enrolled in the

Bachelor of Arts with Certification in Music Education degree program will take the proficiency

in MUS 2113.

APPLIED MUSIC EXIT/SENIOR RECITAL/PROJECT REQUIREMENTS

Music majors are encouraged and may be required to present a junior recital (20-30 minutes).

Students enrolled in the Bachelor of Arts with Certification in Music Education degree program

are required to present a 45-50 minute senior recital or project (in consultation with the applied

teacher) as a graduation requirement.

Students may not present a recital until authorized by the music faculty. Recitals may be

performed during the fall and spring semesters only. They may not be presented during final

exam week. Student attendance at these recitals counts towards recital-attendance requirements.

CLASS ATTENDACE AND REPERTOIRE REQUIREMENTS

Music instructors have the right to set attendance requirements for classes and applied lessons.

Instructors are responsible for the communication of these requirements to their students and

students should inquire about them at the beginning of each semester. All students will receive a

course syllabus which will outline the attendance requirements for those classes.

University attendance guidelines and the ensemble director determine the attendance policy for

ensembles. Since performance is a team effort and the musical result will be diminished for the

entire group if individuals are absent, no unexcused absences are allowed from either rehearsals

or performances. Unexcused absences or excessive absences, for any reason, can result in the

lowering of the grade for a course. Failure to attend a performance may result in a failing grade

for the class unless otherwise excused by the ensemble director.

Instructors will determine their own repertoire requirements. Students have the right to request

repertoire requirements in writing at the beginning of each semester.

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MUSIC MAJOR

Departmental Entrance Requirements

In addition to the general requirements for admission to the university, pre-majors and transfer

students must meet the following requirements:

1. Submit a special supplementary application to the music area. This form is available on

the music website or a physical copy can be obtained from the administrative support

associate by calling (336) 750-2520 or via email: [email protected].

2. Demonstrate performance proficiency in an applied area (voice, piano, flute, etc.) by

auditioning on campus or by video tape recording should distance prohibit a campus

audition. The audition should occur prior to the student’s actual matriculation at the

university. A sample list of appropriate literature will be sent with the supplementary

music area application. Students may select compositions other than those listed if they

are comparable in musical and technical difficulty.

3. Take a music theory skill assessment examination.

4. Take a keyboard skill assessment examination.

5. Complete a personal interview with music faculty.

Note: After being accepted, music majors failing to enroll in courses within the department for

one year or more will be required to re-audition for readmission into the department.

Minimum Grade Requirement

Music majors must earn a minimum grade of a “C” on each required course in their respective

content areas. Music education majors must maintain an overall minimum grade point average of

2.5 to be eligible for admission to the Teacher Education Program in the junior year.

AUDITION REQUIREMENTS FOR PROSPECTIVE MUSIC MAJORS

Music major auditions consist of three components: Repertoire, Technical Skills, and Sight-

Reading. Each area has submitted guidelines as the minimum requirements for acceptance into

the major. The repertoire lists are meant as suggestions and are not exhaustive. Please consult

with the appropriate applied instructor with questions regarding musical substitutions.

Note: All music to be accompanied must reach the Department of Music at least two (2) weeks

prior to the audition. Auditions are scheduled by the departmental administrative support

associate who can be contacted via 336-750-2520. No Walk-ins.

It is recommended that applicants have at least minimal keyboard or instrumental training before

auditioning as a vocal major. Winston-Salem State University does not currently offer a degree

in vocal performance/musical theatre. Although vocal training may touch on this genre, it will

focus on the classical repertoire as a foundation.

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Applied Piano Audition Requirements

Repertoire

At least two (2) compositions at an intermediate level

One Baroque or Classical composition

One Romantic composition

One 20th

Century composition (optional)

One composition of choice (optional)

Selected repertoire should exhibit the following features:

Greater independence in hands

Arpeggiated chords

Sixteenth notes and rests

Ornaments: appoggiatura and acciaccatura

Continuous pedal technique

*Suggested audition repertoire is listed below

Technique

Major and Harmonic Minor Scales

Keys with up to three sharps or three flats

Hands separately or together

Two octaves ascending and descending

Major and Minor Arpeggios

Keys with up to three sharps or three flats

Hands together

Two octaves ascending and descending

Sight-Reading

A short piano piece at the early intermediate level.

Suggested Audition Repertoire

Baroque

J. S. Bach Two-Part Inventions, Three-Part Inventions, Little Preludes and

Fugues, Preludes and Fugues from Well-Tempered Clavier I and

II

Classical

Clementi Sonatinas

Kuhlau Sonatinas

Haydn Sonatas (one movement)

Mozart Sonatas (one movement)

Beethoven Sonatas (one movement)

Romantic

Brahms Impromptus, Ballades

Chopin Preludes, Waltzes, Mazurkas, Nocturnes

Mendelssohn Easier Songs without Words

Schumann Kinderszenen, Waldszenen, album for the Young

Rachmaninoff Preludes

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Twentieth Century

Bartok Easy Pieces, Selections from Mikrokosmos, Vol. 3-4

Kabalevsky Preludes

Shostakovich Preludes

Applied Voice Audition Requirements

Repertoire

At least three (3) memorized selections at an intermediate level:

One (1) Art Song in English

One (1) Art Song in a language other than English (i.e. Italian; French; German)

One (1) song of the applicant’s choice (language is optional)

*Suggested audition repertoire is listed below

Technique

Selected repertoire should exhibit the following features:

A developing tone quality where the extremes in range are usually controlled.

Dynamic levels are discerned.

Phrasing is usually consistent and sensitive to the style of the music being performed.

Sometimes performs with nuance and style as indicated in the score

Entrances and articulation markings within the score are usually executed accurately.

Articulates diction somewhat clearly and text can be understood.

Rhythm is demonstrated closely to what is indicated within the music being performed.

Shows little tension in the throat, jaw and/or body while performing

Sight-Reading

A brief musical excerpt at the beginning/intermediate level.

Suggested Audition Repertoire

Abt Ave Maria

Anon L’amour de moi

Arne Blow, Blow, Thou Winter Wind

Bach Forget Me Not

Bach Jesus, Fount of Consolation

Barber Crucifixion, The

Beethoven Ich liebe dich

Burleigh (arr.) Deep River

Burleigh (arr.) Nobody Knows the Trouble I’ve Seen

Burleigh (arr.) Swing Low, Sweet Chariot

Carpenter Sleep That Flits on Baby’s Eyes, The

Coates Who is Sylvia?

Delbruck Un doux lien

Delibes Bonjour, Suzon!

Fauré Ici-bas!

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Franz Widmung

Handel Oh Sleep, Why Dost Thou Leave Me?

Handel Weep No More

Handel Where’er You Walk

Haydn Mermaid’s Song, The Hopkinson Beneath a Weeping Willow’s Shade

Irish (Traditional) Danny Boy

Johnson (arr.) My Lord, What a Mornin’ Liddle How Lovely Are Thy Dwellings

Liszt Du bist wie eine Blume

Malotte Beatitudes, The

Mendelssohn O Rest in the Lord

Mozart Ave Verum

Mueller Create In Me a Clean Heart

Myers (arr.) Jesus Walked This Lonesome Valley

Myers (arr.) Let Us Break Bread Together

Niles Black is the Color of My True Love’s Hair

Niles Go ‘way from My Window

Niles Rovin’ Gambler, The

Niles Wayfaring Stranger

Payne (arr.) Crucifixion

Saint-Saens Ave Maria

Schubert Ständchen Schubert Wanderers Nachtlied

Schubert Was it Sylvia?

Schumann Du bist wie eine Blume

Speaks Lord is My Light, The

Stölzel Bist du bei mir

Applied Strings Audition Requirements

Repertoire

Intermediate Level Student (American String Teachers Association- Certificate Advancement

Program Level 5 or higher):

1 Etude (choose from the following, or a representative work from ASTA-CAP level 5)

Violin: The Doflein Method, Vol. 4 & 5; Dont 30 Progressive Exercises, Op. 38;

Wohlfahrt/Aiquoni Foundation Studies Vol. II

Viola: Don’t 24 Studies Op. 37; Wohlfahrt Foundation Studies

Cello: Dotzauer 113 Etudes Vol. 2; Grutzmacher 24 Etudes Vol. 1; Merk 20 Exercises

Op. 11; Schroeder 170 Foundation Studies Vol. 2

Bass: Simandl Book I or 30 Etudes; Yorke Studies for Double Bass

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1 Repertoire Piece (choose from the following, or a representative work from ASTA-CAP level

5)

Violin: Albinoni Concerto in G Op. 4 No. 4; Barber Solos for the Violinist Vol. 2;

Borowski Adoration; Corelli Sonatas Op. 5 Book 2 No. 7-11; Dancla Air Varies Op. 89;

Reiding Concerto in G Op. 24; Reiding Concerto in A Minor Op. 21; Seitz First, Third

or Fourth Pupil’s Concerto; Sitt Concerto in A Minor Op. 70; Suzuki Violin School

Book 5; Vivaldi Concerto in A Fl 51; Vivaldi Concerto in A Minor Op. 9 No. 5

Viola: Accolay Concerto No. 1; Haydn Divertimento; Klengel Album of Classical Pieces;

Marcello Sonatas in C, G and E Minor; Mozart Divertimento; Suzuki School of Viola

Book 5

Cello: Bach Arioso; Breval Concerto 1 in G; Couperin-Bazelaire Pieces en Concert; Cui

Orientale; Gabriel-Marie La Cinquitaine; Glazunov Chanson Arabe; Goltermann Etude-

Caprice; Goltermann Concertos 4 and 5; Romberg Sonatas Op. 41 No. 1-3; Saint-Saens

The Swan; Telemann Sonata in D; Suzuki School of Cello Book 5

Bass: Saint-Saens The Elephant; Giovannino Sonata in A Minor (4th

Mvt); Laska

Romanza; Rameau Dance; Holst The Perfect Fool op. 39

Technique

1 Octave Chromatic Scale starting on the lowest note.

3 Octave Scales (2 Major in the key of the student’s choosing; eighth notes, four to a

bow)

2 Octave Scales (4 Minor in the key of the student’s choosing; eighth notes, four to a

bow)

Sight-Reading

A sight-reading example will be provided at the time of the audition. (American String Teachers

Association-Certificate Advancement Program Level 3)

Applied Flute Audition Requirements

Repertoire

Intermediate Level Student (Larry Krantz Flute Repertoire List Grade 3 or Above):

Etude (choose from the following, or a from a representative work)

Moyse, M. 24 Short and Melodious Studies Moyse: Leduc

Anderson, 18 Studies, op. 41:International or Southern

Anderson, 26 Caprices: International, Southern or Schirmer

1 Repertoire Piece (choose from the following, or a representative work from Larry Krantz Flute

Repertoire Grade 3 or above)

Bizet. Minuet from L’Arlesienne

Faure, Gabriel. Sicilienne

Handel, George Frederic. Sonata in F op.1, no. 11

Kuhlau, Friedrich. Sonatina

Telemann, George Philipp. Sonata in F

18

Technique

Play all major scales in two octaves with their accompanying arpeggios when possible.

Play two octave chromatic scale

Sight-Reading

A sight-reading example will be provided at the time of the audition.

Applied Clarinet Audition Requirements

Repertoire

Intermediate Level Student:

1 Etude – Choose one from the following list of etudes:

Hite – Melodius and Progressive Studies, Book I

Rubank – Intermediate Method for Clarinet

Klose – Twenty Characteristic Studies

Rose - Thirty-Two etudes

Rose - Forty Studies, Book 1

Uhl – 48 Studies for Clarinet

Solos – Choose among the following list:

Cavallini – Adagio and Tarantella

Stamitz – Concerto No. 3 in B-flat

Saint Saens – Sonata for Clarinet and Piano

Weber – Concertino

Mozart – Concerto

Technique

Chromatic Scale – 2 Octaves

Major Scales – 2 Octaves

Major Scales in Thirds – 1 Octave

Sight-Reading


Applied Saxophone Audition Requirements

Repertoire

Two compositions minimum of your choosing at the intermediate or higher level of difficulty:

one of a slightly slow lyrical nature (for expression) and one on the faster side to demonstrate

articulation and other areas of technique.

The following is a sample list of repertoire or substitute others of comparable levels of difficulty:

Sonata No. 6 (1st movement) flute transcription for Eb Alto Saxophone

Solos for the Alto Saxophone Player (select any from this collection)

Three Romances (alto saxophone transcriptions) Schumann-Hemke

Aria by Eugene Bozza

Chanson et Passapied – Rueff

19

Technique

Play all major scales in two octaves with their accompanying arpeggios when possible

Play the chromatic scale for the full practical range of their instrument

Sight-Reading

The ability to sight-read at an intermediate level

Applied Trumpet Audition Requirements

Repertoire

Intermediate Level Student

1 Etude (choose from the following, or a representative work)

Werner

Arban

2 Repertoire Pieces of contrasting styles (choose from the following, or a representative work)

H. Voxman, Concert and Contest Collection

Balay, Petite Piece Concertante

Clarke, The Carnival of Venice

Lamb, Classic Festival Solos

Rubank, Soloist Folio

Fisher, Solos for Trumpet

Technique

Chromatic Scale starting on the lowest note -- 1 Octave

Major Scales and Arpeggios --1 Octave

Sight-Reading


Applied Trombone, Euphonium, and Tuba Audition Requirements

Repertoire

Intermediate Level Student (Developed from ITEA and ITA music repertoire level

advancement):

1 Etude (choose from the following, or a representative work from ITEA or ITA published

standard repertoire)

Trombone: Bordner, G. First Book of Practical Studies and Second Book of Practical

Studies; Cimera, J. 170 Studies for Trombone; Gower, W.M./Voxman, H. Rubank

Advanced Method for Trombone; Hering, S. 40 Progressive Etudes

Euphonium: Hering, S. 32 Etudes; Bordner, G. First Book of Practical Studies and

Second Book of Practical Studies; Voxman, Selected Studies; Vandercook, H.A.

Vandercook Etudes

20

Tuba: Getchell, R.W. First Book of Practical Studies and Second Book of Practical

Studies; Kopprasch, C. 60 Selected Studies; Tyrell, H.W. 40 Advanced Studies;

Vandercook, H.A. Vandercook Etudes

1 Orchestral and/or Wind Band excerpt (choose from the following or a representative work

from ITEA or ITA published standard repertoire)

Trombone: Alford, K. Army of the Nile; Dvorak, A. Symphony No. 9; Fillmore, H.

Lassus Trombone; Mozart, W.A. Requiem, Sousa, J.P. The Glory of the Yankee Navy

Euphonium: Barber, S. Commando March; Fillmore, H. Rolling Thunder; Holst, G. First

Suite in Eb and Second Suite in F; Vaughan Williams, R. Toccata Marziale;

Tuba: Gershwin, G. An American in Paris; Holst, G. First Suite in Eb and Second Suite

in F; Prokofiev, S. Symphony No. 5; Sousa, J.P. George Washington Bicentennial

1 Repertoire Piece (choose from the following or a representative work ITEA or ITA published

standard repertoire)

Trombone: Clerisse, R./Smith, G. Idylle; Corelli, A./Powell, R. Prelude and Minuet;

Dubois, T./Voxman, H. Solo de Concert; Missa, E./Voxman, H. Morceau de Concours;

Ostransky, L./Voxman, H. Concerto Miniature

Euphonium: Balay, G. Petite Piece Concertante; Barat, J.Ed./Voxman, H. Orientale;

Kopke, P./ Voxman, H. L’Allegro; Mead, S. New Concert Studies for Euphonium

(unaccompanied); Ostransky, L./Voxman, H. Concertino

Tuba: Bach, J.S./Wekselblatt, H. Two Bourees; Handel, G.F./Voxman, H. Adagio and

Allegro; Koepke, P./ Voxman, H. Persiflage; Mozart, W.A./Voxman, H. First Movement;

Ostransky, L./Voxman, H. Serenade and Scherzo

Technique

Chromatic Scale starting on the lowest note -- 1 Octave

Major Scales and Arpeggios -- 1 Octave

Sight-Reading

A sight-reading example will be provided at the time of the audition (selected from ITEA or ITA

published standard repertoire)

Applied Percussion Audition Requirements

Repertoire

The student should be able to solos or etudes of similar difficulty on the following instruments:

Snare Drum (Concert/Rudimental)

Portraits in Rhythm by Anthony Cirone

Snare Drum Etude in 4/4 by Morris Goldenberg

Etudes 1-120 by Charley Wilcoxon

(Solos 1-14) 14 Modern Contest Solos by John S. Pratt

40 PAS Rudiments played in the open-closed-open position

21

Mallets

Sonatina by Heinrich Lichner arranged by Garwood Whaley

Etude or exercises from method books such as Modern School for Xylophone, Marimba,

and Vibraphone by Morris Goldenberg

12 Major Scales performed two octaves ascending and descending

Timpani

Ability to tune multiple drums from a given pitch

Excerpt, Etude or Solo from:

o Musical Studies for the Intermediate Timpanist by Garwood Whaley

o Modern Method for Timpani by Saul Goodman

o Exercises, Etudes, and Solos for the Timpani by Raynor Carroll

o The Solo Timpanist by Vic Firth

Technique

Snare Drum

Demonstrate the 40 P.A.S. Rudiments (Rolls, Diddles, Flams, etc.) in an open-closed-

open (slow-fast-slow) fashion.

Perform a snare drum solo piece (Rudimental or Concert) or etude.

Mallets

Demonstrate major scales (two octaves ascending and descending).

Perform a chromatic scale at least two octaves ascending and descending).

A two-mallet solo piece or etude.

Timpani

Demonstrate the ability to tune pitches or intervals.

Perform a solo piece or etude.

Sight-Reading

Demonstrate the ability to read at sight on a selected percussion instrument.

22

PROGRAMS OF STUDY

Bachelor of Arts in Music

The Bachelor of Arts in Music is a non-professional degree that provides valuable undergraduate

preparation for a variety of careers. The liberal arts degree affords the student the opportunity to

pursue the study of music at the collegiate level and also to combine the study of music with an

outside field. Additional undergraduate opportunities for study and a potential double major in

the arts, humanities, social sciences and natural sciences are especially rich. The music major

may include such diverse areas as cultural musicology, cognitive studies of music, and advanced

technology for music. Although this is a non-performance degree, an audition is required as part

of the application for admission.

General Education Studies (60 Credits)

Please see the University Catalogue for General Education requirements

Musicianship Core (24 credits)

MUS 3301 Music Theory I 3

MUS 3303 Music Theory II 3

MUS 4315 Music Theory III 3

MUS 4316 Music Theory IV 3

MUS 2390 Survey of Music Literature 3

MUS 3316 Music History I 3

MUS 3317 Music History II 3

Musicianship Elective 3

Musicianship Electives (Choose 3 credits from below list, not exclusive, consult with advisor):

MUS 1303 Music and the Movies

MUS 1304 Political Music

MUS 1305 Music and Poetry of Art Song

MUS 1306 Medieval to Modern Women in Music

MUS 1307 Psychology of Music

MUS 3305 Survey of Contemporary and Pop Music

MUS 3339 Afro-American Music

MUS 3226 Instrumentation and Orchestration

MUS 3340 Non-Western Music

Performance Core (12 credits)

4 Semesters of Applied Major Lessons 4

4 Semesters of Ensemble 4

4 Semesters Piano 4

Music Electives (24 credits)

Courses work must be at the 3000 level or above

Total number of hours: 120

23

Bachelor of Arts in Music – Music Education Licensure

General Education Studies (60 Credits)

Please see the University Catalogue for General Education requirements

Musicianship Core (24 Credits)



MUS 4315 Music Theory III 3

MUS 4316 Music Theory IV 3

MUS 3316 Music History I 3

MUS 3317 Music History II 3

Musicianship Electives

(*Music Education Licensure required courses)

*MUS 3342 Technology in Music Education (3)

*MUS 3323 Choral Literature with conducting practicum (3) or

*MUS 3344 Instrumental Literature with conducting practicum (3)

Performance Core (12)

4 Semesters of Applied Major Lessons (4 @1 credit)

Prerequisite: 2 Semesters of lessons in the applied area*

*Music Education Major lessons will consist of a one hour lesson

4 Semesters of Ensemble (4@1 credit)

3 Semesters Piano (3 @ 1 credit)

Senior Recital/Lecture Recital/Project (1 credit)

Music Education Methods (32)

5 Semesters of Instrumental Methods Classes (5@ 1 credit)

MUS 2104 Voice Methods (1)

MUS 2130 Strings Methods (1)

MUS 2140 Woodwind Methods (1)

MUS 2150 Brass Methods (1)

MUS 2160 Percussion Methods (1)

Educational Methods Classes

MUS 3307 Principles and Methods of Teaching Music in the Elementary

School (3)

Prerequisite: EDU 2334 Education, Culture, and Society (3)*

Prerequisite: MUS 2304 Introduction to Music Education (3)*

MUS 3308 Principles and Methods of Teaching Music in the Secondary School

(3)

Prerequisite: EDU 2334 Education, Culture, and Society (3)*

Prerequisite: MUS 2304 Introduction to Music Education (3)*

MUS 3313 Music for Exceptional Children or SPE 3200 Exceptional Children

(3)

MUS 33xx Literacy in the Music Classroom or RED 4364 Reading in the Content Area (3)

EDU 4333 Responsive Pedagogy (3)

EDU 4338 Psychological Foundations of Education (3)

EDU 4981 Observation, Student Teaching, and Practicum (9)

Total Number of Hours: 128

24

Bachelor of Arts in Music – Music Business Concentration

The concentration in Music Business is designed for music students desiring to specialize in

some aspect of the music industry. It prepares students for specific areas of the music industry

and allied fields (e.g., marketing, promotions, record sales, music production, etc.) Sufficient

preparation to pursue the study of music at the graduate school level is also provided. A

minimum of 40 semester hours is required in music courses. Additionally, students must choose

a minimum of 18 semester hours from within the Music Business area. This program's key

feature is the planning and execution of a senior project which is an ideal stepping stone to

further education or to any career in which the individual is deepened and enriched by

knowledge of music.

Optional Concentration in Music Business (18 Credits):

MUS 3302 Overview of the Music Industry 3

MUS 3310 Electronic Music 3

MUS 4312 Studio Recording Techniques I 3

MUS 4313 Studio Recording Techniques II 3

MUS 4330 Senior Project 3

Music Business Elective

(Choose 1 course from list below, not exclusive, consult with advisor)

ECO 2311 Principles of Microeconomics 3

MKT 3331 Principles of Marketing 3

MGM 3321 Principles of Management 3

Concentration in Music (19 Credits)

The music concentration is suggested for elementary or middle grades education majors. A

minimum of 18 semester hours is required.



MUS 2390 Survey of Music Literature 3

MUS 3211 Music Activities in Elementary Schools 2

Applied Music (Instrumental or Vocal) 4

Ensemble 4

*The student must complete the Music Proficiency Examination.

Music Business Minor (24 Credits)

This minor is open to any student in the university and is designed to enhance career

opportunities, to offer opportunities for literacy in the fields of music, business, and

communications, and to serve the interests of the students.

MUS 3305 Survey of Contemporary/Popular Music 3

MUS 3302 Overview of the Music Industry 3

MUS 4310 Legal Aspects of the Music Industry 3

MGT 3321 Principles of Management 3

MKT 3331 Principles of Marketing 3

MCM 2325 Introduction to Mass Communications 3

MUS 1320 Fundamentals of Music 3

Approved Music Elective 3

25

Minor in Music (25 Credits)

The minor in music is open to students following a non-teaching degree program. A minimum of

22 semester hours will be required.



MUS 2390 Survey of Music Literature I 3

MUS 3342 Technology in Music 3

Applied Music (Instrumental or Vocal) 4

Ensemble 3

Approved Music Electives 3

SCHOLARSHIPS

Departmental Scholarships (Available to Music Majors Only)

Davenport Scholarship

The James M. and Bernice Howard Davenport Music Scholarship was established by James M.

and Bernice Howard Davenport in 1985. Students selected for this award must be music majors

at Winston-Salem State University with a 3.00 GPA. Freshmen, Sophomores, Juniors and

Seniors are eligible to apply. Scholarship recipients will be selected by the Davenport Music

Scholarship committee. The James M. and Bernice Howard Davenport Music Scholarship is

offered every semester in the amount of $250

Criteria for applicants:

student must be in good academic standing

demonstrate commitment to a career in music

write a one-page essay expressing goals as a music major

submit 1-2 letters of recommendations

submit an unofficial university transcript

submit a completed Davenport Scholarship Application

James A. Dillard & Martha S. Atkins Scholarship

This scholarship was established by First Baptist Church (East) to aid academically promising

and financially deserving students to enter Winston-Salem State University and complete their

undergraduate education in music. Where it is feasible, the student must meet guidelines for

federal financial aid. The student should be an entering freshman who has no less than a 3.00

cumulative GPA from high school and an 800 composite SAT score or an equivalent ACT. In

addition, the student may be a rising sophomore with a 3.00 or above cumulative GPA at

Winston-Salem State University. This scholarship is not renewable, and is to be awarded during

commencement week.

Criteria for applicants:

student must be in good academic standing with the University and the Music

Department

demonstrate commitment to a career in music

write a one-page essay expressing goals as a music major

submit one letter of recommendation from applied instructor

submit an unofficial university transcript

submit a copy of SAT/ACT scores

submit a completed James A. Dillard & Martha S. Atkins Scholarship Application

26

For additional information contact: Ms. Deena Moore, Scholarship Chairperson

Department of Music

601 Martin Luther King, Jr. Drive

Winston-Salem, NC 27110

(336) 750-2524

[email protected]

ENSEMBLE SCHOLARSHIPS

Choral

Full or partial tuition (in-state) scholarships are available to all students having auditioned and

enrolled in the University Choir. The following criteria are required of all students auditioning

for the Choir Scholarship:

1. Official acceptance by the University Admissions Office.

2. Completion of the Federal Student Aid Application with results forwarded to

Winston-Salem State University.

3. Completion of the Winston-Salem State University Financial Aid Form every year

enrolled in Winston-Salem State University.

4. A 2.0 grade point average to qualify for the scholarship and at least a 2.5 cumulative

grade point average to keep the scholarship.

5. Letters (2) of recommendation forwarded to Winston-Salem State University Choir

Director (from high school or church choral director, private instructors, etc...). See

mailing address below.

6. Willingness to abide by the class syllabus given at the beginning of each semester.

Choral Scholarship Audition Requirements

1. Perform one (1) Foreign Language: Latin, Italian, French or German.

2. Perform one (1) English: Folk Song/Negro Spiritual, Broadway, and Art Song.

3. Perform one (1) piece of the student’s choosing that would best display vocal talent.

4. Sight-Singing.

5. Personal conference with auditioner (s).

6. Score at least 80 out of a 100 point score on the entire audition.

NOTE: All music to be accompanied must reach the Department of Music at least one

(1) day prior to audition. All auditions must be scheduled in advance.

Contact: D’Walla Simmons Burke, Director of Choirs and Vocal Studies

Music/#116

Winston-Salem State University

Winston-Salem, NC 27110

Office: (336) 750-2525; 750-2522 (fax)

[email protected]


27

Instrumental

Full or partial tuition (in-state) scholarships are available to all qualified students who have

auditioned and been accepted by the University. The following criteria are required of all

students auditioning for the Marching Band, Symphonic Band, Wind Ensemble, Jazz Ensemble,

String Ensemble, and/or Pep Band Scholarships:

1. Completion of the Federal Student Aid Application, with results forwarded to

Winston-Salem State University. Students must apply for this aid every year enrolled

in Winston-Salem State University.

2. Completion of the Winston-Salem State University Financial Aid Form every year

enrolled in Winston-Salem State University.

3. At least a C average must be maintained while on scholarship or the scholarship will

be jeopardized.

4. All incoming freshmen and/or transfer students should have letters of

recommendation from high school band directors, orchestra directors, or private

instructors forwarded to the director of each ensemble.

5. Willingness to abide by the class syllabus given at the beginning of each semester.

Band Scholarship Audition Requirements

Level I Priority, Minimum Expectations

A letter of good standing from the high school director

Grade point average of at least 3.00 (B average or better)

Chromatic Scale: Practical range of the instrument

Major Scales: C,F,G,Bb, D, Eb, A, Ab, E, B, Db, Gb

Minor Scales: A, D, E, G, C (Natural Minor)

Broken Chords and Thirds on the scales listed earlier

Prepared Material: Etude (study) and /or Solo Grade 4 or higher

Sight-reading

All 26 basic rudiments (percussion)

Level II Priority, Minimum Expectations


Grade point average of at least 2.5 (C+ average or better)

Chromatic Scale

Major Scales: C, F, G, Bb, D, Eb, A, Ab, E

Prepared Material: Etude (study) and /or Solo. Standard band selections are acceptable.

(Pop tunes are unacceptable)

Sight-reading

All 26 basic rudiments (percussion only)

28

Level III Band Participation, Minimum Expectations (Ineligible for scholarship)


Grade point average of at least 2.00 (C average or better)

Chromatic Scale

Major Scales: C, F, G, Bb, D, Eb, A, Ab

Prepared Material: Standard band selections are acceptable. (Pop tunes are unacceptable)

Sight-reading

All 26 basic rudiments (percussion only)

Important:

Level I Priority: Minimum tempo for scales, chords, and thirds, eighth note = 96.

Level II Priority: Minimum tempo for scales, chords, and thirds, eighth note = 88.

Level III Priority: Minimum tempo for scales, chords and thirds, eighth note = 60.

All scales must encompass the practical range of the instrument. Scales must be tongued

ascending and slurred descending.

Percussionist must demonstrate proficiency on a melodic percussion instrument.

Note:

Scholarships are competitive. The initial amount of the scholarship is determined by three

factors:

The student’s audition results

The needs of the program

The availability of funds

In addition, only Levels I and II students will be considered for band scholarships.

Contact: Dr. Michael Magruder

601 Martin Luther King, Jr., Drive


Winston-Salem, North Carolina 27110

Telephone: (336) 750-2527 (Dr. Michael Magruder)

(336) 750-2520 (Music Department)

String Ensemble Audition Requirements

Level I Priority (Minimum Expectations)

A letter of good standing from the high school director of orchestra or music program.

Grade point average of at least 3.00 (B average or better).

Chromatic scale ranging 2 octaves starting on lowest note (sixteenth notes eight to a

bow).

Major scales: Choose 8 keys (3 octaves, sixteenth notes, eight to a bow).

Minor scales (melodic and harmonic): Choose 8 keys (3 octaves, sixteenth notes, eight to

a bow).

Arpeggios (major and minor): (3 octaves, eighth notes, four to a bow).

Prepared Material: Etude (study) and a Solo Piece (sample repertoire to demonstrate

minimum level of difficulty is listed below).

Sight-reading

Ability to play scales in double-stops – one octave, half notes, detached bowing (octaves

and thirds) in the key of choice.

29

Sample Repertoire for Level I Priority Scholarship:

Pieces

2 movements of a concerto (Bach, Vivaldi, Telemann Accolay)

Bach Ariosto, Corelli or Handel Sonata

Meditation from “Thais” by Massenet

Kreisler’s Rondino (on a theme by Beethoven)

Allegro Brilliant by Ten Have

Vaughn Williams Suite for Viola and Piano: Group I, No. 1

Faure (Casals) – Apres un Reve

Etudes

Kreutzer Forty-two Studies: Nos. 5 – 30

Mazas – Seventy-five Melodious and Progressive Studies, Op. 36: Nos. 9, 10, 20 – 30

Dotzauer – One Hundred and Thirteen Exercises, Book 3: Nos. 63, 65, 66

Bille – Eighteen Studies

Level II Priority, Minimum Expectations


Grade point average of at least 2.5 (C+ average or better).

Chromatic Scale ranging octaves (four to a bow, eighth notes).

Major Scales in 3 octaves: choose 4 keys (four to a bow, eighth notes).

Minor Scales (Harmonic and Melodic) in 2 octaves: choose 4 keys (four to a bow, eighth

notes).

Prepared Material: Etude (study) and a Solo Piece of at least Grade 3 or 4 level.

Sight-reading.

Level III String Ensemble Participation, Minimum Expectations (Ineligible for scholarship)


Grade point average of at least 2.00 (C average or better).

Chromatic Scale ranging 2 octaves (quarter notes, one or two notes to a bow).

Prepared Material: A Solo Piece and/or Etude (study) of at least Grade 2 level.

Sight-reading.

30

APPENDIX A

RECOMMENDATION FOR

ADMITTANCE TO TEACHER EDUCATION PROGRAM CHECK LIST (11/14/13)

Requirements/Documentation Yes No

Name of Candidate:

1. An overall GPA of at least 2.5 at WSSU. Candidate’s GPA:

2. Completed teacher education application for Admission.

3. Copies of official scores for all the Praxis I tests taken or 1100+ on SAT

4. A total best score across the three Praxis I tests that matches or exceeds the total of the minimum scores of each section (522)

Subject Area Minimum Score Candidate’s Highest Score

Reading 176 Mathematics 173 Writing 173 Total 522

5. Verification of 45 hours completion in General Studies (reviewed by

advisor)

6. Minimum Grade of “C” in all English Classes

7. Minimum Grade of “C” in all Mathematics Classes

8. Minimum Grade of “C” in Speech Class

9. Minimum Grade of “C” in EDU 2334 Education, Culture, and Society 10. No Outstanding Disposition Referrals

11. Tuberculin Skin Testing Received

12. Character Reference Statements Acceptable (3)

13. ESSAY successfully Passed or EXEMPT

14. Virtual Introduction successfully PASSED

15. Candidate’s Professional PHOTO

16. Candidate’s Professional GOALS statement

Note: Praxis II is a requirement during preclinical/student teaching.

31

APPENDIX B

RECOMMENDED PLANS OF STUDY FOR MUSIC PROGRAMS

(Begin on next page)

32

Bachelor of Arts in Music Recommended Plan of Study

Freshman Year – Fall Semester (17 hours) Freshman Year – Spring Semester (17

hours)

MUS XXXX Applied Lesson (recommended) MUS XXXX Applied Lesson (recommended)

MUS XXXX Ensemble MUS XXXX Ensemble

Gen. Ed. Courses (15 hours) MUS 1320 Fundamentals of Music

(recommended)

Gen. Ed. Courses (12 hours)

Sophomore Year – Fall Semester (17

hours)

Sophomore Year – Spring Semester (14

hours)



Gen. Ed. Courses (15 hours) Gen. Ed. Courses (12 hours)

Junior Year – Fall Semester (14 hours) Junior Year – Spring Semester (16 hours)

MUS 31XX Applied Lesson MUS 31XX Applied Lesson

MUS 2111 Piano I MUS 2112 Piano II

MUS 3301 Music Theory I MUS 3303 Music Theory II

MUS 2390 Survey of Music Literature MUS 3316 Music History I

*MUS 3339 Afro-American Music *MUS 3340 Non-Western Music

*MUS 3302 Overview of the Music Industry *MUS 3305 Survey of Contemporary/Pop.

Music

*MUS 3226 Instrumentation & Orchestration

Senior Year – Fall Semester (13 hours) Senior Year – Spring Semester (13 hours)


MUS 2113 Piano III MUS 2114 Piano IV

MUS 4315 Music Theory IIII MUS 4316 Music Theory IV

MUS 3317 Music History II ^MUS 1305 Music and Poetry of Art Song

*MUS 4228 Commercial Music Arranging *MUS 4231 Record Label Marketing

*MUS 4312 Studio Recording Techniques I *MUS 4313 Studio Recording Techniques II

60 hours of General Education Curriculum in yellow

^ or 3 credits from list of approved Musicianship Elective(s)

* or 24 credits from list of approved coursework at the 3000 level or above

33

Bachelor of Arts in Music with a Concentration in Music Business

Recommended Plan of Study


hours)



Gen. Ed. Courses (15 hours) Gen. Ed. Courses (12 hours)


hours)


hours)




(recommended)


Junior Year – Fall Semester (14 hours) Junior Year – Spring Semester (16 hours)




MUS 2390 Survey of Music Literature MUS 3316 Music History I

MUS 3302 Overview of the Music Industry MUS 3310 Electronic Music

Gen. Ed. Courses (3 hours) ~MUS 3226 Instrumentation & Orchestration




MUS 2113 Piano III MUS 2114 Piano IV


MUS 3317 Music History II ^MUS 1305 Music and Poetry of Art Song

MUS 4312 Studio Recording Techniques I MUS 4313 Studio Recording Techniques II

*MGM 3321 Principles of Management MUS 4330 Senior Project

~MUS 4230 Artist Management ~MUS 4231 Record Label Marketing


^ or 3 credits from list of approved Musicianship Elective(s)

* or 3 credits from list of approved Music Business Electives

~ or 6 credits from list of approved coursework at the 3000 level or above

34

Bachelor of Arts in Music – Music Education Licensure Recommended Plan of Study


hours)




(recommended)



hours)


hours)

MUS XXXX Applied Lesson (recommended) MUS 31XX Applied Lesson




EDU 2334 Education, Culture, and Society Gen. Ed. Courses (12 hours)


Junior Year – Fall Semester (18 hours) Junior Year – Spring Semester (15 or 16

hours)


MUS 2113 Piano III MUS 2114 Piano IV (if needed)


MUS 3317 Music History II MUS 3316 Music History I

MUS 3323/3344 Literature with Conducting MUS 3307 Principles/Methods Elementary

School

MUS 2150 Brass Methods MUS 2130 Strings Methods

MUS 2104 Voice Methods MUS 2140 Woodwind Methods

MUS 2304 Introduction to Music Education MUS 3313 Exceptional Children

*Teacher Education Application


MUS 31XX Applied Lesson MUS 4130 Senior Recital/Lecture

Recital/Project

EDU 4338 Psychological Foundations EDU 4981 Student Teaching

RED 4364 Reading in the Content Area EDU 4333 Responsive Pedagogy

MUS 3308 Principles/Methods Secondary

School

MUS 3342 Technology in Music Education

MUS 2160 Percussion Methods



35

APPENDIX C

APPLIED MUSIC JURY FORMS

(Begin on next page)

36

Department of Music


Winston-Salem, North Carolina

Brass/Woodwind

JURY EVALUATION SHEET

Name: Date:

Instructor: Course #:

Term: Fall [ ] Spring [ ] Major: BA [ ] Class: Fr. [ ]

MUE [ ] Soph. [ ]

Jr. [ ]

Sr. [ ]

Literature studied during this semester:

TITLE COMPOSER

Jury Selection

=============================================================== Scale: 1 = Poor 2 = Fair 3 = Average 4 = Good 5 = Superior

Dress [ ]

Stage Presence [ ]

Technique [ ]

Technical dexterity [ ]

Note Accuracy [ ]

Dynamics [ ]

Phrasing [ ]

Tempo [ ] Musical Effect [ ]

Choice of Literature [ ]

Intonation [ ]

Articulation [ ]

Progress:

Juror: ______________________________

37

Brass/ Woodwind Jury Rubric

CATEGORY 5 4 3 2 1

Dress Student is dress is

professional, business

attire appropriate for concert performance

N/A Student has made an

effort to dress

appropriately for concert performance,

but lacking in some

area (shoes, slacks, shirt, etc.).

N/A Student is not dressed

appropriately for

concert performance

Stage Presence Student is

comfortable playing in front of an

audience.

Student is relatively

comfortable playing in front of an audience.

Student has some

issues playing in front of an audience.

Student has severe


Student cannot

function playing in front of an audience.

Tone Quality Tone is consistently

focused, clear, and centered throughout

the range of the

instrument.

Tone is focused, clear and

centered through the normal playing range of

the instrument. Extremes

in range sometimes cause tone to be less controlled.

Tone quality typically

does not detract from the

performance.

Tone is often focused,

clear and centered, but sometimes the

tone is uncontrolled in

the normal playing range. Extremes in

range are usually

uncontrolled.

Occasionally the tone

quality detracts from overall performance.

The tone is often not

focused, clear or centered regardless

of the range being

played, significantly detracting from the

overall performance.

The tone is rarely

focused, clear or centered regardless of

the range being played

thus making it difficult to discern pitch and/or

rhythm.

Tempo/Rhythm The beat is secure and

the rhythms are accurate for the style

of music being

played.

The beat is secure and the

rhythms are mostly accurate. There are a few

duration errors, but these

do not detract from the overall performance.

The beat is somewhat

erratic. Some rhythms are accurate. Frequent

or repeated duration

errors. Rhythm problems occasionally

detract from the


The beat is usually

erratic and rhythms are seldom accurate

detracting

significantly from the overall

performance.

The beat is usually

erratic and rhythms are rarely accurate

detracting significantly

from the overall performance.

Intonation/ Note

Accuracy

Virtually no errors.

Pitch is very accurate.

An occasional isolated

error, but most of the time pitch is accurate and

secure.

Some accurate

pitches, but there are frequent and/or

repeated errors.

Very few accurate or

secure pitches.

Little to no accurate or

secure pitches.

Technical dexterity Technical dexterity is consistent with the

needs of musical

phrases and the technique required for

the piece.

Technical dexterity is consistent the technique

required for the piece, but

is not often consistent with the needs of musical

phrases.

Technical dexterity is sometimes consistent

the technique required

for the piece, but is not often consistent

with the needs of

musical phrases.

Technical dexterity is sometimes

consistent the

technique required for the piece, but is

rarely with the needs

of musical phrases.

Technical dexterity is rarely consistent the

technique required for

the piece, and is rarely with the needs of

musical phrases.

Articulation Secure attacks.

Markings (staccato,

legato, accents, etc.) are executed

accurately as directed

by the score.

Attacks are usually

secure, though there

might be an isolated error. Markings are executed

accurately as directed by

the score.

Attacks are rarely

secure, but markings

are often executed accurately as directed

by the score.

Few secure attacks.

Markings are

typically not executed accurately.

Rare secure attacks.

Markings are rarely

executed accurately.

Dynamics Dynamic levels are

obvious, consistent,

and an accurate interpretation of the

style of music.

Dynamic levels are

typically accurate and

consistent.

Dynamic levels

fluctuate but can be

discerned.

Attention to

dynamic levels is not

obvious.

Attention to dynamic

levels is not at all

apparent.

Phrasing Phrasing is always consistent and

sensitive to the style

of music being played.

Phrasing is usually consistent and sensitive to

the style of music being

played.

Phrasing is usually consistent and

occasionally sensitive

to the style of music being played.

Phrasing is sometimes

consistent and/or

rarely sensitive to musical style.

Phrasing is rarely consistent and/or rarely

sensitive to musical

style.

Musical Effect The overall musical

effect is confident and pleasing to the

listener based upon

the technical demands of the work.

N/A The overall musical

effect is somewhat pleasing to the

listener based upon



effect is not at all pleasing to the listener

based upon the

technical demands of the work.

Choice of Literature The work chosen is

suitable and

appropriate for the level of the student and

is performed by the

student at an

exceptional level.

The work chosen is suitable

and appropriate for the

level of the student and is performed by the student to

a good level.

The work chosen is

suitable and


is performed by the

student at an average

level

The work chosen may

not be suitable and

appropriate for the level of the student

and is not performed

by the student at an

average level.

The work chosen is not

suitable and appropriate

for the level of the student and is poorly

performed by the

student.

38

Department of Music


Winston-Salem, North Carolina

PERCUSSION


Name: Date:



MUE [ ] Soph. [ ]

Jr. [ ]

Sr. [ ]


TITLE COMPOSER

=============================================================== Scale: 1 = Poor 2 = Fair 3 = Average 4 = Good 5 = Superior

Dress [ ]

Stage Presence [ ]

Technique [ ]

Sticking [ ]

Note Accuracy [ ]

Dynamics [ ]

Phrasing____________________________________________________________ [ ]

Tempo [ ]

Musical Effect [ ]


Intonation (Timpani) [ ]

Articulation (Timpani) [ ]

Progress

Juror: ______________________________

39

Percussion Jury Rubric

CATEGORY 5 4 3 2 1

Dress Student is dress is

professional, business

attire appropriate for concert performance

N/A Student has made an

effort to dress

appropriately for concert performance,

but lacking in some

area (shoes, slacks, shirt, etc.).

N/A Student is not dressed

appropriately for

concert performance

Stage Presence Student is

comfortable playing in front of an

audience.

Student is relatively

comfortable playing in front of an audience.

Student has some


Student has severe


Student cannot

function playing in front of an audience.


focused, clear, and centered throughout

the range of the

instrument.


centered through the normal playing range of

the instrument. Extremes

in range sometimes cause tone to be less controlled.

Tone quality typically

does not detract from the

performance.


clear and centered, but sometimes the

tone is uncontrolled in

the normal playing range. Extremes in

range are usually

uncontrolled.




focused, clear or centered regardless

of the range being

played, significantly detracting from the


The tone is rarely

focused, clear or centered regardless of

the range being played

thus making it difficult to discern pitch and/or

rhythm.



of music being

played.



duration errors, but these

do not detract from the overall performance.



or repeated duration

errors. Rhythm problems occasionally

detract from the


The beat is usually


detracting

significantly from the overall

performance.

The beat is usually


detracting significantly

from the overall performance.

Intonation/ Note

Accuracy





secure.

Some accurate

pitches, but there are frequent and/or

repeated errors.


secure pitches.


secure pitches.

Sticking Sticking is consistent with the needs of

musical phrases and

the technique required for the piece.

Sticking is consistent the technique required for the

piece, but is not often

consistent with the needs of musical phrases.

Sticking is sometimes consistent the


the piece, but is not often consistent with

the needs of musical

phrases.

Sticking is sometimes

consistent the

technique required for the piece, but is

rarely with the needs

of musical phrases.

Sticking is rarely consistent the


the piece, and is rarely with the needs of

musical phrases.


Markings (staccato,

legato, accents, etc.) are executed


by the score.

Attacks are usually

secure, though there

might be an isolated error. Markings are executed

accurately as directed by

the score.

Attacks are rarely

secure, but markings

are often executed accurately as directed

by the score.

Few secure attacks.

Markings are

typically not executed accurately.


Markings are rarely



obvious, consistent,

and an accurate interpretation of the

style of music.

Dynamic levels are

typically accurate and

consistent.

Dynamic levels

fluctuate but can be

discerned.

Attention to

dynamic levels is not

obvious.


levels is not at all

apparent.

Phrasing Phrasing is always consistent and

sensitive to the style


Phrasing is usually consistent and sensitive to

the style of music being

played.

Phrasing is usually consistent and

occasionally sensitive

to the style of music being played.

Phrasing is sometimes

consistent and/or

rarely sensitive to musical style.

Phrasing is rarely consistent and/or rarely

sensitive to musical

style.

Musical Effect The overall musical

effect is confident and pleasing to the

listener based upon



effect is somewhat pleasing to the

listener based upon



effect is not at all pleasing to the listener

based upon the

technical demands of the work.

Choice of Literature The work chosen is

suitable and


is performed by the

student at an

exceptional level.

The work chosen is suitable

and appropriate for the

level of the student and is performed by the student to

a good level.

The work chosen is

suitable and


is performed by the

student at an average

level

The work chosen may

not be suitable and

appropriate for the level of the student

and is not performed

by the student at an

average level.




performed by the

student.

40

Department of Music

Winston Salem State University

Winston Salem, North Carolina

STRING


Name: Date:



MUE [ ] Soph. [ ]

Jr. [ ]

Sr. [ ]


TITLE COMPOSER

==========================================================

Scale: 1 = Poor 2 = Fair 3 = Average 4 = Good 5 = Superior Stage Presence [ ]

Tone Quality [ ]

Tempo/Rhythm [ ]

Intonation/ Note Accuracy [ ]

Bow Distribution [ ]

Articulation [ ]

Dynamics [ ]

Phrasing [ ]

Musical Effect [ ]


Progress:

__________________________________________________________________

__________________________________________________________________

__________________________________________________________________

Juror: ______________________________

41

String Jury Rubric

CATEGORY 5 4 3 2 1

Stage Presence Student is comfortable playing in front of an

audience.

Student is relatively comfortable playing in

front of an audience.

Student has some issues playing in front

of an audience.

Student has severe issues playing in

front of an audience.

Student cannot function playing in front of an

audience.


focused, clear, and

centered throughout the range of the

instrument.


centered through the

normal playing range of the instrument. Extremes

in range sometimes cause

tone to be less controlled. Tone quality typically does

not detract from the

performance.


clear and centered, but

sometimes the tone is uncontrolled in the

normal playing range.

Extremes in range are usually uncontrolled.




focused, clear or

centered regardless of the range being

played, significantly

detracting from the overall performance.

The tone is rarely

focused, clear or

centered regardless of the range being played

thus making it difficult

to discern pitch and/or rhythm.






duration errors, but these do not detract from the




or repeated duration errors. Rhythm

problems occasionally

detract from the overall performance.

The beat is usually


detracting significantly from the


The beat is usually


detracting significantly from the overall

performance.

Intonation/ Note

Accuracy





secure.

Some accurate pitches,

but there are frequent and/or repeated errors.


secure pitches.


secure pitches.

Bow

Distribution

The usage of bow is

consistent with the

needs of musical phrases and the


the piece.

The usage of bow is

consistent the technique

required for the piece, but is not often consistent with

the needs of musical

phrases.

The usage of bow is

sometimes consistent

the technique required for the piece, but is not

often consistent with

the needs of musical phrases.

The usage of bow is


the technique required for the

piece, but is rarely

with the needs of musical phrases.

The usage of bow is

rarely consistent the

technique required for the piece, but is rarely

with the needs of

musical phrases.


Markings (staccato, legato, slur, accents,

etc.) are executed

accurately as directed by the score.

Attacks are usually secure,

though there might be an isolated error. Markings

are executed accurately as

directed by the score.

Attacks are rarely

secure, but markings are often executed


by the score.

Few secure attacks.

Markings are typically not



Markings are rarely executed accurately.


obvious, consistent, and an accurate

interpretation of the

style of music.

Dynamic levels are

typically accurate and consistent.

Dynamic levels

fluctuate but can be discerned.


levels is not obvious.


levels is not at all apparent.

Phrasing Phrasing is always

consistent and

sensitive to the style of music being played.

Phrasing is usually

consistent and sensitive to

the style of music being played.

Phrasing is usually

consistent and

occasionally sensitive to the style of music

being played.

Phrasing is


and/or rarely sensitive to musical

style.

Phrasing is rarely

consistent and/or rarely

sensitive to musical style.

Musical Effect The overall musical effect is confident and

pleasing to the listener

based upon the technical demands of

the work.

N/A The overall musical effect is somewhat


based upon the technical demands of

the work.

N/A The overall musical effect is not at all


based upon the technical demands of the work.

Choice of

Literature

The work chosen is

suitable and


is performed by the

student at an exceptional level.

The work chosen is

suitable and appropriate for

the level of the student and is performed by the student

to a good level.

The work chosen is

suitable and


is performed by the

student at an average level

The work chosen

may not be suitable

and appropriate for the level of the

student and is not

performed by the student at an average

level.




performed by the

student.

42

WSSU DEPARTMENT OF MUSIC PIANO JURY FORM

(Must be typed)

(Five typed copies should be given to the applied teacher no later than the last lesson along with seven copies of Jury selection, before the examination.)

Student's Name:

Local Telephone:

Local Address: Degree program:

(Mark an “X”)

BA MUE

Proposed

Grad . Date:

Current Classification

Proposed yr./ sem.

of junior recital :

Proposed Yr./ Semester of

senior recital:

Jury for (Mark an “X”) Fa Sp Year: Name of applied teacher:

Chamber Ensemble this semester? Average number of practice hours per week this semester:

I have stud ied during the semester the following technical stud ies/ repertoire. An “M” before the composition ind icates it was memorized .

A “U” ind icates a new composition assigned yet unfinished .

(a) Repertoire/Composer Studied

1.

2.

3.

4.

(b) Seminars Performed (Repertoire/Date)

1.

2.

(c) Jury Composition/Composer

1.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (To be completed by Applied Teacher/ Juror) - - - - - - - - - - - - - - - - - - - - - - - - - - - -

General Comments:

Recommended classification for next semester Course # __________ Semester __________

Members of Jury:

Teacher grade

Jury grade

Final grade

43

Total Score ______

Added score / 6 categories = Total Average Score ______

Comments:

CATEGORY 4 = Exceptional 3 = Target 2 = Developing 1 = Unacceptable SCORE

Tone Quality and Pedal (if applicable)

The tone projects well, is controlled, and has a pleasing articulation that is appropriate for the style. Pedaling is clear and enhances performance.

The tone usually projects, is usually controlled, and has articulation that is generally appropriate. Pedaling is usually clear.

Tone projection is inconsistent and is sometimes uncontrolled. Articulation is not always appropriate. Pedaling is sometimes blurry or choppy and somewhat detracts from the performance.

Tone is very uncontrolled, and articulation is seldom appropriate for the style. Pedaling is usually blurry or choppy and significantly detracts from the overall performance.

Accuracy (pitches and

rhythm)

Virtually no errors in notes. Beat is steady and rhythms are accurate.

An occasional note error. A few rhythmic errors, but they do not detract from the overall performance.

Frequent repeated note errors. Tempo is somewhat unsteady and rhythm errors occasionally detract from the overall performance.

Very few accurate notes. Tempo is usually unsteady and rhythm errors significantly detract from the overall performance.

Technique Technique is relaxed and efficient. Fingers are agile, wrists and arms are loose, and body is well-coordinated.

Technique is usually relaxed and efficient. Fingers are fairly agile, wrists and arms are usually loose, and body is generally well-coordinated.

Technique is somewhat relaxed and efficient. Fingers are sometimes agile, wrists and arms are sometimes tense, and body is sometimes well-coordinated.

Technique is stiff and inefficient. Fingers are tight, wrists and arms are tense, and body is generally uncoordinated.

Dynamics Dynamic levels are obvious, consistent, and display an accurate interpretation of the style of music being sung.

Dynamic levels are generally accurate and consistent.

Dynamic levels fluctuate but can be discerned.

Attention to dynamic levels is not obvious.

Interpretation and Style

Performs with a creative nuance and style in response to the score. Shows thorough knowledge of appropriate performance practice.

Generally performs with nuance and style that is indicated in the score. Interpretation shows some knowledge of appropriate performance practice.

Sometimes performs with nuance and style that is indicated in the score. Shows little knowledge of appropriate performance practice.

Rarely demonstrates expression and style. Shows no knowledge of appropriate performance practice.

Stage Presence Student has good posture, appears confident and relaxed, and demonstrates pleasant and professional deportment.

Student has fairly good posture, appears somewhat confident and relaxed, and demonstrates reasonable deportment.

Student has fairly poor posture, appears somewhat tense and uncomfortable, and demonstrates reasonable deportment.

Student has poor posture, appears tense and uncomfortable, and demonstrates unprofessional deportment.

44

WSSU DEPARTMENT OF MUSIC VOICE JURY FORM

(Must be typed)

(Five typed copies should be given to the applied teacher no later than the last lesson along with five copies of Jury selection, before the examination.)

Student's Name:

Local Telephone:

Local Address:

Degree/ Maj. Sought:

Proposed

Grad . Date:

Current Classification

Cred it:

Proposed yr./ sem.

of junior recital :

Proposed Yr./ Semester of

senior recital:

Jury for (Place an “X”) Fa Sp Year: Name of applied teacher:

Performance instrument or voice: Average number of practice hours per week this semester:

I have stud ied during the semester the following technical stud ies/ repertoire. An “M” before the composition ind icates it was memorized .

An “R” ind icates it was performed in repertoire/ d iction class. An “S” ind icates it was performed on seminar. A “U” ind icates a new

composition assigned yet unfinished.

(a) Repertoire/Composer Studied

2.

3.

4.

5.

(b) Seminars Performed (Repertoire/Date)

1.

2

3.

(c) Jury Composition/Composer

1.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (To be completed by Applied Teacher/ Juror) - - - - - - - - - - - - - - - - - - - - - - - - - - - -

(Include the following items in comments: tone; intonation; technique; interpretation; musical effect and stage presence)

Comments:

Recommended classification for next semester Course # __________ Semester __________ Cred its _________

Members of Jury:

Teacher grade

Jury grade

Final grade

45

Total Score

Added score / 10 categories = Total Average Score

Comments:

CATEGORY 4 = Exceptional 3 = Target 2 = Developing 1 = Unacceptable SCORE

Tone Quality The tone is consistently

focused, clear, and centered throughout the range of the voice.

Extremes in range sometimes cause tone to be less controlled.

Tone quality typically does not detract from

the performance.

The tone is sometimes uncontrolled. Extremes in range are usually uncontrolled & occasionally the tone quality detracts from overall performance.


focused, clear or centered regardless of the range, significantly detracting from

the overall performance.

Accurate Pitches




error, but most of the time pitch is accurate and secure.

Some accurate pitches, but there are frequent repeated errors that somewhat detract from

the overall performance.

Very few accurate or secure

pitches.

Dynamics Dynamic levels are obvious, consistent, and display an accurate interpretation of the style of music being sung.

Dynamic levels are typically accurate and

consistent.

Dynamic levels fluctuate

but can be discerned. Attention to dynamic levels is not obvious.

Phrasing Phrasing is always

consistent and sensitive to the style of music being sung.

Phrasing is usually


Phrasing is occasionally


Phrasing is rarely consistent

and/or rarely sensitive to musical style.

Expression and Style

Performs with a creative nuance and style in response to the score.

Typically performs

with nuance and style that is indicated in the score.

Sometimes performs

with nuance and style that is indicated in the score.

Rarely demonstrates

expression and style.

Entrances and articulation markings

Entrances are secure. Markings (staccato, legato, slur, accents, etc…) are executed accurately.

Entrances are usually secure, though there might be an isolated error. Markings are usually executed accurately.

Entrances are rarely

secure, but markings are sometimes executed

accurately.

Few secure entrances. Markings are typically not


Breath Support

Student breathes properly and supports the tone throughout the end of each phrase.

Student usually breathes properly, but occasionally does not support the tone throughout the end of each phrase.

Student sometimes breathes properly and only occasionally supports the tone throughout the end of each phrase.

Student rarely breathes correctly and never supports

the tone throughout the end of each phrase.

Diction Student articulates clearly and the text of the music is understandable.

Student articulates somewhat clearly and

the text can be understood most of the

time.

Student sometimes

articulates the words but the text is often not

discernable.

Student rarely articulates the words and the text is not

discernable.

Posture and Relaxation

Student uses a proper and relaxed singing stance with no visible tension in the throat, jaw, and/or body.

Student uses a proper and relaxed singing stance most of the time with limited tension visible in the throat, jaw, and/or body.

Student often shows

tension in the throat, jaw, and/or body and improper posture.

Student rarely demonstrates

proper posture or singing stance and tension is highly visible in the throat, jaw,

and/or body.

Rhythm While singing, the beat is secure and the rhythms are accurate.

While singing, there are a few duration errors, but they do not

detract from the overall performance.

While singing, the beat is somewhat erratic and there are frequent duration errors that occasionally detract from the overall performance.

While singing, the beat is usually erratic and rhythms are seldom accurate, detracting significantly from the overall performance.

46

APPENDIX D

UNIVERSITY CONTACTS

Academic Affairs ..........................................................................................750-2200

Music Department Chair ...............................................................................750-2535

Admissions ....................................................................................................750-2070

Registrar ........................................................................................................750-3330

Financial Aid .................................................................................................750-3280

Residence Life ..............................................................................................750-3400

School of Education ......................................................................................750-2370

Campus Police ..............................................................................................750-2900

Writing Center ..............................................................................................750-2185

Computer Help Desk .....................................................................................750-3431

47

PLEASE BRING THIS HANDBOOK TO ALL ADVISING

AND REGISTRATION SESSIONS.

Policies on admissions, retention, employment, and promotion at the University are applied

without discrimination on the basis of race, color, creed, religion, sex, or national origin.

Music Handbook Committee (2013-2014): Anthony Artimisi (Chair), Myron Brown, Lee David

Legette, Karen Rice

wwssssuu ddeeppaarrttmmeenntt ooff mmuussiicc · wwssssuu ddeeppaarrttmmeenntt ooff mmuussiicc ......

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