SNU School of Music Student Handbook

2016­2017

TABLE OF CONTENTS I.Introduction................................................................................................................... 3

A.History and Overview........................................................................................ 3 B. School of Music Mission and Vision Statements............................................. 5 C. School of Music Goals.................................................................................... 5 D. What It Means to Be A Music Major................................................................. 7

II. Degree Offerings and Concentrations........................................................................ 8

A. General Education Tracks and Course Substitutions..................................... 8 B. Music Degrees................................................................................................ 8

III. Assessment and Evaluation....................................................................................... 9

A. Theory Fundamentals Placement Exam......................................................... 9 B. Advanced Placement Credit …………............................................................ 9 C. Harmony/Aural Theory Proficiency Exam……………………………...……….10 D. Performance Proficiency................................................................................

10 E. Piano Proficiency Exam................................................................................. 10 F. Guitar Proficiency Exam…………………………………………………………...12

IV. Performance – Individual Skills.............................................................................. 13

A. Expectations................................................................................................ 13 B. Repertoire/Skill Guidelines.......................................................................... 14

1. Vocal Performance Levels............................................................... 14 2. Piano Performance Levels............................................................... 15 3. Woodwind and Brass Performance Levels...................................... 16 4. Percussion Performance Levels...................................................... 17 5. String Performance Levels............................................................... 18 6. Organ Performance Levels.............................................................. 19

C. Enrichment Seminar.................................................................................... 19 D. Recitals/Capstone Projects.......................................................................... 20

1. Recitals ……………………………………………………………………..20 2. Capstone Projects………………………………………………………….21

V. Performance – Ensemble Skills............................................................................... 23

A. Ensemble Descriptions................................................................................. 23 B. Ensemble Requirements.............................................................................. 24

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VI. Performance – Concert/Recital Attendance........................................................... 25

A. Recital Attendance………………………………………………………………..25 B. Faculty and Guest Artist Series………………………………………………….25

VII. School of Music Guidelines and Regulations....................................................... 26

A. Facility Use..................................................................................................... 26 B. Practice Room Use and Guidelines................................................................ 26 C. Music Computer Lab...................................................................................... 26 D. Recording Studio............................................................................................ 27

VIII. Faculty……………………………………………………………………………………28

Addendum 1: Course Rotation Sequence........................................................... 31 Addendum 2:. Course Rotation by Degree Area……..………..…………………....32 Addendum 3: Recital Attendance Policy.............................................................. 33 Addendum 4: Performance attire......................................................................... 34 Addendum 5: Professional Education Courses Timeline – Music Ed Degrees.... 35 Addendum 6: Foreign Language Proficiency – Music Ed Degrees...................... 37 Addendum 7: Scholarship Policy…………..….……………………........................ 38 Addendum 8: Recommended courses in Graphic Design for Worship Arts……...39 Addendum 9: Accompanist Policy/Procedures & Fees………………………….…40 Addendum 10: Four­Year Plans for each degree……………………………………45

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Music Handbook

I. INTRODUCTION The Music Handbook exists to supplement the University Catalog. Music majors should familiarize themselves with the Handbook’s contents. The Catalog contains university­wide information, guidelines and graduation requirements; the Music Handbook provides a detailed overview of the School of Music, its offerings, specific requirements, and expectations. A. History and Overview Since the school’s founding in 1899, music has played a vital part in the life of Southern Nazarene University. The five different holiness schools which merged to form Bethany­Peniel College each had a strong commitment to train skilled musicians to serve the sponsoring church body. In 1933 Walter J. Hildie came to Bethany Peniel College to organize the Department of Fine Arts. Under his leadership the first sacred opera was presented, and Forest Nash, a student, organized the band. In 1938 Chester Crill came to B­PC to serve as chairman of the Fine Arts Division. He organized the A Capella Choir and started the production of Handel’s Messiah . During the administration of President Oscar J. Finch, the music faculty increased to 10 full­time members. Various ensembles were added; a culture series was initiated. In 1947 Lester Dunn was elected Dean of Fine Arts, a position he held until 1967. Under his leadership the department grew until there were 14 full­time faculty members. The annual Messiah presentation boasted a 225­voice choir and a 50­member orchestra. During this era the school became known as Bethany Nazarene College; Dr. Roy Cantrell was president. Following the long tenure of Prof. Dunn, the Fine Arts Division was led by Prof. Ray Moore (1967­1971), father of current department chairman, Dr. Phil Moore. Following Moore’s service, Prof. Howard Oliver led the division (1971­1986). Upon his departure, Dr. D. E. Hill served as chairman of the School of Music for the newly named Southern Nazarene University. Under Hill’s leadership (1987­90), the School of Music moved from old Bud Robinson Hall, which it had long occupied, to the newly renovated Fine Arts Building. Dr. David Alexander served as chairman from 1991 until spring of 1998. Dr. Phil Moore assumed the chairman’s duties in January of 1999 and served in that role until 2008 when Dr. Steve Betts became the chairman. Dr. Melissa Lewis became the chairperson in 2011. Today the School of Music enjoys well­equipped facilities, a highly­qualified staff of 6 full­time, 2 part­time, and 24 adjunct faculty members, and a variety of programs designed to serve its majors, its university and both its local and regional community.

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The School of Music utilizes the Fine Arts Building, Cantrell Music Hall, and Herrick Auditorium. The Fine Arts Building boasts an 80­seat recital hall, 3 classrooms, a choral rehearsal room, an instrumental rehearsal room, instrument storage area, 18 practice rooms equipped with pianos, a central lounge area, 7 studio/offices, a handbell room, a computer/piano lab, and a recording studio added in the Spring of 2006. Cantrell Music Hall, a 300­seat concert/recital hall, offers a wonderful acoustic environment for performers and listeners. Three studio/offices are located in Cantrell, along with 3 first­class instruments. The Schlicker Pipe Organ located in Cantrell is one of the finest organs of its type in Oklahoma. Custom designed and built for SNU’s School of Music, the organ is housed in a beautiful free­standing case of natural red oak. The 35­stop, 45­rank, 3­manual tracker pipe organ is a central feature of Cantrell Music Hall. Also gracing the Cantrell stage is the 9’ 6” Bosendorfer Imperial Grand Piano. Hand­crafted in Austria, the Imperial Grand is the world’s largest piano. It is accompanied by a 9 ft. Yamaha grand piano. Completing the Cantrell keyboard array is SNU’s Sabathil harpsichord. The harpsichord was built in Canada for SNU. This Baroque instrument can be heard as students perform a variety of repertoire on its two manuals. Herrick Auditorium, SNU’s 1,000­seat performance space, hosts a variety of School of Music performances. Herrick is also the home of the School of Music’s 3­manual Rodgers Organ. The SNU School of Music is an accredited institutional member of the National Association of Schools of Music. The School of Music was granted membership to NASM in 1996. As a member of NASM, the School of Music has shown its commitment to educational quality, institutional integrity, and evaluation by music educators from across the nation. Along with NASM, the SNU School of Music faculty is committed to developing graduates who have:

#1 The ability to hear, identify and work conceptually with the elements of music, such as rhythm, melody, harmony, structure, timbre & texture,

#2 An understanding of and the ability to read and realize musical notation, #3 An understanding of compositional processes, aesthetic properties of style, and the

ways these shape and are shaped by artistic & cultural forces, #4 An acquaintance with a wide selection of musical literature, the principal eras, genres,

and cultural sources, #5 The ability to develop and defend musical judgments, #6 Ability in performing levels consistent with the goals/objectives of the specific liberal

arts degree program being followed (degree­specific outcomes), #7 Understanding of procedures for realizing a variety of musical styles, #8 Knowledge and/or skills in one or more areas of music beyond basic musicianship

appropriate to the individual's needs & interests, and consistent with the purposes of the specific liberal arts degree program being followed.

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B. School of Music Mission and Vision Statements The School of Music faculty offer the following statements, defining our mission and explaining our vision:

Our mission is to maximize musical potential in Christ­centered community;

Our shared vision is to be a group of musicians committed to Christ, to excellence in our craft, to the nurture of students, and to maintaining a vital program within the institution. Our meaning and purpose are found in our desire to serve God, our discipline, our majors, our university, and our local and regional communities. OUR DISCIPLINE—We commit to serve our discipline by being grounded in the classical musical literature of the Western cultural tradition while also incorporating the diverse cultural styles reflected in a pluralistic society. We value both the intrinsic worth of music as art and the extrinsic worth of music as an expression of faith. OUR MAJORS—We commit to serve our majors by helping them discover and realize their God­given potentials. We provide our students with experiences that develop an understanding of and hunger for excellence in the performance and creation of music. Our objective is to instill within our majors a desire to carry on a legacy of service. OUR UNIVERSITY—We commit to serve our university academically, socio­culturally, and religiously. We seek to foster an awareness and appreciation of music’s place in the heart of the liberal arts. We strive to provide opportunities for the campus community to participate in making music. We work to provide music with which the university body may worship God. OUR LOCAL & REGIONAL COMMUNITIES—We commit to serve our local community by being a premiere cultural center, drawing people to the university, and by going out into the community as an enlivening cultural presence. We commit to serve our regional community by touring in order to strengthen the ties between university and sponsoring church.

C. School of Music Goals The goals of the SNU School of Music are articulated in four areas. MUSIC: THE LIBERAL ARTS – Goals applicable to the general student and the breadth of the role of music in the liberal arts:

a). to reveal to students the richness and breadth of musical heritage – a heritage inclusive of music genres from the Western culture, as

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well as music from a diversity of world cultures,

b). To nurture students as they develop their musicianship by providing opportunities for expression of self and faith through individual and group musical performance, and

c). to provide the finest in musical performance to our local and regional community. MUSIC: THE DISCIPLINE – Goals applicable to the student seeking in­depth knowledge, understanding, and skill in the discipline of music: a). to enable students to develop their musicianship to the highest possible level, b). to utilize music exemplars for all musical instruction, c). to foster listening skills, performance ability and artistic creativity, d). to initiate students into the use and function of the grammar and

vocabulary of music, e). to develop an appreciation for the historical context of our musical heritage, understanding cultural periods and their musics, and f). to introduce students to vocational opportunities in music. MUSIC: THE EXPRESSION OF FAITH – Goals applicable to the general student,

the music student and the sponsoring church as music gives voice to our faith: a). to provide new and creative opportunities for the campus community to actively give musical voice to its faith, b). to foster the desire among music students to link musical ability and growth with spiritual journey and growth, c). to encourage service and worship in the Nazarene churches of the

South­Central Region, and d). to provide resources to meet the musical needs of our sponsoring churches. MUSIC: OPERATION AND ADMINISTRATION – Goals applicable to providing the

means necessary, personnel, program, facility, to fulfill the School of Music’s mission: a). to assemble a well­qualified music faculty able to comfortably provide instruction to 75 music majors, 300 ensemble members, and 200 private studio students, b). to implement, maintain and evaluate programs and concentrations which serve the contemporary discipline of music and the mission of the

institution, and c). to ensure students, faculty, and programs are provided with resources, facilities and equipment necessary for proper instruction.

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D. What it Means to be a Music Major Students and parents alike often have preconceived ideas about what it means to be a music major. As you read this Handbook, we hope you will gain a greater understanding of all that majoring in music entails. A large part of a music major’s experience can be described as a “process of discovery.” First, we will discover you. You came to SNU with a variety of hopes and aspirations. We want to know your dreams, what has inspired you to pursue music. We also want to discover your level of musical aptitude and skill. Talent is not enough. Your level of success will be greatly affected by your musical background, your level of determination and discipline. We will seek to discover these things about you. Secondly, you will discover music. Never again will you have an opportunity to concentrate so much time on one thing. We want you to discover how music works—so you will have experiences in music theory. We want you to discover its heritage—so you will have opportunity to study music history and performance—both individually and in ensemble. We want you to discover how it may be shared and used for life—so you will be introduced to different vocational options in music. Third, you will discover yourself. During the weeks, months, and years that make up your college experience you will have opportunity to discover what role music will play in your life. Some of you will discover that music is to be your life’s calling. Others will discover that your preconceived ideas about music were inaccurate; you will change majors and make music an avocation. Still others will discover that you are not willing to pay the price to become professional musicians. Regardless of where you think you are, we invite you to actively and eagerly participate in this process of discovery. Seek to learn each day. Discover how to assess your progress and performance. Choose to be disciplined and to grow musically, academically, socially and spiritually. II. DEGREE OFFERINGS, EMPHASES, AND CONCENTRATIONS A. General Education The General Education program offers students a two­tiered, flexible approach in which various courses fulfill requirements. It is built upon the metaphor of a house, and consists of “Foundational” courses taken by students in their first two years, and “Windows” courses, in which skills introduced in foundational courses are further developed. Thematic Learning Communities, begun in 2009 offer students opportunities to take courses which are deliberately paired and coordinated, to enhance student learning.

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Foundation Courses: Composition I Composition II Introduction to Speech Aesthetics Integrated Software Applications (CAB Christian Faith & Life For Music Business majors) Foundational Civics, Ethics & Stewardship course Foundational Problem Solving & Critical Thinking course Foundational Global Perspectives course Students can choose from a variety of courses to fulfill their “Windows” requirement for the following General Education outcome areas: Aesthetic Analysis (fulfilled for music majors by Music, Ministry & the Church) Global Perspectives Critical Thinking & Problem Solving Effective Communication Civics, Ethics & Stewardship All students are required to complete a grouping of theology courses following enrollment in Christian Faith & Life, including Old or New Testament Literature and Life and Foundations of Christian Belief. The Personal Development outcome area rounds out the General Education curriculum and can be satisfied by any course not fitting one of the outcome areas listed above.

B. Music Degrees SNU’s School of Music offers three degree options with various emphases/concentrations: 1. Bachelor of Arts in Music 2. Bachelor of Music Education a. Vocal Concentration b. Instrumental Concentration 3. Bachelor of Science in Music a. Worship Arts Emphasis b. Music Business Emphasis c. Performance Emphasis

i. Instrumental Concentration ii. Keyboard Concentration iii. Vocal Concentration

Degree checklists for each program can be found in Addenda 10 (page 45)

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III. ASSESSMENT AND EVALUATION Part of being a musician is learning to continually evaluate and assess one’s performance. Musicians should always seek deeper levels of artistic expression, greater mastery of technique and higher levels of understanding of music’s theory and practice. To help ensure that this growth, and the ongoing potential for the growth is present in our students, the School of Music has placed several assessment points in the program to monitor and evaluate each student’s progress: A. Theory Fundamentals Placement Exam B. Harmony/Aural Theory Proficiency Exam C. Performance Proficiency D. Piano Proficiency Exam E. Guitar Proficiency Exam (only for Worship Arts) F. Junior Level Recital (See IV­D, p. 36) G. Senior Level Recital (Performance Majors see II, p. 21, 23, or 25, & IV­D, p. 36) A. Theory Fundamentals Placement Exam Students entering SNU with a basic knowledge of music theory will be given an opportunity to waive Fundamentals of Music through a Placement Exam administered at the beginning of the freshman year. The exam consists of fundamentals of music: rhythm, intervals, triads, keys, and primary chord structure, chordal analysis, sight singing, and aural identification of intervals and triads. This exam is given to all incoming students in the first Fundamentals of Music class session each August. B. Advanced Placement Credit Fundamentals of Music will be automatically waived for students who have earned a combined 7 on the written and aural portions of the Advanced Placement exam. C. Harmony/Aural Theory Proficiency Exam Students who have selected music as a major will be given an opportunity to validate their selection by demonstrating basic proficiency in Harmony and Aural Theory. A proficiency exam in these two areas will be given to students at the end of the freshman year.

The final exams in Aural Theory I and Harmony I will constitute the Harmony/Aural Theory Proficiency Exam, and will cover materials from Fundamentals of Music and Harmony I/Aural Theory I. The student must score 70% or higher on both the written (harmony) and aural (aural theory) sections. One or both sections may be retaken, but both must be passed (70%) by the conclusion of the sophomore year (May). Students must pass the exam by that point to continue as a music major.

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Note: Students must score 70% on semester work to advance to the next Harmony/Theory level. That is, a “D” (less than 70%) in Fundamentals of Music (both written and aural components), Harmony I, II, or Aural Theory I, II, although passing, does not demonstrate sufficient competency to warrant enrollment in the subsequent theory class. D. Performance Proficiency

(See also Section IV: PERFORMANCE – Individual Skills, p. 13)

Music majors in all degrees must study in a primary performance area until all degree requirements in the applied area are fulfilled. (See degree listings for specific information regarding primary and secondary applied requirements).

­ Students pursuing the Bachelor of Science in Music with a Performance Emphasis must attain the 3000­level of applied study by the end of the sophomore year to continue in that degree program. ­ Students pursuing the Bachelor of Music Education or Bachelor of Science in Music with a Worship Arts Emphasis must attain the 2000­level of applied study by the end of the sophomore year to continue in those degree programs. ­ Students pursuing the Bachelor of Arts in Music or the Bachelor of Science in Music with a Music Business Emphasis must maintain a 2.5 GPA in the applied area to continue in those degree programs. E. Piano Proficiency Exam All music majors must demonstrate a basic level of proficiency on the piano. This skill aids in understanding theory, analyzing music, learning improvisation, and leading rehearsals. The exam is given four times per year, typically in October, December, March, and May. Music majors must pass: a). at least 2 parts of the Piano Proficiency Examination by May of the Freshman year, and b). all parts of the exam by December of the Junior year. Failure to fulfill either requirement listed above will result in a one­semester probation period. If the requirement is not completed after the probation period, the student will not be allowed to enroll in further classes (except for Applied piano) for the music major until the requirement is completed. All examinations will include the following: a. All major scales with accepted fingerings, two octaves, hands separately, at a tempo of MM=120, one note per beat. b. Playing of The Star­ Spangled Banner and Happy Birthday in keys appropriate for group singing. c. Improvisation using the following harmonies: I, IV, V, ii, and vi in one of the following keys: C, F, G, D, Bb

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d. Transposition (by step) of an improvisation exercise or hymn/praise chorus, e.. Hymn playing from a hymnal or a praise chorus. The hymn or praise chorus will be given to the student one week before the examination. f. Repertoire – any composition (sonatina, nocturne, prelude, etc.) which is performed during a recital or jury may count for this component of the proficiency. g. Score reading ­ students will play any two lines (chosen by faculty at the time of examination) from a four­part choral octavo. Note: Students will receive the choral or instrumental score one week prior to the examination. Music majors who began work at SNU in or after fall 2013 must also pass: B.M.E. Vocal Emphasis: demonstrate ability to play/lead vocal warm­ups using a five­note pattern utilizing all major keys, ascending and descending. B.M.E. Instrumental Emphasis & B.S. Instrumental Performance Emphasis (not including Keyboard Emphasis): demonstrate ability to transpose any two instruments, one at a time, to concert pitch from an orchestral or band score. B.S. Vocal Performance Emphasis: accompany an art song, and play/lead vocal warm­ups using a five­note pattern, utilizing all major keys, ascending and descending. B.S. Keyboard (Organ or Piano) Performance Emphasis: play all major and minor scales (3 octaves, ascending & descending, quarter = 84­88 & progressing from one octave of quarter notes, two octaves of eighths and three octaves of triplets), accompany an art song, play vocal warm­ups using a five­note pattern utilizing all major keys both ascending and descending. B.S. Worship Arts Emphasis: play a praise chorus utilizing the Nashville Number System. **Once Proficiency commences, students have six years to complete all elements. If all elements have not been passed within six years of the first attempt, the entire Proficiency must be taken again. F. Guitar Proficiency Exam All students completing a Bachelor of Science degree with emphasis in Worship Arts must demonstrate guitar proficiency. These skills, in addition to those related to keyboard and a student’s primary performance area, will foster flexibility as our graduates need the ability to lead worship using multiple instruments. By completing the required elements in Guitar Proficiency, B.S. with Worship Arts emphasis will demonstrate skills in the following areas: a. Basic Chord Techniques (including all basic first­position chord positions for major, minor, dominant 7th and minor 7th chords), b. Playing pentatonic scales from memory, c. Sight reading from a lead sheet (excerpt will be made available one week prior to the exam), d. Transposing by half or whole step using a capo (excerpt will be made available one week prior to the exam), and

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e. Accompanying the singing of two songs from the students’ self­selected repertoire list, demonstrating ability in four common accompaniment skills (eye contact/not looking at hands, sound quality, chording, and rhythmic accuracy) in 2 different meters. Once applied guitar study begins, students are required to complete at least one proficiency element each semester until all elements have been completed. Failure to make sufficient progress will result in a semester of probation in which students must catch up. If not back on schedule by the end of the probationary semester, students will not be allowed to enroll in music coursework (other than applied guitar) until caught up. IV. PERFORMANCE – INDIVIDUAL SKILLS A music major at Southern Nazarene University must pursue individual instruction in his or her primary area of performance each semester the student is enrolled at SNU. While some components of the music degree require a student to learn about music, the private studio instruction component is designed to allow the student to learn individually how to perform music.

Students will be expected to master the basic technical skills of his or her performance area, demonstrate performance aptitude—the ability to interpret and perform musically—and gain a broad knowledge of repertoire in his/her primary performance area.

A. Expectations Each individual instructor will provide the student with a syllabus outlining the expectations for the student’s semester of private study. Listed here are general expectations and guidelines to be met by all students regardless of area of study.

1. Practice—It is imperative that students practice regularly and routinely to gain a basic

mastery of performance skills and learn the repertoire assigned to them every semester. Students should expect to practice a minimum of 5 hours per week, or as required by the applied instructor, per credit hour of applied study. The required number of practice hours will change as students enroll for additional credits in private instruction.

2. Grades—Semester grades are assigned by combining the instructor’s expectations for practice attendance, musical progress and mastery of repertoire. These criteria, along with the student’s performance in the jury, result in their grade and performance level.

3. Labs and Evening Recitals—Students are expected to participate on a regular basis in day­time labs and evening recitals. These labs and recitals are held in order to give the student performance opportunities. It is expected that music majors will participate in one of these events a minimum of once per semester.

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4. Attendance—The lab nature of the private studio mandates regular attendance at the

student’s assigned lesson time. True learning and assessment cannot occur without proper preparation and regular attendance. Consequently, absences can and will affect a student’s grade. Every unexcused absence lowers the final grade by one letter. In addition, students with four unexcused or unprepared lessons may drop the course or be given an “F” for the semester. Students should always notify their professor in advance when a lesson will be missed. These absences may then be excused at the discretion of the teacher and a make­up lesson may be scheduled if deemed appropriate and necessary.

5. Juries—At the conclusion of each semester, juried exams are held in which the student

will perform before two or more members of the music faculty. Each performance area has its own jury requirements. In general, however, the jury is designed to provide repertoire/memorization/performance goals for the student as well as a time of assessment by the music faculty. Also at the jury exam students will be evaluated and assigned an appropriate skill level. The skill levels 1000 through 4000 are assigned as a student moves from freshman through senior performance levels. The student should monitor his or her progress through the performance levels since it is necessary for a student to have achieved the 3000 level in order to present a junior level recital and a 4000 level ranking in order to present a senior level recital.

All students receiving music scholarship are required to perform a jury each semester in which applied lessons are taken.

Instrumentalists preparing for a jury are responsible for contacting an accompanist one month prior to the jury date. There will be a financial obligation on the part of the student for this service. See Addendum 4 for performance attire and Addendum 9 for the SNU School of Music’s full Accompanist Policy.

6. Music Literature Purchase—Each semester the instructor will assign literature that the

students will be required to buy for the course. These purchases are to be treated like book purchases for a lecture­based course. Purchases are not optional and should be made at the beginning of each semester. Students who fail to purchase these works or wait until late in the semester will run the risk of significantly lowering their grade through inability to practice the literature assigned. Music can be purchased (a) at the SNU Bookstore (if left there by the student’s instructor); (b) at the School of Music office (if literature is left for the student by the instructor); (c) at a local music store (Pender’s). Music will not be given out on credit. The student must pay for the music upon receipt of literature.

B. Repertoire/Skill Guidelines Each performance area has a basic body of repertoire. Students will be expected to learn repertoire in each of these basic areas in order to gain a knowledge of the literature in their field and to gain a mastery of the various skill levels found in these works.

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While each individual instructor will modify the repertoire in order to meet the needs of each student, the following repertoire lists will serve as a guideline so students become aware of both the breadth and depth of the study which awaits them. 1. Vocal Performance Levels Jury Repertoire requirements are as follows:

Freshmen: 2­4 memorized pieces Sophomores: 3­5 memorized pieces Juniors: 4­6 memorized pieces Seniors 5­7 memorized pieces

1031/2—Folksongs, Old English songs, Broadway ballads Seiber exercises *Clear enunciation of song texts—Posture—Stage deportment

Italian art songs, simple American songs Seiber exercises

*Accurate enunciation of forward­placed vowels—Good intonation—Basic knowledge of Italian diction

2031/2—Oratorio arias Lutgen or Vaccai exercises

*General absence of localized muscular effort—Consistent open throat— Legato singing— Use of dynamic shading German lieder Lutgen or Vaccai exercises

*consistent deep breathing—Clear articulation of consonants—Basic knowledge of German diction—Sustain textual mood

3031/2 Operatic arias Exercises of the teacher’s choice (Eligible for junior recital) *Obvious rapport with accompanist—Dramatic interpretation of operatic character,

Refinement and confidence in stage deportment French chanson

*Basic knowledge of French diction—Refined use of dynamic shadings—Continuing growth in character development, word stress, tone color and nuance.

4031/2 Representative material from several languages suitable for recital repertoire, stage deportment Successful completion of a Senior recital

*At least one sacred song should be included each semester 2. Piano Performance Levels LEVEL 1011/2: (In all levels, compositions by major composers of equal difficulty may be substituted.)

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Repertoire: Bach: Two­Part Inventions, French suites Scarllati: easier sonatas Mozart: Sonata K.545, Fantasia in D Minor Haydn: Sonatas (such as C Major, Hob. 35) Beethoven: Sonatas Op. 49, Nos. 1 and 2, Op. 2, No. 1 Chopin: Preludes Shostakovich: Three Fantastic Dances Technique: Semester I: All major scales MM 72­80, in 16th notes. All major triad arpeggios, MM 72­80, in 8th notes. Major triad blocked and broken chords (no tempo requirement) Semester II: All minor scales MM 72­80, in 16th notes. All minor triad arpeggios MM 72­80, in 8th notes. Minor triad blocked and broken chords (no tempo requirement) LEVEL 2011/2: Repertoire: Bach: Three­Part Inventions, easier selections from Well­Tempered Clavier Beethoven: Sonatas Op. 2, No. 2, Op 7, Op. 10 No. 3, Op. 26 Chopin: Waltzes Debussy: Arabesques nos. 1 and 2 Kabalevsky: Sonatina, Op. 13, No. 1 Schuman: 3 Score Set Technique: Major and minor scales MM 89­92, in 16th notes Major, minor, diminished, augmented arpeggios MM 60­72, in 16th notes LEVEL 3011/2: Repertoire: Bach: Well­Tempered Clavier, Suites and Partitas Beethoven: Sonatas Op. 13, 22, 27, 28, 31, 53 Schumann: Papillions, Op. 2 Chopin: Noctures, Polonaises Ravel: Sonatine Debussy: Preludes Tcherepnin: Bagtelles, Op. 5 Technique: Major and Minor scales MM 92­104, in 16th notes. Dominant Seventh and Diminished seventh arpeggios MM 69­88, 16th notes. Chromatic scales, 2 octaves, hands together, MM 84, in 16th notes. Major and Minor double scales (no tempo requirement)

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LEVEL 4011/2: Repertoire: A continuation of materials from 1131 with emphasis on works in extended forms by composers representative of a variety of historical and stylistic periods. Senior recital Technique: Major and Minor scales MM 112­126, in 16th notes. Major, Minor, diminished seventh, dominant seventh arpeggios MM 84­112 in 16th notes Major scales in 6ths and 10ths (no metronome requirement) Continuation of chromatic scales and double octave scales (see 1131) 3. Woodwind and Brass Performance Levels Previous study is recommended but not required. Experience in high school band is of utmost importance. Incoming freshmen should perform literature at Level 4 in the NEW YORK STATE SCHOOL MUSIC ASSOCIATION (NYSSMA) MANUAL of graded solos and ensemble music. Graduates will perform material selected from or equivalent to Level 6 of the NYSSMA Manual. Students will study pieces of movements from at least two major works for their instrument each semester. The amount of material and the level of difficulty will depend on the student’s ability and will be chosen to challenge the student. Technical and general musicianship includes scales/modes, articulation (staccato, legato), tone quality, phrasing, range and flexibility, correct breathing/breath support, embouchure, practice techniques and discipline, selection of instrument, mouthpiece and auxiliary equipment, care and maintenance of instrument, intonation, fingerings/slide positions (standard and alternate), endurance, dynamic range and control, mouthpiece pressure, accuracy (pitch and rhythm), transposition/clef reading, lip trills/ornament interpretation, muting and special effects, performance practice (historical interpretation), sight reading tonal and formal analysis, and improvisational techniques. Material will be drawn from etudes/technical studies; solo/chamber music literature; orchestral/band repertoire (study of selected excerpts) as listed in the NYSSMA Manual. 4. Percussion Performance Levels Previous study is recommended but not required. Experience in high school is of utmost importance. Freshman Level—Mallet instruments: All major and minor scales and chords, melodic studies in all keys, basic orchestral excerpts. Snare drum: Basic technical studies and expressive studies; reading studies, Tympani: Basic technical studies and tuning exercises. Solo literature: To be determined by student’s level of achievement.

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Sophomore Level—Mallet instruments: Intermediate technical level; additional orchestral excerpts. Snare drum: Intermediate reading and technical studies. Advanced solo material. Tympani: Intermediate tuning and technical studies; easy orchestral excerpts, basic solo literature. Junior Level—Mallet instruments: Advanced technical studies, advanced orchestral excerpts, intermediate­advanced solo literature. Snare drum: Advanced reading and technical studies, advanced orchestral excerpts, advanced solo literature. Tympani: Advanced orchestral excerpts, advanced solo literature. Multiple percussion: Basic studies and literature. Drum set: Basic rhythmic studies. Eligible for Junior Recital. Senior Level—Mallet instruments: advanced solo literature, advanced orchestral excerpts. Snare drum: Advanced solo literature, advanced orchestral excerpts. Tympani: Advanced excerpts and solo literature. Multiple percussion: Intermediate and advanced literature. Drum set: Advanced rhythm and coordination studies. 4. Stringed Instrument Performance Levels FRESHMEN: Violin – Flesch Scale System, Etudes by Mazas or Kreutzer, appropriate solos include Handel or Corelli Sonatas, Accolay Concerto #1, etc. Performance Majors: Bach Concerto #1, Mozart Sonatas, etc. Viola – Flesch Scale System, Etudes by Kreutzer, appropriate solos include the Handel Concerto, the Telemann Concerto, or Sonatas by Vivaldi or Vinci. Cello – Etudes by Klengel, Schroeder or Popper, appropriate solos include the Faure Elegie, “Reverie” by Debussy, or Sonatas by Beethoven, Corelli or Saint­Saens. Bass – appropriate solos include the Marcello Sonata or technical equivalent SOPHOMORES: Violin – Flesch, etudes by Kreutzer, Fiorillo, appropriate solos include Viotti Concerto, Beethoven Romances, Mozart Sonatas or Rondino, etc. Performance Majors: Beethoven Sonatas, Haydn or Mozart Concerti, Sonatas and Partitas by Bach. Viola – Flesch, Etudes by Kreutzer, Fiorillo, appropriate solos include Glazunov “Elegy”, Bach Suites, Debussy “Romance”, etc. Cello – Etudes by Klengel, Schroeder or Popper, appropriate solos include Bruch “Kol Nidrei”, Bach Suites, Concerti by Lalo, Haydn or Tartini. Bass – appropriate solos include the Capuzzi Concerto or technical equivalent JUNIORS: Violin – Flesch, etudes by Kreutzer or Fiorillo, appropriate solos include Bach Sonatas & Partitas, Kreisler pieces, Mendelssohn concerto, Dvorak “Romance”, etc. Performance Majors: Bartok Romanian Folk Dances, Beethoven “Romance”, Brahms Sonatas, etc. Viola – Flesch, Etudes by Fiorillo or Campagnoli, appropriate solos include Bloch “Suite Hebraique”, Bruch “Romanze”, J.C. Bach Concerto, Stamitz Concerto, Bach Gamba Sonatas.

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Cello – Etudes by Klengel, Schroeder, Franchomme or Popper, appropriate solos I nclude Schumann “Five Pieces in Folk Style”, Lee “Three Duets for Two Cellos”, Bach Suite #5, Kabalevsky Sonata or Prokofiev Sonata, etc. Bass – appropriate solos include the Rachmaninoff “Vocalise” or technical equivalent SENIORS: Violin – Flesch, Fiorillo or Rode Etudes, appropriate solos include Mozart Concerto #5, Bach 6 Sonatas and Partitas, Lalo “Symphonie Espagnole”, etc. Performance Majors: Concerti of Bruch, Mendelssohn, Saint­Saens, or Mozart (#4), etc. Viola – Flesch, Etudes by Fiorillo and Campagnoli, appropriate solos include Brahms Sonatas, Hindemith “Trauermusik”, Hoffmeister Concerto, etc. Cello – Etudes by Klengel, Franchomme or Popper, appropriate solos include Bach Suite #6, Barber Sonata #6, Concerti by Dvorak, Elgar, Shostakovich, etc. Bass – appropriate solos include Bottessini “Reverie” or Dragonetti Concerto 6. Organ Performance Levels The following is an indication of works that an organ major would be expected to learn during a Bachelor’s degree program. Works of comparable difficulty and quality may be substituted. Level 1000 equals Freshman year work; Level 2000 equals Sophomore year, etc. 1021/2—Manual & Pedal Technique Bach: Orgelbuchlein Brahms: Chorale Preludes Easier Compositions by contemporary composers 2021/2—Manual & Pedal Technique Hymn Playing Toccatas and Fugues by Bach Pieces by French classical composers 3021/2—Bach: Trio Sonatas and Larger Chorale Preludes Sonatas by romantic and contemporary composers Extended words by romantic and French classical composers. Junior level recital. 4021/2—Senior level recital

C. Enrichment Seminar Part of the activity of a student’s private studio work is done in the Enrichment Seminar. The weekly meeting of students in all areas of private instruction is designed to provide the following opportunities:

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1. To perform in an informal setting where the student may receive feedback, hear repertoire, and learn to critique and discern technically and musically (Applied Seminar); 2. To perform in a recital setting (Performance Lab) where all students have the exposure to repertoire and technique in the various musical disciplines of vocal, instrumental, and keyboard (see addendum 4 for performance attire information); and 3. To hear presentations from experts inside and outside the SNU community to extend the student’s appreciation of the breadth and depth of occupational opportunities available in today’s marketplace, address common health issues in musicians, and to gain insight into the level of preparation expected of today’s music graduate (Guest Speaker, Applied Seminar). Each music major and minor is required to participate in the Enrichment Seminar. Music Majors are required to attend for 8 semesters; Music Minors for 3 semesters. The scheduled time for this activity is Friday at 2:00 p.m. Attendance at Enrichment Seminar does not count toward Recital Attendance points. Enrichment Seminar (APMU 2400) is placed on each student’s transcript for each semester and is given a “Credit” or “No Credit” in place of a letter grade for level of participation and performance by the private instructor. The number of required sessions varies each semester; the schedule and minimum points needed to pass is posted on Moodle, and in the Parker Fine Arts Center along with other academic information. Attendance is documented and recorded from the roll sheet available for each student to sign at the session site. D. Recitals and Capstone Projects The student, advisor, and appropriate music faculty personnel (applied instructor and/or School of Music chairman) will determine no later than the beginning the student’s junior year whether to pursue a Performance Recital or Capstone Project. 1. Recitals Music majors reaching the 3000­level of applied study are qualified to present a Junior Level Recital (25 to 30 minutes of music) in their primary performance area in either their junior or senior year. In addition, Performance Majors are required to present a Senior Level Recital (50 to 60 minutes of music). Evaluation for recitals will be based upon the level of repertoire and mastery of performance skills (see Evaluation below). Calendar clearance – A proposed date for the recital should be set at least three months prior to performance, in consultation with the applied instructor, accompanist, School of Music office manager, and the chairperson of the School of Music. Consideration must be given to availability of the hall for dress rehearsals. Recital preview ­ The recital preview is intended to provide a level of accountability for the student so that he/she may bring a well­prepared body of repertoire to the actual recital. Students

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planning recitals must assemble a preview committee and schedule a recital preview, which must be completed at least six weeks prior to their scheduled recital date. At this time the student will present the recital to at least three members of the music faculty (at least two must be full­time faculty members) for evaluation and approval. Failure to receive approval from the music faculty at the recital preview will require the scheduling of an additional and final recital preview which must be completed at least four weeks prior to the scheduled recital date. Failure to receive approval at the second preview may result in cancellation of the recital. Program – Copy­ready program information (Word format), including all movement names, composers’ full names with birth/death dates, translations if needed, and the name of the person giving the invocation (if not a faculty member) must be presented to the preview committee at the time of the Recital Preview and also sent electronically to the School of Music office. Failure to do so will result in non­approval until the necessary information is submitted. Programs will be printed through the School of Music office on a standard recital template. If a student wishes to print his/her own programs, it may be done at the student’s expense after the full program has received approval from the School of Music Office Manager and chairperson. The required number of programs to print will be dictated by the School of Music Office Manager. Attire – Performance attire should be advised by the applied instructor and must be worn or shown to the preview committee at the Recital Preview. The School of Music reserves the right to disapprove attire which is deemed inappropriate for public performance at SNU. (See Addendum 4 for entire policy) Evaluation – Final evaluation of the recital will be made by at least three School of Music faculty, including the applied instructor. The grade will be pass/fail. Receptions – Students desiring a reception following the recital may use the Parker Fine Arts Center lobby, after checking availability with the School of Music Office Manager. Receptions are voluntary, with costs borne by the student and/or family. Tablecloths, punch bowls, kitchen utensils, or any other items loaned by the School of Music must be cleaned and properly stored. Tables and lobby furniture must be returned to their original location and the lobby cleaned. 2. Capstone Projects Music majors who have not achieved a qualifying level of performance in their primary performance area, or who, in consultation with their advisor, applied professor, and School of Music chairman, determine by the end of the sophomore year not to pursue a recital, are required to complete the Capstone Project. The Capstone Project is intended to provide the student with an opportunity to pursue reading, research and writing in an area that serves his or her career goals. The nature of this project may be an extended research paper, a composition and/or set of arrangements, or other music industry related projects, the nature and scope of which is to be worked out with the student’s advisor, with the approval of the chairman of the School of Music.

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Capstone projects are not permitted as a recital alternative for students pursuing degrees

in Music Education or Bachelor of Science degrees with an emphasis in Performance. Students are required to present their projects in the final Enrichment Seminar session each semester. Timelines – The student will, in consultation with the School of Music chairman and appropriate music faculty member in the area of study, submit a written proposal outlining the nature and scope of the project no later than the end of the junior year, with project completion due at the end of the Fall semester of the senior year. A complete draft of the project must be presented to the project coordinator and School of Music chairman at least four weeks in advance of the final approval deadline. Supervision – The student’s advisor and/or music faculty member in the field of study will serve as Capstone Project coordinator. It is the student’s responsibility to keep the coordinator informed of progress or special needs. Evaluation – The Capstone Project proposal will be approved/disapproved by the student’s advisor, appropriate faculty member in the field of study, and the School of Music chairman. The final grade will be pass/fail. . Enrollment ­ The student should enroll for Capstone Project credit in the semester in which the bulk of the project work is to be done. V. PERFORMANCE—ENSEMBLE SKILLS SNU music majors are required to participate in music ensembles each semester they are enrolled in full­time study. In addition to individual performance skills, it is imperative that the music student learns the skills necessary to perform well in an ensemble setting. The lessons learned from corporate music making­—listening, repertoire and musicianship—all work together to increase the overall ability of the music student. SNU offers a variety of music ensembles for student participation. These ensembles perform on campus, in the Oklahoma City area, travel on the Southwest Educational Region, and periodically travel overseas on international musical missions tours. A. Ensemble Descriptions SNU offers students opportunities for performance in the following ensembles: 1. Symphonic Band—spring semester only. Open to all students by audition and be taken for lower­ or upper­division credit. Required for wind and percussion majors. Secular and sacred literature from all periods of music are performed in churches, schools, on­campus and special events. Tours regionally and internationally. May be repeated. Prerequisite: Permission of Director. The band’s repertoire and concert schedule offer a wide variety of performance and

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literature experiences. The Symphonic Band is directed by Dr. Rich Cantwell. Symphonic Band carries 1 credit and meets Tuesday and Thursday afternoons at 3:30. 2. “Sound of the Storm” Marching Band ­ fall semester only. Open to all students by audition or permission of instructor and includes summer band camp each August. The band appears at all home football games, select campus and community events and selected away games and exhibitions. The Sound of the Storm is directed by Prof. Danny Abrego. 3. Jazz Band—Audition only. Open to trumpet, trombone, saxophone, and rhythm players. The Jazz Band performs literature from the big band era to contemporary jazz. Performs in schools, special events, travels regionally and internationally and performs at jazz festivals. May be repeated. Prerequisite: Permission of Director. The Jazz Band was started in the ‘70s by Les Stallings and is under the direction of John Shell. Jazz Band carries 1 hour of credit and meets Mondays and Wednesdays at 4:30. 4. SNU Chorale—SNU's premier choir, the Chorale is dedicated to the study and performance of the finest choral literature (sacred and secular) of all musical eras. Performances are given for churches and a variety of university and community events. The Chorale tours every Spring, yearly alternating regional and international musical missions tours. Numbering around 45 singers, members are selected by competitive auditions from students across the University. Chorale carries 1 credit and meets Mondays, Wednesdays and Fridays at noon. 5. University Singers—Open to all students by audition. University Singers’ repertoire includes contemporary and jazz styles. The group travels on the region and periodically takes international musical missions tours. The group is under the leadership of Prof. Jim Graves. University Singers carries 1 hour credit and meets Tuesdays and Thursdays at 5:00. 6. Concert Choir – Open to all students, Concert Choir is a non­auditioned group providing opportunities for a variety of university and community functions. It is dedicated to the study and performance of the finest choral literature (sacred and secular) of all musical eras. Prof. Jim Graves directs the Concert Choir, which rehearses on Mondays, Wednesdays and Fridays at 1:00. 7. Percussion Ensemble— Select ensemble of percussionists who perform on campus, in the community and on the region. Prerequisite: Permission of the instructor. This group explores the gamut of music written for percussion and performs on campus every semester. 8. Orchestra ­ Open to string emphasis majors by audition.. May be repeated. Sacred and secular literature performed in a variety of venues. Performs on campus and in churches across the region. Prerequisite: Permission of Director. 9. Guitar Ensemble ­ Select ensemble of guitarists who perform on campus, in the community, and on the region. Annual audition. Prerequisite: Permission of the Instructor.

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10. Chamber Ensembles ­ open to all students on campus based upon audition; a variety of chamber ensembles are available each semester:

a. Woodwind Ensemble b. Brass Ensemble

11. Opera Workshop ­ Open to all students on campus who wish to receive elective credit for involvement in the cast or technical crew of an SNU musical stage production. B. ENSEMBLE REQUIREMENTS Music majors are required to enroll in an ensemble each semester. Wind and percussion majors enroll in Symphonic Band, string majors enroll in orchestra, and vocal majors are encouraged to audition for University Singers or the SNU Chorale. VI. PERFORMANCE­CONCERT/RECITAL ATTENDANCE A. Recital Attendance Each semester music students are required to attend the concerts and recitals presented by the SNU School of Music. Each semester students are enrolled in M ED 2300 Recital Attendance, a zero­credit pass/fail system for monitoring a student’s recital attendance. See Addendum 3 for complete policy. Record of a student’s attendance is kept in the music office, recorded on Moodle, and students are expected to sign the recital roll each time they attend a concert or a recital. Failure to sign in and out may result in no credit being awarded for the event. The purpose of Recital Attendance is to acquaint students with a wide selection of musical literature and performance levels as well as fostering a level of support among the student body. Policies regarding points earned for off­campus events, extra points for assisting with on­campus events, etc., may be found in the course syllabus on Moodle. B. Faculty and Guest Artist Series In addition to on­campus performances, SNU School of Music also sponsors Faculty and Guest Artist Series, in which SNU music faculty and guest artists perform campus. It is expected that all music students will attend these performances, which bring the finest in professional musical performance to the Oklahoma City area. In addition to bringing the community to our campus, it also provides SNU’s music students with an opportunity to interact with professional musicians.

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VII. SCHOOL OF MUSIC GUIDELINES AND REGULATIONS A. Facility Use The Parker Fine Arts Center is open Monday through Friday from 7 a.m. until 11 p.m. and Cantrell Music Hall is open Monday through Friday, 8 a.m.­5 p.m. Both of these buildings reflect a significant investment of time, equipment and money on the part of the university, and should be treated with utmost pride and care. Music students are welcome in both of these facilities throughout each work day and are asked to treat all areas with common sense, neatness, and respect for the property of other individuals and the institution. Should a student notice any equipment malfunction or breakdown while in the facility, they should report such damage or need for repair to the School of Music office manager or chairperson. B. Practice Room Use and Guidelines The practice rooms in the Fine Arts facility and the instruments in Cantrell Music Hall are intended for the use of students enrolled in private instruction or ensembles at SNU. Outside students or off­campus personnel are prohibited from using the practice rooms. Practice rooms can be used better and more efficiently by all involved by observing the following guidelines: 1. Keep the doors closed while practicing. 2. Clean up all trash when leaving the practice room. 3. No food or drink in the practice rooms. 4. Never leave valuables in the practice room area. 5. Always lock up instruments in your storage locker following practice. Storage locker

may be secured at the beginning of each school year from Dr. Cantwell (instrumentalists) or the music office (vocalists). Students using SNU instruments are responsible for their school instrument. If the instrument is stolen due to negligence, the borrower will be held liable for its replacement.

6. Students may gain access to practice room area by using their student ID card in the card reader at the northwest entrance to the building. Only students enrolled in private lessons and ensembles can gain access with their card. SNU is not responsible for loss of personal instruments or other items.

7. Practice room hours are 7:00 a.m.­midnight. C. Music Computer Lab Use of the music computer lab is solely for SNU music students. The lab exists primarily for students to use for the assignments in Harmony, Aural Theory, Class Piano, and advanced theory courses. Music students may work on other projects in the music lab as time allows.

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D. Recording Studio The Recording Studio gives priority to SNU music students. It exists primarily as a lab for students working in the Music Business area, and key fob access will be given to students enrolled in Music Business courses each semester. 1. Use of the studio must be scheduled with Professor Rosfeld. 2. Scheduling priority is given to students enrolled in music business or related classes. 3. No equipment is to leave the studio. 4. Food and/or drink is not allowed at any time in the control rooms. 5. Equipment lost or damaged is the responsibility of the student or students using the

facility at the time. 6. The studio will not be used as an equipment storage area. Equipment left in the

studio is subject to being moved into the hall (or the local pawn shop). 7. The rooms are to be left clean when sessions are completed. 8. When finished, the lights should be turned off and the doors secured.

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VIII. FACULTY The two most vital components of any educational endeavor are the students and the teachers. SNU School of Music is fortunate to have a qualified staff of both full­time and adjunct faculty members. These individuals strive to serve their students, their craft, and the institution. They are: Full Time Faculty: Prof. Danny Abrego ­ Assistant Professor. Prof. Abrego joined the music faculty at SNU in the summer of 2015. He is currently serving as Director of the SNU Marching Band and as Assistant Professor of Music. He returns to SNU after serving 19 years as a public school band director and most recently serving as Worship Pastor at Northside Church of the Nazarene in Fort Worth, TX. He is married to Angie (public school educator) and has 4 children: Sarai, Rebekah, Dawson and Caleb Abrego. Prof. Rebekah Ambrosini – Associate Professor. B.M. and M.P.A. from Oklahoma City University. Prof. Ambrosini has served on the voice faculties of Molloy College, Oklahoma City University and the University of Oklahoma where she was also a Doctoral Fellow. The contralto is a regular soloist with many major American symphonies and has performed leading roles with national and international opera companies. She joined the SNU faculty in the Fall of 2006 and delights in training young singers, traveling and spending time with her husband and children. Prof. Jim Graves – Associate Professor. B.M.E. Boise State University; M.M. in Conducting and Jazz Studies, University of North Texas. Jim joined the School of Music faculty in 2008 and conducts the Concert Choir, S.N.U. Chorale and University Singers. Under Jim’s direction, S.N.U. ensembles have performed nationally and internationally, and at the National American Choral Directors Association convention in Dallas in Spring 2013. Their latest CD, “By Day or By Night” was released in July, 2013. Dr. Melissa Lewis—Professor. B.S. in Music Performance, Southern Nazarene University, 1993; M.M. in Viola Performance, University of Cincinnati College­­Conservatory of Music, 1995; D.M.A. in Viola Performance, University of Cincinnati College­­Conservatory of Music, 1998. Melissa joined the SNU faculty in 1999, became the Chair of the School of Music in 2011, and teaches Aesthetics, Fundamentals of Music, Music History II and Applied Viola. She enjoys travelling with her husband Chuck and daughter Natalie, running half marathons, and completed her first full marathon in April 2015. Dr. Mark Reighard—Professor. Bachelor of Music Ed., Bethany Nazarene College, 1969; MA, University of Oklahoma, 1972; D.M.A., University of Oklahoma, 1993. He has been on the faculty of SNU since 1969. He teaches Private Piano, Music Theory, and Fine Arts. He is married to Audrey (a retired school­teacher) and they have a son Christopher, who, along with his wife Ashley live and work in Oklahoma City.

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Prof. Ken Rosfeld – Professional in Residence. B. S. in Mass Communications, Southern Nazarene University, 1989. He has been professionally involved in the recording business in Oklahoma City since 1989 and has owned a professional recording studio business since 1995. He has been on the faculty of SNU since 2005. Prof. Rosfeld teaches Intro to Music Business, Studio Recording I & II, Live Recording Techniques, Intro to Production Technology and History of Recorded Music. He enjoys black and white photography, architecture, art history and traveling with his wife, Kim, and son, Benjamin. Part­Time Faculty: Dr. Rich Cantwell – Professor. B.F.A in cello and voice and music education, and M.M., University of Nebraska; D.M.A. in instrumental and choral conducting, University of Kansas and Conservatory of Music at the University of Missouri­Kansas City, studying with Dr. Eph Ehly and Dr. Glenn Block. Dr. Cantwell directs the Symphonic Band, and teaches coursework in aesthetics, theory and worship arts. After teaching in the Omaha (NE) Public Schools, he taught at Eastern Nazarene College in Boston, MidAmerica Nazarene University in Olathe, Kansas, and 13 years as Professor of Instrumental Music and Chair of the Department of Music at Tabor College (KS). He has served as Associate Pastor in Music and Drama Ministries at Central Church of the Nazarene in Lenexa, Kansas. In addition to his teaching, Dr. Cantwell also serves as an active adjudicator and clinician. He has directed regional honor orchestras and bands, as well as numerous area honor ensembles. Dr. Bryan Powell holds a Bachelor’s degree in Piano Performance from Southern Nazarene University and a Master’s of Music in Piano Performance from the University of Colorado. He earned a Ph.D in Music Education at the University of Oklahoma in 2016. He has had the privilege to play in several master classes under instructors such as Dr. Andrew Cooperstock, Edna Golandsky, and 1997 Van Cliburn Competition Gold Medalist, Jon Nakamatsu. He teaches Applied Piano, Class Piano, and music theory coursework. Bryan is on staff at Trinity Church of the Nazarene, where he serves as worship pastor. He is married and has two energetic sons. Adjunct Music Faculty: Margaret Ann Adams – Elementary Music Methods Jeffrey Ambrosini – voice Jonathan Curtis ­ guitar Mat Evans ­ horn Joe Fine – saxophone Dillan Francis ­ Jazz Band Andrea Hanson ­ voice Rajah Kennedy ­ trombone Tim Marek – organ, accompanist John McCall ­ bass guitar

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June McCoy ­ String Methods Garrett Rodriguez ­ guitar Marilyn Rosfeld – Aural Theory, piano Sophia Ro – violin Jan Smith ­ Secondary Music Methods Stacy Smith ­ clarinet Brian Stackhouse ­ percussion Nancy Stizza­Ortega ­ flute Valorie Tatge ­ cello Gerald Warlick – oboe, Woodwind Quintet, Woodwind Methods Office Manager: The School of Music is helped greatly by the work of Rhonda Spear. She provides secretarial support to the department chair, coordinates publicity and travel, oversees student employees, and performs a host of other duties. Rhonda and her husband Dick have two daughters, Kim and Megan, both graduates of SNU. She is the proud grandparent of Riley, Olivia, Sophie, Owen and Jacob, and is excited about her newest grandbaby due to arrive in September, 2016. Rhonda enjoys collecting antique postcards and going to flea markets with Dick.

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ADDENDUM 1 COURSE ROTATION SEQUENCE

Every 2 Semesters Every 4 Semesters

FALL, EVERY YEAR FALL, EVEN­NUMBERED YEARS MED 4322/3 Music History II MED 3302 Music History I MED 3372 Conducting I MED 3321 Percussion Methods MENS 3531 Opera Workshop MED 3362 Vocal Pedagogy MTH 1322 Survey of Music MED 4342 Marching Band Techniques MTH 1332 Fundamentals of Music MED 4352 Elementary Music Methods MTH 2322 Harmony II MTH 4442 Arranging MTH 2342 Aural Theory II MBUS 3303 History of Recorded Music MBUS 1213 Intro to Music Business MBUS 2513 Studio Recording I

SPRING, ODD­NUMBERED YEARS CM 4212 Church Music Administration MBUS 3412 Music Publishing

SPRING, EVERY YEAR MED 3331 Woodwind Methods MED 4332 Music History III MED 3211 Intro to Opera MED 3201 Music Production Workshop MED 4362 Secondary Music Methods MED 3382 Conducting II MTH 4413 Counterpoint MTH 1342 Harmony I MTH 1352 Aural Theory I FALL, ODD­NUMBERED YEARS MTH 2332 Harmony III CM 3113 Music Ministry & the Church MTH 2352 Aural Theory III MED 3341 String Methods MBUS 1312 Live Recording Technique MED 3222 Vocal Literature & Diction I MBUS 2523 Studio Recording II MED 3411 Keyboard Literature

MED 3352 Keyboard Pedagogy MBUS 3432 MIDI Production MTH 4423 Music Analysis

TBA MED 3442 String Pedagogy

SPRING, EVEN­NUMBERED YEARS MED 3231 Vocal Literature & Diction II MED 3311 Brass Methods MED 3391 Fund. of Inst. Methods MTH 4432 Orchestration MBUS2541 Intro to Production Tech

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ADDENDUM 2

COURSE ROTATION BY DEGREE/AREA (Those occurring every four semesters)

WORSHIP ARTS EMPHASIS C M 4212 Church Music Administration Spring, odd C M 3113 Music, Ministry and the Church Fall, odd M BUS 2541 Introduction to Production Technology Spring, even M ED 3391 Fundamentals of Instrumental Methods Spring, even M TH 4442 Arranging Fall, even MUSIC BUSINESS EMPHASIS M BUS 2541 Intro. to Production Technology Spring, even M BUS 3303 History of Recorded Music Fall, even M BUS 3412 Music Publishing Spring, odd M BUS 3432­3 MIDI Production Fall, odd MUSIC EDUCATION – Vocal M ED 4352 Elementary Music Methods Fall, even M ED 3362 Vocal Pedagogy Fall, even M ED 4362 Secondary Music Methods Spring, odd M ED 3211 Intro to Opera Spring, odd M ED 3222 Vocal Literature and Diction I Fall, odd M ED 3231 Vocal Literature and Diction II Spring, even M ED 3391 Fund. of Instrumental Methods Spring, even MUSIC EDUCATION – Instrumental M ED 3321 Percussion Methods Fall, even M ED 3442 String Pedagogy TBA M ED 4342 Marching Band Techniques Fall, even M ED 3331 Woodwind Methods Spring, odd M ED 4362 Secondary Music Methods Spring, odd M ED 3341 String Methods Fall, odd M ED 3311 Brass Methods Spring, even MUSIC THEORY M TH 4442 Arranging Fall, even M TH 4423 Music Analysis Fall, odd M TH 4413 Counterpoint Spring, odd M TH 4432 Orchestration Spring, even

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ADDENDUM 3

RECITAL ATTENDANCE POLICY

¯ Music Majors: Recital attendance is required for music majors who are full­time students (enrolled in 12 hours or more); may be waived for 5th year seniors. (Music majors must have 8 semesters of recital attendance.) ¯ Music Minors: Recital attendance is required for music minors who are full­time students (enrolled in 12 hours or more); Music minors must have 3 semesters of recital attendance which do not have to be consecutive. ¯ Student Teachers: Recital attendance is required for students who are student teaching who have not had 8 semesters of recital attendance (however attendance at weekday daytime events is excused and total points required are prorated). ¯ Work is not acceptable as a reason for failing to gain the minimum required points. ¯ The recital attendance point requirement is posted each semester, and points are kept current through the Recital Attendance course on Moodle. Recital attendance points may be earned in a variety of ways; full details can be found in the course syllabus on Moodle.

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ADDENDUM 4

PERFORMANCE ATTIRE

Labs and Juries Students are expected to dress appropriately at all performances, presenting themselves in a professional manner. Appropriate attire for performance labs (afternoon recitals) and juries (end of semester performance exams) should be: Ladies: Dressy casual. Slacks outfit or dress. Gentlemen: Dress slacks and shoes, shirt and tie. Coat optional. Evening performances Ladies: Full­length dress Gentlemen: Coat and tie (tux optional) Ensemble Performances Each ensemble has uniform attire for performances, which may vary in style from year to year. All ensemble participants are expected to procure the chosen outfit. If the uniform attire is found to be ill­fitting or in disrepair, purchase of a new uniform may be required at the student’s expense.

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ADDENDUM 5

PROFESSIONAL EDUCATION COURSES TIMELINE – MUSIC ED DEGREES

ED 2111 – Introduction to Education w/Lab ­ Must be taken during the freshman year. ­ 12 hours observation ED 2162 – Foundations of Education ­ Should not be taken simultaneously with ED 2111. ­ Portfolio process begins with this course. ­ Teacher Ed Interview occurs during the semester of this course. ­ Application to the Teacher Ed program occurs during this course. ­ 12 hours observation Requirements for Admission to Teacher Education: ­ Full Admission to SNU ­ Completion of 24 hrs. of coursework

­ Minimum GPA of 2.5 ­ Completion of ED 2111, including all observations hours and evaluation forms

­Enrollment in ED 2162 – Foundations of Education ­ An interview with the admissions committee ­ A passing score in the OGET (Oklahoma General Education Test) ­ A grade of “C” or better in a basic Speech Communication course ­ Passing grades in English Comp I and II ­ Passing grade in a Math course ­ Demonstration of a positive interest in teaching by prior experiences and activities, as

shown on the Interview Guide and the Evaluation by Cooperating Teacher of Field Observation

ED 2173– Developmental Psychology Across the Lifespan ­ Recommended during the sophomore year. ED 3223 –Educational Psychology ­ Recommended during the junior year. ED 4273 – Professional Decision Making ­ Must be admitted to the Teacher Ed program ­ Should be taken in the semester prior to student teaching.

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ED 4142 – Survey of the Exceptional Child ­ Must be admitted to the Teacher Ed program ­ May be taken during student teaching semester if needed to reach a full­time load status of 12 hrs. Evening course. ­ Must have taken ED 2173 – Developmental Psychology Across the Lifespan. CERTIFICATION TESTS: ­ OGET Required for full admission to Teacher Ed program Should be taken at the end of the Sophomore year ­ OSAT Recommended during Secondary Methods ­ OPTE Recommended during the 1st testing opportunity during the student teaching semester (October or February) STUDENT TEACHING APPLICATIONS Must be submitted in February prior to the student teaching year.

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ADDENDUM 6

FOREIGN LANGUAGE PROFICIENCY ­ MUSIC EDUCATION

Teacher certification cannot be applied for until one of the options below is met: ­ Second level (e.g., “Elementary Spanish II) college course work with a grade of “C” or better ­ Six hours CLEP ­ Proficiency test administered by a Certified Foreign Language examiner ­ Three years of high school foreign language (same language) with no grade lower than a “B” ­ Course in American Sign Language I (ITP 1364). (Note: This is a 4hr. course offered at OKC­OSU, which is the only approved sign language course which may be taken.)

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ADDENDUM 7

Scholarship Policy

Southern Nazarene University awards music scholarships, based upon auditions, to students exhibiting performance skills. Auditions do not guarantee a scholarship, but every effort is made to assist as many students as possible. Funding is available for music majors and non­music majors. The scholarship carries with it the privilege of financial assistance, and also a set of responsibilities. Students who have qualified for and received institutional scholarship funds from the School of Music are expected to demonstrate accountability as a performer, including but not limited to: a) consistent attendance at ensemble rehearsals and performances, including weekends and tours, b) the preparation of individual parts for ensemble performance, to a standard set by the ensemble director, c) consistent attendance and obvious preparation for all private lessons, d) a willingness to assist the School of Music with ensembles and performances which exceed degree requirements, e) consistent, reasonable progress toward degree completion, and f) a cooperative spirit and positive attitude in all matters relating to the School of Music, its students, faculty, and staff. The School of Music recognizes the time limitations on students at a liberal arts university, and acts with discernment concerning the impact of performance requirements and opportunities upon a student’s academic preparation. Yet, the faculty is also charged with helping students become fully prepared for the professional world and its expectations, regardless of whether the student is a music major or non­music major. Faculty and students work to balance the demands placed upon musicians. All scholarship recipients are reviewed by the School of Music faculty at the end of each semester. Decisions to grant renewal or non­renewal of each scholarship are based upon the above criteria, as well as those enumerated on each student’s scholarship contract.

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ADDENDUM 8

RECOMMENDED COURSES IN GRAPHIC DESIGN FOR WORSHIP ARTS

The following courses have been recommended as appropriate for students completing a Bachelor of Science degree with an emphasis in Worship Arts: ART 2013 History of Art & Design (offered every spring semester) GDSG 2223 Design Aesthetics (offered every fall semester) GDSG Design Technology (offered every spring semester)

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ADDENDUM 9

ACCOMPANIST POLICIES/PROCEDURES Vocalists and instrumentalists enrolled in applied music at SNU will have occasions to collaborate with an accompanist. When students begin lessons, they should discuss with their applied instructor the need for an accompanist for the semester or year. Once requirements are determined and repertoire is selected, an accompanist should be scheduled for performances. As schedules for both student and accompanist can be very busy, it is important to build a good relationship and use time effectively. These guidelines should be used to assist the student in planning rehearsals and performances, and establishing a good relationship with an accompanist. SCHEDULING Arrangements with accompanists may be made directly between students and the accompanist, and/or with the assistance of the applied instructor. While staff accompanists and piano faculty are able to assist students with accompanying needs, availability may be limited based on teaching loads and other employment.

Since accompanists are generally responsible for playing multiple recitals and events in any given semester, it is recommended that accompanists are contacted as early as possible to discuss scheduling and a rehearsal timeline. When scheduling performance dates, students should check the availability of an accompanist before setting the date. If the student first selects a performance date without checking with a pianist, an accompanist may not be available. WORKING WITH AN ACCOMPANIST Deadlines It is imperative that students give their accompanist adequate time to prepare music for rehearsals and performances. Accompanists reserve the right to refuse to accompany a performance if the student has not allowed for adequate time to prepare.

∙ Scores for pieces to be performed for performance labs, studio recitals and other similar events need to be given to the accompanist at least 2 weeks before the performance. ∙ Instrumental scores for pieces to be performed for jury need to be given to the accompanist at least 1 month before the performance. Vocal scores need to be given to the accompanist at least 2 weeks before the performance. ∙ Scores for recitals must be provided to accompanists at least 8 weeks before the recital preview. ∙ Some pieces are more technically difficult than others. Not only will your accompanist need time to prepare, but additional rehearsal times with your accompanist will be necessary. Plan accordingly when programming such pieces for performances. ∙ If changes are made to performance repertoire, the accompanist must be notified and given the music immediately. If the new repertoire is especially difficult and late notice prevents the

38

accompanist from adequately preparing the new material in time for performance, he or she may refuse to play the new material. Although accompanists are usually familiar with a wide range of repertoire and may be able to play certain pieces with little notice, it should never be expected. Just as students have several weeks – sometimes months – to prepare for performances, accompanists should be given adequate time to prepare. While accompanists are generally more willing to sight read in private lesson situations, they should never be expected to sight read with a soloist in performances. Be considerate of your accompanist when planning performances.

Music Provide all music necessary for lessons and performances according to the specifications of your accompanist (eg. original copy, placed in a binder, one­ vs. two­sided copy, etc). If you need to copy music for the accompanist, be sure that everything that shows on the original shows on the copied page. Never give an accompanist copies with cut­off notes. Music books are generally larger than 8½” x 11” and therefore, copy size needs to be reduced. 93% usually works well. NOTE: There are occasions, especially contests, when the use of copied music is not acceptable. Consult your teacher regarding the use of copied music. If the soloist and accompanist are reading from different parts (solo and accompaniment), as is generally the case for instrumental music, it is convenient to have measures numbered for quick starts in the middle of a piece. If no rehearsal cues (numbers or letters) or measure numbers are preprinted in the music, number the measures in both solo and accompaniment scores. Note any information on your music which will be helpful to the accompanist – your name, which movements will be performed, tempo markings, breath markings, cuts, etc. After performances, be sure to collect your music. All photocopies will be destroyed if not collected by the student.

Rehearsal Collaborating with another person in a performance not only requires individual practice time, but also rehearsal as an ensemble. Rehearsal with your accompanist is an important part of preparing for a performance. If you do not rehearse with your accompanist, you can expect your performance to be cancelled. Rehearsal time with your accompanist is limited and should be focused on developing a good ensemble and collaborating on style and interpretation. Use your time and that of others involved in the rehearsal wisely. ∙ Accompanists are not responsible for teaching the music to the soloist. Although accompanists are willing to assist the student as needed, applied music students should not be dependent on the accompanist to teach rhythms, notes, words, etc. Students need to learn music using their own musicianship skills. ∙ Come to rehearsal organized. Have music in order and be warmed up, ready to sing or play your instrument.

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∙ Have a rehearsal plan. Note specific pieces, passages, etc that may need extra attention. ∙ Instrumentalists can save rehearsal time by having the instrument ready, out of its case and ready to tune and play, at the time the rehearsal is to start. ∙ If computer or phone equipment is to be used for recording accompaniment or voice part, know how to run the software or app used to do so before coming to rehearsal. When scheduling rehearsals, always record dates and times in a calendar. Make sure you have your accompanist’s contact information in case of emergency and give your contact information to your accompanist.

Honor scheduled rehearsals by arriving promptly, ready to rehearse. If you are late for a rehearsal, that time will be forfeited and charges will be incurred. Do not expect your accompanist to adjust his or her schedule and work past your allotted time.

Should you need to cancel a rehearsal or lesson, do so with 24­hour notice when possible. If you do not give your accompanist prior notification, your time will be forfeited and the accompanist will still be paid for that time. The accompanist will reschedule, if possible, for a sudden illness or emergency.

General Be polite: “please” and “thank you” are always welcome. Your accompanist is a human being, not a SmartMusic machine. Remember, you are collaborating with your accompanist; build a musical partnership with him or her. PAYMENT AND FEES Accompanists are paid two ways: 1) by SNU from fees charged to students who are enrolled in certain Applied Music courses, and 2) by students. 1. SNU APPLIED MUSIC ACCOMPANIST FEES – An Accompanist Fee is charged to accounts of students enrolled in the following Applied Music courses:

COURSE FEE COVERS

APMU­1601­03 ­ Private Lessons­Voice (1 credit hour)

$55 2.5 hours of accompanied rehearsal or lesson time; performances in applied lab, performance lab, class, and jury

APMU­1602­03 ­ Private Lessons­Voice (2 credit hours)

$110 5.0 hours of accompanied rehearsal or lesson time; performances in applied lab, performance lab, class, and jury

APMU­3141­01 ­ Junior Level Recital (Vocal) $100 Junior Recital, dress rehearsal, one preview

APMU­3141­02 ­ Junior Level Recital (Instrumental)

$175 Junior Recital, dress rehearsal, one preview with rehearsal

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APMU­4141­01 ­ Senior Level Recital (Vocal) $200 Senior Recital, dress rehearsal,

one preview

APMU­4141­02 ­ Senior Level Recital (Instrumental)

$300 Senior Recital, dress rehearsal, one preview with rehearsal

2. STUDENT – Additional time required by a student which is not covered by one of the above Accompanist Fees will be paid by the student. It is important that the student negotiates with the accompanist to fairly compensate for rehearsal time and performances. Note that the accompanist spends additional time rehearsing the accompaniment, over and above the time that is spent rehearsing with the student. On the next page is a list of occasions for which the applied music student will need an accompanist. Note that the second column applies to INSTRUMENTAL students, the third to VOCAL students.

Non­Payment If the student incurs charges to an accompanist, payment should be made at a mutually agreeable time. If payment is not made as agreed or any payment is still due at the end of a semester, a hold will be placed on the student’s SNU account by the SNU Music Office until payment is made to the SNU School of Music.

Please direct further questions or concerns regarding accompanying services to your accompanist or your applied music teacher.

EVENT INSTRUMENTAL VOCAL

TO BE PAID BY:

Lessons, Rehearsals with Accompanist

Student Enrolled in 1 credit hour

2.5 hours covered by SNU; additional to be paid by Student

Enrolled in 2 credit hours

5 hours covered by SNU; additional to be paid by Student

Classroom Performances Student SNU

Applied Labs, Performance Labs

Student SNU

Studio Recitals Student SNU

Jury Student SNU

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JUNIOR RECITAL

Preview SNU; second preview (if needed) to be paid

by Student

SNU; second preview (if needed) to be paid by Student

Rehearsals Dress and preview rehearsals covered by SNU; additional to be paid by

Student

Dress rehearsal covered by SNU; additional to be paid by Student

Recital SNU SNU

SENIOR RECITAL

Preview SNU; second preview (if needed) to be paid by Student

SNU; second preview (if needed) to be paid by Student

Rehearsals Dress and preview rehearsals covered by SNU; additional to be paid by

Student

Dress rehearsal covered by SNU; additional to be paid by Student

Recital SNU SNU

OTHER

Competitions

Arranged through SNU To be determined by SNU To be determined by SNU

Not arranged through SNU Negotiate with accompanist Negotiate with accompanist

Off­Campus Auditions Negotiate with accompanist Negotiate with accompanist

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ADDENDA 10 FOUR­YEAR PLANS FOR ALL DEGREE PROGRAMS

As you consult the following degree plans, please note:

1. These are for general information only; the SNU Catalog and the Office of the Registrar are the final authorities on graduation requirements.

2. While courses are divided between semesters and years, some courses may be taken in any semester, and others are only offered at particular times. Please consult the course rotation information to ensure rotating courses are taken at the appropriate time.

3. The following plans reflect general requirements and do not take into account course credits you are transferring to SNU or AP/Clep credit earned.

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BACHELOR OF ARTS

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

MTH 1342 MTH 1352 APMU APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Applied ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

ENGL 1113 THEO 1513 CSNE 1113

Composition I Christian Faith & Life Integrated Software Applications

3 3 3

ENGL 1213 SPC 1133 PEG 1002

Composition II Introduction to Speech Health & Wellness

3 3 2

Sophomore Year

MTH 2322 MTH 2342 APMU APMU MENS MED 2300 APMU 2400

Harmony II Aural Theory II Applied ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

MTH 2332 MTH 2352 APMU APMU MENS MED 2300 APMU 2400

Harmony III Aural Theory III Applied ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

HP 1533 GS FA 1413

Modern World Foundation /Critical Thinking Aesthetics

3 3 3

BLT GS XXXX

Old or New Testament Lit & Life Foundation/Civics, Ethics, Stewardship Course #1 in minor

3 3 3

Junior Year

MED 4322 MED 3372 APMU MENS MED 2300 APMU 2400

Music History II Conducting I Applied ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 0 0

MED 4332 XXXX APMU MENS MED 2300 APMU 2400

Music History III Music Elective ­ 4 credits needed Applied ­ primary Concert Choir or Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

2 4 1 1 0 0

XXXX GS XXXX

Foreign Language Personal Development Course #2 in minor

3 1 3

XXXX THEO 3053 XXXX

Foreign Language Foundation of Christian Belief Course #3 in minor

3 3 3

Senior Year

MED 3302 APMU MENS CM 3113 MED 2300 APMU 2400

Music History I Applied ­ primary Concert Choir or Symphonic Band (Personal Development) Music, Ministry & the Church (Aesthetic Analysis Window) Recital Attendance Enrichment Seminar

2 1 1 3 0 0

APMU APMU 3141 MENS MED 2300 APMU 2400

Applied ­ primary Junior­Level Recital or Capstone Concert Choir or Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

1 1 1 0 0

GS GS XXXX

Window/Critical Thinking Window/Effective Communication Course #4 in minor

3 3 3

GS GS GS XXXX

Window/Civics, Ethics & Stewardship Window/Global Perspectives Window/Science & Technology Course #5 in minor

3 3 3 3

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BACHELOR OF SCIENCE/MUSIC BUSINESS EMPHASIS

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 MBUS 1213 APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Intro to Music Business Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 3 1 1 0 0

MTH 1342 MTH 1352 MBUS 1312 APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Live Recording Techniques Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 2 1 1 0 0

ENGL 1113 CSNE 1213

Composition I Computer Apps for Business

3 3

ENGL 1213 SPC 1133 THEO 1513

Composition II Introduction to Speech Christian Faith & Life

3 3 3

Sophomore Year

MBUS 2513 APMU MENS MED 2300 APMU 2400

Studio Recording I Applied­primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

3 1 1 0 0

MBUS 2523 MGT 3123 APMU MENS MED 2300 APMU 2400

Studio Recording II Human Resources Management Applied ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

3 3 1 1 0 0

HP 1533 GS FA 1413

Modern World Foundation/Critical Thinking Aesthetics

3 3 3

BLT GS PEG 1002

Old or New Testament Literature & Life Foundation/Civics, Ethics & Stewardship Health & Wellness

3 3 2

Junior Year

MED 3372 MED 4322 MBUS 3432 BADM 3103 APMU MENS MED 2300 APMU 2400

Conducting I Music History II MIDI Production Business Communication Applied ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 2 3 1 1 0 0

MBUS 2541 MBUS 3412 MTH 4432 MKT 2113 APMU MENS MED 2300 APMU 2400

Introduction to Production Technology Music Publishing Orchestration Principles of Marketing Applied ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

1 2 2 3 1 1 0 0

GS GS

Window/Global Perspectives Window/Aesthetic Analysis

3 3

THEO 3053 Foundation of Christian Belief Personal Development

3 3

Senior Year

CM 3113 MBUS 3303 ACC 2113 MENS APMU 2300 MED 2400

Music, Ministry & the Church History of Recorded Music Principles of Accounting Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

3 3 3 1 0 0

MED 4332 MBUS 4383 APMU MENS MED 2300 APMU 2400

Music History III Internship Junior­Level Recital or Capstone Concert Choir or Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

2 3 1 1 0 0

GS GS

Window/Civics, Ethics & Stewardship Window/Science & Technology

3 3

GS GS

Window/Critical Thinking Window/Effective Communication

3 3

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BACHELOR OF SCIENCE/WORSHIP ARTS EMPHASIS

FALL SPRING

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied lessons ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

MTH 1342 MTH 1352 APMU APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Applied lessons ­ primary Applied or Class Piano Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

ENGL 1113 THEO 1513 CSNE 1113

Composition I Christian Faith & Life Integrated Software Applications

3 3 3

ENGL 1213 SPC 1133 GS

Composition II Introduction to Speech Foundation/Civics, Ethics & Stewardship

3 3 3

Sophomore Year

MTH 2322 MTH 2342 PRTH/CED APMU APMU MENS MED 2300 APMU 2400

Harmony II Aural II Theology Elective #1 Applied lessons ­ primary Applied lessons ­ voice Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 3 1 1 1 0 0

MTH 2332 MTH 2352 MBUS 1312 APMU APMU MENS MED 2300 APMU 2400

Harmony III Aural Theory III Live Recording Techniques Applied lessons ­ primary Applied lessons ­ voice Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 2 1 1 1 0 0

HP 1533 FA 1413

Modern World Aesthetics

3 3

BLT PEG 1002

Old or New Testament Literature & Life Health & Wellness

3 2

Junior Year

MED 4322 MED 3372 APMU CM 3113 CM 4212 MENS MED 2300 APMU 2400

Music History II Conducting I Applied lessons ­ guitar Music, Ministry & the Church (Aesthetic Analysis Window) Church Music Administration Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 3 2 1 0 0

MED 3382 PRTH/CED ART/GDSG APMU MENS MED 2300 APMU 2400

Conducting II Theology Elective #2 Art/Design Elective #1 Applied lessons ­ guitar Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 3 3 1 1 0 0

GS GS

Foundation/Critical Thinking Window/Civics, Ethics & Stewardship

3 3

GS GS

Window/Global Perspectives Personal Development

3 4

Senior Year

MBUS 2542 MTH 4442 MED 3391 MED 3302 MENS MED 2300 APMU 2400

Introduction to Production Tech. Arranging Fund. of Instrumental Methods Music History I Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 2 1 0 0

CM 4283 MBUS 2513 APMU 3141 MENS MED 2300 APMU 2400

Church Music Internship Studio Recording I Junior­Level Recital/Capstone Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

3 3 1 1 0 0

GS GS

Window/Effective Communication Window/Critical Thinking

3 3

GS THEO 3053

Window/Science & Technology Foundation of Christian Belief

3 3

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BACHELOR OF SCIENCE/PERFORMANCE EMPHASIS, INSTRUMENTAL CONCENTRATION

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied Lessons ­ primary Applied or Class Piano Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

MTH 1342 MTH 1352 APMU APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Applied Lessons ­ primary Applied or Class Piano Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

ENGL 1113 THEO 1513 CSNE 1113

Composition I Christian Faith & Life Integrated Software Applications

3 3 3

EGL 1213 SPC 1133 PEG 1002

Composition II Introduction to Speech Health & Wellness

3 3 2

Sophomore Year

MTH 2322 MTH 2342 APMU APMU MENS MED 2300 APMU 2400

Harmony II Aural Theory II Applied Lessons ­ primary Applied Lessons ­ secondary Symphonic Band Recital Attendance Enrichment Seminar

2 2 2 1 1 0 0

MTH 2332 MTH 2352 APMU APMU MENS MENS MED 2300 APMU 2400

Harmony III Aural Theory III Applied Lessons ­ primary Applied Lessons ­ secondary Symphonic Band Concert Choir Recital Attendance Enrichment Seminar

2 2 2 1 1 1 0 0

HP 1533 FA 1413 GS

Modern World Aesthetics Foundation/Critical Thinking

3 3 3

BLT GS GS

Old or New Testament Lit & Life Foundation/Civics, Ethics & Stewardship Personal Development

3 3 1

Junior Year

MED 3372 MED 4323 MTH 4413 CM 3113 APMU MENS MED 2300 APMU 2400

Conducting I Music History II Counterpoint Music, Ministry & the Church (Aesthetic Analysis Window) Applied Lessons ­ primary Symphonic Band Recital Attendance Enrichment Seminar

2 3 3 3 2 1 0 0

MED 4333 MTH MED APMU 3141 APMU MENS MED 2300 APMU 2400

Music History III Arranging or Orchestration String/Brass/Woodwind/Perc Methods Junior­Level Recital Applied Lessons ­ primary Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

3 2 1 1 2 1 0 0

GS

Window/Civics, Ethics & Stewardship

3

GS GS

Window/Global Perspectives Window/Critical Thinking

3 3

Senior Year

MED 3302 MTH 4423 XXXX APMU MENS MED 2300 APMU 2400

Music History I Music Analysis Foreign Language Applied Lessons ­ primary Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

2 3 3 2 1 0 0

APMU 4141 APMU XXXX MENS MED 2300 APMU 2400

Senior­Level Recital Applied Lessons ­ primary Foreign Language Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

1 2 3 1 0 0

GS

Window/Science & Technology 3 THEO 3053 GS

Foundation of Christian Belief Window/Effective Communication

3 3

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BACHELOR OF SCIENCE/PERFORMANCE EMPHASIS, KEYBOARD CONCENTRATION

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 0 0

MTH 1342 MTH 1352 APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 1 0 0

ENGL 1113 THEO 1513 CSNE 1113

Composition I Christian Faith & Life Integrated Software Applications

3 3 3

EGL 1213 SPC 1133 HP 1533

Composition II Introduction to Speech Modern World

3 3 3

Sophomore Year

MTH 2322 MTH 2342 MED 3411 APMU MENS MED 2300 APMU 2400

Harmony II Aural Theory II Keyboard Literature Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 1 2 1 0 0

MTH 2332 MTH 2352 APMU MENS MED 2300 APMU 2400

Harmony III Aural Theory III Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 2 2 1 0 0

PEG 1002 GS FA 1413

Health & Wellness Foundation/Critical Thinking Aesthetics

2 3 3

GS BLT GS

Foundation/Civics, Ethics & Stewardship Old or New Testament Lit & Life Window/Critical Thinking

3 3 3

Junior Year

MED 3372 MED 4323 MTH 4413 MED 3352 CM 3113 APMU MENS MED 2300 APMU 2400

Conducting I Music History II Counterpoint Keyboard Pedagogy Music, Ministry & the Church (Aesthetic Analysis Window) Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

2 3 3 2 3 2 1 0 0

MED 4333 MTH 4432 APMU 3141 APMU MENS MED 2300 APMU 2400

Music History III Orchestration or Arranging Junior­Level Recital Applied Lessons ­ primary Concert Choir or Symphonic Band Recital Attendance Enrichment Seminar

3 2 1 2 1 0 0

GS Personal Development 1 THEO 3053 GS

Foundation of Christian Belief Window/Global Perspectives

3 3

Senior Year

MED 3302 MTH 4423 MBUS 3432 XXXX APMU MENS MED 2300 APMU 2400

Music History I Music Analysis MIDI Production Foreign Language Applied Lessons ­ primary Concert Choir or Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

2 3 2 3 2 1 0 0

APMU 4141 APMU MENS XXXX MED 2300 APMU 2400

Senior­Level Recital Applied Lessons ­ primary Concert Choir or Symphonic Band (Personal Development) Foreign Language Recital Attendance Enrichment Seminar

1 2 1 3 0 0

GS GS

Window/Science & Technology Personal Development

3 1

GS GS

Window/Civics, Ethics & Stewardship Window/Effective Communication

3 3

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BACHELOR OF SCIENCE IN MUSIC/PERFORMANCE EMPHASIS, VOCAL CONCENTRATION

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied Lessons ­ voice Applied or Class Piano Concert Choir Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

MTH 1342 MTH 1352 APMU APMU MENS MED 2300 APMU 2400

Harmony I Aural Theory I Applied Lessons ­ voice Applied or Class Piano Concert Choir Recital Attendance Enrichment Seminar

2 2 1 1 1 0 0

ENGL 1113 THEO 1513 CSNE 1113

Composition I Christian Faith & Life Integrated Software Applications

3 3 3

EGL 1213 SPC 1133 FA 1413

Composition II Introduction to Speech Aesthetics

3 3 3

Sophomore Year

MTH 2332 MTH 2342 APMU APMU MENS MED 2300 APMU 2400

Harmony II Aural Theory II Applied Lessons ­ voice Applied Lessons ­ piano Concert Choir Recital Attendance Enrichment Seminar

2 2 2 1 1 0 0

MTH 2332 MTH 2352 APMU APMU MENS MED 2300 APMU 2400

Harmony III Aural Theory III Applied Lessons ­ voice Applied Lessons ­ piano Concert Choir Recital Attendance Enrichment Seminar

2 2 2 1 1 0 0

HP 1533 PEG 1002 GS

Modern World Health & Wellness Foundation/Critical Thinking

3 2 3

BLT GS GS

Old or New Testament Lit & Life Foundation/Civics & Ethics Window/Critical Thinking

3 3 3

Junior Year

MED 3372 MED 4323 MED 3222 CM 3113 APMU APMU 3141 MENS MED 2300 APMU 2400

Conducting I Music History II Vocal Literature & Diction I Music, Ministry & the Church (Aesthetic Analysis Window) Applied Lessons ­ voice Junior­Level Recital Concert Choir Recital Attendance Enrichment Seminar

2 3 2 3 2 1 1 0 0

MTH 4413 MED 3211 MED 3231 MED 4333 APMU MENS MED 2300 APMU 2400

Counterpoint Introduction to Opera Vocal Literature & Diction II Music History III Applied Lessons ­ voice Concert Choir (Personal Development) Recital Attendance Enrichment Seminar

3 1 1 3 2 1 0 0

GS Personal Development 1 THEO 3053 GS

Foundation of Christian Belief Window/Science & Technology

3 3

Senior Year

MED 3362 MED 3302 MTH 4423 XXXX APMU MENS MED 2300 APMU 2400

Vocal Pedagogy Music History I Music Analysis Foreign Language Applied Lessons ­ voice Concert Choir (Personal Development) Recital Attendance Enrichment Seminar

2 2 3 3 2 1 0 0

APMU 4141 APMU MENS XXXX MED 2300 APMU 2400

Senior­Level Recital Applied Lessons ­ voice Concert Choir (Personal Development) Foreign Language Recital Attendance Enrichment Seminar

1 2 1 3 0 0

GS

Window/Global Perspective

3

GS GS

Window/Civics & Ethics Window/Communication

3 3

49

BACHELOR OF MUSIC EDUCATION/INSTRUMENTAL CONCENTRATION

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS 2511 ED 2111 ED 2142 MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied Lessons ­ primary Applied or Class Piano Symphonic Band Introduction to Education Educational Tech Recital Attendance Enrichment Seminar

2 2 1 1 1 1 2 0 0

MTH 1342 MTH 1352 APMU APMU MENS 2511 ED 2162 MED 2300 APMU 2400

Harmony I Aural Theory I Applied Lessons ­ primary Applied or Class Voice Symphonic Band Foundations of Education Recital Attendance Enrichment Seminar

2 2 1 1 1 2 0 0

ENGL 1113 THEO 1513

Composition I Christian Faith & Life

3 3

ENGL 1213 FA 1413

Composition II Aesthetics

3 3

Sophomore Year

MTH 2322 MTH 2342 APMU MENS 2511 MED 4342 MED 2300 APMU 2400

Harmony II Aural Theory II Applied Lessons ­ primary Symphonic Band Marching Band Techniques Recital Attendance Enrichment Seminar

2 2 1 1 2 0 0

MTH 2332 MTH 2352 APMU MENS 2511 ED 2173 MED 2300 APMU 2400

Harmony III Aural Theory III Applied Lessons ­ primary Symphonic Band Developmental Psych. Across the Lifespan Recital Attendance Enrichment Seminar

2 2 1 1 3 0 0

SPC 1133 MATH GS

Introduction to Speech Foundation/Critical Thinking Personal Development

3 3 1

HP 1533 BLT PEG 1002

Modern World Old or New Testament Lit & Life Health & Wellness

3 3 2

Junior Year

MED 4322 MED 3311 MED 3372 APMU APMU MENS 3511 ED 4141 MED 2300 APMU 2400

Music History II Brass Methods Conducting I Applied Lessons ­ primary Applied Lessons ­ secondary/brass Symphonic Band Survey of the Exceptional Child Recital Attendance Enrichment Seminar

2 1 2 1 1 1 1 0 0

MED 4332 MED 3321 MED 3382 APMU APMU MENS 3511 MED 4362 MED 2300 APMU 2400

Music History III Percussion Methods Conducting II Applied Lessons ­ primary Applied Lessons ­ secondary/perc. Symphonic Band (Personal Development) Secondary Music Methods Recital Attendance Enrichment Seminar

2 1 2 1 1 1 2 0 0

HP 1113 GS

American Federal Gov (Foundation/Civics) Window/Global Perspective

3 3

HP GS

US History (Window/Civics) Lab Science (Window/Science & Tech)

3 3

Senior Year

MED 3302 MED 3331 MTH 4432 CM 3113 MED 4352 APMU APMU MENS 3511 MED 2300 APMU 2400

Music History I Woodwind Methods Orchestration or Arranging Music, Ministry & the Church (Aesthetic Analysis Window) Elementary Music Methods Applied Lessons ­ primary Applied Lessons ­ secondary/woodwinds Symphonic Band (Personal Development) Recital Attendance Enrichment Seminar

2 1 2 3 2 1 1 1 0 0

MED 3341 APMU 3141 APMU MENS 3511 MENS ED 3223 ED 4273 MED 2300 APMU 2400

String Methods Junior­Level Recital Applied Lessons ­ secondary/strings Symphonic Band (Personal Development) Concert Choir Educational Psychology Professional Decision Making Recital Attendance Enrichment Seminar

1 1 1 1 1 3 3 0 0

THEO 3053 Foundations of Christian Belief 3 GS Window/Communication 3

9th Semester: Seminar & Student Teaching (ED 4700, ED 4965, & ED 4995)

50

BACHELOR OF MUSIC EDUCATION/VOCAL CONCENTRATION

Fall Spring

Course # Title Credits Course # Title Credits

MTH 1332 MTH 1322 APMU APMU MENS ED 2111 ED 2142 MED 2300 APMU 2400

Fundamentals of Music Survey of Music Applied Lessons ­ voice Applied or Class Piano Concert Choir Introduction to Education Educational Technology Recital Attendance Enrichment Seminar

2 2 1 1 1 1 2 0 0

MTH 1342 MTH 1352 APMU APMU MENS ED 2162 MED 2300 APMU 2400

Harmony I Aural Theory I Applied Lessons ­ voice Applied or Class Piano Concert Choir Foundations of Education Recital Attendance Enrichment Seminar

2 2 1 1 1 2 0 0

ENGL 1113 THEO 1513

Composition I Christian Faith & Life

3 3

ENGL 1213 FA 1413

Composition II Aesthetics

3 3

Sophomore Year

MTH 2322 MTH 2342 APMU APMU MENS CM 3113 MED 2300 APMU 2400

Harmony II Aural Theory II Applied Lessons ­ voice Applied Lessons ­ piano Concert Choir Music, Ministry & the Church (Aesthetic Analysis Window) Recital Attendance Enrichment Seminar

2 2 1 1 1 3 0 0

MTH 2332 MTH 2352 APMU APMU MENS ED 3223 MED 2300 APMU 2400

Harmony III Aural Theory III Applied Lessons ­ voice Applied Lessons ­ piano Concert Choir Educational Psychology Recital Attendance Enrichment Seminar

2 2 1 1 1 3 0 0

SPC 1133 MATH GS

Introduction to Speech Foundation/Critical Thinking Personal Development

3 3 1

HP 1533 BLT

Modern World Old or New Testament Lit & Life

3 3

Junior Year

MED 4322 MED 3222 MED 3372 APMU MENS ED 4141 MED 2300 APMU 2400

Music History II Vocal Literature & Diction I Conducting I Applied Lessons ­ voice Concert Choir Survey of the Exceptional Child Recital Attendance Enrichment Seminar

2 2 2 1 1 1 0 0

MED 4332 MED 3231 MED 3382 APMU MENS MED 4362 MED 2300 APMU 2400

Music History III Vocal Literature & Diction II Conducting II Applied Lessons ­ voice Concert Choir (Personal Development) Secondary Music Methods Recital Attendance Enrichment Seminar

2 1 2 1 1 2 0 0

HP 1113 GS

American Federal Gov (Foundation/Civics) Window/Critical Thinking & Problem Solving

3 3

HP GS

US History (Window/Civics) Lab Science (Window/Science & Tech)

3 3

Senior Year

MED 3302 MTH 4442 MED 3362 MED 4352 APMU MENS MED 2300 APMU 2400

Music History I Arranging Vocal Pedagogy Elementary Music Methods Applied Lessons ­ voice Concert Choir (Personal Development) Recital Attendance Enrichment Seminar

2 2 2 2 1 1 0 0

MED 3391 APMU 3141 MENS ED 2173 ED 4273 MED 2300 APMU 2400

Fundamentals of Instrumental Methods Junior­Level Recital Concert Choir (Personal Development) Developmental Psych. Across the Lifespan Professional Decision Making Recital Attendance Enrichment Seminar

1 1 1 3 3 0 0

THEO 3053 PEG 1002

Foundations of Christian Belief Health & Wellness

3 2

GS GS

Window/Effective Communication Window/Global Perspectives

3 3

9th Semester: Seminar & Student Teaching (ED 4720, ED 4965 & ED 4995)

51

52