Tenure and promotion dossier - third year review

Tenure and Promotion Dossier

Third-Year Review (August 2011 – December 2013)

Dr. Kyle Gullings

Assistant Professor of Music Theory and Composition

Department of Music School of Performing Arts

College of Arts and Sciences

The University of Texas at Tyler

This complete dossier and all supplementary materials are available here: http://www.kylegullings.com/thirdyear.php

December 2013

Kyle Gullings Third-Year Review, Page 2 of 30

Tenure and Promotion Dossier

Third-Year Review

Kyle Gullings December 2013

TABLE OF CONTENTS

I Curriculum Vita ……………………………………………………………………………………….…………………………….. 4

II Departmental Promotion and Tenure Guidelines ………………………………………………..…………..… 7

III Annual Evaluations ………………………………………………………..……………………………………………........... 15

IV Teaching ………………………………………………………..……………………………………………............................... 19

A Summary of teaching responsibilities ……………………………………………………………………………………. 19

B Teaching enhancement ………………………………………………………………………………………………………… 19

C Workshops, panels, papers, etc., you have presented on teaching in your field …………………………. 20

D Use of technology in the classroom ……………………………………………………………………………………….. 20

E Other contributions to instruction ……………………………………………………………………………………….. 20

i Service on student evaluation committees or juries …………………………………………………………… 20

ii Sponsorship of guest recitals or master classes …………………………………………….…………………… 21

iii Other contributions to instruction …………………………………………….…………………………………….. 21

V Research and Creative Activity ………………………………………………………..…………………………………. 22

A Awards for research/creative activity ……………………………..……………………………..……………………… 22

B Creative activity ……………………..………………………………………………………………………………………..…. 22

i Solo or collaborative performances—as conductor, soloist or chamber musician ……….………… 22

ii Public performances of original musical compositions (excluding conferences) …………………… 22

C Conference papers, presentations or performances ……………………..……………………..………………….. 23

i Conference composition performances ……….……………………..……………………..…………………….. 23

ii Conference papers, presentations, and panels ……………………..……………………..……………………. 23

VI Service ………………………………………………………..…………..…………..…………..…………..……………………….. 24

A Service to profession (disciplinary-specific) ……………………………………………..…………..…………..…... 24

i Membership in professional associations, and governance activities therein ……………………….. 24

ii Service performances or presentations in university, community, regional or national venues 24

iii Adjudication …………..…………..…………..…………..…………..…………..…………..…………..…………..…. 24

iv Guest presentations, such as master classes or workshops …………………………………………………. 24

B Curriculum development …………..…………..…………..…………..…………..…………..…………..………..…….. 24

i Any new courses developed …………..…………..…………..…………..…………..…………..…………..……… 24

ii Participation on curriculum development committees ……..…………..…………..…………..…………. 25

C Student advising …………..…………..…………..…………..…………..…………..…………..………..……...……..…. 25

i Written statement on advising activities ………………………………………….………………………………. 25


ii Number of students advised each semester ………………………………………….………………………….. 26

D Service to the university (committee appointments) ………………………………………………………………. 26

E PK-12 schools ……………………………………………………….…………………………………………………………….. 26

F Community service ……………………………………………………….…………………………………………………….. 27

G Student recruitment ……………………………………………………….…………………………………………………… 27

i Recruitment of prospective music majors ……………………………………………………….……………….. 27

ii Off-campus recruitment visits …………………….…………………………….…………………………….……… 27

H Administrative responsibilities …………………………………….………………………………………………………. 28

i Departmental administration (ensembles, labs, websites, etc.) ………….………….………….……….. 28

I Other service activities ………….………….………….………….………….………….………….……………………….. 28

VII Addenda (available at http://www.kylegullings.com/thirdyear) …………………………………………………. 29

A Sample syllabi ………….………….………….………….………….………….………….……………………………………. 29

B Samples of handouts, tests, or teaching materials from the last full academic year ………….………… 29

C Numerical summary of all student evaluations ……………………………………………………………………… 29

D Copies of original musical scores and audio/video, or other materials ………..………..………..……….. 30

E Sample concert/recital programs ………………………………………………………………………………………….. 30

F Unsolicited letters, e-mails, etc. ……………………………………………………………………………………………. 30


I. Curriculum Vita

Kyle Gullings Curriculum Vita

3900 University Blvd.

School of Performing Arts The University of Texas at Tyler

Tyler, TX 75799

(903) 566-7478 • [email protected] • www.kylegullings.com EDUCATION

2011 D.M.A. Composition – The Catholic University of America, Washington, D.C. Dissertation: Oblivion, String Quartet No. 1, and The Silence They Need

2007 M.M. Composition, Stage Music Emphasis – The Catholic University of America

Thesis: The Eden Diaries First graduate of Stage Music Emphasis master’s degree program

2005 B.M. Composition – Concordia College, Moorhead, MN

Minors: Theatre Arts, English Writing TEACHING EXPERIENCE University of Texas at Tyler (UT Tyler) – Tyler, TX

2011-present Assistant Professor of Music Theory and Composition Courses Taught: Music Theory I-IV Aural Skills I-IV Form and Analysis Counterpoint Applied Composition World, Text, and Image IV (new Honors course, team-taught)

The Catholic University of America – Washington, D.C.

2006-2011 Instructor of Record (full course responsibility) Courses Taught: Graduate Aural Skills Review Harmony I & II 2007-2011 Graduate Teaching Assistant (laboratory instructor) Courses Taught: Fundamentals of Music I & II Harmony IV Ear Training / Sight Singing III


COMPOSITION AWARDS

2013 National Finalist – 2012-2014 National Opera Association Chamber Opera Competition. One of three finalists nationwide, for the one-act opera Oblivion; selections performed at NOA National Convention, Portland, OR, newly-arranged for piano and Himalayan singing bowls (1/4)

2011 National Finalist – ASCAP/SCI Student Composition Commission for one-act opera Oblivion

2010 Selected Performance – New Voices @ CUA, a national vocal festival in Washington, D.C., for excerpts of one-act opera Oblivion (9/10)

2008 National Finalist – ASCAP/SCI Student Composition Commission for art song in memoriam Hibakusha

2007 Composer Fellow – John Duffy Composers Institute, Virginia Arts Festival, Norfolk, VA. Excerpts from one-act musical The Eden Diaries selected for two-week workshop production with nationally-recognized composer/performer clinicians (6/3)

COMMISSIONS (Unpaid unless otherwise indicated)

2013 Commission by percussionist Austin Tackett – Innocence (11/23) 2013 Paid commission by Michael Barham – Ecce, Quam Bonum (5/21) 2013 Paid commission by baritone Charlie Hyland – Three Macabre Songs (4/14) 2012 Commission by clarinetist Ben Redwine – Jazz Chowder (10/15) 2012 Commission by clarinetist Ben Redwine – Jazz Etude (10/15) 2011 Commission by tenor Timothy M. Ballard – Two Coffins (9/5) 2011 Commission by tenor Timothy M. Ballard – Sea Mistress (9/5) 2008 Commission by The Catholic University of America Women's Chorus – Christmas on the

Plains (11/22) CONFERENCE ACTIVITY Composition Performances

2012 Dirge for the New Sunrise, mvts.3-5. College Music Society National Conference, San Diego, CA (11/15)

2012 My Beloved Is Mine. Society of Composers, Inc. Region VI Conference, Canyon, TX (10/5)

2011 “Reflection Duet” and “Temptation” (selections from The Eden Diaries). College Music Society National Conference, Richmond, VA (10/22)

2010 Miniature Symphony No. 1b. College Music Society National Conference, Minneapolis, MN (9/23)

2010 in memoriam Hibakusha. SCI Student National Conference, Huntington, WV (3/5) 2009 “Reflection Duet” and “Temptation” (selections from The Eden Diaries). College Music

Society Mid-Atlantic Regional Conference, Fairfax, VA (3/20) Presentations and Panels

2013 Paper Presentation: "Role Reversal: A Collaborative Project in Flipping the Theory Classroom." College Music Society National Conference, Cambridge, MA (11/1)

2012 Panel: “Staying in Tune with the Law: What Musicians and Educators Should Know About Copyright Law and Why it Matters.” College Music Society National Conference, San Diego, CA (11/16)

2011 Lightning Talk: “Creative Commons and the Value of Free Music: A 21-Week Experiment in Self-Promotion.” College Music Society National Conference, Richmond, VA (10/22)


SECELTED INSTITUTIONAL AND PROFESSIONAL SERVICE

Fall 2013-present College of Arts and Sciences Curriculum Committee – UT Tyler Fall 2013-present College of Arts and Sciences Commencement Committee – UT Tyler Fall 2011-Spring 2012 College of Arts and Sciences Governance Committee – UT Tyler 2011-2013 Actively contributed to UT Tyler Music Department’s initial National

Association of Schools of Music (NASM) Accreditation process, including assisting with Self-Study, accreditation evaluators site visit, and writing three response sections

2011-present Created and maintained UT Tyler's first Electronic Music Studio for composer

projects 2011-present Held three extracurricular composer workshops at UT Tyler (audio editing,

composing for voice) 2011 Composition Master Class Presenter– Capital City Public Charter School

(D.C.) Conducted 7th and 11th Grade master classes on composing music for short films. Students used GarageBand to create soundtracks for assigned videos. Gave feedback on students' artistic and technical choices.

PROFESSIONAL MEMBERSHIPS

2007-present College Music Society

2007-present Society of Composers, Inc. 2008-2009 – President, The Catholic University of America Student Chapter 2007-2008 – Vice-President, The Catholic University of America Student Chapter

2011-present ASCAP (American Society of Composers, Authors and Publishers)


II. Departmental Promotion and Tenure Guidelines

University of Texas at Tyler College of Arts and Sciences School of Performing Arts

Department of Music

Overview. Standards and policies relating to faculty tenure and promotion are described in the

Handbook of Operating Procedures, sections 3.3.3, 3.3.4 and 3.3.5. This document, which serves as the official

university statement on tenure and promotion, summarizes the process as follows: There can be no simple list of accomplishments that, when achieved, guarantee that a faculty member will obtain tenure. Tenure is not a right to which a faculty member is entitled, nor is tenure granted simply as a result of a record of satisfactory annual evaluations. To be tenured, faculty must achieve a strong record in 1) teaching and 2) research/scholarship/ creative activity. The faculty member further is expected to demonstrate outstanding achievement in one of these areas. The faculty member is also expected to have a satisfactory record of service to the University, profession, and/or community. In addition to demonstrating quality in these traditional areas, the candidate for tenure must also demonstrate professional collegiality.

1. Teaching. To qualify for tenure, faculty members must have a consistent pattern of effectiveness in teaching. Tenure will not be granted unless the candidate is deemed to be a strong teacher and demonstrates a commitment to lifelong improvement of his or her teaching skills. Thus it is vital that information concerning teaching effectiveness, gathered from multiple and flexible assessment methods, be part of the tenure review.

2. Research/Scholarship/Creative Activity. The purpose of research/scholarship/creative activity is to make a substantive contribution to the body of knowledge and understanding in one’s discipline. For tenure to be granted, a faculty member must have established a strong, consistent, and progressive program of research/scholarship/creative activity and must evidence a commitment to continue making contributions throughout his or her career.

3. Service. To qualify for tenure, the candidate must display evidence of commitment to service to the University and to the profession and/or the civic community.

4. Collegiality. U.T. Tyler defends the concept of academic freedom, which assures each faculty member the freedom to criticize and advocate changes in existing theories, beliefs, programs, and policies, and guarantees faculty the right to support any colleague whose academic freedom is threatened. Collegiality is a professional, not personal, criterion relating to the performance of duties within a department. Collegiality should not be confused with sociability, likability or conformity to certain views. Instead collegiality addresses such issues as the faculty member’s compatibility with department missions and goals, an ability and willingness to work cooperatively within the department and college, a willingness to engage in shared governance, and a high standard of professional integrity in dealing with colleagues and students on a professional and personal level.

Measures of Success in Teaching. Effective teaching is an essential component of a faculty member’s

work. A candidate for promotion to Associate Professor with tenure should demonstrate the following

elements:

• A successful teacher is knowledgeable and current in his/her field, demands high but fair standards in

student achievement, is sensitive and responsive to the learning needs of students, builds


constructive teacher-student rapport, and conveys complex information in a clear and coherent

manner.

• A successful teacher periodically revises, updates and/or amends course content in order to improve

student learning, and through example s/he instills in students a recognition of excellence and

professionalism.

• A successful teacher recognizes the collaborative nature of his/her faculty duties and works with

students and colleagues in a positive and professional manner.

For promotion to Professor, the candidate’s portfolio will demonstrate a teaching record based upon the

above measures that continues or improves upon his/her accomplishments since promotion to Associate

Professor.

Measures of Success in Research/Creative Activity. The creative and/or research component of the

portfolio must include evidence of consistent achievement and overall excellence. The Department of Music

recognizes a variety of appropriate research/creative activities, depending upon the specialties of the candidate.

Typical creative/research activities include:

• Solo or collaborative performances—as conductor, soloist or chamber musician.

• Performances with recognized professional organizations (orchestras, opera companies, etc.).

• Guest performances as conductor, performer, music/artistic director, or stage directing and design.

• Presentations, papers or performances at professional conferences or meetings.

• Original musical compositions or arrangements, published or publicly performed.

• Published materials such as articles, chapters, books, editions, etc.

• Contracted recordings or software.

Outside reviewers will address a representative sample of the candidate’s research and creative activity.

Candidates should prepare sound or video recordings, musical scores, and/or published materials for submission

to outside reviewers. Reviewers will also address the inevitable overlap that exists between research/creative

achievement and teaching for conductors and/or ensemble supervisors. This is because successful public

performances by conducted students reflect both the expected educational outcome of a well-taught course as

well as the conductor’s own scholarship, originality and creative artistry in preparing those performances.

Tenure and promotion to Associate Professor requires excellence and recognition at a local and regional

level. Promotion to Professor requires similar ongoing activities, as well as recognition at the national or

international level.


Measures of Success in Service. The Department of Music views service as an important contribution

to the university, its constituencies, to the discipline, and to the public at large.

For tenure and promotion to Associate Professor, the portfolio should demonstrate consistent

departmental and some university service activities as well as evidence of professional service and affiliations.

Promotion to Professor requires demonstrated leadership in service to the profession, to the department, and to

the greater university community. Typical examples may include:

• Providing service performances or presentations in university, community, regional or national venues.

• Departmental and university activities such as serving on committees and in special organizations,

advising student groups, and recruiting.

• Outreach activities such as visiting schools for master classes or clinics, providing adjudication, and

organizing and/or managing festivals and contests.

• Professional service activities such as membership in professional associations, governance activities

therein, guest presentations, adjudication, journal/newsletter editing, and sponsored master classes

and workshops.

• Administrative responsibilities.

Outside Reviewers. According to the Handbook for Operating Procedures, section 3.3.4, external

letters of review from peers outside the university will be required for tenure-track faculty members applying

for Associate Professor and/or tenure who began their tenure-earning service at U. T. Tyler on or after August

1, 2007.

Section 3.3.5 of the Handbook for Operating Procedures describes the outside review process as

follows:

A recommendation for tenure and/or promotion must include supporting evidence that the individual's contributions have had an impact on the discipline; that is, the research/scholarship/creative activity should have made a significant contribution to the candidate’s discipline and be recognized by professional colleagues. To that end, the dossier for tenure and/or promotion of all candidates after the implementation dates . . . must include a minimum of three (3) outside review letters, with a minimum of one (1) letter from the candidate’s list of external reviewers. Letters of review should be solicited from disinterested scholars of appropriate rank or stature not affiliated with U.T. Tyler who serve in the faculty member's field of training, specialty, or a closely related field. Individuals who may have a bias or perceived bias, such as dissertation committee members, co-authors, classmates, former students, research collaborators, departmental colleagues, and friends should not serve as external reviewers. Reviewers will be nominated by the department chair and the candidate. The candidate should provide the department chair with the names of at least five (5) potential reviewers as well as a statement of their credentials and clarifying the nature of any prior contact the candidate has had with any suggested reviewer. The department chair will likewise compile a list of at least five (5) additional qualified reviewers. Chairs will also disclose their


relationships with potential reviewers to the dean of the college. The final selection will be made by the dean of the college. The dean will select three (3) potential reviewers from each list (candidate and chair), resulting in a total of six (6) potential reviewers. Understanding that not all reviewers will agree to participate or that reviews will not arrive in a timely manner, the final list will contain no fewer than five names. At least two (2) reviewers must be from the candidate’s list. The final list of names of external reviewers is to be kept confidential from the candidate. The department chair shall contact the external reviewers to request their willingness to participate in the external review process. If the reviewers agree to participate, the department chair shall prepare and mail letters requesting outside reviews. Letters shall follow the standard template approved by the University. In the case where an insufficient number of reviewers are unable to participate, alternate reviewers may be selected by the dean. Reviewers will be provided with the candidate’s c.v., appropriate reprints and other representations of the candidate’s scholarship, and a summary of the candidates teaching and service responsibilities since arriving at U.T. Tyler. The contents of all outside review letters will be kept confidential to the extent permitted by law and University regulations. Candidates will be informed when reviews are received and may have access to them. The department chair will place all reviews into the candidate’s dossier before the departmental committee begins its review. Outside letters received after the departmental committee begins its deliberations will not be included in the review process without the approval of the dean. The department chair shall prepare a summary of the outside review process that will be included in the candidate’s dossier. This summary shall list the name, position, and organization of each person from whom evaluations were requested. For those whose letters are included in the dossier, the summary shall include relevant information about the reviewers' professional/academic qualifications for evaluating the candidate for tenure and/or promotion. If the candidate for promotion is a department chair, then the dean of the college will be substituted for department chair in the process above.

Candidate Responsibilities. Candidates being considered for tenure and/or promotion are responsible

for providing accurate, thorough, and clear documentation of achievements for review at the departmental,

college and university levels. Since there will be some variation in the documentation required by departments

and colleges, each candidate should contact the director or dean to determine what must be included in his or

her individual documentation package.

Each candidate will compile a comprehensive file that will be presented in one three-ring binder for

review by the department, college, dean and those above. Details regarding the structure and content of the

dossier are available from the director or dean.

Timeline. The candidate should meet with the director during the spring and/or summer of the calendar

year of the application to begin preparation. A typical timeline of the application process is as follows:

Early May: Begin the process of identifying outside reviewers; candidate prepares material By August 15: Candidate’s materials are submitted to outside reviewers By September 15: Candidate submits two copies of the complete dossier to the director for evaluation by the


director and the departmental promotion/tenure committee; outside reviews added to the dossier by the director

By October 15: Letters of evaluation by the director and departmental committee added to the dossier;

copies provided to candidate By November 1: Complete dossier and supplementary materials submitted to the dean and college

promotion/tenure committee Early January: Letters of evaluation added by the dean and college promotion/tenure committee;

materials submitted to the Office of the Provost

Content and Organization of the Tenure and Promotion Dossier

• Record of Review Form (available from the Office of the Dean of the College of Arts and Sciences)

• Table of Contents

I. Curriculum Vitae

II. Departmental Promotion and Tenure Guidelines

III. Official Recommendation Statements

A. Departmental tenure committee

B. Department head

C. Outside reviewers

IV. Annual Evaluations and Third Year Review

V. Teaching

A. Teaching philosophy statement (no more than 1½ pages)

B. Summary of teaching responsibilities (list courses by semester)

C. Any teaching awards received

D. Teaching enhancement

1. Describe how you have used student evaluations to improve instruction

2. List workshops, panels, training sessions, etc., on teaching you have attended

E. Workshops, panels, papers, etc., you have presented on teaching in your field

F. Use of technology in the classroom


G. Other contributions to instruction

1. Service on student evaluation committees or juries

2. Sponsorship of guest recitals or master classes

VI. Research and Creative Activity

A. Statement on research/creative activity (no more than 1½ pages)

1. Discus focus, accomplishments, plans for the future, and the relationship of research/creative activity

to teaching and service

B. List any general awards for research/creative activity

C. Creative activity

1. Solo or collaborative performances—as conductor, soloist or chamber musician

2. Performances with recognized professional organizations (orchestras, opera companies, etc.)

3. Guest performances as conductor, performer, music/artistic director, or stage directing and design

4. Original musical compositions or arrangements, published or publicly performed

5. Performers, composers and conductors should clearly distinguish between tenure-earning scholarly

activity and supportive activity, such as casual engagements or service performances.

D. Books, edited books or textbooks

1. Include citations of your work by other authors (if possible)

2. Include any professional reviews or awards received for specific works

E. Refereed journal articles

1. Include citations of your work by other authors (if possible)

2. Include any professional reviews or awards received for specific works

F. Book chapters

1. Include complete bibliographical citation including page numbers

2. Indicate whether invited or refereed

G. Conference papers, presentations or performances

1. Include complete information including date and location

2. Indicate whether invited or refereed

H. Grants and Grant Products

1. Separate internal grants from external grants

2. Include only grants received

I. Encyclopedia/Handbook Entries

J. Contracted recordings or software


K. Other materials

VII. Service

A. Statement on service activities and relationship to teaching and research (no more than 1½ pages)

B. Service to profession (disciplinary-specific)

1. Membership in professional associations, and governance activities therein

2. Journal/newsletter editing or manuscript reviews

3. Any external evaluating of institutions, programs or individuals

4. Service performances or presentations in university, community, regional or national venues

5. Adjudication

6. Guest presentations, such as master classes or workshops

C. Curriculum Development

1. Any new courses developed

2. Participation on curriculum development committees

3. Lab manuals, workbooks, etc., prepared for courses

D. Student advising

1. Written statement on advising activities, including graduate students (approximately ½ page)

2. Number of students advised each semester

E. Professional Practice

1. Any consulting or clinical practice

2. Service on agencies, boards, professional (non-academic) organizations

F. Service to the university

1. List membership on all department, college, and/or university committees along with leadership roles

and significant activities

G. PK-12 schools

1. Describe any service activities involving public schools or private schools (PK-12)

H. Community service

1. Describe any service activities involving the community at large

I. Student Recruitment

1. Activities related to the recruitment of new students to the institution

J. Administrative responsibilities

1. Departmental administration (ensembles, labs, websites, etc.)

2. Other administrative work


K. Other service activities

VIII. Addenda (to be placed in a separate notebook/file box)

A. Syllabi used in each separate course you have taught in all semesters preceding the beginning of the

tenure and promotion evaluation process

B. Samples of handouts, tests, or teaching materials from the last full academic year

C. Student evaluations for courses taught only during the preceding full academic year

D. Any published books

E. Copies of published journal articles or other materials

F. Concert/recital programs

G. Unsolicited letters, e-mails, etc.


III. Annual Evaluations

Chair’s Evaluation Year 1, Summer 2011 – Spring 2012 (page 1)








IV. Teaching

A. Summary of teaching responsibilities

Fall 2013

• MUAP xx87 Undergraduated Composition 3 cr. hrs. 3 x 60-min. lesson/wk. • MUSI 1311 Music Theory I 3 cr. hrs. 8 students • MUSI 2311 Music Theory III 3 cr. hrs. 18 students • MUSI 4342 Form & Analysis 3 cr. hrs. 37 students

Spring 2013

• HNRS 2352 World, Text & Image IV (Honors) 3 cr. hrs. 18 students (co-taught) • MUAP xx87 Undergraduated Composition 3 cr. hrs. 3 x 60-min. lesson/wk. • MUAP 4100 Senior Recital: Composition 1 cr. hrs. 1 recital • MUSI 1117 Aural Skills II 1 cr. hr. 6 students • MUSI 1312 Music Theory II 3 cr. hrs. 6 students • MUSI 2117 Aural Skills IV 1 cr. hr. 11 students • MUSI 2312 Music Theory IV 3 cr. hrs. 14 students

Fall 2012

• MUAP xx87 Undergraduated Composition 2-3 cr. hrs. 6 x 60-min. lesson/wk. • MUAP 4100 Senior Recital: Composition 1 cr. hrs. 2 recitals • MUSI 1116 Aural Skills I 1 cr. hr. 8 students • MUSI 1311 Music Theory I 3 cr. hrs. 9 students • MUSI 2116 Aural Skills III 1 cr. hr. 13 students • MUSI 2311 Music Theory III 3 cr. hrs. 11 students

Spring 2012

• MUAP xx87 Undergraduated Composition 2-3 cr. hrs. 6 x 60-min. lesson/wk. • MUAP 4100 Senior Recital: Composition 1 cr. hrs. 2 recitals • MUSI 1117 Aural Skills II 1 cr. hr. 13 students • MUSI 1312 Music Theory II 3 cr. hrs. 15 students • MUSI 4340 Counterpoint 3 cr. hrs. 11 students

Fall 2011

• MUAP xx87 Undergraduated Composition 3 cr. hrs. 6 x 60-min. lesson/wk. • MUAP 4101 Analytical/Research Project 3 cr. hrs. 60-min. meeting/wk. • MUSI 1116 Aural Skills I 1 cr. hr. 13 students • MUSI 1311 Music Theory I 3 cr. hrs. 13 students • MUSI 4342 Form & Analysis 3 cr. hrs. 32 students

B. Teaching enhancement

I have used student evaluations to continuously improve my quality and methods of instruction. A number of student comments, both from end-of-semester forms and from optional mid-term anonymous surveys I conduct independently, have influenced how I teach. Since reading some criticisms that I am too lenient (offering makeup exams, allowing too much talking in class, etc.), I have updated my syllabi with stricter classroom management policies, which are already showing improvement.

As noted in the numerical summary of my student evaluations (see section VII.C.), my average scores have increased from the first year to the second, despite taking on an overload


and designing a new course outside my area of specialty. This is partially due to my increased experience, but also because I have incorporated student feedback in my teaching techniques.

I have also attended a number of professional sessions at three College Music Society National Conferences to improve my teaching. Topics include music-specific assessment strategies, curriculum design, compliance with NASM standards, and CAI software for music theory and aural skills. These sessions have played an invaluable role in my development as a teacher and faculty colleague.

In Spring 2012 I arranged four informal teaching observations to improve my own teaching skills, by observing my more experienced colleagues:

• Music Theory IV – Dr. Jeffrey Emge (3/2) • Music Appreciation – Dr. Cameron Rose (4/10) • Music Appreciation – Dr. Cameron Rose (4/17) • Music Appreciation – Dr. Ron Sherrod (4/23)

C. Workshops, panels, papers, etc., you have presented on teaching in your field

2013 Paper Presentation: "Role Reversal: A Collaborative Project in Flipping the Theory Classroom." Co-presentation with Dr. Garrett Hope, detailing a joint pedagogy project using student-created video group projects to introduce concepts of form to Theory 2 students. College Music Society National Conference, Cambridge, MA (11/1)

2012 Panel: “Staying in Tune with the Law: What Musicians and Educators Should Know

About Copyright Law and Why it Matters.” Presentation on alternatives to copyright as they relate to educators, performers, and content creators. College Music Society National Conference, San Diego, CA (11/16)

D. Use of technology in the classroom

• Adopted Blackboard for all lecture sections in Fall 2011. Maintain detailed daily course agendas, PDF copies of syllabi and assignments, external supplemental learning resources, group project workspaces, and updated assignment, exam, and cumulative grades.

o Students have repeatedly, verbally expressed appreciation for up-to-date, transparent access to these resources – especially for the ability to access accurate grades and a record of past and upcoming assignments.

• Used multimedia workstation (computer, audio, video, projector) regularly in classes, facilitating visual and auditory feedback for demonstrations and in-class practice.

• Designed, implemented, and maintained our department’s first Electronic Music Studio, for use in creating original digital music compositions, arrangements, and mixes. Use of this studio is required by all students taking applied composition lessons.

• Utilized a variety of music notation and audio editing software in applied composition lessons, including Finale, Sibelius, Audacity, and Pro Tools 10.

E. Other contributions to instruction

i. Service on student evaluation committees or juries

• Served on 17 Music Recital Juries (Fall 2011 – present)

• Organized and served on 18 Applied Composition Juries (Fall 2011 – Spring 2012)


ii. Sponsorship of guest recitals or master classes

2013 Dr. Andrew Earle Simpson, composer and professor at The Catholic University of America – presented a 50-minute guest lecture to UT Tyler’s Honors 2352 class (World, Text and Image IV: Recycled, Revival & Renewal), with an emphasis on visual art, music, and cross-disciplinary collaboration on humanistic subjects. (4/22)

2012 Dr. Ben Redwine, then a doctoral student in clarinet performance at The Catholic University of America – presented a woodwind master class and a guest recital at University of Texas at Tyler's Braithwaite Recital Hall (10/15)

• 60-minute guest recital, featuring two original compositions by Dr. Kyle Gullings: o Jazz Chowder, with Dr. Kyle Gullings on piano o Jazz Etude, with Dr. Michael Thrasher on Bb clarinet (duet)

• 60-minute master class, working with three UT Tyler students on various aspects of performance, preparation, and career advice.

iii. Other contributions to instruction

• Created and administered the first ever UT Tyler Composer Readings Series o Student compositions are prepared by professional musicians in a workshop

format, involving rehearsals, revisions, performance, and a talkback session. Implemented to enhance our program, and to meet NASM standards as part of accreditation. Recorded event for department records. (Fall 2012-present)

• Proctored faculty colleagues’ course sections: o Theory III Final Exam – Dr. Jeffrey Emge (12/16/2011) o Aural Skills IV Melodic Dictation Quiz – Dr. Jeffrey Emge (02/23/2012)

• Developed and used a 50-minute jazz theory/history mini-lesson and three-page handout for use with composition majors (Spring 2012-present)

• Met one student for independent practice in working toward an upcoming Royal Conservatory of Music Examination (one hour) (4/12/2012)

• In addition to office hours, held optional review sessions before each midterm and final exam (every class, every semester, Fall 2011-present)

• Led a two-class discussion in Counterpoint about musical appropriation, the cantus firmus tradition, current copyright law, and changing views of ownership in society

o This was in response to a breaking news story in the contemporary classical music world, of Osvaldo Golijov's heavy appropriation of Michael Ward-Bergeman's music in his own new commissioned work Sidereus.

• Gave numerous 20-minute, hands-on lecture/demonstrations of a theremin, the world's first electronic instrument

o Visited Dr. David Beams' EENG 4309 (Electronic Circuits II) class, as they were studying the topic of oscillators and capacitance in circuits (04/2012, 04/2013)

o Hosted Dr. David Beams in my MUSI 1117 & 2117 (Aural Skills II & IV) classes, where he explained of the basic principles of the theremin. Had students attempt to play scales and melodies from class on the instrument. (04/2012, 04/2013)

o Demonstrated the theremin to Dr. Cameron Rose's MUSI 1306 (Music Appreciation) class, including an explanation of its basic principles (04/2012)

o Demonstrated the theremin to my MUSI 4340 (Counterpoint) class, including an explanation of its basic principles (04/2012)


V. Research and Creative Activity

A. Awards for research/creative activity

2013 National Finalist – 2012-2014 National Opera Association Chamber Opera Competition. One of three finalists nationwide, for the one-act opera Oblivion; selections performed at NOA National Convention, Portland, OR, newly-arranged for piano and Himalayan singing bowls (1/4)

2011 National Finalist– ASCAP/SCI Student Composition Commission. One of eighteen finalists nationwide, for one-act opera Oblivion

2010 Selected Performance – New Voices @ CUA, a national vocal festival in Washington, D.C., for excerpts of one-act opera Oblivion (9/10)

2008 National Finalist – ASCAP/SCI Student Composition Commission for art song in memoriam Hibakusha

2007 Composer Fellow – John Duffy Composers Institute, Virginia Arts Festival, Norfolk, VA. Excerpts from one-act musical The Eden Diaries selected for two-week workshop production with nationally-recognized composer/performer clinicians (6/3)

B. Creative activity

i. Solo or collaborative performances—as conductor, soloist or chamber musician

2012 Pianist for Jazz Chowder, and original composition by Dr. Kyle Gullings, performed with clarinetist Dr. Ben Redwine on a 60-minute guest recital at UT Tyler (10/15)

ii. Public performances of original musical compositions (excluding conferences)

2013 Innocence for vibraphone and marimba. Commissioned and performed by Austin Tackett at University of Texas at Tyler's Braithwaite Recital Hall. (11/23)

2013 Two Coffins for tenor and grand piano. Performed at Sam Houston State University as part of a joint New Music Ensemble with one faculty and two student composers from University of Texas at Tyler, along with composers from Sam Houston State University. (10/18)

2013 Ecce, Quam Bonum for soprano soloist, baritone soloist, congregation, and organ. Commissioned by Michael Barham and premiered at Christ Episcopal Church, Garden City, NY. (5/21)

2013 Three Macabre Songs, song cycle on texts by Edgar Allan Poe for baritone voice and piano. Commissioned and premiered by Charlie Hyland at CUA's Ward Recital Hall. (4/14)

2013 Oblivion, one-act opera for five voices, newly-arranged for piano and Himalayan singing bowls. Libretto by the composer, based on a story by H.P. Lovecraft. Selected and performed as one of three National Finalists for the 2012-2014 National Opera Association Chamber Opera Competition (1/4)

2012 Jazz Chowder for Bb clarinet and piano. Commissioned and premiered by Ben Redwine at University of Texas at Tyler's Braithwaite Recital Hall. (10/15)

2012 Jazz Etude for two Bb clarinets. Commissioned and premiered by Ben Redwine at University of Texas at Tyler's Braithwaite Recital Hall. (10/15)

2011 Sea Mistress for tenor and grand piano. Commissioned and premiered by Timothy M. Ballard on a guest artist recital at Jacksonville State University's Frederick Douglas Hall Music Center Recital Hall. (9/5)


2011 Two Coffins, commissioned and premiered by Timothy M. Ballard on a guest artist recital at Jacksonville State University's Frederick Douglas Hall Music Center Recital Hall. (9/5)

2010 Oblivion, one-act opera for five voice, original instrumentation of fl, gtr, vc, and Himalayan singing bowls. Selections performed at New Voices @ CUA, Annual Vocal Festival in Washington, D.C. (9/10)

2010 Oblivion, one-act opera for five voices, fl, gtr, vc, and Himalayan singing bowls. Libretto by the composer, based on a story by H.P. Lovecraft. Premiered at the Capital Fringe Festival in Washington, D.C. Produced, music directed, conducted, and financed by the composer. (7/8)

C. Conference papers, presentations or performances

i. Conference composition performances

2012 Dirge for the New Sunrise, mvts.3-5. College Music Society National Conference, San Diego, CA (11/15)

2012 My Beloved Is Mine. Society of Composers, Inc. Region VI Conference, Canyon, TX (10/5)

2011 “Reflection Duet” and “Temptation” (selections from The Eden Diaries). College Music Society National Conference, Richmond, VA (10/22)

2010 Miniature Symphony No. 1b. College Music Society National Conference, Minneapolis, MN (9/23)

2010 in memoriam Hibakusha. SCI Student National Conference, Huntington, WV (3/5)

2009 “Reflection Duet” and “Temptation” (selections from The Eden Diaries). College Music Society Mid-Atlantic Regional Conference, Fairfax, VA (3/20)

ii. Conference papers, presentations, and panels

2013 Paper Presentation: "Role Reversal: A Collaborative Project in Flipping the Theory Classroom." Co-presentation with Dr. Garrett Hope, detailing a joint pedagogy project using student-created video group projects to introduce concepts of form to Theory 2 students. College Music Society National Conference, Cambridge, MA (11/1)

2012 Panel: “Staying in Tune with the Law: What Musicians and Educators Should Know About Copyright Law and Why it Matters.” Presentation on alternatives to copyright. College Music Society National Conference, San Diego, CA (11/16)

2011 Lightning Talk: “Creative Commons and the Value of Free Music: A 21-Week Experiment in Self-Promotion.” College Music Society National Conference, Richmond, VA (10/22)


VI. Service

A. Service to profession (disciplinary-specific)

i. Membership in professional associations, and governance activities therein

• 2007-present College Music Society

• 2007-present Society of Composers, Inc. o 2008-2009 – President, The Catholic University of America Student Chapter o 2007-2008 – Vice-President, The Catholic University of America Student Chapter

• 2011-present ASCAP (American Society of Composers, Authors and Publishers)

ii. Service performances or presentations in university, community, regional or national venues

• Participated in the university's Spring 2012 Musical Finian’s Rainbow as the small role of Shears (nine calls including two performances, 04/19/2013 and 04/20/2013)

• Participated in the university's Fall 2013 Opera Scenes production as a featured guest soloist singing and dancing the song "Quite Parisian" from The Merry Widow (six calls including one performance, 11/19/2013)

• Participated as Tenor II/Baritone in University Chorale (Fall 2011-Spring 2012, performed in 3 concerts)

iii. Adjudication

• K-12 Composition adjudication for East Texas Music Teachers Association [paid a small stipend] (November 2011)

• Band Competition adjudication for Texas Shrine Band Association Competition [paid a small stipend] (9 bands over two days, May-June 2012)

iv. Guest presentations, such as master classes or workshops

• Composition Master Class Presenter – Capital City Public Charter School (D.C.) Conducted 7th and 11th Grade master classes on composing music for short films. Students used GarageBand to create soundtracks for assigned videos. Gave feedback on students' artistic and technical choices.

B. Curriculum development

i. Any new courses developed

• Fall 2013 Proposed and designed a new course for the graduate Music curriculum – MUSI 3342 (Electronic Music) at UT Tyler

o Completed a course submission form and syllabus, and submitted to the UT Tyler College of Arts and Sciences Curriculum Committee (part of the Music Department’s recent successful NASM accreditation efforts)

• Fall 2013 Proposed and designed a new course for the graduate Music curriculum – MUSI 3348 (Composers Seminar) at UT Tyler

o Completed a course submission form and syllabus, and submitted to the UT Tyler College of Arts and Sciences Curriculum Committee (part of the Music Department’s recent successful NASM accreditation efforts)


• Fall 2013 Proposed the addition of an existing course to the B.M. Composition degree – MUSI 4343 (Topics in Music Theory) at UT Tyler

o Submitted to the UT Tyler College of Arts and Sciences Curriculum Committee; no new course submission form or syllabus required (part of the Music Department’s recent successful NASM accreditation efforts)

• Spring 2013 Co-designed and co-taught a new course for the Honors Program – HNRS 2352 (World, Text & Image IV: Recycled, Revival, and Renewal), a new course in Music and Art History at UT Tyler.

• Spring 2013 Proposed and designed a new course for the undergraduate Core Curriculum and Music curriculum – MUSI 1301 (Music Fundamentals) at UT Tyler

o Completed a course submission form, syllabus, and Composition Project grading rubric, and submitted all to the UT Tyler Core Curriculum Committee

• Spring 2013 Proposed and designed a new course for the graduate Music curriculum – MUSI 5306 (Post-Tonal Analysis) at UT Tyler

o Completed a course submission form and syllabus, and submitted to the UT Tyler Curriculum Committee

• Spring 2013 Proposed and designed a new course for the graduate Music curriculum – MUSI 5321 (Advanced Analytical Techniques) at UT Tyler

o Completed a course submission form and syllabus, and submitted to the UT Tyler Curriculum Committee

ii. Participation on curriculum development committees

• Fall 2013-present College of Arts and Sciences Curriculum Committee

o Participated in committee meetings, considered and voted on a variety of curriculum change proposals

C. Student advising

i. Written statement on advising activities

I have met individually each semester with each student assigned as my advisee. These have typically included all students majoring in Music Composition (between 3 and 6 each semester), as well as a handful of other music majors. I keep up-to-date digital records of each student’s degree progress and planned future courses, to ensure consistent advising from one semester to the next. In an attempt to streamline my advising process, I have also created a separate digital checklist for each B.M. Composition major that I update each semester.

I am committed to the success of all my students. I keep a close eye on students who seem to be struggling in my classes, and I have sent a total of ten Early Warning / Academic Alert notifications since I started in Fall 2011. In each case, I have solicited follow-up advising meetings with the student. Additionally, I have written and sent four letters of recommendation for students, including one for a recent Composition graduate who is now pursuing a master’s degree in Music Composition at Stephen F. Austin University on a graduate assistantship.


ii. Number of students advised each semester

• Fall 2013: 14 students advised

• Spring 2013: 4 students advised

• Fall 2012: 4 students advised

• Spring 2012: 7 students advised

• Fall 2011: 10 students advised, plus 1 unofficial music minor advisee

D. Service to the university (committee appointments)

2013-2014 Academic Year • Fall 2013-present Member, Faculty Search Committee, for a tenure-track Assistant

Professor of Music in Voice o Currently reviewing applications, charged with making a recommendation in Spring

2014 for hire, position beginning Fall 2014. Dr. Jeffrey Emge, Chair.

• Fall 2013-present Member, UT Tyler College of Arts and Sciences Curriculum Committee

o Participated in committee meetings, considered and voted on a variety of curriculum change proposals. Dr. Patricia Gajda, Chair.

• Summer 2013 Chair, Faculty Search Committee, for a one-year Assistant Professor of Music in Voice

o Coordinated with Department Chair, Dr. Michael Thrasher, to review job posting language, review applications, schedule committee meetings, interview candidate finalists, and make a recommendation for hire, position beginning Fall 2013. Dr. Kyle Gullings, Chair.

• Fall 2013-present Member, UT Tyler College of Arts and Sciences Commencement Committee

o Charged with participating in and facilitating Commencement activities in Fall 2013 and Spring 2014. Dr. Stephen Graves, Chair.

2012-2013 Academic Year

• Spring-Summer 2012 Member, Faculty Learning Community on Teaching Excellence and Innovation

o Attended several meetings and reviewed and made recommendations on three grant proposals written by UT Tyler departments hoping to introduce innovative technology into their classrooms to improve teaching. Dr. Kathy Morrison, Chair.

2011-2012 Academic Year

• Fall 2011-Spring 2012 UT Tyler College of Arts and Sciences Governance Committee o Met to organize and facilitate voting for all outgoing CAS committee positions,

reviewed voting rules, and met to tally votes. Dr. Rachel Mason, Chair.

E. PK-12 schools

• On-site host for Texas Music Educators Association Region 21 Choral Festival (6 hours, 11/12/2011)


F. Community service

• Summer 2012-present Committee member, Unitarian Universalist Fellowship of Tyler

o Attend regular meetings, help plan service music, cantor regularly during services, and occasionally play piano during services

• Spring 2012 Committee Member, Earth Day East Texas (Education Co-Chair)

o Attended seven committee meetings

o Solicited educational booths by regional organizations and schools

o Solicited a lecture on sustainability and green housing innovations, given by John J. Vasselli, Executive Director of the TxAIRE project

o Provided event music along with UT Tyler faculty member Dr. Ron Sherrod and two guitar students

• Summer-Fall 2012 Music project for Camp Tyler, a local educational non-profit

o Recruited a UT Tyler student composer (Jonathan McSwain) to fulfill a request for original background music tracks for use by the local Camp Tyler Outdoor School in publicity and take-home materials for children attending their camp

G. Student recruitment

i. Recruitment of prospective music majors

• Fall 2013 Engaged in in-person correspondence with one individual

• Spring 2013 Engaged in email and in-person correspondence with four individuals, and reviewed their respective composition portfolios

Attended instrumental auditions of three individuals

Gave a free, 60-minute sample composition lessons to two individuals

• Fall 2012 Reviewed entrance audition and composition portfolio, and engaged in email correspondence with one individual

• Spring 2012 Gave a free, 60-minute sample composition lesson, reviewed entrance audition and composition portfolio, and engaged in email correspondence with one individual

• Fall 2011 Engaged in email correspondence with one individual

ii. Off-campus recruitment visits

• 2013 Recruitment visit to Tyler Junior College, Music Theory IV class. Met privately with two students for 30 minutes, one of whom enrolled at UT Tyler the following year. (3/8)

• 2012 Recruitment visit to Bossier Parish Community College, two Music Theory classes (3/14)


H. Administrative responsibilities

i. Departmental administration (ensembles, labs, websites, etc.)

• Fall 2012-present Assisted with departmental Assessment initiatives. Took primary departmental responsibility of Assessment in Fall 2013. Ongoing work updating, revising, and recording Assessment plan

• Fall 2012-present Designed, implemented, and maintained our department’s first Electronic Music Studio, for use in creating original digital music compositions, arrangements, and mixes

• Fall 2011-present Assisting with creating and distributing digital recordings of student recitals and other events in Braithwaite Recital Hall

• Fall 2011-present Assisting with maintaining the Music Computer Lab, including software updates, installing RAM, and resolving Lab printer issues

• Fall 2011-present Assisting with monitoring of student attendance at music recitals (punch cards for MUSI 1000)

• Fall 2011 Inventoried existing equipment in Recording Studio, for future departmental records

I. Other service activities

• Spring 2013 Co-presented at a Teamwork Core Objective Meeting.

o Gave a brief discussion of past group project experiences to a small group of faculty and administration members at UT Tyler (03/22/2013)

• Fall 2011-Spring 2013 Participated actively in Music Department’s first ever

National Association of Schools of Music (NASM) Accreditation process

o Reviewed NASM Self-Study document, gave feedback to the chair, Dr. Michael Thrasher (09/27/2011)

o Met with accreditation evaluators in group, classroom, and individual settings (10/31/2011-11/01/2011)

o Wrote response portion (“Reading Music at Sight”) (04/04/2012)

o Wrote follow-up response portions Part 6 (“Sight Reading Fluency with Major Performing Instrument”) and Part 7 (Various Composition Program standards) (04/28/2013)


VII. Addenda

All Addenda items below are available online: http://www.kylegullings.com/thirdyear.php

A. Sample syllabi

• Fall 2013 – Music Theory 1

• Fall 2013 – Undergraduated Composition (Applied Composition Lessons)

• Fall 2013 – Form & Analysis

• Spring 2012 – World, Text and Image IV: Recycled, Revival & Renewal (Honors 2352)

B. Samples of handouts, tests, or teaching materials from the last full academic year

• Fall 2013 – Music Theory 1: Analysis Project 3 (Schubert “An die Natur”)

• Fall 2013 – Music Theory 3: Analysis Project 3 (Jazz Chowder)

• Fall 2013 – Form & Analysis: Group Project (Schubert Symphony No. 1, mvt. 1; sonata form)

• Spring 2013 – Music Theory 2: Composition Project

• Fall 2012 – Aural Skills 1: Final Exam

• Spring 2012 – Counterpoint: Analysis Project 2

C. Numerical summary of all student evaluations


D. Copies of original musical scores and audio/video, or other materials

Sample compositions included and dates of premiere: (scores and recordings)

• Three Macabre Songs (2013)

• Innocence (2013) [palindromic form, note-for-note]

• A Happy Routine* (2014 anticipated) [rondo]

• Jazz Chowder* (2012) [rondo]

• Jazz Etude (2012)

• My Beloved Is Mine (2011)

* Denotes a piece composed specifically for use as an analysis in Music Theory classes.

E. Sample concert/recital programs

F. Unsolicited letters, e-mails, etc.