Santa Ana College Music Department Planning Portfolio … Planning P… · Planning Portfolio Assessment/Program Review 2008-2012 Date of Submission: March 15, 2013 Department's Mission:

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Santa Ana College Music Department

Planning Portfolio Assessment/Program Review 2008-2012

Date of Submission: March 15, 2013

Department's Mission: The mission of the Music Department at Santa Ana College is to meet intellectual, cultural, and technological needs of our diverse college community through the study of music. The Music Department prepares students for transfer as music majors, for employment careers as musicians and audio technicians, and for lifelong learning. It also provides transferring students across all disciplines with essential general education offerings in the humanities and cultural breadth areas and helps to foster a deep awareness of how the creative and aesthetic aspects of music enrich our community.

I. Goals and Objectives The following questions are addressed under each goal listed below: 1. What are the department’s annual goals? How do they align with the college mission

statement and the Santa Ana College Strategic Plan? 2. What progress has been made toward the department’s goals over the last four years?

What causes can be identified? e.g., population/demographics trends; industry; technology; lack of resources.

Music Department Goals: 2012 – 2013 Goal 1: Enhancement/improvement of Recital Space

C104 needs to be configured with appropriate stage lighting and recording equipment so that the room can be more successfully used for student, faculty and guest performances. related activities: 1. Design and install stage lighting for the front of room C104

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2. Research and then procure equipment needed to transform the back of C104 into a recording studio. 3. Research and then purchase a Steinway Grand Piano D for Phillips Hall - an appropriate piano for concert performance by faculty and staff. Alignment with college mission statement and strategic plan. Goal 1, Enhancement/improvement of Recital Space is necessary to address our college mission to meet the “cultural needs of diverse community.” In addition, our Vision Theme II states that SAC will “provide a technology-rich environment for faculty, staff and students” and also will provide “innovative classroom technologies that will enable faculty to enhance and facilitate student learning.” The reconfiguration of C104 with a recording studio will help to create this technology rich environment in a way particular suited to music students interested in Digital Music Production. The purchase of the Steinway Concert Grand is necessary to meet the cultural needs of students majoring in music who need a genuine performance experience on a performance-standard instrument suited to the size of Phillips Hall. In addition, our college vision statement goals include the need to “pursue alternate public and private funding sources to implement the district’s visions and goals” (goal 5).

Progress toward goal. We have researched lighting requirements for C104 and are ready to make a purchase and proceed with installation when funds become available. Because the Music Department does not have a designated recital space for its concerts, we use the C104 classroom that is shared with the Art Department. There is a small area at the front of the classroom where musicians perform, but there is no lighting that is appropriate for performance. Because of changing priorities due to severe budget restrictions as well as structural deficiencies in the facility, there has been no progress on installing recording equipment in C104. For purchase of a Steinway grand piano, we have scheduled a “kick-off” recital event to launch the SAC Steinway Campaign in partnership with the SAC Foundation. The Steinway Campaign is a fundraising effort to raise $130,000 for the purchase of this instrument that is needed in Phillips Hall. At the event, a piano recital featuring Jungwon Jin, we will unveil the “88 Keys” fundraiser where we will solicit donors to “purchase” individual keys of the new piano.

Goal 2: Instrumental Program Improvement through Instruction Equipment Enhancement

The instrumental program needs to better serve ours students with adequate availability of instruments and classroom equipment. related activities: 1. Purchase of two French horns for student use in instrumental ensembles

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2. Purchase of appropriate music chairs (50) for student performers as well as carriers (3) for music stands. 3. Procurement of other instruments: marimba, vibraphone, cymbals, contra bass clarinet and two practice room upright pianos. Alignment with college mission statement and strategic plan. Our college mission calls on us to provide a “dynamic learning environment that prepares students for transfer, careers and lifelong intellectual pursuits.” The procurement of basic instrumental equipment and related classroom equipment is necessary for the Music Department to provide this environment for students participating in our program. It is also necessary for the department to “promote and sustain excellence in teaching and learning,” as presented in vision theme I, Student Achievement.

Progress toward goal. The Music Department has made acquisitions of new music stands and individual percussion instruments. We still need to replace practice room pianos and purchase band instruments. Our ability to meet this goal is dependent on the availability of instructional equipment funds.

Goal 3: New Modes of Class Delivery

We need to meet the evolving student needs in general education classes (Music Appreciation, Jazz in America, etc.) by rewriting curriculum and developing new curriculum that incorporates new class delivery methods, including distance education. Also mediation of N106 needs to be undertaken so that existing classes that require technology-related delivery methods can be held in that room. related activities: 1. Develop course materials for IDS 121 so that it can be taught online 2. Schedule a section of Music 103 online 3. Mediate N106 Alignment with college mission statement and strategic plan. Our mission calls upon us to be a “leader and partner in meeting the intellectual, cultural, technological and workforce development needs of our diverse community,” and also to provide a “dynamic learning environment that prepares students for transfer, careers and lifelong intellectual pursuits in a global community.” New modes of classroom delivery are essential to meet the changing needs of our community with effective pedagogical approaches. We hope that more incorporation of innovative delivery, including distance education, will lead to an “increase [of] transfer, [and] progress/course completion,” as discussed in Vision Theme I, Student Achievement. This goal also involves other vision themes in the areas of Technology and Innovation. Vision Theme II calls on us to “provide a technology-rich environment for faculty, staff and students” as well as “provide innovative classroom

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technologies that will enable faculty to enhance and facilitate student learning.” Classes in the arts involve use of very current technologies when presenting media rich environments, especially in the online delivery mode. Also, because of the nature of media rich classes, instructors must cultivate a culture of innovation to enhance student success, as specified in Vision Theme III. Progress toward goal. The Music Department has made good progress toward goal 3. We are now teaching the IDS 121 class online. We have also developed materials to teach MUS 103 (Jazz in America) online and offered it in the spring of 2011. Because of budget restrictions, we have not been able to expand course offerings and do not currently offer the online version MUS 103, so this aspect of goal 3 needs to stay in the goal activities. We need to continue departmental research into how to make online sections more effective with respect to student success. This increased effectiveness as well as a plan to create an online version of MUS 104 (Rock Music Appreciation) need to be integrated into the activities of goal 3.

Goal 4: Recruitment and Publicity

The Music Department needs to promote its programs and ensembles by expanding relationships with feeder high schools, recruiting more heavily on the college campus, and establishing a more prominent online presence. related activities: 1. Enhance web site with produced videos of SAC ensembles. 2. Develop an area on the college application for discerning student interest in music performing groups 3. Organize student groups to help with recruitment and perform at local high schools. Alignment with college mission statement and strategic plan. Recruitment enables the Music Department to “provides access and equity in a dynamic learning environment,” as required by the mission. This goal also addresses the need of our department to create strong relationships with our feeder institutions and to “extend an awareness of the college as part of the community,” as expressed in Vision Theme IV, Community. In the Music Department, we firmly believe that participation in ensembles gives the students a strong sense of their greater college community and a secure sense of belonging. In that respect, any effort we make for greater participation will “promote an ‘achievement attitude’ among our prospective student population and supporting networks,” as put forth in Vision Theme IV. Progress toward goal. We have recruited using a variety of methods, both traditional and innovative. The instructors in the instrumental program have gone into the high schools to publicize our offerings. Our chorale program has begun scheduling unique performance opportunities to attract new members, such as a planned trip to

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Washington D. C. As noted above, we have begun to recruit directly from our GE music classes and enrollment numbers are improving as a result. Innovative efforts include establishing a Facebook site for the choir as a promotional tool. In addition, David Lopez took a sabbatical leave in the fall of 2011 in which he produced video taped performances of all instrumental performances that can be used on print and online promotional materials.

Goal 5: Improve the effectiveness and completion rates of commercial music classes and programs including Digital Music Production.

related activities: 1. Research the local four-year music programs concerning the design of their commercial music tracks for the Bachelors Degree. 2. Meet with representatives from CS Long Beach and CS Fullerton to discuss and establish articulation. 3. Write and revise curriculum to accommodate students on a commercial track. 4. Hire full time faculty to oversee commercial offerings in the area of Digital Music Production. Alignment with college mission statement and strategic plan. Improving effectiveness and completion rates in this program will help prepare students for transfer, careers and lifelong intellectual pursuits, as promoted in our mission statement. In addition, the Student Achievement Vision Theme (I) calls upon us to “increase transfer, progress/course completion, and attainment of certificates.” The highly technological nature of Digital Music Production also touches upon the Technology Vision Theme (II), “SAC students will graduate with skills necessary to access technology in their education and professional lives.” Finally, improving the effectiveness of the Digital Music Production touches upon nearly all aspects of Vision Theme V, Workforce Development. Progress toward goal: It has been difficult to establish a commercial track for our Music Degree due to the significant cutback in offerings over the last several years. Unfortunately, we are hampered by lack of proper facilities for these types of offerings. In the Digital Music Production area there has been excellent progress made in attaining our goal to align our curriculum with those of the Apple (Apple Computer) Certification program in Logic Pro, their professional recording and sequencing software. Through a sustained effort over several years, the Digital Media Center is now designated as an official Apple Training Center for Education. Also, Brian Kehlenbach is now an Apple Certified Trainer, and SAC faculty members have been trained in specific aspects of the Apple curriculum and pedagogy. We have also adopted Apple certified training materials so that our students can become Apple Certified End Users in Logic.

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Goal 6: Music/Fine Arts Performance Center and Facility

Design and Build a new Comprehensive Performing Art Complex that will house the Dance, Music, and Theatre departments. This complex should include in the following generic spaces: *500 seat proscenium theatre *250 seat concert hall with adjoining recording studio *100 seat flexible black box *Expanded band, choir, & piano rooms *1- 80' x 60' dance studio *1- 50' x 40' dance studio *And other department support spaces, i.e. lecture halls, practice rooms, rehearsal rooms, labs, faculty offices, etc. as specified in the "Proposal for a SAC Comprehensive Performing Arts Complex" document. related activities: 1. Increase awareness of this issue in the greater college community. 2. Determine the specifications for a new music facility that will complement our growing music programs. The facility should have 10 practice rooms, a recital space, larger rehearsal facilities, adjacent recording studio, an expanded music lab and other classroom space. For more detailed recommendations, please refer to the "Performing Arts Faculty Request for New Facilities" document. Alignment with college mission statement and strategic plan. We are very fortunate that the Master Plan of the college now includes planning for a new Fine and Performing Arts facility, as this is a perfect match to our mission to be a “leader and partner in meeting the intellectual, cultural, needs of our diverse community.” Our college Vision Statement Goal (goal 3) is to “update and implement facilities master plans, maximize college and community use of facilities.” Also, the new facility is central to the Community Vision Theme (IV) as we seek to “extend an awareness of the college as part of the community.” Progress toward goal: We made a substantial effort to increase the awareness of our greater college community of the importance and need for a new Fine and Performing Arts complex, and this has lead to its prominent position on the master plan. With the passage of Measure Q, we our now entering a planning phase in the spring of 2013. Requirements for the new facility have been put forward in a report co-authored by the Music, Dance and Theatre Departments and these parameters need to be discussed and reinforced as serious planning unfolds.

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Goal 7: Music Theory Curriculum

Improve effectiveness and articulation of Music Theory offerings by providing full time staffing for music theory classes and revising curriculum. related activities: 1. Request and then hire a new full time replacement position for retired instructor Phyllis Blake. 2. Meet with music department representatives at CSULB and CSUF to determine appropriate curriculum revisions for effective transfer and articulation. 3. Revise curriculum according to recommendations in activity 3 and to match CIC numbers. 4. Establish AA-T for the music major Alignment with college mission statement and strategic plan. Central to our college mission is to “prepare students for transfer.” Our Music Theory offerings represent an important core of our program as well as important GE options for our greater college population. It is important that this area remains strong and effective, and also includes careful oversight by full-time faculty. The Student Achievement Vision Theme (I) calls on us to “Increase transfer, progress/course completion” and to “promote and sustain excellence in teaching and learning.” Concentrated attention to this area of our curriculum is essential to the entire Music Department and to the college as a whole to stay aligned with these themes. Progress toward goal. The Music Department has submitted a request for a full-time replacement for Phyllis Blake. Our request was ranked as #11 in importance college-wide, but the college is only hiring eight positions this year. Theory classes tend to be a unique challenge for our students because the four-year institutions do not automatically articulate community college music classes. Instead, they give our students a placement test and then determine articulation. We have had extensive meetings with CSUF Theory faculty to attempt to facilitate the transfer process for our students. We found that their testing process is not as effective as it could be and we gave suggestions for improvement. In addition, we learned the specific learning outcomes required from the CSUF perspective and have taken steps to align our curriculum. A full-time replacement is still essential given the central role these theory classes play in our degree program. In the spring of 2013, all of our theory classes (MUS 111, 112, 114A, 114B, 213 and 214) have been submitted to the state to be aligned with C-ID numbers. Also, our new AA-T in Music has been written and is going through the local and state approval processes.

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3. What Research has the department conducted? The Music Department has conducted research in the following areas: I. Student success in online Music GE classes. II. Exploring the potential for greater involvement in our vocal and instrumental offerings. III. Assessment of piano inventory IV. Student readiness for the music theory sequence I. Student Success in online Music GE classes

Research question; Is student success in online Music classes correlated to the class size? We are trying to discover ways to improve student success rates in online offerings, since it is the goal of the Music Department to expand our offerings in this modality (goal 3). Several faculty members felt that, because of the sustained effort needed on the part of the instructor to assist students with individualized attention in the online delivery mode, it would be preferable to cap the enrollment in these classes at a smaller number to improve student success. Data was gathered for all sections of Jazz in America (MUS 103) and Music Appreciation (MUS 101) over the course of all semesters from 2010 to 2012. Data elements included grade distribution (including success rates), time of day (day/night), method of instruction (online or traditional), and number of students per section. In addition, students were surveyed on a wide range of questions concerning their experience in the online sections. Key findings: We expected a negative correlation between class size and student success such that as the class size decreases, the student success rates increase. However, such a correlation did not exist overall. When examining only the online offerings over the time period, there was only a weak negative correlation (–0.30). More research will be needed to further explore our research question and we will continue to explore other factors that may have an effect on success rates. As we increase our online offerings, we will be able to improve upon this research by examining a wider variety of classes and a wider range of class sizes. At this time, our conclusions are too inconclusive take specific action on class size. However, we will continue to pursue other avenues related to pedagogy (as described in question 15) and will monitor success rates closely in the coming semesters.

II. Exploring the potential for greater involvement in our vocal and instrumental offerings.

Research question: Is there potential for greater involvement of the SAC community of students in our vocal and instrumental offerings? The faculty in the Music Department felt we could do a better job of recruiting into our ensembles from the community of students attending classes at SAC.

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Initially, we explored the possibility of adding a research question to the college application that would tell us if the incoming student had any past experience or interest in a musical ensemble, much as we presently do for athletics. Unfortunately, we are told that we cannot add any more questions to the application. Instead, we created a data gathering survey that we distribute to all students taking a large GE music class (Music Appreciation, Jazz in America, Rock Music Appreciation). Our expectation was that students who take such GE classes in music are more likely to have had an experience as an instrumentalist or as a vocalist. In this way, we can gather the data on students’ musical experience that we desperately need, but on a smaller, more focused scale. Key findings: We found that in a typical GE music class, 14% of the students had instrumental experience, 17% had vocal experience and 69% had no instrumental or vocal experience. Extending these percentages to the approximately 400 students who take GE music classes each semester, we can assume that approximately 124 have either vocal or instrumental experience. It does seem that recruitment from our GE classes can be an effective way to increase enrollments in ensembles. As we move forward with goal #4 (Recruitment and Publicity) we will need to devise new ways to recruit from that selective population. This will include more direct recruitment through emails sent to students before the beginning of the semester. It will also include organizing groups of students from the ensembles and from our student music clubs to visit the Music GE classes in an effort to capture the interest of the students in those classes. Also, we will not give up on trying to add a few simple questions to the college application relating to musical experience, as this is a tried and proven method used by many music departments to recruit students into ensembles. We will continue to track enrollments in all of the ensembles in the coming semesters and, with these efforts, expect to document growing numbers.

III. Assessment of Piano Inventory.

Research question: Is our current inventory of pianos sufficient in quality and size as we look forward to the building of a new Fine and Performing Arts facility? The pianos in the Music Department are integral to the delivery of music curriculum and also to the presentation of superior performances given by students and faculty. Our inventory is aging and inadequate in many areas. The practice rooms have pianos that are old and functioning poorly. The recital spaces have pianos that are lacking in both size and quality for effective public performance.

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We asked Fields Piano of Santa Ana to send an expert to our department to help us make an assessment of our condition and needs with regard to pianos. Each piano was assessed mechanically and by suitability for its intended function. Each of the pianos (in our inventory of 11) was classified according to age, style, size, age, location, condition and use. Key findings: Of the 11 pianos, three were classified as being in “fair” condition and four were classified as being in “poor” condition. The average age of our pianos is 32 years, with one piano being 95 years old and at the end of its life. Also, the piano we use for public performance (the 95 year old piano) was deemed to be too small for its function in a large concert hall. It is evident that we must plan for replacement of pianos as we move forward, especially as we begin to plan for the building of a new Fine and Performing Arts complex, as currently specified in the college Master Plan. These needs are addressed in goal 1 and in goal 2. As we move forward, especially with goal 1, we need to continue our strong fund raising effort (the SAC Steinway Campaign). Over the next three years, we expect that our fundraising efforts in partnership with the SAC Foundation will put us on a financial footing to make the purchase of the new piano. It is expected that additional sources of revenue through grants, large donations, and instructional equipment allocations will be needed to complement our efforts in the Steinway Campaign.

IV. Student Readiness for the Music Theory Sequence

Research question: Can student success be predicted by an elementary test given in the first two weeks of Theory I (MUS 111)? Many faculty members feel that the success rates in the earliest level of the theory sequence (MUS 111) are low (49%) because many students do not have requisite elementary musical knowledge, such as basic note reading, to be successful. We need to see if such a deficiency can be identified in the early weeks of the semester and if this relates to the student’s ultimate success in the class. Such research could help us determine if a new placement test or prerequisite might be beneficial for the student’s overall success. Key findings: The findings were somewhat uneven from class to class. For example, in the fall 2012 day section of MUS 111, there was a positive correlation (+.6) between the grade received on the initial quiz and the ultimate grade of the student. More significantly, of the 14 students who received a grade of C or lower on the initial assessment, 12 (86%) either failed or withdrew. All (100%) of those who failed the initial assessment also failed or withdrew from the class. The results were not quite as clear in the evening section as only a small number failed the initial assignment (2). Of those, one failed the class.

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The Music Department plans to redesign and continue this research into the coming semesters. To get more definitive results, we will write an early assessment to be used department-wide in order to test for knowledge of simple note reading in two clefs. It will be administered during the second class meeting of all sections. This uniformity will give us a clearer picture of students’ preparedness for MUS 111 and how this relates to their ultimate success. Although the findings were somewhat inconclusive, we learned enough through this initial study to incorporate some specific measures. We will administer a uniform initial assessment to classes and then inform students of the results within the first two weeks of the semester. Students who seem to be deficient in very basic skills will be encouraged to transfer to a more suitable class that can address this remediation. Through this effort, we expect better student placement in our theory classes and we will carefully track success rates with the expectation that they will rise to 60%.

4. Do goals need to be restructured, eliminated or pursued with different activities?

Goal #1 Enhancement/improvement of Recital Space

Goal #1 needs to make more specific mention of the SAC Steinway Campaign as a sustained fundraising effort to help procure a new concert quality instrument. This semester (spring 2013) we are having the kickoff event for this campaign, a benefit concert in Phillips Hall featuring faculty pianist Jungwon Jin. In addition, we will unveil an “88 keys” program at this concert where patrons can “purchase individual keys to help fund a new piano. The lighting of C104 (activity 1) has already been researched and priced. The goal should now reflect our immediate need to procure the funding for this project.

Goal #2 Instrumental Program Improvement through Instruction Equipment Enhancement

The equipment needs of goal #2 are still essential. Specific plans for funding these equipment needs should be more specified in the activities..


The Music Department has made good progress toward goal 3. We are now teaching the IDS 121 class online. Unfortunately, we have not been able to expand course offerings and do not currently offer a MUS 103 (Jazz in America) online, so that aspect of the goal needs to remain in the goal activities. We need to continue departmental research into how to make online sections more effective with respect to student success. This needs to be more clearly integrated into the activities of goal 3.

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Goal 4 Recruitment and Publicity We need to continue with this goal in our portfolio so that we can continue with traditional and more innovative recruitment activities. Our goal activities should include more specific avenues for promotion using our newly produced concert recordings, and this should include integration of this media into web sites and other online resources such as social networking sites. Also, we should integrate more activities that take advantage of potential recruiting efforts among our SAC student body. These activities should include a specific plan for contacting and recruiting students taking the GE Music class offerings.

Goal 5 Improve the effectiveness and completion rates of commercial music classes and programs including Digital Music Production.

This goal needs to be readjusted for the next few years to move the focus onto the continuing development of the Digital Music Production Program. As we move forward as an Apple Certified Training Center, we need to take advantage of that status in our promotional efforts and encourage more students to not only complete our program, but to attain Apple Certification. While it is still important for us to consider a more broad-based commercial option for the music degree, the resources and faculty are not available for such a wide scale expansion at this time. It will be best to focus on the digital music aspect of our commercial music offerings and expand on the successes we have had.

Goal 6 Music/Fine Arts Performance Center and Facility

The nature of this goal should shift to ensure that the Music Department has an active role in the planning process as this important project moves forward.

Goal 7 Music Theory Curriculum

A full-time replacement for retired faculty member Phyllis Blake is vital to the effectiveness of our Theory Curriculum and our department as a whole. This element of goal 7 will remain until this vacancy is filled. Activity 2 (meeting with CSUF and CSULB faculty should continue, at least until the articulation process improves. We need to add a new dimension to this goal to address the success rates of the beginning semesters of music theory (MUS 111). The department will need to consider placement tests or other measures of readiness for students wishing to begin the theory sequence. We also need to explore additional curriculum and curriculum revisions that could aid in the remedial work many students need.

5. What are the proposed goals for next year? Goal 1: Enhancement/improvement of Recital Space and Concert Piano

Concert and recital areas need to be reconfigured and equipped with pianos of appropriate size and quality so that they can be used more successfully for student, faculty and guest performances. related activities:

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1. Design and install stage lighting for the front of room C104 2. Initiate and sustain a fundraising campaign for the purchase of a Steinway D Concert Grand Piano, initially for Phillips Hall and eventually for placement in the new Fine and Performing Arts Complex.

Goal 2: Instrumental Program Improvement through Instructional Equipment Enhancement

The instrumental program needs to better serve ours students with adequate availability of instruments and classroom equipment. related activities: 1. Purchase of two French horns for student use in instrumental ensembles. 2. Purchase of appropriate music chairs (50) for student performers as well as carriers (3) for music stands. 3. Procurement of other instruments: marimba, vibraphone, cymbals, contra bass clarinet and two practice room upright pianos.


Expand and improve the effectiveness of distance education offerings in the areas of Music Appreciation, Jazz in America, Rock Music Appreciation and Humanities Through the Arts through incorporation of effective design and teaching strategies. Also mediation of N106 needs to be undertaken so that existing classes that require technology-related delivery methods can be held in that room. related activities: 1. Incorporate effective and innovative online teaching strategies into the Music Appreciation and Humanities Through the Arts curricula. 2. Develop digitized media materials for Jazz in America and schedule an online section. 3. Mediate N106 with the standard classroom media cabinet and projector.

Goal 4: Recruitment and Publicity

The Music Department needs to promote its programs and ensembles incorporating traditional and innovative strategies of recruitment. related activities: 1. Enhance college web site with produced videos of SAC ensembles. 2. Develop an area on the college application for discerning student interest in music performing groups. 3. Develop a sustainable plan for recruitment of vocalists and instrumentalists from Music GE classes to include targeted mailings, emails, and classroom visits. 4. Further incorporate social media into the recruitment efforts of the college.

Goal 5: Improve the effectiveness and completion rates of commercial music classes and programs including Digital Music Production. related activities:

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1. Write and revise curriculum to accommodate students who wish to become Apple Certified in Logic Pro. 2. Hire full time faculty to oversee commercial offerings in the area of Digital Music Production.

Goal 6: Music/Fine Arts Performance Center and Facility

Become actively involved in the planning and design process of the new Comprehensive Performing Art Complex.

Goal 7: Music Theory Curriculum

Improve effectiveness and articulation of Music Theory offerings by aligning curriculum with transfer institutions and providing full time oversight staffing for music theory classes. related activities: 1. Hire a new full time replacement position for retired instructor Phyllis Blake. 2. Continue dialoging with music department representatives at CSULB and CSUF to determine approaches for effective transfer and articulation. 3. Establish AA-T for the music major

II. Core Competencies/ Student Learning Outcomes Assessment

6. Please summarize findings of direct-SLO assessment from the previous academic year. How has this informed future plans for the program?

Music Department Program Outcomes The learning outcomes below are achieved by completing the required courses of the Music Program, and the assessment of those specific course SLOs can be found in the subsequent section of this report. Music Major Student Learning Outcomes

• Students will perform proficiently (at the Sophomore level) on their principal instrument in a 20-minute public recital. They will pass placement tests on their main instrument (or voice) and be accepted at California State University Fullerton, California State University Long Beach, and other local four-year institutions.

• Students will demonstrate an understanding of music theory, piano, harmony and

musicianship at the final level of a traditional lower division music sequence. They will pass placement tests in the areas of music theory and musicianship and be placed at the junior level upon transfer to California State University Fullerton, California State University Long Beach, and other local four-year institutions.

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• Students will demonstrate through public performance a proficiency at the sophomore level on their instrument (or voice) that allows them to perform accurately and musically within a large ensemble.

• Students will be able to demonstrate sufficient proficiency performing in a vocal or

instrumental ensemble to be able to continue their involvement in music in a performance ensemble within the greater community.

Assessment of Music Major Program Outcomes Student performance as soloists and in large ensembles is assessed according to grading rubrics in each of the performance classes. In addition, The Applied Music classes involve a “juried” performance at the end of each semester, where students must perform before three to four members of the Music Department at the end of the semester. As a department, we all assess each student’s progress in this manner and also review their active participation as performers in our student recital series. As noted above in the student learning outcomes, our students are tested at the four-year programs before they are accepted and before their theory and performance classes are articulated. We keep track of students as they go through this process to assess for ourselves the success they have in this process. As noted elsewhere in this report, students have been accepted in several area schools after undergoing a rigorous audition process. Also, they are doing well in their theory placement tests, often passing through most of the levels. We meet with our local four-year programs to stay abreast of their requirement.

Digital Audio Production Program Student Learning Outcomes

• Students will demonstrate through audio projects and other practical exercises a proficiency in the techniques of MIDI editing, audio editing, and techniques of synchronizing audio to video. This knowledge will allow them to pass the certification exam in Logic Pro 9 level 1 given by Apple Corporation.

• Students will demonstrate an understanding of the legal and practical aspects music

business through reports and research papers.

• Students will produce digital audio projects that demonstrate use their knowledge of music theory and their practical knowledge of musical performance.

Assessment of Digital Audio Production Program Outcomes Most of the courses in the Digital Audio Production program are project based. Students are asked to create recordings, mixes and other media that emulate what they would be required to produce in real world settings. These projects are assessed in each course according to specific rubrics to assure that the program outcomes are being achieved.

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The program is designed to include specific information on the business aspects of the music business, as many will enter this field from an entrepreneurial perspective. Within the Business of Music Class (MUS 148), specific student learning outcomes are addressed to assure students have a thorough understanding of legal and practical aspects of the music business. In the “Careers” Core Competency assessment below (Core Competency #5), we assess how this competency is addressed in several of the Digital Music Production courses.

Student Learning Outcome Assessment of Individual Music Courses The Music Department conducts direct assessment of student learning outcomes in the music curricula by examining at least one core competency (institutional SLO) each semester. Individual faculty members use the form provided by the institution (Appendix B) to make assessments of the classes they teach and then the department uses another institution-wide form (Appendix C) to summarize these findings. Below is a summary of the direct SLO assessment work the department has undertaken over the last four years.

1. Core Competency: Communication Skills: Listening/Speaking, Reading/Writing Semester of assessment: Spring 2010 Department meeting date: June 1, 2010

Assessment tools used: • concert reports • listening and identification exams • peer evaluation according to a rubric • performance evaluation according to a rubric • various other written and oral activities Summary of SLO assessment In History/Appreciation Classes (MUS 101, MUS 103, MUS 104) students demonstrate the ability to identify the composer, genre and title of various examples within a listening exam. Once students began to learn the musical terms and concepts they began to exhibit more confidence and become more engaged in meaningful class discussions. Initially, students relate to musical examples from a subjective experience and respond to questions in “layman’s terms”. When terms and concepts are learned and the process is modeled enough times for them, they begin to make connections between subjective and objective descriptors and soon are able to engage in a discussion using terminology of the discipline and musical concepts. Generally, students seemed to have less difficulty with instrumental genres when compared to vocal. Additionally, students in these classes must attend a concert and write a report/review using correct terminology, historical and musical concepts within a

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formal and grammatically correct paper. Students demonstrated the need to improve skills in a formal writing style. Many seemed able to communicate about their personal insights and feelings when discussing specific pieces. However, students need more guidance in formal writing, particularly when course content is new to them. Generally, students in Music Theory classes do well on their initial testing for basic primary definitions. Some however have difficulty realizing that music theory is a new language, and fail to see the need for discipline in the acquisition of the skills needed for successful participation. Of those that do poorly, most are able to recover and ultimately develop the study habits needed to overcome their deficiencies. In Digital Music Production classes, students filled out peer evaluation rubrics and then contributed to class discussion. They tended to not be very critical of their peers and needed to be guided as to how to be constructive in their comments. This activity improved over the course of the semester in terms of their use of vocabulary and their effective use of criticism. In instrumental and vocal classes, students did a fairly good job in their peer performance critique and improved over the course of the semester. Initially, students did not use much of the technical and aesthetic terminology. Effectiveness of this activity was improved over the course of the semester through guidance and modeling. Students in instrumental and vocal ensembles eventually develop the skills to perform their respective parts in an expressive and meaningful way through coaching, instruction, demonstration, written examples on whiteboard, metaphor, class discussion, section rehearsal, and through their individual efforts. As each problem is identified and isolated in this way, consistent improvement becomes evident as the semester progresses. Some students seem more prepared to engage the music at a higher level of proficiency and those students generally excel. The MUS 181 class (Chamber Orchestra) incorporated video taped performance exams. In general, students performed at a satisfactory level and most showed a marked and consistent improvement as the semester progressed as evidenced by this exam format. Next steps to improve student learning • Each faculty member should state goals and objectives more clearly on

assignments and course overviews. • Encourage students to enroll in basic skills and to access the writing lab to

enhance skills in formal writing. • Encourage and promote same discipline faculty meetings to share techniques

that improve competency. • Add to existing binder available for access to rubrics.

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The Music Department will implement these steps by: • Have binder available by beginning of 10-3 semester. • Create workshops for similar discipline faculty following Division part-timer meeting. • Continue to address issues at regularly scheduled, full-time faculty meeting.

2. Core Competency: Diversity Semester of assessment: Fall 2011 Department meeting date: December 1, 2011

Assessment tools used: • group activities with teacher evaluation • quizzes • essay graded by instructor according to a rubric • group analysis assignments completed during class and graded by instructor • group activities with peer evaluation • duet assignment performed in front of class and graded by instructor according to a rubric • group sectional performance graded by instructor Summary of SLO assessment The Social SLOs were handled effectively in most cases. Students worked in groups or in pairs in the instrumental/ensemble classes (MUS 121, 171, 175, 181, 185). The subject matter lends itself well to effective social interaction. Instructors felt that this is an effective activity in assessing outcomes related to performance as well as social interaction. Students often need more specific guidance when conducting effective peer reviews. It seems that the “social” component of this core competency is addressed more directly than the “diversity” component. Again, with the music theory class (MUS 111), the social dimension of the in-class group analysis is particularly effective. But as with the other performance-based classes, the direct assessment of “diversity” is more elusive. Essay questions in the MUS 101 and MUS 103 classes are very much geared toward cultural issues (European, African American, gender, societal influences). There are problems with the disparity among students in how well they use proper English mechanics in their writing. Otherwise, the SLO is effectively addressed in these classes. Next steps to improve student learning in this core competency: • Goals and objectives of the assignments should be stated more clearly. This

should be communicated more clearly to part-time faculty through a sharing process with full-time faculty.

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• Course content that lends itself to the “Diversity” student outcome should be identified more clearly so that specific assignments or assessments can be developed. Where this is not practical or not essential to the topic, the “Diversity” student learning outcome should be removed from the course outline of record.

• More guidance should be provided to students as they prepare the various activities required in classes that have a “Diversity” learning outcome.

The Music Department will implement these steps as follows: • Part-timers meeting will include specific issues relating to this SLO and clarity

of goals and objectives will be stressed. • In the course of the semester, activities will be planned for full-time faculty

members to meet with part-time faculty to share specific ideas for assignments and different means for providing increased guidance to students.

• Curriculum will be revised to reassess the appropriateness of diversity learning outcomes in specific classes. The learning outcomes will be revised or omitted as needed.

3. Core Competency: Information Management Semester of assessment: Fall 2011 Department meeting date: December 1, 2011

Assessment tools used: • critical review papers graded on rubric. • objective quizzes, short answer exercises covering technical issues graded by instructor. • Digital Music Production projects graded on a rubric Summary of SLO assessment There was a wide range of student achievement in most of the assessment tools. For class assignments that involved writing outside of class, there were instances where many students simply did not do the assignment if there were not enough points involved. Writing abilities varied greatly. Not all students used good Internet sources for research topics. For technology-related quizzes and assignments in the Digital music production classes, students generally did well when the assignment criteria were made clear. Some of these classes do not currently have a technology SLO and these will need to be added. Next steps to improve student learning in this core competency: • Several classes that have a technology component do not currently have a

written SLO, such as MUS 142, 146, 147 and Music Theory classes and these SLOs need to be written.

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• Specific assignments that require critical review of performances should be reviewed and reconsidered in terms of overall point value in relation to the course to assure that students complete the assignment.

• Faculty members should be given more opportunity to share their ideas with each other.

To implement these steps, the Music Department will: Review appropriate curriculum and write technology SLOs for classes that need

them. Review and revise curriculum to provide assignments with appropriate

information management focus. Also review to determine appropriate point value in relation to the rest of the course.

Provide opportunity during flex week for part –time and full-time faculty to meet and share perspectives in relation to information management in the curriculum.

4. Core Competency: Thinking and Reasoning Semester of assessment: Spring 2012 Department meeting date: May 17, 2012

Assessment tools used • Listening quizzes identifying specific aspects of genre and historical

convention of assigned musical examples, graded by instructor. • Listening logs delineating objective and subjective observations of specific

pieces. • Composition assignment realized according to specific criteria, presented to

the class, and then graded according to rubric. • Performance of musical repertoire before the class, graded by instructor

according to a rubric. • Presentation of original digital music project that applies specific aspects of

digital recording and audio theory. Summary of SLO assessment MUS 101: Student performance on listening tests is improving, especially when the questions are more focused and less open-ended. There are very specific issues that rose in online sections, especially in this type of test. Students have different comfort levels with the audio aspects of technology as it relates to media-intensive online delivery, and this has some impact on their performance on these tests. MUS 103: Listening logs are proving to be a very effective tool for keeping students concentrated on their listing outcomes over a sustained period of time. There is a wide disparity in the writing abilities of the students and, hence, their abilities to express critical observations and interpretations of the musical examples. MUS 111, 112, 213, 214: Analysis assignments build in intensity and depth through the four levels of theory. In the last level, students present a group analysis

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of a musical example as an oral presentation. Some students worked much harder than others. The presentations were of uneven quality, although several students handled this difficult task very well. MUS 135, 171, 175, 181: Through specific direction by the conductor, students eventually develop the skills to perform their respective parts effectively. Those students who practice outside of class time show the most improvement and it is a challenge to get all students to do this. Also, students come into the performance ensembles at vastly different levels of musicianship. MUS 142, 143, 146: Some students enter these technical classes with advanced knowledge of musical concepts and they can easily apply new technology skills in the realization of effective projects. Other students struggle with very basic music elements such as rhythm and basic note playing. It is often difficult for them to get beyond these limitations when trying to apply critical thinking skills in the application of digital recording and audio theories. MUS 121, 161: Student performance is often very good. Quality of performance is often proportional to the amount of time they spend practicing outside of class. Next steps to improve student learning in this core competency: • Provide a department tutorial for students in classes that use media rich

technology. • Develop a recommended sequence of courses in the Digital Music Production

Certificate program that will ensure that students have higher musicianship skills before they take the more technical recording classes.

• Develop practice logs that students can use across the curriculum and develop a process for posting computer logs of practice hours.

• Introduce more analytical throughout the music theory curriculum sequence, including oral presentations.

To implement these steps the Music Department will: • Develop a departmental, media rich online tutorial for online classes. • Revise course sequence for Digital Music Production Certificate. • Develop procedure for posting computer hours logged in by students. • Revise Theory curriculum to include more analysis.

5. Core Competency: Careers Semester of assessment: Fall 2012 Department meeting date: October 25, 2012

Assessment tools used: • Written description of the career implications of their creative projects. • Group discussion to share their knowledge of career path opportunities that

relate to the field of Digital Music Production.

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• Research paper on career paths of famous musicians. Summary of SLO assessment Students submitted papers that covered the specific recording and musical aspects of their projects. In most cases, the students did not relate their projects to possible career paths and opportunities as specified in the assignment. In class discussions, student engaged in lively discussion concerning creative aspects of their projects. They were more vague in communicating the relationship between their creative work and career opportunities. More guidance needs to be given to students so that they can begin to address the connection between the skills they are learning and the available paths to future careers. In the Business of Music class, the assignment is very clear, direct and effective. Students learned much about career paths by researching careers of famous musicians. Their work in this area was practical and the learning outcome was addressed effectively. Next steps to improve student learning in this core competency: • Revise the writing assignment to make the career component more clear and

relevant. • Provide more clear criteria for in-class discussion so that particular career

paths will be thoroughly discussed. • Use rubrics in the grading process of the paper assignments and participation

sessions. To implement these steps the Music Department will: • Provide rubric examples to all part-time instructors • Visit classrooms to provide feedback to part-time instructors in the focusing of

their discussions and paper grading. • Analyze the course to determine the best way to present information on

careers and revise the SLOs. 6. Core Competency: Life Skills Semester of assessment: Fall 2012 Department meeting date: December 1, 2012

Assessment tools used: Assessment tools used: • Juried and public performances evaluated according to rubric. • In-class performances evaluated by instructor according to a rubric

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• Written papers containing descriptive, interpretive, and evaluative criticism of public performances and significant musical recordings.

• Written essays on aesthetic considerations of digital music composition projects. Summary of SLO assessment Students in the Applied Program are expected to participate in juried and public performances. There is an audition process for entering the program, but the skill and musical level of the students varies greatly. The performance activity requires an enormous amount of preparation through hours of daily practice and not all students put in enough hours. Nevertheless, many of our students prepare very extensively and do remarkably well. In-class performance in such classes as MUS 161 (piano class), MUS 121 (voice class), and MUS 185 (guitar class) also require extensive preparation on the part of the student. The activity challenges the students’ abilities in the intellectual, physical, and aesthetic domains. Many meet the challenge well, but others are not able to commit to the amount of work necessary for success. Concert reports require students to engage in criticism on many levels. Most of our classes have assignments with parameters that are very specific, and as long as students follow the requirements of the guidelines, they do fine. Like any writing assignment, there is a significant disparity in the writing abilities of students. Also, many students have difficulty in writing essays the move from being purely descriptive to being more evaluative in nature. Next steps to improve student learning in this core competency: • State goals or objectives of assignment/activity more explicitly. • Revise content of assignment/activities to require more interpretive and

evaluative critical thinking content in essays. • Increase guidance for students as they work on assignments. • Closely monitor the hours students are spending on their in-lab practice and

issue warnings earlier in the semester. To implement these steps the Music Department will: • Schedule department meeting with full and part-time faculty to share concert

report assignments and rubrics to incorporate best practices. • Issue practice hour reports weekly and early in the semester so that all students

and faculty are aware of student compliance with this requirement.

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III. Student and Program Success

7. What are the strengths of the program? What improvements does it need? The Music Department includes several areas of instruction that support the music major, the music certificates, and the general education of students across the campus. For the purposes of analysis and assessment, these areas are discussed below in the following categories: Applied Music, Instrumental and Vocal Classes, Music Theory Classes, Music History/Appreciation Classes, Digital Music Production Classes, and Large Ensemble Classes.

Applied Music 115a, 115b, 115c, 115d

The Applied Music course offerings at SAC are represented by the following courses: 115a, 115b, 115c, 115d and 215a. These courses are a sequential series of private lesson offerings on band instruments and orchestral instruments, voice, piano and guitar. Applied Music gives students the opportunity to study in a private format the instrument of their choice. During these four semesters students are assigned repertoire suitable for their level to prepare for a formal performance. Each semester, the amount of repertoire and the duration of the student’s performance increase. The Applied Music experience helps our students to improve their technical skills, build their artistry, and expand their repertoire and experience in order to prepare for audition and transfer to four-year bachelor degree programs in music. Students in the Applied Program are a very committed and serious group. They practice long hours, attend recitals, and prepare their own public recitals. Also, their practice and progress are closely monitored throughout the semester. As a result, successful completions tend to be high in the Applied Program, with an average student success rate of 80%. This area is quite central to our department mission and is one of the best measures of the number of students majoring or planning to transfer as a music major or minor. The enrollment has been slightly lower over the last few semesters and this represents a drop in the number of students majoring in music with an emphasis in piano. In the fall of 2011, we finally added a new faculty member, Jungwon Jin, in the area of piano as a replacement for former full time faculty member Alison Edwards to try to address the need to strengthen this area. Over the next several semesters, we hope to see the number of piano majors rise, and with them, the overall strengthening of the Applied Music Program.

However, there are other serious limiting factors to the growth and health of our Applied Program and our Music program as whole. These factors mostly relate to the fact that our current facility is inadequate in many respects. Our building and

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practice room area are woefully short of space and we really could not support any significant growth in enrollments. The N building is small and unattractive, with badly designed room sizes and an inadequate heating and cooling system. It is constantly leaking from the roof and suffers from major plumbing leaks, causing bad odors and a damp musty feeling in many rooms. Lastly, our parking and accessibility to the Music Building is inadequate. Most colleges in our area have state of the art facilities, and comparatively, our facility is third world quality. Also, due to budget cutbacks, we have lost funding to keep the lab open the number of hours necessary for positive student outcomes.

In order for the number of applied students to increase, our facilities would need to increase in size and quality. We look forward to the building of a new Fine and Performing Arts complex in the near future, as specified in the college’s master plan, so that we can address these deficiencies and limitations on our potential. Nevertheless, this project will be several years in the future and we cannot wait that long to address these fundamental facility issues.

Instrumental and Vocal Classes Voice classes: Music 121, 122, 123, 124 Piano classes: 161, 162, 163, 164 Guitar Classes: 185, 186, 187, 188 Instrumental and vocal classes meet the needs of our majors and serve as popular electives for students needing a participatory class in the arts. These classes in the areas of voice, piano and guitar are offered in four levels from beginning to advanced. Depending on the demand, we often offer these as cross-listed sections. For example, the level 1 guitar class, MUS 185, is scheduled by itself, but the level 2, 3, and 4 guitar classes are cross listed and offered together. The first level presents special challenges as students do not always realize that they must engage in learning a new language (music and music notation) while at the same time, master a new physical skill that takes sustained daily practice. As shown in the chart to the right, success rates improve with the higher levels as students master these skills. Nevertheless, the Music Department is always seeking to find ways to improve success in the lower levels. Full and part time teachers meet regularly to discuss new pedagogical approaches.

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Some improvement has been made in the success rates of beginning level classes. For example, Voice classes have demonstrated consistently high rates of student retention. Additionally, voice class sections that have remained in place after budgetary constraints forced a 33% reduction in sections offered have demonstrated increased productivity. A comparison of the average total enrollment before and after the section reduction shows that the number of students served declined much less than might be anticipated given the loss of a third of the sections offered. This increased productivity is accompanied by rising student success rates; over a five-year period, student success has nearly doubled as shown in the chat to the right. Interesting, while the beginning level Piano Class success rates have remained somewhat constant over the last several semesters at approximately 56%, the level two classes have shown a steady increase from 46% to 71%. Now that we have a new full time faculty member overseeing the piano offerings, we will have greater opportunity to try to replicate that success in the lower level piano class. The guitar classes, taught completely by part-time faculty, have the lowest first level success rates, although they seem to be improving. We have been very clear with part-time faculty that we do not want students withdrawing from these classes, especially if the student is just trying to repeat the class. This may account for the rising success rate. We will continue to have combined meetings among all instrumental faculty members to reinforce department priorities and to exchange successful classroom techniques while we all strive for ways to increase student success.

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Music Theory Classes Music 111, 112, 213, 214 The music theory curriculum is integral to the Music Degree and also serves as an important GE offering in the area of Humanities. Participation in Beginning Music Theory and Musicianship I (MUS 111) has been relatively consistent over the last four years with 56 students enrolled per semester on average. Historically, this beginning level class has had the lowest success rate of all our theory offerings, with an average success rate of 49% over the last four years. This compares to the 47% success rate average of our previous program review. The difficulties of learning music, and in particular, music theory, can be compared to the difficulties of learning mathematics – the average success rate in a Math 060 class is 45%. A longitudinal view of success rates does not seem to uncover any readily discernable trends except for the unusual disparity noted in the last few semesters, as shown in the chart to the right. It is important that we monitor this class in the coming semesters to further track these rates. Because students in the Digital Music Production Program are also required to take MUS 111, it is important to ensure that students are adequately prepared with at least the skill to read music in one clef before signing up for this class, as noted in the curriculum. The higher levels of Music Theory tend to show stronger success rates. For example, the average success rate in Music 213, Theory 3, is 69% Large General Education Music History/Appreciation Classes MUS 101 (Music Appreciation), MUS 103 (Jazz in America), MUS 104 (Rock Music Appreciation) MUS 101, 103 and 104 are very important classes for the department and the college. They are all very successful and popular General Education Classes in the Humanities and Cultural Breadth areas. It is interesting to note the differing success rates in these classes. The Music Department has conjectured various reasons for these differences:

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• Music 103, with the highest success rates, is taught exclusively by full-time faculty. About 50% of Music Appreciation classes and 100% (1 section) of Rock Music Appreciation are taught by part-timers.

• Music Appreciation has online sections every semester, and these classes tend to

have lower success rates. • Rock Music Appreciation is a fairly new offering, begun in the fall of 2010, and

the curriculum may require some analysis and revision. The disparity in success rates between traditional and online offerings has been demonstrated across the campus. In the Santa Ana College Distance Education: Participation, Demographics and Course Success report of March 2012, it was reported that for the fall semester of 2011, the overall college success rate of traditional delivery classes was 63% while that of online classes was 58% and that of hybrid classes was 55%. According to the same report Music Appreciation classes (MUS 101) had a 66% success rate for traditional delivery and 47% for online. While online instruction creates a unique challenge for the department, we are fully committed to such alternative delivery methods and plan to expand them in the future. That is why we feel the need to examine the disparity is success rates between these two delivery mode in our own area. One of the primary strengths of this delivery modality is the increased access it provides for students whose schedules are not conducive to traditional instruction. The online course has benefited students with health conditions that make on-campus attendance difficult, students with non-standard or shifting work schedules, including nurses and firefighters, and students needing to travel during the semester, such as students with jobs in the oil industry and US servicemen and women. Three examples of such students in the past three years have been a firefighter submitting assignments on his laptop during a stint fighting wildfires, a marine taking his exam from his base in Baghdad, and a student completing a concert report in the United Arab Emirates. Faculty members in the Music Department have taken several steps to increase effectiveness and success rates in online offerings. For example, in the online Music Appreciation, Elliott Jones has implemented the addition of a pre-test for the regular listening exams, greater focus on weekly assessments versus unit assessments, and a more graduated approach to the writing assignments associated with class listening and concert attendance. Also, Brian Kehlenbach attended a class in online design and delivery at Saddleback College and is currently implementing new strategies into the MUS 103 (Jazz in America) and IDS 121 (Humanities Through the Arts) online sections. This includes an increased usage of authentic assessment throughout the course as well as enhanced guidelines and opportunities for student participation.

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Digital Music Production Classes Music 142, 143, 144, 146, 147, 148

All of our Digital Music production classes show strong success rates. Even the beginning level classes in MIDI and digital recording show strong success rates, and in particular, the MUS 142 class (MIDI) shows a rising trend with a healthy 89% in fall of 2011. We have begun to promote our new status as an Apple Certified Training Center and these numbers seem to show greater student success as they begin to focus their own goals on Apple Certification. Several years ago, we changed the scheduling of these classes to offer them in an 8-week format and completion rates as well as success rates have been high as a result.

In addition, the number of students involved in our Digital Music classes has grown nearly 32% since 2007 and has remained quite healthy and consistent since then at approximately 150 students per semester, as shown in the chart to the right. Because of budget constraints and facility limitations, we feel that this area has reached its maximum potential in terms of student involvement and interest. Our focus will continue to be on moving these students to complete the program and attain their certificates and also to work toward Apple Certification.

The number of students getting certificates has grown dramatically from 2007 to 2011 and we hope to continue that trend in the coming semesters. To give this important area of our Music Department the attention it deserves, we feel that it is imperative to hire a full time faculty member to oversee this program (goal #5). This would be of immense help to students who could benefit from a more dedicated program coordinator who could better pursue articulation from the high schools and also pathways to job opportunities. Currently, full time faculty teaches only 26% of the LHE in this program.

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Large Ensembles Concert Chorale, MUS 135; Concert Band, MUS 171; Chamber Orchestra, MUS 181 Success rates in the instrumental ensembles tend to be very high, with 83% and 82% average success rate in vocal ensembles and instrumental ensembles, respectively. Students tend to enter these ensembles with prior experience and for some ensembles, must pass auditions to enter. This ensures at least a modest level of skill and leads to good success. The Music Department has made several efforts to increase participation in ensembles including recruiting from the local high schools and attempting to recruit more of our student body here on campus. We have surveyed all students in the large GE music classes to ascertain their prior experience in ensembles and then have followed up with direct contact. We have sent promotional emails to these students and visited classrooms to further promote the ensembles. This has been undertaken in an educational climate where the economic downturn of the past four years has made it increasingly difficult for students to find available sections of required classes in their respective majors. This scarcity has put increased pressure on elective ensembles as students who might otherwise be interested in ensemble participation had fewer options for fulfilling core requirements and therefore less flexibility in their schedule for electives. Despite this pressure, the choral program has seen steady and impressive growth as a result of our sustained efforts. Total enrollment in all choral ensembles has increased from 59 in Fall 2009 to 95 in Fall 2012. In addition to growing enrollment, large numbers of students participate in a choral ensemble for more than one semester. It is clear that the success and quality of the program as well as sustained recruitment efforts are beginning to pay off with these increased numbers. It is also clear that we would greatly benefit if we could get some institutional help with our recruitment efforts by adding an area to the

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student college application where students could identify their previous musical experience.

8. What are faculty’s perceptions of the success of the program?

The programs of the Music Department are vibrant, innovative and successful despite the limitations imposed by severe budget restraints and our inadequate facility. We have great success moving students through multiple levels in our sequential classes in theory and instrumental lessons and then preparing them for transfer to the four-year institutions. Last year alone, we transferred students to music programs at UCI, CSUF, CSULB, Biola, the University of Washington and the University of Hartford.

Our successes are largely dependant upon part-time staff who teach most of our of our departmental LHE. These part-timers are instructors who guide the students with their own practical and extensive experience. In fact, many of our part-timers are incredibly active professionals in the community including members of the Pacific Symphony, recording engineers, Grammy-nominated recording artists and concert recitalists. They are also exceptional music educators and this is of great benefit to our students, particularly those students who get to study privately with them in the Applied Music Program. The success achieved in the Applied Program is also a result of our time tested administrative process that documents student participation and holds them accountable for required in-house practice and recital attendance. Because of our faculty and careful administration headed by David Lopez, many of our talented students, some of whom enter the program at a remedial level, are able to advance to a competitive level in four semesters.

General Education offerings in Music (Music Appreciation, Jazz in America, and Rock Music Appreciation) serve the greater college community in a significant way and remain popular offerings among our student body. Our continuing effort to broadened access to these general education classes through online delivery is a significant success of the department. Ultimately, these courses will play an integral role in the formation of a fully online degree program at SAC. One of the largest impediments to the success of such online offerings in the Music Department is the current lack of digital media support. Mediated content is an important key to overcoming barriers to student success in a fully online learning environment. The creation of such content, especially digital video, requires expertise and software that not all faculty possess. Greater support for faculty in the creation of instructional media would enhance the success of these delivery modes in music classes.

The Music Department is very proud that our ensemble performance course offerings, both instrumental and vocal, have survived and remained healthy during a time of budgetary contraction. Over the past four years these ensembles have continued to draw substantial numbers of students, giving them an opportunity to learn a variety of challenging repertoire in an encouraging environment, and then to

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perform this repertoire in successful, end of semester formal concerts. The experience gained in these ensembles helps our students of all majors become better citizens by learning the importance of responsible behavior and teamwork.

As with the Applied Program, there are many institutional factors that limit the growth and potential of our ensembles. We have rehearsal rooms of insufficient size, too few practice rooms, and inaccessibility to the campus due to inadequate parking. Additional difficulties include new state limitations on repeatability, along with the very disappointing cutting of our production budgets. Despite these challenges, the quality of our productions has continued to improve, due to the expanded efforts of our faculty. The performance ensembles continue to service the needs of the college and community through outreach.

9. What are opinions of students regarding the program’s quality? Upon what variables is this based?

The Music Department has gathered student information as well as their opinions on different surveys given to Applied Music students, students in general education music classes, and students in the Digital Music Production Program. Online Instruction Survey Students in online sections of MUS 101 and IDS 121 were given surveys to complete on Blackboard to gauge their opinions on the methodologies and effectiveness of these offerings. Generally, they view our online MUS 101 course as being a high quality program. On average, 89% of respondents rated their satisfaction with various aspects of the course as excellent or good (five point scale: excellent, good, average, needs improvement, unacceptable). The result were similar in the IDS 121 class with 100% of respondents rating their overall experience as “good” or “excellent.” When asked about their satisfaction with class materials, class format, pacing, and effectiveness of the instructor, the students also responded very positively. When rating the usefulness of class discussions, 57% answered “excellent.” Since that time the nature and format of the discussions have been revised to try to get that number higher. Applied Music Survey The Applied Music students represent those who have participated most fully in our department. According to the survey given in fall 2012, 77% identify themselves as music majors, 80% are concurrently enrolled in an ensemble, and 83% are concurrently enrolled in a Music Theory class. When asked about the program, 85% are satisfied or very satisfied with its administration and organization and 92% indicate that they are either satisfied or very satisfied with the program overall. In addition, their satisfaction with their theory class rated a grade of 4.8 out of 5 (5 being very satisfied), and their satisfaction with piano classes rated a grade of 4.7. On a negative note, 54% of the students expressed that they were either neutral or unsatisfied with the practice rooms in our facility.

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General Education Survey This is a very simple survey given to all students taking any class offered by the Music Department. We ask them if they have had any experience playing an instrument or singing and also if they have additional interests in music classes aside from the one they are enrolled in. This survey is primarily used as a recruitment tool. Interestingly, 31% of the respondents in the fall 2012 survey indicated that they had some prior musical experience, and this survey has become an important recruitment tool for the department. Digital Music Production Program Survey This survey has been given to students in the beginning level Digital Music Production classes over the last several semesters. We leave the survey as an online link and encourage all students to contribute anonymously. Students rate the course, the instructor and the facilities. In all areas, students seem quite satisfied with average scores ranging from 4.6 to 5.0 for all questions (5.0 being very satisfied).

10. What, if appropriate, are employer attitudes towards the program?

Our primary focus in the Music Degree is to prepare students for transfer, and employer attitudes are not applicable. For the Digital Music Certificate Program, students are being prepared for a field that has grown more and more entrepreneurial, and our program is designed to provide information on the business of music as well as technical issues. We do have relationships with local employers on our advisory board including Stewart Sound Audio Post Production, Love and Laughter Music and Recording Studios and Voice and Sound in Anaheim. Currently, that Stewart Sound currently employs one of our former students who started out there as an intern. Thus, we have many ways to stay abreast of industry and employer concerns and as a result, attitudes toward our program are positive.

11. What successes may be identified?

As specified in question 4 and in other areas of this report, there are a number of specific classes that have shown either higher enrollments of higher success rates as a result of concerted efforts made by the department, and despite the severe limitations imposed by severe budget cuts and our deteriorating facility. They are summarized below:

• Beginning Voice (MUS 121) student success rates have risen from 36% to 73% over the last four years due to changes in pedagogy.

• Level 2 piano classes have shown increased success rates over the last four years from 46% to 71% largely due to the efforts of our new full-time faculty member in this area, Jungwon Jin.

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• Success rates in MUS 142 (Creating Music with MIDI) have increased from 62 to 89% over the last four years and the number of certificates awarded has dramatically increased. This coincides with the great effort involved in becoming an Apple Authorized Training Center for Education.

• The number of students taking technical classes in the Digital Music Production area has risen from 117 to 154 during the same time period.

• The enrollment in vocal ensembles has increased from 54 to 95 students per semester, and this coincides with concerted efforts in recruiting, mainly from our large GE classes in the Music Department.

• As a result of several grants, curriculum revision, professional development and a long application process, we are now an Apple Certified Training Center for Education, allowing us to off Apple Certification in Logic Pro to students in our Digital Music Production program.

Other successes While we continue to have limited success getting our students to actually complete the music degree, several students make successful transfers every year. Last year alone, we transferred students to music programs at UCI, CSUF, CSULB, Biola, the University of Washington and the University of Hartford. This is especially impressive, as transfer in the music discipline is never automatic. Students must pass auditions and rigorous placement tests in music theory and musicianship before they are accepted and before any music classes are articulated.

The Music Department is putting forth great effort to improve success rates in online offerings and we are beginning to see results in Elliot Jones’ MUS 101 online sections. Since implementing assessment changes in the 8-week summer and 16-week fall 2012 sessions, student success rates rose significantly. We believe that those success rates of 65% in the summer and 62% in fall will become the new floor for success rates going forward.

A final and significant success to mention is the inclusion of a new Fine and Performing Arts Facility on the college Master Plan. This has long been a Music Department goal, and we are very excited that our efforts to bring the importance of such a facility to light has resulted in real plans being formulated this semester.

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V. Curriculum, Pedagogy and Innovation

12. Describe the curriculum offerings, their relationship to the discipline, and substantive curriculum changes, e.g., new courses, deletions, distance education additions. How has the program kept up with changing needs of the students and community? (Be mindful if your operational department has distinct programs. These need to be described individually.)

The Music Department has general education curriculum offerings as well as classes that relate to either the Music Degree or the Digital Music Production Certificate Program. During the past four years, we have had to cut back several sections across the curriculum and suspend several offerings, especially in the area of ensembles.

General Education

Our current General Education offerings are Music Appreciation (MUS 101 and 101H), Jazz in America (MUS 103), Rock Music Appreciation (MUS 104), and IDS 121 (Humanities Through the Arts). All of these classes fulfill humanities requirements in all of our GE plans and, in addition, MUS 103 fulfills the Cultural Breadth requirement of plan A. Rock Music Appreciation is the newest GE offering (fall 2008) and it has become a very popular choice for students. In the fall of 2012, we added our Basic Music Theory and Musicianship I class to the Humanities areas of plan A and plan B to give students in the greater college community more music choices in this area.

We have offered an online section of MUS 101 for several semesters. In 2011, we developed materials for an online version of MUS 103 but have only scheduled it once. As budget restrictions begin to ease, we plan to add a more permanent and consistently offered section. Also, IDS 121 has been transitioned from a “Television” class to an online class. This was a significant undertaking, as Humanities Through the Arts is a very media rich course. Its television format was very dated and no longer relevant. We anticipate that the new format (begun in Spring 2013) will be a much more enriching experience for students and will lead to higher student success rates.

Music Theory

The Music Degree requires 14 units of music theory (MUS 111, 112, 213, and 214), 2 units of musicianship (MUS 114a and MUS 114b), 4 units of ensembles and 4 units of applied music. Music 111 (Basic Music Theory and Musicianship I) and MUS 112 (Music Theory and Musicianship II) have undergone name changes and revision to more closely reflect content and learning outcomes contained in the state C-ID descriptors as well as content of similar classes offered at local four-year programs. A remedial class in Music Theory (MUS 011) was revised and renumbered (MUS 109) so that students can use the class as a transferable elective in music fundamentals.

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Ensembles

Because of budget restrictions, we are no longer offering several ensembles including Percussion Ensemble, Latin Jazz Ensemble, Woodwind Ensemble and Guitar Ensemble. We are, however, still offering several other vibrant instrumental and vocal ensembles: MUS 135 (Concert Chorale), MUS 137 (Chamber Choir), MUS 171 (Concert Band), MUS 175 (Jazz Ensemble), MUS 181 (Chamber Orchestra), MUS 271 (Symphonic Winds). We deleted a “0” level band class (MUS 071) so that our classes all align more closely with our transfer mission.

Applied Music

The department offers a wide range of classes under the heading “Applied Music” from auditioned private lessons to group instruction on a variety of instruments. Because of tightened state regulations, repeatability has been removed from some of these offerings and levels have been added where needed, as with MUS 180AB (String Methods) and MUS 168/268 (Keyboard Repertoire). Also, “0” level classes in the areas of bass (MUS 047AB) and piano (MUS 061) have been deleted so that our classes more closely align with our transfer mission.

Transfer Curriculum

Currently (Spring 2013), the Music Department is developing a new Transfer Degree, the Music AA-T, which uses existing classes to create a direct path for CSU transfer that is more streamlined and guaranteed. All related classes have been submitted to the state for C-ID numbers and we expect the degree to be available by next semester.

Digital Music Production Classes

The Digital Music Production Program requires 2 units in MIDI (MUS 142, MUS 143), 5 units in Digital Recording (MUS 146, MUS 147, MUS 144), 2 units in Music Synchronization to Multimedia (MUS 148) and 2 units in the Business of Music (MUS 149). In addition, Music Theory (MUS 111) and 2 elective units are also required. Because our Digital Media Center has been designated as an Authorized Apple Training Center, we revised MUS 144 and wrote a new topics class (MUS 198, Introduction to Pro Tools) to more closely align with Apple curriculum. These additions and revisions are intended to help students attain Apple Certification in Logic Pro digital recording software. Repeatability was removed from MUS 144 to adhere to new state regulations.

In 2011, the Music Department deleted a certificate program in post-production (Digital Media Post Production Certificate) that was cross-listed with the Art and Television/Video departments. Students showed little interest in the program and several Art Department classes that were part of the program were not being offered.

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13. Describe the program’s relationship to student services and its offerings to the students served. (Be specific, e.g., DSPS, Financial Aid, Counseling)

Students in the Music Department fulfill many of their curricular requirement through use of the resources in our fully functional Music Lab that include practice rooms, practice instruments, computer instructional programs, computer notation and recording programs, and computerized musicianship programs. Curricular requirements are further met in the more generalized Academic Computing Center and in the library, where students can conduct research as well as make use of the computer stations. We collaborated with the “Book of the Year” program in 2011/12 by integrating Hotel on the Corner of Bitter and Sweet into the Jazz in America Curriculum and this helped to further our students’ relationship to the library.

The Fine and Performing Arts Division has had counselors attended our curriculum meetings and we use the opportunity to keep the counseling area abreast of the very particular nuances of our degrees and programs. We encourage our Music Majors to meet with counselors to get up to the minute information on requirement of both the GE packages and our Music Major. The Music Department has conducted presentations to counselors to keep them abreast of some of the more particular concerns.

Students in the Music Department regularly take advantage of many other student service areas including the Testing Center, Disabled Students Program and Services, Financial Aid. In addition, there are several scholarships particular to music majors and we work closely with the Scholarship Office by judging scholarship submissions, writing letters of recommendation, and providing music for scholarship ceremonies.

14. Describe the use of technology, e.g., computer labs, increased use of Blackboard, hybrid or online courses, etc. How does the use of these tools enhance learning?

The Music Department fully embraces effective pedagogy that incorporates the innovative use of technology across the curriculum. Our classes with online sections (MUS 101, MUS 103 and IDS 121) present very special challenges in our discipline of music. Music Department faculty members have adopted new technologies and methodologies after attending several workshops, presentations, and classes on web delivery. This includes presentation and integrated of media rich lessons that incorporate both video and audio. Most of our full and part time instructors are using Blackboard as either a supporting or significant component of their class delivery. Class presentation methodology using technology and Blackboard functionality is discussed regularly in departmental meetings, through participation in campus wide presentations, and through informal sharing among faculty members. We are now incorporating the tools in Blackboard to create more authentic assessments and participatory experiences in our classes including monitored discussions, blogs, and media –rich presentations.

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The Music Department maintains a Music Lab in two separate rooms in the N building with computer assisted instructional materials that are constantly updated and revised. Our lab consists of one area with five relatively new iMacs and a second area with eight fully equipped musical/computer workstations. Our specific software is integrated into the curriculum in all of our music major courses. Through great effort and reconfiguration, we now are able to offer students important computer resources for music notation, ear training, music theory drill, and music production on all of our workstations in the N building. In addition, we have established a very functional sound booth for specialized recording projects. Aside from this hands-on technology experience, we are also incorporating state of the art delivery methods in the classroom with Keynote presentations, digital projection, direct server connections and projected digital writing tablets. The classes of the Digital Music Production program are all offered at the Digital Media Center, a state of the art facility with impressive integrated technology. Through a CTE grant in 2010-11, we upgraded the lab in DMC 204, a facility shared with Television/Video. The lab now has very impressive, up to date computer and peripheral equipment as well as industry standard software.

15. What changes have been made in pedagogy? (Consider use of technology but within the context of the curriculum. Think about pedagogical changes and the effects on increased success in the program; consider the core competencies and SLO assessment)

Music Theory

As stated earlier in this report, music theory offerings have undergone significant revision to align with transfer institutions and state C-ID templates. As a result, the pedagogy has undergone many changes in terms of materials and delivery. Several common materials have been developed such as assignments, computer drilling programs, work sheets and instructional packets. These are now made available to all full and part-time instructors who teach the theory classes. In addition, we adopted a new book for the first level of music theory that presents a more focused and clear approach for students. We hope that these changes will improve success rates and improve students’ experience as they prepare for placement tests at the transfer institutions.

Applied Music

Over the last four years David Lopez has revised the requirements of the Applied Music program to improve student success and encourage students to become more fully involved in the Music Department. We have enhanced the student learning outcomes to include two formal concert review requirements, encouraging students to go to off-campus concerts and write a written critique using the language of their discipline. We have raised the entrance standards of the program and have changed the curriculum

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perquisite so that students music be concurrently involved in either a music theory class or an ensemble while taking private lessons. Their experience in ensembles and/or music theory is complementary to the work they are doing in private lessons and is an essential element leading to their success as a musician. In addition, we have scheduled advisory sessions into the Applied Music schedule so that students have a more comprehensive understanding of how applied music, music theory, and ensembles are all necessary elements of their musical education.

Piano Classes

With the hiring of full-time faculty member Jungwon Jin, we have been able to reassess the pedagogical approaches of our piano classes and our hope that this will bring greater student success to this area in future semesters. Jungwon has met with all part-time faculty to reinforce department expectations and specific learning outcomes at all levels of instruction. She has also instituted structured performance opportunities for class piano students, even in the beginning level classes, where they can invite friends and family members to hear them play. This has become an amazingly effective and enjoyable aspect our pedagogical approach, as students are able to experience first hand the essence of music making as a communicative activity.

Voice Classes

Two recent changes in pedagogy are worth noting. First, the weighting of assessments regarding the recognition and description of vocal technique in others’ performances was changed to better reflect the performance orientation and credit weight of the course. As assessment of the first SLO regarding demonstration of technique was more heavily weighted, student success improved. This change aligned the assessments of the course more closely with both the primary outcome and student expectation and motivation. This increased focus on practical assessment has accelerated a second change that was already underway, namely the migration of objective assessment online. By Fall 2013, all quizzes, tests, and reports will be administered online. This frees more class time for practical preparation and assessment. It has been noted that student completion of online assessments increases when those assessments are administered more frequently but on a smaller scale. Adjustments to the assessment calendar have been made accordingly, and more are planned for the future.

Online Instruction Elliott Jones implemented several changes in the online sections of MUS 101 (Music Appreciation) since the summer 2012 session. First, orientation assessments are now required of the students during the add/drop period at the beginning of the session. These assessments are designed to give the student a clearer picture of both the workload necessary to succeed in the class and the unique assessments that will be a part of the class, namely listening identification tests. By aligning student expectations more closely to the reality of the course in the earliest days of the session, students are more likely to have a realistic expectation of the workload for the class and achieve a

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successful outcome. Initial results seem to bear that out. The addition of a pre-test regimen for the listening identification tests, an assessment most students have never encountered before, has also served to enhance student success by providing additional preparation and self-evaluation prior to that test.

The pedagogical structure of this class has also changed to incorporate shorter weekly concept assessments as opposed to larger (but less frequent) unit assessments to further enhance student success. These smaller single-concept assignments that incorporate shorter writing requirements at the onset of the class will help build a clearer understanding of the standards of descriptive writing that must be met later in the course so that both conceptual understanding and writing skills will be improved.

Brian Kehlenbach enrolled in a course in online pedagogy at Saddleback College and is now teaching an online section of IDS 121, Humanities Through the Arts. This course was previously being taught as a “Television“ class, but it has now been transformed to an online offering. In this new modality (beginning in spring 2012), it now includes media rich learning modules, structured and moderated discussions, chat sessions, authentic assessments and other effective participatory teaching methodologies. We hope to see increased student success rates as a result of these substantial changes in pedagogy.

Digital Music Production

As an Apple Authorized Training center for Education, we have begun adopting official Apple materials into our curriculum. This has been a rather indirect process, as many of these materials do not match perfectly with our curriculum. As a result, we have divided the materials (specific assignments, learning materials and activities) and incorporated them where appropriate. In addition, we have also created a series of ten online practice tests that can be incorporated into any class level so that students can prepare for the Apple Certification test throughout their entire experience in our program.

During the Apple Train the Trainer program attended by Brian Kehlenbach in Cupertino in 2010, several very effective teaching strategies were demonstrated that helped to increase students’ attention and focus while learning new software. Several of these techniques have been shared and are currently being used by full and part-time instructors in our program.

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VI. Resource Development (Not Only Fiscal)

16. What resources has the department explored to ascertain the status of the discipline/program in other arenas? e.g., conferences, advisory committees, review of peer programs, collegial dialogues with other SAC departments, discipline experts in feeder or transfer institutions.

Innovative pedagogical approaches are essential to our continuously evolving teaching process and the Music Department conducts several workshops for both full-time and part-time faculty to share best practices. In the course of these workshops, rubrics and other assessment tools have been discussed and shared as we seek effective and appropriate ways to ensure student learning. Also, Music faculty have attended several campus-wide professional development workshops in basic skills, and in particular, participated in a series of workshops to increase the reading comprehension skills of our students. This information was disseminated among full and part-time faculty. Faculty members also continue to participate in conferences and events hosted by the Music Association of California Community Colleges.

Individual faculty members are involved with several activities both on and off campus so that all members of our department can better understand the status of our programs. Brian Kehlenbach has served on the Curriculum and Instruction Council for the past several years and this helps us to get a comprehensive view of how our curriculum relates to the college as a whole. He also attended a week long “Train the Trainer” session in Cupertino given by Apple Computer to become updated on current pedagogical practices in the area of digital audio software instruction. As a result, our Digital Media Center is now designated as an Authorized Apple Training Center for Education and is listed on the Apple directory. Also, continuous dialogs with our Digital Music Production advisory committee helps inform of the evolving digital music industry so that we can tailor our curriculum to match the needs of the industry. Elliott Jones is currently serving on the Distance Education Advisory Committee at Santa Ana College. Also, as a member of the Academic Senate, he has attended the State Academic Senate Plenary Sessions in the fall of 2011 and 2012, and will be attending the next plenary session in April 2013. At these sessions, he has fully explored all relevant interest sessions on the subject of online instruction, resources, and policies and has shared his expertise with Music Department faculty members. Elliott Jones has also stayed abreast of voice and choral issues by attending conferences of the American Choral Directors Association as well as in-class presentations on vocal pathology based on research done at UCI hospital. If an improved budget allows, the department plans to offer a separate section of intermediate/advanced level voice class (MUS 122-124). Also, dialogue with the Theater Department is soon to be underway with a view to enhancing dramatic performance, particularly of repertoire from the world of musical theater.

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In addition, we have had several meetings with faculty members at our local four-year institutions. In the fall of 2012, we had very constructive meetings with music theory, history and piano faculty of the Music Department at California State University Fullerton to discuss expected student learning outcomes and several articulation issues. This has informed continuous the work we do on curriculum revision and helps to focus our efforts to make our classes as effective as possible.

17. What grants has the program been involved with? How has this changed the program? The Music Department has received federal CTE grants over the past four years in support of our vocational certificate in Digital Music Production. The 2009/10 grant allowed us to upgrade hardware and software in the DMC 204 classroom to industry standards in cooperation with the Television/Video Department. This, in turn, allowed us to apply and then receive from Apple Computer our new designation as an Authorized Training Center for Education. In the 2010/11 school year, we received a grant to further upgrade software in both the DMC classroom and the N105 lab on the Santa Ana Campus. In 2009, Brian Kehlenbach received professional development funds to take a week long “Train the Trainer” course given by Apple Computer so that he could become a Certified Apple Trainer. These grants led to very positive developments in the Digital Music Production program. The number of certificates we are awarding is increasing and students can now work toward an industry recognized Apple Certification in Logic Pro professional audio software.

The Music Department currently has a new fundraising campaign, underway, The Steinway Campaign, to raise money for piano replacements in the department, including a new concert grand for Phillips Hall. We are having a “kick off” event in April featuring Jungwon Jin on piano where we will be soliciting donations from interested donors. We hope that this serious and sustained activity will give us the leverage to apply for a grant in the future that will enable us to complete the project and purchase the pianos.

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VI. Assessment of Conclusions and Recommendations

18. Based on the analysis, what changes are recommended for the program? Recommended changes for the program can be summarized as follows:

• Focus recruitment efforts for large ensembles on existing college students in the music general education classes.

• Continue to adjust pedagogy in online sections of MUS 101 and IDS 121 to continue the upward trend we are seeing in student success rates. Also, we need to start scheduling online sections of MUS 103 and well as develop a an online section of Rock Music Appreciation.

• Continue to promote our piano area to attract new piano students to the Applied Program. This will entail a continuation of our faculty piano recitals and a concerted effort to reach into other piano communities with our recruitment activities.

• Address student deficiencies in reading and writing across our curriculum by employing methods learned in faculty development workshops.

• Improve success rates in beginning instrumental classes by initiating faculty dialog within these areas to share best practices and by and making curricular changes as appropriate.

• Replace our retired faculty member (Phyllis Blake) with a new faculty member who has expertise in the area of Music Theory and Digital Music Production.

19. What issues have emerged that require interdisciplinary dialogue and possible inclusion in overall college planning?

Recruitment. The Music Department needs help gathering information on incoming students with musical backgrounds so that we can inform them of our ensemble offerings. It is not unusual for students entering college to believe that they must put aside their musical interests. It is in the strong interest of these students, the Music Department, and our college to find and reach out to these students and get them involved again. This type of involvement helps foster a sense of college community and improves students’ overall experience at the college and could lead to higher rates of persistence. It would be extremely helpful if in the admissions process, more information could be collected on these specific musical interests of students. Application questions could be tailored to aid in the recruitment process of our area as well as many others across campus. Facilities. We are extremely excited that a new Fine and Performing Arts facility is now on the Master Plan. This will be an important and effective new resource that will benefit the entire college and surrounding community. However, this project will

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take several years to plan and build and the programs in the Music Department suffer greatly from inadequate facilities now, as do many other programs across campus. Students openly complain about lack of practice rooms and rehearsal space. They also complain about poor ventilation and the fact that we do not have a dedicated performance space. We need to do all we can to readjust our priorities to address basic facilities problems that currently exist. Faculty Replacement. The Music Department suffers when faculty members leave or retire and replacements are not made in a timely manner. We have seen the effects of these staffing gaps in lowering success rates in theory classes as well as lowering enrollment numbers in the Applied Program. The college needs to put more emphasis on timely replacement of retiring faculty members to preserve the quality of its healthy programs. Departments should not be subject to disproportionate full-time staffing just because it may have older faculty members that are retiring at a faster rate than other areas. Departments are often finding that they face de-facto downsizing, not based on the health and merits of the program, but only on the bad fortune of having a retirement or separation. Student Reading/Writing Skills Our department has benefited from and greatly appreciated college-wide professional development efforts to help us all cope with students’ deficiencies in their reading and writing skills. These efforts need to be continued and a greater effort needs to be made to have part-time faculty involved. The Music Department, as well as many other departments, use part-time faculty to teach a majority of the courses and greater effort needs to be made to extend professional development opportunities to them. Media As more online classes are added to the college schedule, including those we plan in the near future for the Music Department, there needs to be greater support for those classes that demand intensive media support. Help is needed with integrating audio and video components as well as with good pedagogical design. Mediated content is a major component in overcoming some of the barriers to student success in a fully online learning environment. However, the creation of such content, especially digital video, requires expertise and software that not all faculty members possess. Greater support for faculty in the creation of instructional media would enhance the success of such course delivery methods.

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This report was created and approved by the Music Department on March 14, 2013

Meetings were held on the following dates: January 25, 2013 February 1, 2013 February 15, 2013 March 14, 2013

Members of the department who contributed to the Direct-SLO Assessment spring and fall and the 19QT: Jungwon Jin Elliott Jones Brian Kehlenbach David Lopez

Documents

Santa Ana College Music Department Planning Portfolio … Planning P… · Planning Portfolio Assessment/Program Review 2008-2012 Date of Submission: March 15, 2013 Department's Mission: