HANDBOOK for MUSIC STUDENTS · This Handbook for Music Students contains important information for the music major, music minor, and Applied Music student. Here you will find answers

HANDBOOK for MUSIC STUDENTS

UPDATED August, 2019

Infobk01.doc/FORMS 4 2

Fall 2019

Dear University of Michigan-Flint Music Student,

Welcome, and welcome back, to the Department of Music! You are part of an artistic community which supports your development as a musician. You will perform great music and create your own; you will learn how to think and listen critically. You also will be challenged to ask questions, find answers, and – ultimately – launch your own musical careers.

This Handbook for Music Students contains important information for the music major, music minor, and Applied Music student. Here you will find answers to the most frequently asked questions concerning the Department of Music, its policies, and programs as they relate to Applied Music study (including recitals), in addition to other important information. Please read this document thoroughly. Music study at UM-Flint has the potential to transform you, enriching your life now and in the future, as you serve an ever-wider world audience. We wish you great success!

The Music Faculty

Department Mission and Program Assessment We serve students from a variety of musical backgrounds who are willing to demonstrate their commitment to becoming life-long musicians, challenging them to achieve excellence and mentoring them toward their goals. To accomplish this, the department offers an extensive music curriculum as well as a rich and diverse calendar of events including concerts, recitals, clinics, and workshops that provide opportunities for performers and audiences while promoting the university’s outreach efforts. (adopted April 29, 2013)

The Department of Music participates in the university-wide effort to assess its academic programs. Information on assessment plans, including goals, methods, and outcomes is available http://www.umflint.edu/assessment. The department’s assessment objectives are presented in the following section.

Department Objectives

As the Department of Music at the University of Michigan-Flint develops, it makes every attempt to be true to the mission of the university. Our objectives as a department are the following:

1. To provide all music majors (Bachelor of Arts in Music, Bachelor of Music, and

Bachelor of Music Education) with foundations in music history, music theory, and applied music; and, to provide preparation for students who wish to pursue graduate study in music.

2. To train competent music teachers for public and private elementary and secondary schools (B.M.E.).

3. To provide a foundation for students who wish to pursue music professions other than teaching.


4. To offer music performance, theory, literature, and methods courses for non-majors at the university, and courses fulfilling general education requirements.

5. To serve regional area music teachers and their students through courses, clinics, and workshops.

6. To provide a rich and diverse calendar of events enhancing opportunities for concert and recital attendance, promoting the university’s outreach efforts and improving the quality of life in the community’s service area.

7. To provide opportunities for talented middle school and senior high school musicians to participate in intensive performance programs designed to develop their skills and heighten enjoyment of and appreciation for the art of music.

I. ASSESSMENT PLAN OBJECTIVES FOR DEGREE PROGRAMS OFFERED

• BACHELOR OF ARTS in MUSIC (BA) 1. Students will acquire understanding of the common elements and organizational patterns

of music and their interactions in aural, verbal, and visual modes. 2. Students will acquire knowledge of basic history and repertory through the present time,

placing music in historical, cultural, and stylistic contexts. 3. Students will acquire the ability to use technologies current to their areas of

specialization. 4. Students will acquire technical skills requisite for artistic self-expression in at least one

major solo performance area.

• BACHELOR OF MUSIC (BM) Numbers 1-4 above and

5. Students will demonstrate ability to present an artistically compelling performance of representative literature.

• BACHELOR OF MUSIC EDUCATION (BME) Numbers 1-5 above and

6. Students will demonstrate ability to edit and produce audio recordings of concerts and recitals.

7. Students will demonstrate knowledge necessary to teach music performance and literature to elementary and secondary school students.

8. Students will demonstrate potential to effectively communicate knowledge about music and music performance to elementary and secondary schools students.

II. GUIDELINES FOR APPLIED MUSIC STUDY Students who have passed the department’s audition may register for Applied Music courses. Audition information is available in the Department of Music Office (126 French Hall) and on the department’s web site (https://www.umflint.edu/music).

In Applied Music, the student strives to achieve mastery of techniques idiomatic to the instrument or voice studied, and demonstrates musicianship through the interpretation of representative repertoire. The MUS 151 level is for entering freshmen who have passed the audition. Here the student is


introduced to college level study in Applied Music. During the semester, the instructor will determine the appropriate studies for each individual student. The majority of transfer students are placed in MUS 151. Placement to a higher level takes place if the student’s background and previous studies justify such, and if the audition is truly exceptional.

The student is responsible for contacting his/her Applied Music instructor and working out a time for Applied Music lessons; this must be done within the first week of classes. If the student does not have contact information for the Applied Music instructor, the students should obtain it from the administrative assistant in the Support Team office located at FH 220.

Please take care to register for the correct section of Applied Music in order to receive credit for your course. The section number designates the instrument or voice to be studied.

The Applied Music final grade depends upon several factors which include the following: weekly preparation for lessons; Performance Class attendance and required performances; concert attendance; and the jury performance. Please read these sections of the Handbook for Music Students very carefully.

A student who wishes to continue in Applied Music after a one-year enrollment lapse must re-audition.

1) APPLIED MUSIC REQUIREMENTS FOR DEGREES OFFERED AT UM-FLINT Please note the Applied Music course requirements for your program of study.

Bachelor of Music Education Bachelor of Arts in Music MUS 151 MUS 152

Applied Music I Applied Music II

2 credits 2 credits

MUS 151 MUS 152


2 credits 2 credits

MUS 251 Applied Music III 2 credits MUS 251 Applied Music III 2 credits MUS 252 Applied Music IV 2 credits MUS 252 Applied Music IV 2 credits MUS 351 Applied Music V 2 credits MUS 351 Applied Music V 2 credits MUS 352 Applied Music VI 2 credits MUS 352 Applied Music VI 2 credits MUS 451 Applied Music VII 2 credits MUS 452 Senior Performance 2 credits

Bachelor of Music in Performance MUS 151 MUS 152


2 credits 2 credits

MUS 251 Applied Music III 2 credits MUS 252 Applied Music IV 2 credits MUS 351 Applied Music V 2 credits MUS 352 Applied Music VI 2 credits, taken concurrently with MUS 356 [MUS 356 Junior Recital 2 credits] MUS 451 Applied Music VII 2 credits MUS 452 Senior Performance 2 credits, taken concurrently with MUS 456 [MUS 456 Senior Recital 2 credits]


2) SCALE AND ARPEGGIO REQUIREMENTS FOR INSTRUMENTALISTS* The following schedule of scales and arpeggios will be used for Applied Music levels for instrumentalists and will be required for the jury performance (rudiments are for percussionists, only):

Music 151 All major and natural minor scales-two octaves, eighth notes (M.M. quarter note = 112)

Rudiments for snare drum: Single Stroke Roll, Paradiddle, Double Paradiddle, 5 Stroke Roll, 9 Stroke Roll

Music 152 All major and minor scales-two octaves, eighth notes (M.M. quarter note = 112) Rudiments for snare drum: Long Double Stroke Roll, Long Multiple Bounce Roll, Flams (hand to hand), Ruffs (hand to hand), Drag

Music 251 All major and minor scales, eighth notes (M.M. quarter note = 112) All major and minor arpeggios-two octaves, eighth notes (M.M. quarter note = 112) Rudiments for snare drum: Flamacue, Flam Paradiddle, Single Drag Tap, Single Ratamacue

Music 252 All major and minor scales, all major and natural minor scales in thirds (1,3,2,4 etc.), eighth notes (M.M. quarter note = 112)

All major and minor arpeggios, eighth notes (M.M. quarter note = 112) All dominant, half-diminished and fully-diminished seventh arpeggios-two octaves, eighth

notes (M.M. quarter note = 112) Rudiments for snare drum: 6 Stroke Roll, 7 Stroke Roll, 13 Stroke Roll, Flam Tap, Flam Accent, Pataflafla, Double Pataflafla, Swiss Army Triplet These materials must be mastered at the Music 252 level and clearly demonstrated in the technique portion of the Music 252 jury. Failure to clearly demonstrate proficiency in technique alone will result in non-advancement to Music 351.

Music 351 All technique materials from Music 252 All major pentatonic scales in two octaves, eighth notes (M.M. quarter note = 112) Diminished scales from starting pitches C, F, and G, eighth notes (M.M. quarter note=112) Rudiments for snare drum: Single Stroke 4, Single Stroke 7, Triple Stroke Roll, 10 Stroke Roll, 11 Stroke Roll, 15 Stroke Roll, 17 Stroke roll, Triple Paradiddle, Single Paradiddle-diddle

Music 352 All technique materials from Music 351 All whole tone scales in two octaves, eighth notes (M.M. quarter note = 112) Rudiments for snare drum: Single Flammed Mill, Flam Paradiddle-diddle, Inverted Flam Tap, Flam Drag, Double Drag Tap, Lesson 25, Single Dragadiddle, Drag Paradiddle #1, Drag Paradiddle #2, Double Ratamacue, Triple Ratamacue

Music 451 All technique materials from Music 352 Modal scales (dorian, Phrygian, Lydian, mixolydian, and locrian) two octaves, eighth notes (M.M. quarter note = 112)

Adapted February 2017

* Because keyboardists and violinists might follow a different progression of scale advancement, please consult with your Applied Music instructor.

3) PARTICIPATION IN LARGE PERFORMANCE GROUPS All students enrolled in Applied Music must participate in a large performance ensemble. The policy applies each semester that a student enrolls in Applied Music (including Independent


Study-Applied Music). Wind and percussion majors must enroll in Wind Symphony; vocal majors must enroll in University Chorale; and, string majors must enroll in University Orchestra. Guitarists, harpists, and keyboardists may enroll in University Chorale or Wind Symphony to fulfill this requirement. A wind or percussion major may not enroll in University Chorale to fulfill the ensemble requirement. Similarly, a vocal major may not enroll in Wind Symphony or University Orchestra to fulfill the ensemble requirement. Music education majors are excused from the large performance group requirement during the semester of student teaching.

4A) PERFORMANCE CLASS All students enrolled in Applied Music (including Independent Study-Applied, MUS 392) are required to attend Performance Class each Friday at 11 AM. This course is considered a part of Applied Music, and the requirement applies to all students during every semester of Applied Music study. One point (1) is deducted from the final jury score for each absence from Performance Class (attendance is taken by the instructor). If students fail to perform the required number of times during each semester, five (5) points for each performance not given are deducted from the final tabulated jury grade. However, failure to perform in Performance Class at the 400 levels results in a failing grade for that semester.

w Students enrolled in 151 and 152 must perform at least once w Students enrolled in 251 and 252 must perform at least twice w Students enrolled in 351, 352, 451, and 452 must perform at least three times w Students enrolled in 392, Independent Study-Applied must perform at least once, unless

otherwise advised by the Applied Music instructor, in consultation with the department chairperson within two weeks of the first day of the semester/term

Vocalists at Mus 451 and 452 levels are required to sing at least two pieces for each performance. Instrumentalists at Mus 451 and 452 levels must perform at least one movement from a sonata/concerto, or a piece of similar difficulty. It is possible, in rare instances, for suitable duets and chamber works to be “counted” as solo performances, if each participant’s preparation is similar to what is required for solo performance. This determination will be made by the Performance Class instructor, in consultation with the Applied Music instructor.

Students may repeat a piece previously performed on a master class for a recital. Students may not repeat a piece previously performed on a recital for another recital.

4B) STUDENT PERFORMANCES IN PERFORMANCE CLASS The Performance Class Notebook Calendar is kept by the instructor of Performance Class, and is available to Applied Music students. In this notebook, students secure dates for their performances by "signing up" for specific master class and recital dates. An Applied Music student must confer with his/her Applied Music instructor when choosing a date to perform in Performance Class. For recitals: each student is responsible for completing an Online Recital Reservation Form (available at https://formassembly.umflint.edu/5648 ), and submitting it by 5 PM the Tuesday prior to the recital date. Students enrolled in 351, 352/356, 451, 452/456 will provide program notes for pieces to be performed. Program notes are to be submitted to the instructor of Performance Class on the Tuesday immediately prior to the Friday recital


performance date. For master classes: each student is responsible for completing the Online Master Class Reservation Form (available at https://formassembly.umflint.edu/5648 ), and submitting it by 5 PM the Tuesday prior to the master class date. The instructor of Performance Class is responsible for obtaining the permission of the Applied Instructor via email.

4c) ACCOMPANISTS It is the responsibility of the student to arrange for an accompanist for all master classes, recitals, and juries. A list of accompanists is available in the Department of Music office and with the Support Team in 220FH. Financial remuneration for accompanists is the individual responsibility of the performer. Students should secure an accompanist well in advance of performance dates so that appropriate rehearsal schedules may be set. Many accompaniments are very difficult and require extensive preparation time. Choose your accompanist carefully.

4D) CONCERT ATTENDANCE Musicians are connoisseurs of music. Applied Music students are required to attend at least four (4) concerts (two professional and two university-level student concerts) during each semester. Middle school, high school, and church choir performances are not acceptable. Students are to sign the programs of the concerts attended and file them in the appropriate area in the Department of Music office. Questions regarding the acceptability of a particular concert must be brought to the Performance Class instructor before attending the concert. One point will be deducted for each concert not attended. It is possible to lose a total of 4 points.

This requirement applies to all students who are registered for Applied Music, including Independent Study Applied Music (MUS 392). Programs must be submitted by the last day of class of each semester (the day prior to Study Day).

5A) JURIES Applied Music and Independent Study Applied Music (MUS 392) juries are held at the end of each semester and are the final examination for private vocal and instrumental instruction. Students and faculty look forward to these performances because they represent the culmination of a semester of work. The jury committee consists of two full-time faculty members and the student's Applied Music instructor. These short performances are scheduled on a sign-up sheet posted in the Department of Music office two weeks before the juries. Music, with numbered measures, is to be supplied for each juror. Students also must complete the repertoire sheet and provide a copy for each juror. Please type your information on the repertoire sheet; you may download the form from the Department of Music web page (available at https://www.umflint.edu/music/Resources%20for%20Faculty%20and%20Students). Repertoire sheets also are available in the Department of Music office. Examples of repertoire and jury sheets are available in the Department of Music office. Attire for juries should reflect the student’s best efforts in presentation.

Vocalists perform two pieces at the jury (Music 252 students will perform more selections); instrumentalists perform an etude and a solo, in addition to technique requirements. Sightreading is a component of all juries at all levels. Students who earn less than a final grade of B- (80%) for any semester of Applied Music must repeat that Applied Music level in order to advance to the next level. Students enrolled in MUS 352/356 (Junior Recital) and MUS 452/456 (Applied Music VIII/Senior Recital) are exempt from jury performances.


5B) TECHNIQUE JURY Prior to advancing to junior status in Applied Music, students must pass a technique jury in which they demonstrate mastery of basic materials.

For instrumentalists, the MUS 252 jury requirements are the following:

• Perform scale and arpeggio requirements for MUS 252 (see section II 2) • Sightread a melody appropriate for the idiomatic features of the instrument • Perform a solo and an etude selected, demonstrating

a. a beautiful tone b. facility on the instrument, observing all articulation demands c. rhythmic accuracy d. clear intonation e. emergence of musicianship—a personal, convincing, and appropriate expressive

style

Students must present a complete list of repertoire studied in 151, 152, 251, and 252 to the jury committee at the time of the jury.

For vocalists, the Mus 252 requirements are the following:

• Sing, ascending and descending a. major scale b. major triad c. major-minor seventh chord arpeggiated d. scale degrees 1-3-5-8-7-6-4-2-1 e. eleven-tone major scale f. ascending and descending chromatic intervals

Starting pitches--G for basses, Bb for tenors, D for altos, and D for sopranos (tempo will be quarter note = 60)

• Sightsing a melody in a major key that includes the intervals of Mm2, P4, P5, M6

• Perform three songs, demonstrating

a. facility in three languages other than English b. mastery of the fundamentals of basic singing technique including: 1) proper

posture, 2) freedom from excessive bodily tension, 3) vibrato consistently present, 4) ability to sustain a phrase

c. the emergence of a personal, convincing and appropriate expressive style d. significant progress toward the development of a free singing tone and well-

supported vocal mechanism e. clear intonation

Students must present a list of repertoire including no less than twelve pieces that have been thoroughly prepared during the course of 151, 152, 251, and 252.


6A) GRADING SCALE FOR APPLIED MUSIC 95 -100 A 87 - 89 B+ 77 - 79 C+ 67 - 69 D+ 0 - 59 E 90 - 94 A- 83 - 86 B 73 - 76 C 63 - 66 D

80 - 82 B- 70 - 72 C- 60 - 62 D-

6B) GRADING POLICY FOR APPLIED MUSIC Criteria for Grades

1. Improvement (utilization of potential) 2. Amount of repertoire prepared 3. Preparation for lessons 4. Progress toward fulfilling requirements within a particular level 5. Attendance at lessons 6. Jury performance (musical quality, artistic level) 7. Attendance at Performance Class (see section II 4A) 8. Attendance at four (4) required concerts (see section II 4D) 9. Required performances in Performance Class (see section II 4A)

6C) COMPUTATION OF APPLIED MUSIC GRADE An Applied Music instructor uses points 1-6 of the Criteria for Grades (6B) for determining a student's grade. The Applied Music instructor's grade counts as 2/3 of the final Applied Music grade. The full-time faculty of the jury committee use point 6. Grades given by the full-time faculty jury committee members are averaged, and that average counts as 1/3 of the student's final grade. After the average has been computed, points may be deducted for the following reasons:

w Absences from Performance Class w Lack of attendance at required concerts and recitals w Failure to perform in Performance Class

6D) SAMPLE APPLIED MUSIC COMPUTATION Of the two full-time professors attending Student Z’s jury, Professor A gave a score of 92%, and Professor B gave a score of 94%; Student Z’s Applied Music instructor gave an 85%. The scores from the full-time professors were averaged.

92% + 94% = 186% and 186% divided by 2 = 93% The full-time professors’ grade and the Applied Music instructor’s grade are calculated. The full-time professors’ grade accounts for 1/3 of the total grade; the Applied Music instructor’s grade accounts for the other 2/3.

85% + 85% = 170% Applied Music instructor grade 170% + 93% = 263% 263% divided by 3 = 88% = B+

Student Z missed 4 performance classes (at 1 point each) 4 classes x 1 point = 4 points (deduction) 88% - 4 = 84% = B

Student Z attended 2 student recitals, but no professional concerts, and so lost 1 point for each of the two concerts not attended.

2 concerts x 1 point = 2 points (deduction) 84% - 2 = 82% = B-

ABSENCES FROM PERFORMANCE CLASS AND NOT ATTENDING OUTSIDE CONCERTS MADE THE DIFFERENCE BETWEEN A "B+" AND A "B-.”


In the event that the Applied Music instructor is not present for the student’s jury performance and has not arranged to submit the final grade to the department chairperson, each full-time faculty grade will be counted as ½ of the final grade.

7) APPLIED MUSIC LESSON MAKE-UP POLICY Applied Music lessons missed due to illness or other unavoidable circumstances will be made up at the convenience of both student and instructor, if possible. The Applied Music instructor should be notified in advance if a student is going to miss a lesson. Lessons must be made up within FOUR weeks of the completion of the semester. Lessons missed without being excused may not be made up. Lessons missed due to the university’s closure (for example, due to inclement weather) are not made up. Students will only attain their fullest musical performance level by thorough preparation for, and attendance at, each of the fourteen (14) lessons in a semester. Please remember that make-up lessons and studio classes cannot be held on the university Study Day, scheduled prior to final exams.

8) INDEPENDENT STUDY – APPLIED MUSIC Students who wish to develop more facility on secondary instruments, beyond that acquired in the secondary instrument methods courses (MUS 115, 118, 121, 124, 125, 126, 127, 128, and 132), may register for Independent Study. Only after successfully completing the secondary instrument course may a student register for Independent Study. A music student who wishes to study outside the Applied Music sequence for his/her own principal instrument (151, 152, 251, etc.) also may enroll in MUS 392 (Independent Study – Applied Music). A student registered for MUS 392 must play a jury, participate in a large performance group, attend Performance Class and perform at least once in Performance Class.

The designation “Independent Study” is not to replace courses in the Department of Music (i.e., keyboard, diction, methods, etc.). All Independent Study courses must be approved by the chairperson of the department.

9A) JUNIOR AND/OR SENIOR RECITALS – MUS 352/356, 452/456, and MUS 452 (BME) ONLY A recital is considered a capstone experience for the student as a performing artist. Faculty members of the Department of Music are dedicated to the student performing at the highest level, recognizing that the student must engage in a deep commitment to practice and preparation. A successful recital performance depends on many factors. The student must communicate in timely ways to: his/her Applied Music instructor, the recital accompanist, Performance Class Instructor of Record, the Support Team members, the department chairperson, the media consultant, and members of the pre-recital and recital committees. Students are expected to perform the recital on the date agreed upon by the student, Applied Music instructor, and faculty recital committee. Because the recital grade is a combination of factors, no "Incomplete" is issued in these courses unless a verifiable grave situation occurs (i.e., verification by a health care provider, obituary notice, etc.).

The student’s responsibilities consist of the timely handling of details, guided by the faculty. These responsibilities include: pre-recital scheduling, room reservations, stage set-up (and assistance, if necessary), access to buildings and rooms, flyers, posters, etc. Details are part of the whole experience and prepare the student for future concerts as a professional musician.


An Applied Music student must submit three possible dates for the Junior and/or Senior Recitals and finalize the recital date within 10 days of the beginning of the semester during which the recital is to be performed or work to find a date suggested by the full-time Department of Music faculty. The location of Junior and Senior Recitals not held on the UM-F campus must be within 10 miles driving distance of the UM-F main campus and approved by the full-time faculty.

Financial remuneration for accompanist and is the individual responsibility of the performer. The student should coordinate the recording of the recital with Carol Chaney ([email protected] and will be required to provide a 16GB (or more) Class/Speed 10, SDHC card which will be returned with a video and audio file for the student’s personal use. Please, no Micro SD cards or any speed greater than 10 (Note: these files are not to be posted for use by the public unless the proper copyright permissions are secured.).

Bachelor of Music degree program students enroll in MUS 352 and MUS 356 concurrently (in the same semester) for the Junior Recital, and receive two lessons per week. Similarly, BM students enroll in MUS 452 and MUS 456 concurrently for the Senior Recital, and receive two lessons per week.

Bachelor of Music Education students enroll in MUS 452 only. Only a Senior Recital is required for BME students. Note that a jury-like rubric is employed as a part of this key assessment.

Fulfilling performance requirements for Junior and Senior Recitals is accomplished via:

preparation and recital performance of at least 30 minutes of music on the student’s primary instrument. A committee of three music faculty evaluate the performance. That committee consists of two professors and the Applied Music instructor. Determination of the professors who serve on this committee is made by the Performance Class Instructor of Record.

Grading for MUS 352/356, 452/456, and MUS 452 follows the same criteria as for the Applied Music grade. The Applied Music instructor’s grade represents 2/3 of the final grade, and the average of the two other music faculty grades constitutes 1/3 of the final grade.

In the unlikely event that the Applied Music instructor does not attend the Junior or Senior Recital, each professor’s grade will be counted as 1/2.

9B) JUNIOR AND SENIOR PRE-RECITALS An Applied Music student who performs the Junior and/or Senior Recital is required to give a pre- recital performance three weeks prior to the scheduled recital date. At this time, members of the pre- recital committee will hear representative portions of the student's recital (the pre-recital committee consists of the Applied Music instructor and two professors determined by the Performance Class Instructor of Record). This will provide the performer with an opportunity to perform for an audience as well as provide the faculty with an opportunity to determine if the student's preparation


has been acceptable for university level Junior and Senior Recitals. Please note that a complete draft of the recital program and copies of the music to be performed must be presented to each member of the pre-recital jury of faculty at the time of the pre-recital. Failure to present this material will result in immediate suspension of the pre-recital hearing (available at https://www.umflint.edu/music/Resources%20for%20Faculty%20and%20Students ).

After the pre-recital, repertoire may not be added to the program.

9C) JUNIOR AND SENIOR RECITAL PUBLICITY AND PRINTED PROGRAMS

A student shall submit his/her recital program information to the pre-recital committee at the time of the pre-recital. Additionally, the student shall send the electronic file (in Word document format) of the draft recital program to the department chairperson. Program notes should include a paragraph each about the composer and the work, be presented in a scholarly format (citation of sources, if appropriate), and be free of grammatical errors. Again, the student should start early and not be afraid to consult or discuss with the Applied Music instructor or faculty regarding sources of information and details of the program. A student shall submit his/her recital program information to the pre-recital committee at the time of the pre-recital. The department will bear the cost of the printed program.

After the recital has been approved, and at least three weeks prior to the recital, it is suggested that the student prepare a small press release with a digital photo of himself/herself and submit the information to the Department of Music chairperson for approval, and then forward to the media consultant ([email protected]) for posting on the website. The student should include information about the selections including titles, composers, and any special features, such as guest performers. This information will be posted on the web site, and the student is encouraged to submit to other media outlets.

The student will select one of the works on the recital and consider what has been learned from the composer, the music, or from the study of this composition. The student will write three or four sentences, a type of “artist’s statement,” which describes for members of the audience what has been gained by studying this work.


RECITAL CHECKLIST

Select and prepare the recital program one to two semesters before the expected recital date.

Within the first ten (10) days of the semester of the recital: Coordinate this date with each of the following:

• Accompanist • Applied Music instructor

• Other performers • Faculty

Six weeks before the recital date: Confirm the date of the recital and establish a day and time for the pre-recital hearing three weeks in advance.

Coordinate this pre-recital date with each of the following:

• Accompanist • Applied Music instructor • Other performers, if applicable • Performance Class instructor • Carol Chaney, or other person who records recital

Three weeks before the recital date: Perform the pre-recital hearing. Prepare and submit the program with program notes to the Department of Music chairperson for approval. Deliver program materials with a digital photo and/or your prepared recital announcement to Carol Chaney.

One to two weeks before the recital date: Prepare, Prepare, Prepare! The student should confirm the performance space with the Department of Music, discuss a reception with family, and consider posting flyers to advertise the recital around the hallways of French Hall.


10) MUSICOLLAGE CONCERT Each Applied Music student is asked to contribute to the success of the annual MusiCollage Concert by committing to extra rehearsals prior to the event (including a dress rehearsal). In making this a successful event, students enhance the quality of their education and that of their future classmates. This event is an opportunity to showcase the hard work of the entire department and the planning and preparation of the student performer is crucial to the success of the event. III. ADVISING

1) GENERAL Only full-time music faculty members serve as advisors in the Department of Music. MUSIC MAJORS and MINORS MUST MEET WITH THEIR RESPECTIVE ADVISORS EACH SEMESTER PRIOR TO REGISTERING FOR THE FOLLOWING SEMESTER.

It is the responsibility of each student to consult the University Catalog and this Handbook to ensure that all academic requirements are met for graduation. The advisor who approves the plan for each semester may make specific recommendations. It is strongly recommended that the adding and dropping of courses as well as petitions to the Academic Standards Committee be approved by the student's advisor.

In addition to planning a program of study, the advisor can often provide insight into study habits, university policies, opportunities related to the major/minor/Applied Music, and work load. Each student should maintain contact with his/her advisor throughout study at the University of Michigan-Flint.

2) REQUIRED EXAMINATION FOR BME STUDENTS In addition to coursework requirements, BME students must take the Piano Proficiency Examination and the Michigan Tests for Teacher Certification. Consultation with your advisor is important as requirements can change from year to year.

PIANO PROFICIENCY EXAMINATION consists of two phases, and is offered in December, April, and August. Students wishing to student teach in a Fall semester must pass both phases by the prior April examination, and students who wish to student teach in a Winter semester must pass by the prior August. It is expected that students will take Phase I when they are enrolled in MUS 131 and Phase II when enrolled in MUS 132.

Piano majors will take a modified examination. The piano proficiency examination and instructions are available on the department website.

MICHIGAN TESTS FOR TEACHER CERTIFICATION—UM-Flint has not yet determined what SAT scores will be required. The MTTC Subject Area (music education) certification examination should to be taken after student has completed 90% of coursework, typically during, immediately before, or immediately after student teaching. For more information on this assistance, email [email protected] call 810-762-3257 or stop by 410 French Hall.


MUSICIANS’ HEALTH AND INJURY PREVENTION The Department of Music’s faculty, especially Applied Music faculty, address health and safe practices specific to the instrument/voice studied. Applied Music faculty encourage students to develop healthy and safe practices that prevent injury as students pursue their music study. Music study involves inherent hazards that relate to practice, performance, and listening – in general, and as applicable to specific specializations. This includes, but is not limited to, hearing, vocal production mechanism, and musculoskeletal health and injury prevention, and the use, proper handling, and operation of materials, equipment, and technology.

Hearing: prolonged exposure to loud sounds (music or noise) can cause permanent hearing loss. Participants and audience members in such settings as ensemble rehearsals and concerts should take appropriate measures to minimize exposure to the effect of high decibel levels. Decibel levels exceeding 90 or more should be limited to no more than 2-3 hours per day. Students are encouraged to seek out hearing protective devices if they are exposed to recurring or sustained high decibel levels in their musical or non-musical activity. For perspective on volume levels of various environments, please see the chart below:

Environmental Noise and Decibel Comparison

Weakest sound heard 0dB

Whisper in a quiet library at 6’ distance 30dB

Normal conversation at 3’ distance 60-65 dB

Large city traffic inside car 85dB

Jackhammer at 50’ 95dB

Level at which sustained exposure may result in hearing loss

90-95dB

Hand drill 98dB

Power mower at 3’ 107dB

Sandblasting, iPod at full volume 115dB

Chainsaw 119dB

Sound Levels of Music*

Normal piano practice* 60-70dB

Singer at fortissimo, 3’ distance 70dB

Chamber music, small auditorium 75-85dB

Piano, fortissimo 84-103dB

Violin, fortissimo 82-92dB

Oboe, fortissimo 90-94dB

Clarinet, fortissimo 92-103dB


Trombone 85-114dB

*Information taken from https://www.healthyhearing.com/report/51549-Which-musicians-are-most-at-risk-for-hearing-loss

OSHA Daily Permissible Noise Level Exposure

Hours per day Sound level 8 90dB 6 92dB 4 95dB 3 97dB 2 100dB

1.5 102dB 1 105dB .5 110dB

.25 or less 115dB

NIOSHA Daily Permissible Noise Level Exposure* Hours per day Sound level

8 85dB 6 86dB 4 88dB 3 89dB 2 90dB

1.5 92dB 1 94dB .5 97dB

*The National Institute for Occupational Safety and Health (NIOSH) -http://www.cdc.gov/niosh/topics/noise/ Musculoskeletal health: Musicians must be aware of discipline-specific musculoskeletal health considerations. Faculty members on every instrument and vocal area are a resource for the development of good practice habits and referrals for remediation of physical conditions, if they should occur. The proper physical preparation for performers is a critical part of practice, rehearsal, and performance. The UM-Flint student chapter of NAfME will sponsor sessions on this topic during the 2019-2020 year. Students are encouraged to attend. Injury prevention: Proper health and safe practices are the key to preventing personal injury. Students are advised to exercise care in moving large equipment or instruments. Only students who have been officially authorized to move risers and large instruments should do so, unless under guidance and supervision of faculty.

IV. SUPPORT TEAM FOR MUSIC The College of Arts and Sciences (CAS) created a Support Team of administrative assistants to assist and maintain the Department of Music in personnel records, financial records, process communications, provide support services to faculty and students, and a myriad of other tasks. This team is located in FH 220, and the various duties of each team member have been outlined


by CAS. Students should consult with faculty to help determine which Team member can help serve their particular issue.

Additionally, any physical mail from a student to a professor should be given to the administrative assistant responsible for reception in FH 220, or left in the receiving bin outside the Music Conference Room.

V. SCHOLARSHIP ASSISTANCE Scholarships based on financial need, musical ability, past scholarship performance, and departmental need are available through the Department of Music. Application forms are available in the Scholarship Office (277 Pavilion) and through the faculty member assigned (Dr. Chris Heidenreich for 2019-20). Audition or previous jury performance is required. All entering students who audition are automatically considered for scholarships. VI. USAGE OF FACILITIES STUDENT MAILBOXES Student mailboxes are located in the practice room area. Each Applied Music student has a mailbox.

1) ACCESS AFTER NORMAL BUILDING HOURS Music students who wish to have access to rooms for practice and rehearsal purposes beyond normal building hours may request such from the Department of Music chairperson. If a student finds the door to a room locked during normal building hours, s/he should request that someone from the Department of Music office unlock the door. If the Department of Music office is closed, then the student should call the Department of Public Safety (762-3335) and request that an officer unlock the door. The student should be prepared to show a current student ID M-card.

2) STUDIO AND GRAND PIANOS Please help keep our studio and grand pianos in good condition. Do not place any drinks or food items on these instruments. Students are encouraged to practice on the Department of Music’s pianos, but please follow the Equipment Usage Guidelines (see pp. 17-18 of this Handbook). PLEASE COVER THE GRANDS AFTER USE.

3) LOCKERS AND SECURITY Card swipe devices are installed for student access to the CAMLab (Computer-Assisted Music Lab) and the practice room area (148 FH). Store instruments and other materials in the instrument lockers, and lock the locker. Please do not leave instruments or materials in practice rooms--they might be stolen. See the Practice Room Guidelines in Section 6 below.

All locker assignments are cleared first through the department and the Support Team in 220FH. Lockers are for students participating in ensembles, although priority will be given to students enrolled in Applied Music.

Any personal items found on the first floor of French Hall will be sent to University Lost and Found (located in the Housekeeping Office -- phone 810/762.3116) or turned in to the Department of Public Safety (located @ 102 Hubbard Building -- phone 810/762.3335).


4) COMPUTER ASSISTED MUSIC LABS (CAML AND M3) The CAML can be accessed outside of class hours by swiping your student ID card on the security card reader outside the door. Your UMID will be recognized for entry only after completion of a CAML Rules Form each semester. The forms are available from your instructor, on the department website or directly from Carol Chaney. Students are entrusted with valuable equipment in the CAML and are expected to be vigilant in care of the facility. Food and drink are not allowed in the CAML or M3 at any time. If bottled water enters into the room it must remain on top of the cabinet until exiting. Violations of the lab rules will result in the loss of lab privileges. Do not leave personal books, data storage devices, or other belongings in the lab with personal computer work files open if you leave the lab for an extended time. Close and save all files and pick up all belongings before leaving the room. If you leave the lab for a break, do not prop open the lab doors. Always make sure the door closes behind you.

The computer music labs are for the use of music students only. Music students must respect the data held by computers in the labs. DO NOT ERASE ANY DATA EXCEPT YOUR OWN. Erasure of data that is not your own will result in legal action. Open lab hours will be posted shortly after the beginning of the Fall and Winter semesters, respectively. Any request for variance must be approved by the Department of Music chairperson and/or the Department of Music media consultant.

5) PRACTICE ROOM GUIDELINES After posted building hours, access to practice rooms is authorized by the Department of Music at the beginning of each semester (see VI. 2). Only students currently enrolled in classes at the University of Michigan-Flint, or persons obtaining prior permission from the Department of Music will be granted entry. Practice rooms have locks on the inside of the doors, and students are encouraged to make use of them. If there is a security problem or alert and if secure exit of the room is not possible, lock the door and wait until it is safe to exit.

If security is a concern, use a cell phone to contact Department of Public Safety at (810) 762- 3335 or dial 911. If calling, be certain to give your exact location (French Hall, 1st Floor Practice Room Area, Rm C).

Do not leave any valuables in an unattended practice room at any time. Vacate the practice room entirely if you need to be absent for more than a short five or ten-minute break. Leaving equipment, an instrument, books, or music in a room and then going to class is not permissible.

Any equipment including such items as an instrument, books, or music left overnight in a practice room are subject to removal and will be taken to the University Lost and Found.

Food and drink are not allowed in practice rooms. Bottled water is permissible, but place bottles on the floor, not on pianos. Carry trash and recyclables out of the practice room and place in the appropriate receptacle outside and down the hallway. Report any acoustic pianos that need repair or tuning, or any other issues with the repair or function of the practice rooms to the Department of Music at (810) 762-3377. Propping open the door to the practice room area – except for occasions of equipment transport – is not allowed. Anyone found propping open the door of the practice room area will lose card swipe privileges.


6) REHEARSAL SPACES French Hall 140—Small Ensemble Room FH 140 is available for individual or small ensemble rehearsal during and outside normal building hours and any time it is not being used for classroom or other department business. One member of any student group that wishes to use FH 140 must be a current enrolled student at both UM-Flint and within the Department of Music. Further, students are expected to sign-out this space in the Department of Music office. Conflicts with the Department of Music are not allowed. French Hall 144—Large Ensemble Room FH 144 is to be primarily used for the large ensembles in the Department of Music including the Jazz Ensemble, String Ensemble, and Wind Symphony. Other use will be limited to the ensembles, classes, and organizations directly connected to the Department of Music. Any other usage will be at the discretion of the chairperson of the Department of Music and will require a written request by at least one music student participant. Ad-hoc groups under the direct supervision of faculty members, applied percussion majors, and applied piano majors will be required to schedule FH 144 but it will not be necessary to request the use of the space from the department chairperson. The grand piano must be locked after use.

French Hall 164—Recital Hall FH 164 is available for student usage during and outside normal building hours and any time it is not being used for classroom or other department business. It is required that individuals and/or one member of any student group that wishes to use FH 164 be a current enrolled student at both UM-Flint and within the Department of Music. Further, students are expected to sign-out this space in the Department of Music office. Conflicts with the Department of Music are not allowed. The grand piano must be locked after use.

7) EQUIPMENT USAGE

• Grand Pianos – Any current UM-Flint student requiring or desiring to use a grand piano will need to sign out the required key, available from the Support Team in 220FH. During office hours, the key is available for a $20 refundable deposit, UM-Flint ID, or a valid Michigan driver’s license. The key is available for overnight and weekend times; however, a $20 refundable deposit will be required when the key is acquired. Grand pianos must be locked after use.

• Smart Music is available for use by students through a department subscription on iPads that may be signed out by contacting Carol Chaney ([email protected]).

• Electronic Keyboard—Only those members of a recognized or ad-hoc ensemble within the Department of Music will be permitted to sign-out the electronic keyboard. Students must make written or verbal arrangements with Professor DiBlassio or other designated faculty member. The keyboard should be returned to the Department of Music office suite in FH 126 after use.

• Method Class Instruments—Students enrolled in instrumental method classes that require instruments owned or rented for the purpose of the class will be accountable for the maintenance and safekeeping of said equipment. Replacement or repair costs will be the responsibility of the student.

• Percussion Equipment—Only current and enrolled music students will be permitted use and access to percussion equipment outside of regularly scheduled rehearsals or sectionals by any of the large ensembles of the department. Any other usage will only


be at the discretion of the department chairperson and conductor of the Wind Symphony. All usage outside of FH 144 must be cleared in advance with the either or both of these faculty members. It is recommended that all requests occur in writing and include how any items will be transported to and from the given activity.

8) GENERAL GUIDELINES Faculty, staff, and students receive priority in all scheduling matters for any Department of Music facilities and/or equipment. Any questions or concerns regarding the scheduling or usage of facilities and equipment should be directed to the chairperson of the department.

For any rehearsal outside of regular building hours, including Sundays, please contact the department chairperson with details (date, time, room desired, equipment needed, etc.) for permission. Any use of Department of Music facility space by persons not currently enrolled at the University of Michigan–Flint (UM-Flint) will require specific permission from the chair of the Department of Music. Any ensemble, group, or individuals using the facilities or equipment of the Department of Music in violation of these guidelines will be asked to vacate the premises by faculty, staff, or the Department of Public Safety.

Willful or careless damage to university property or equipment shall necessitate a replacement and/or repair charge. The music student is responsible for actions of all participants. It is expected that each space will be left in the same or better condition than that in which it was found, including, but not limited to, music stands, chairs, lights, and other classroom amenities.

Users and their representatives must obey all UM-Flint, Department of Music, and Events and Building Services policies, regulations, guidelines, and all local, state and federal laws. VII. AUDIENCE ETIQUETTE

• Be sure to silence all cell phones, pagers or other electronic devices. These devices

should remain off throughout the entire performance. • Wait to be seated in the performance hall until between musical selections during

applause. • Plan to stay for the entire performance, and if you must leave early, exit quietly between

musical selections. • Please do not talk, whisper, crack-chewing gum, etc. during a performance. • Do not bring food or drink into the performance hall. • Applause at the end of each musical number is appropriate when all movements are

completed as listed in the program. • Flash pictures are distracting to both the performers and the audience. • Do not allow small or young children to play with keys or toys that make noise. If a child

is upset or causing a distraction, please remove yourself and the child until you are both ready to quietly return.


Name:

Semester:

Current Level:

THE UNIVERSITY OF MICHIGAN-FLINT APPLIED MUSIC REPERTOIRE SHEET

(You must provide three (3) completed copies of this form to the jury panel.)

Please type or print clearly.

List compositions to be performed at jury. Composer: Title:

List of compositions performed during the semester in performance class and/or student recital: Composer: Title:

List of compositions ready for performance during the semester: Composer: Title:

List of compositions studied during the semester: Composer: Title:


Name:

Semester:

Current Level/Instrument:

Instructor:

a. Professor A

THE UNIVERSITY OF MICHIGAN-FLINT APPLIED MUSIC JURY GRADE COMPUTATION

b. Professor B

c. AVERAGE Professor Grade (total divided by 2)

d. Applied instructor grade (times 2)

e. TOTAL GRADE (c plus d)

f. JURY GRADE (e divided by 3)

POINTS TO BE DEDUCTED

g. Number of Performance Classes missed (1 point each)

h. Concerts missed (1 point each)

i. Number of performances required 251 = 2 252, 351 = 3 352 = 3 451 = 3

j. Points deducted for missed

performances

k. TOTAL POINTS TO BE DEDUCTED

l. TOTAL APPLIED MUSIC GRADE

LETTER GRADE EQUIVALENT

LEVEL FOR NEXT TERM

EXCELLENT 20-19

GOOD 18-16

University of Michigan-Flint Instrumental Jury Rubric

FAIR 15-14

POOR 13-12

DEFICIENT 11- Below

Score

• Tone is consistently focused, clear, • Tone is often focused, clear, and

centered through the normal playing

• Tone is focused, clear, and centered, but sometimes the tone is

• Tone is often unfocused, clear, and

• The tone is not focused, clear, or centered regardless of the range

and centered throughout the range of the instrument.

• The breath is full and free of tension to support the tone.

• Posture is excellent

range of the instrument. • Extremes in range sometimes cause tone to be less controlled. • Most of the time, the air and

posture are good

uncontrolled in the normal range. • Extremes in range are usually

uncontrolled. • At times, the lack of air or good

posture is contributing to tone issues.

centered. • The tone is uncontrolled in ranges

of instrument. • Inconsistent air and/or posture is

contributing to the tone.

being played, significantly detracting from the overall 20

performance. • Lack of air support and/or poor

posture contributes to the weak tone. OR OR

• Technique is excellent and creates • Technique is even and creates a • Technique is fair and generally • Technique is inconsistent and is • Technique is lacking in basics to a consistent and appropriate tone. consistent and appropriate tone with creates a consistent and appropriate often creating an inappropriate tone. create an appropriate tone.

• The hands are even, and stick heights are always appropriate to the

style of music.

a few errors. • The hands are mostly even, and

stick heights are often appropriate to the style of music.

tone. • The hands are generally even, and stick heights are appropriate to the

style of music.

• The hands are generally uneven, and stick heights are often not appropriate to the style of music.

• The hands are not demonstrating 20 an evenness or appropriateness

toward a musical result.

• The performance demonstrates accurate pitches, notes, and rests.

• The music is marked by consistent tempo, steady pulse and excellent intonation (or tuning for timpani).

• The performance demonstrates mostly accurate pitches, notes, and

rests. • The music is marked with good

tempo, steady pulse and intonation.

• The performance demonstrates some errors in pitch, notes, or rests.

• The performance contained inconsistencies in tempo, or

intonation.

• The performance demonstrates frequent errors in pitch, notes, or

rests. • The music is marked with

inconsistent tempo, pulse and intonation.

• The performance demonstrates many errors in pitch, notes, or rests. • The performance demonstrated a 20 lack of proper, marked tempo and

poor intonation.

• The music demonstrated secure • Attacks are usually secure, though • Attacks and releases are secure, but • Attacks and releases are rarely • Few secure attacks and releases are attacks and consistent releases. there might be an isolated error. inconsistent. secure, and makings are often not demonstrated.

• Markings (staccato, legato, slur, accents, etc.) are executed

• Markings are executed accurately • Markings are executed but not with and releases are mostly musical and conviction or accuracy. Releases are

executed accurately as directed by the music. • Markings are typically not 20

executed accurately. accurately and releases are both

musical and accurate. accurate. inconsistent. • Measured releases are rarely

evident. • Measured releases are not present.

• Excellent dynamics appropriate to • Good use of dynamics appropriate • Little use of dynamics is evident. • No use of dynamics, no the style.

• A thorough understanding of expressiveness and phrasing is

demonstrated. • Stage presence and poise are

excellent.

• Excellent emotional connection is demonstrated in conveying the

musical intent.

to the style is demonstrated. • The performance demonstrates an understanding of expressiveness and

phrasing. • Stage presence and poise are good.

• Good emotional connection is demonstrated in conveying the

musical intent.

• Use of dynamics is evident. • Some errors in style, expression,

and phrasing. • Fair stage presence and poise.

• Some emotional connection is demonstrated in conveying the

musical intent.

• Errors in style, expression, and phrasing were evident in the

performance. • Stage presence and poise are

frequently not evident.

• Little emotional connection is demonstrated in conveying the

musical intent.

recognizable style, expression or phrasing are evidenced in the

performance. • Performer lacks any stage presence

or poise.

• No emotional connection to the music is demonstrated.

• Lack of collaboration between 20 • Collaboration with accompaniment • Good collaboration between soloist • Collaboration between soloist and • Frequent lack of collaboration is soloist and accompaniment is

is excellent and accompaniment. accompaniment is acceptable. evident between soloist and accompaniment.

evident.

Total Score 100

Revised 11/15/12

4) S

AM

PLE

JUR

Y S

HEE

TS

Inte

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Pres

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Tec

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Perc

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Ton

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M

usic

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A

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20

University of Michigan-Flint Instrumental - Piano/Guitar Jury Rubric

EXCELLENT

20-19 GOOD 18-16

FAIR 15-14

POOR 13-12

DEFICIENT 11-Below Score

T

echn

ique

• Technique is excellent; creates a

full, consistent and appropriate tone. • Note evenness and finger dexterity

demonstrate mastery • Hand position, use of

fingers/wrist/arm/posture is excellent

• Technique is even and creates a consistent and appropriate

tone with a few errors. • Notes are mostly even, and

dexterity/hand position is often appropriate to the style of

music.

• Technique is fair and generally creates an appropriate tone.

• The notes are generally even, and dexterity/hand position is sometimes appropriate to the

music.

• Technique is inconsistent and is often creating an

inappropriate tone. • The notes are generally uneven, and

dexterity/hand position needs development

• Technique is lacking in basics to create an appropriate tone.

• The notes are lacking in evenness, the dexterity is

inefficient and hand position is awkward

20

Mus

ical

Ele

men

ts

• The performance demonstrates accurate pitches, notes, and

rests. • The music is marked by consistent tempo, steady

pulse and excellent intonation (or tuning for timpani).

• The performance demonstrates mostly accurate pitches, notes,

and rests. • The music is marked with

good tempo, steady pulse and intonation.

• The performance demonstrates some errors in pitch, notes, or

rests. • The performance contained inconsistencies in

tempo, or intonation.

• The performance demonstrates frequent errors in pitch, notes,

or rests. • The music is marked with

inconsistent tempo, pulse and intonation.

• The performance demsontrates many errors in pitch, notes, or

rests. • The performance demonstrated a lack of proper,

marked tempo and poor intonation.

20

A

rtic

ulat

ion

• The music demonstrated secure attacks and consistent

releases. • Markings (staccato, legato, slur, accents,

etc.) are executed accurately and releases are both musical and

accurate.

• Attacks are usually secure, though there might be an

isolated error. • Markings are executed accurately and

releases are mostly musical and accurate.

• Attacks and releases are secure, but inconsistent.

• Markings are executed but not with conviction or accuracy.

Releases are inconsistent.

• Attacks and releases are rarely secure, and makings are often

not executed accurately as directed by the music.

• Measured releases are rarely evident.

• Few secure attacks and releases are demonstrated.

• Markings are typically not executed accurately.

• Measured releases are not present.

20

Inte

rpre

tatio

n/

Pres

enta

tion

• Excellent dynamics appropriate to the style.

• A thorough understanding of expressiveness and phrasing is

demonstrated. • Stage presence and poise are

excellent.

• Good use of dynamics appropriate to the style is

demonstrated. • The performance demonstrates

an understanding of expressiveness and phrasing.

• Stage presence and poise are good.

• Use of dynamics is evident. • Some errors in style,

expression, and phrasing. • Fair stage presence and poise.

• Little use of dynamics is

evident. • Errors in style, expression, and phrasing were

evident in the performance. • Stage presence and poise are

frequenly not evident.

• No use of dynamics, no

recognizable style, expression or phrasing are evidenced in the

performance. • Performer lacks any stage

presence or poise.

20

M

usic

ality

• Excellent emotional

connection is demonstrated in conveying the musical intent.

• Collaboration with accompaniment is excellent

• Good emotional connection is demonstrated in conveying the

musical intent. • Good collaboration between soloist and accompaniment.

• Some emotional connection is demonstrated in conveying the

musical intent. • Collaboration between soloist

and accompaniment is acceptable.

• Little emotional connection is demonstrated in conveying the

musical intent. • Frequent lack of collaboration is evident between soloist and

accompaniment.

• No emotional connection to

the music is demonstrated. • Lack of collaboration between soloist and accompaniment is

evident.

20

Total Score

Revised 8/1/2013

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Pres

enta

tion

EXCELLENT

20-19 GOOD 18-16

FAIR 15-14

POOR 13-12

DEFICIENT 11-Below Score

Ton

e an

d V

owel

Pl

acem

ent

• is vibrant • is free of tension • is resonant and projected with energy • is consistent and supported throughout the range • excellent vowel placement

• is vibrant most of the time • is free of tension most of the time • is usually resonant and projected • is usually consistent andsupported throughout the range • usually has proper vowel placement

• is somewhat unsupported • has some tension • is sometimes unfocused or not projected • is sometimes consistent • has some proper vowel placement

• is frequently unsupported • is frequently tense • requires more focus and projection • is rarely consistent • frequently lacks proper vowel placement

• is forced and unsupported • is very tense • is unfocused and lacks projection • is inconsistent • lacks proper vowel placement

20

B

reat

h

• is deep, low, and expanded • is produced with proper support • breath flow and vocal tone are connected throughout the range • is produced with balanced posture and exemplary alignment.

• is deep, low and expanded mostof the time • is produced with proper support most of the time • breath flow and vocal tone are connected most of the time • is often produced with balanced posture and acceptable alignment

• sometimes requires more depth and expansion • is produced with proper support some of the time • breath flow and vocal tone are connected some of the time • is sometimes produced with balanced posture/alignment

• frequently requires more depthand expansion • is frequently unsupported • lacks connection of breath flow and vocal tone for most phrases • requires adjustments to posture/alignment

• has no depth • has no support • breath flow and vocal tone arenot connected • lacks correct posture and body alignment

20

M

usic

al E

lem

ents

• accurate pitches, rests, and note values • accurate and expressive dynamics • exemplary intonation • exemplary interpretation and precision of tempo and tempo nuances • exemplary use of articulation appropriate to the style (legato, staccato, ornamentation, melismas...)

• accurate pitches, rests, and note values most of the time •accurate dynamics •good intonation • suitable interpretation and precision of tempo and tempo nuances • good use of articulation appropriate to the style

• some pitch, rhythm, or rest errors • some inaccuracies with dynamics • some intonation inconsistencies • some tempo variance • some use of appropriate articulation

• frequent pitch, rhythm, or rest errors • dynamics are frequently incorrect • inconsistent intonation • frequent tempo variances • little use of appropriatearticulation

• many pitch, rhythm, or rest errors • lack of dynamics • poor intonation • lack of tempo elements • no articulation

20

L

angu

age

Ele

men

ts

• proper formation and pronunciation of vowels characteristic for each language • clearly articulated and properly pronounced consonants • excellent syllabic stress • excellent clarity in delivery of text

• vowels are usually properly formed and pronounced • consonants are usually clearand pronounced correctly • good syllabic stress • good clarity in delivery of text

• some errors in vowelformation and pronunciation • some clear consonants • some syllabic stress • some clarity in delivery of text

• frequent errors in vowelformation and pronunciation • lack clear consonants • little syllabic stress • little clarity in delivery of text

• incorrect vowels • no clear consonants • no syllabic stress • no clarity in delivery of text

20

In

terp

reta

tion/

• excellent expressiveness and musical phrasing • excellent understanding of style and use of tone color • excellent facial expression and stage presence • excellent emotional connection and characterization of the text • excellent collaboration with accompaniment

• good expressiveness and musical phrasing • good understanding of styleand use of tone color • good facial expression and stage presence • good emotional connection and characterization of the text • good collaboration with accompaniment

• some expressiveness and musical phrasing • some understanding of style anduse of tone color • some facial expression and stage presence • some emotional connection and characterization of the text • some collaboration with accompaniment

• little expressiveness and musical phrasing • little understanding of style and use of tone color • little facial expression and stage presence • little emotional connection and characterization of the text • little collaboration with accompaniment

• no expressiveness and musical phrasing • no understanding of style anduse of tone color • no facial expression and stage presence • no emotional connection and characterization of the text • no collaboration with accompaniment

20

Total Score

100

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5) Piano Proficiency Examination Instructions All music education students must pass the Piano Proficiency Examination (PPE) prior to student teaching. The PPE is given in December, April, and August each year, on dates determined and announced well in advance. The PPE is offered in two 15-minute sections, as described on the examination and below. Students enrolled in MUS 131 will take Segment 1 in December, and students enrolled in MUS 132 will take Segment 2 in April. The August date is for re-takes if a student fails either segment and/or for piano majors (see below). Piano majors take an examination specifically designed for them and should only sign up for one 15-minute slot.

To be eligible to student teach in a Winter semester, a student must pass PPE by the prior August. To be eligible to student teach in a Fall semester, a student must pass PPE by the prior April. Students are strongly cautioned not to put off taking the PPE, because A STUDENT MUST PASS ALL SECTIONS OF THE PROFICIENCY TO BE ALLOWED TO STUDENT TEACH. Piano Proficiency Segment 1: Section I: 4 scales—two Major and two minor scales selected by jury, as described. Section II: chord progressions and harmonization—as described, please read the description

carefully and prepare accordingly. Section III: prepare in advance and play (using music if you wish) a piano solo selected from the

approved list. Piano Proficiency Segment 2: Section I: prepare in advance and play (with music, if you wish) a chorale excerpt

from the approved list. Section II: prepare in advance and play (with music, if you wish) an accompaniment

from the approved list. You must arrange for a soloist to be present. Section III: play a short excerpt of any two parts from a provided choral score. The octavos

from which these excerpts will be selected are available for students to practice. Piano Proficiency, Piano Majors: Section I: chord progressions and harmonization—as described, please read the description

carefully and prepare accordingly. Section II: play a short excerpt of any two parts of a provided choral score. The octavos

from which these excerpts will be selected are available for students to practice. Section III: prepare in advance and play (with music, if you wish) an accompaniment from

the approved list. You must arrange for a soloist to be present.

Instructions for students not enrolled in class piano sequence (MUS 129, 130, 131, 132): Piano Majors Piano majors may sign up for one 15-minute interval on any test date at their convenience. Remember you must pass the piano proficiency by the April test date if you plan to student teach in Fall, and by the August test date if you wish to student teach in Winter.


Students who opt out of MUS 129,130, 131, 132 may take both segments on the same test day (sign up for two slots) or take one at a time. IMPORTANT: • A student must pass Segment 1 before being allowed to take Segment 2 (even if the

student signs up to take both segments on the same day). • For any section, a student is allowed only two attempts.

Segment 1, Section III: Suggested Repertoire List All from Vol. 17, Music for Millions: Easy Classics to Moderns, Denes Agay, Ed. Must be played artistically and at appropriate tempo. Students may play pieces of similar difficulty with the approval of faculty.

Kabalevsky, Dimitri • In the Country, p. 147 • Scherzo, p. 146 • Toccatina, p. 140

Kohler, Louis • Chromatic Polka, p. 102

Kullak, Theodor • Cradle Song, p. 86

Miakovsky, Nicolas • Fugue in Classic Style, p. 126

Prokofieff, Serge

• Tarantella, p. 132 Schubert, Franz

• Four Landlers, p. 77 (number 4, or any other 2)

• Waltz in b minor, p. 70 Schumann, Robert

• The Wild Horseman, p. 89 Tchaikovsky, Peter

• Reverie, p. 110 Villa Lobos, Heitor

• Circle Dance, p. 150

Segment 2, Section II: Suggested Accompaniment List. Must be played artistically and at appropriate tempo. Students may play pieces of similar difficulty with the approval of faculty.

This list is being developed. Please see the instructor of record for more information.


PIANO PROFICIENCY EXAMINATION Segment 1

Name of Student Date

I. Scales • Major keys (all) 1 octave, both hands (MM quarter = 72, playing eighth notes)

- and- • minor keys, one hand, one octave, all forms, all keys Major scales selected by jury (2) Minor scales selected by jury (2)

(Circle One) Section Passed Section Failed

II. Chord Progressions and Harmonization 1. Diatonic chord progression for selected major keys D G C F Bb Eb

Chords that may be called: I, ii, iii, IV, V, vi RH: chords (in middle C range, root position), LH: root

2. The exact progression of: i III VI iiº6 V7 i in 4 minor keys (e, g, b, c) RH: chord, LH: bass note

3. Sight-harmonization of melody that modulates (includes key signature) Diatonic chord progression pass fail Minor chord progression pass fail Modulation pass fail


III. Piano Literature--Selected by student from pre-approved list.

Title


ALL ITEMS OF THE PROFICIENCY MUST BE PERFORMED WITHOUT UNMUSICAL BREAKS (e.g., stopping, pausing, beginning several times, etc.)

Segment I: Passed Failed

Signature of Adjudicator Date:


PIANO PROFICIENCY EXAMINATION Segment 2

I. Prepared: Chorale Excerpt selected by student from pre-approved list

Title:


II. Accompaniment selected by student from pre-approved list

(STUDENT must arrange for a soloist to be present.)

Title:


III. Choral Score Reading, combinations of any two voices

Choral score reading selected by jury



Segment 2: Passed Failed



PIANO PROFICIENCY EXAMINATION Piano Majors

I. Chord Progressions and Harmonization 1. Diatonic chord progression for selected major keys D G C F Bb Eb

Chords that may be called: I, ii, iii, IV, V, vi RH: chords (in middle C range, root position), LH: root

2. The exact progression of: i III VI iiº6 V7 i in 4 minor keys (e, g, b, c) RH: chord, LH: bass note

3. Sight-harmonization of melody that modulates (includes key signature) Diatonic chord progression pass fail Minor chord progression pass fail Modulation pass fail


III. Choral Score Reading, combinations of any two voices

Choral score reading selected by jury


III. Accompaniment selected by student from pre-approved list (STUDENT must arrange for a soloist to be present.)

Title:



Piano Major Examination: Passed Failed


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HANDBOOK for MUSIC STUDENTS · This Handbook for Music Students contains important information for the music major, music minor, and Applied Music student. Here you will find answers