Music Department Policy Handbook University of Science and Arts of Oklahoma

Effective July 2016

Contents

1 WELCOME 4

2 UNIVERSITY MISSION STATEMENT 5

3 MUSIC DEPARTMENT STATEMENT OF PURPOSE 6

4 ACCREDITATION 6

5 MUSIC DEGREES 7 5.1 BACHELOR DEGREES IN MUSIC AND MUSIC MINOR . . . . . . . . . 7 5.2 COMPONENTS OF THE MUSIC DEGREE . . . . . . . . . . . . . . . . . 8

6 ADMISSION TO UNDERGRADUATE STUDY 11 6.1 ENTRANCE EXPECTATIONS FOR MUSIC MAJORS . . . . . . . . . . 11

General Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Characteristics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

6.2 AUDITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 6.3 TRANSFER STUDENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

7 SCHOLARSHIPS 13 7.1 TALENT PLUS SCHOLARSHIPS . . . . . . . . . . . . . . . . . . . . . . 13 7.2 TALENT SCHOLARSHIPS . . . . . . . . . . . . . . . . . . . . . . . . . . 13 7.3 FRESHMAN NOVIKOW TUITION SCHOLARSHIP . . . . . . . . . . . . 13 7.4 TRANSFER STUDENT SCHOLARSHIPS . . . . . . . . . . . . . . . . . . 14 7.5 RETURNING MUSIC MAJOR SCHOLARSHIPS . . . . . . . . . . . . . . 14 7.6 CONTINUING SCHOLARSHIP POLICIES AND PROVISIONS . . . . . 15

8 STUDENT RESPONSIBILITIES 16 8.1 GENERAL MUSIC MAJOR EXPECTATIONS . . . . . . . . . . . . . . . 16 8.2 SPECIFIC MUSIC MAJOR EXPECTATIONS . . . . . . . . . . . . . . . 16 8.3 MUSIC MAJOR SCHOLARSHIP RECIPIENT EXPECTATIONS . . . . . 17 8.4 HEARING HEALTH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

9 DEPARTMENT POLICIES 19 9.1 COMMUNICATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 9.2 FORMS AND THE DEPARTMENT PUBLIC SHARED DRIVE . . . . . 20 9.3 FACILITY USE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 9.4 WORK-STUDY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 9.5 ACADEMIC POLICIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Ensemble Enrollment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Sequenced Courses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Grades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Textbooks and Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Course Assignment Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

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9.6 APPLIED STUDIO INSTRUCTION . . . . . . . . . . . . . . . . . . . . . 23 9.6.1 Studio Change Policy . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

9.7 SENIOR RECITAL/PROJECT . . . . . . . . . . . . . . . . . . . . . . . . 25 Senior Recital . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Senior Recital Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Senior Recital/Project Timeline . . . . . . . . . . . . . . . . . . . . . . . . . 25 Printing Guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

9.8 DEPARTMENT ATTENDANCE POLICIES . . . . . . . . . . . . . . . . . 27 Recital Performance/Attendance . . . . . . . . . . . . . . . . . . . . . . . . 27 Applied Studio Instruction Attendance . . . . . . . . . . . . . . . . . . . . . 28 Academic Course and Ensemble Attendance . . . . . . . . . . . . . . . . . . 28

9.9 ADVISING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Faculty Availability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Student Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

9.10 COURSE SCHEDULES AND LOADS . . . . . . . . . . . . . . . . . . . . 30 Current Music Course Rotation . . . . . . . . . . . . . . . . . . . . . . . . . 31

10 STUDENT ASSESSMENT 32 10.1 COMPETENCIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 10.2 INCOMING STUDENT SELF-ASSESSMENT ESSAY . . . . . . . . . . . 35 10.3 FALL TRIMESTER JURIES . . . . . . . . . . . . . . . . . . . . . . . . . 35 10.4 SPRING TRIMESTER PROGRESS AND SKILLS EXAMS . . . . . . . . 36 10.5 PRIMARY SPECIALIZATION LEVELING . . . . . . . . . . . . . . . . . 36 10.6 APPLICATION TO DEGREE . . . . . . . . . . . . . . . . . . . . . . . . 37 10.7 PRIMARY SPECIALIZATION QUALIFYING EXAM . . . . . . . . . . . 37 10.8 PIANO PROFICIENCY . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 10.9 SENIOR RECITAL/PROJECT HEARING . . . . . . . . . . . . . . . . . 38 10.10 EXITING STUDENT SELF-ASSESSMENT ESSAY . . . . . . . . . . . . 38 10.11 MUSIC PROGRAM SURVEY . . . . . . . . . . . . . . . . . . . . . . . . . 39 10.12 EXIT INTERVIEW . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 10.13 COMPREHENSIVE PORTFOLIO . . . . . . . . . . . . . . . . . . . . . . 40

11 MUSIC ORGANIZATIONS AND OPPORTUNITIES 42

12 MUSIC FACULTY 45 12.1 FULL TIME . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Appendices 47

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1 WELCOME

Welcome to the University of Science and Arts of Oklahoma Department of Music. The USAO Music Department Policy handbook outlines in detail the standards and policies of the department of music. Every music major is responsible for reading and closely follow-ing these policies. They are intended to help faculty and students work together efficiently. During the course of your academic career as a music major at USAO, you are bound to the contents of this document. Work closely with your advisor to fulfill all requirements.

The music faculty looks forward to helping you while at USAO and in preparation for a career. Never lose sight of your goals and always strive for excellence!

With Best Wishes, The USAO Music Faculty

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2 UNIVERSITY MISSION STATEMENT

In 1965, the Oklahoma State Regents for Higher Education specifically directed the Oklahoma College of Liberal Arts, now the University of Science and Arts of Oklahoma, to provide: A.) An outstanding liberal arts program with strong undergraduate offerings in the traditional arts and sciences, including mathematics, physical and biological sciences, and social sciences as well as the fine and performing arts; B.) An academic program particularly suited to the needs of academically and artistically able Oklahoma high school graduates; and C.) A trimester plan of educational programs which will permit students to complete a baccalaureate degree in three years or less.

USAO has adopted the following set of objectives consistent with its mission and the functions assigned by the Oklahoma State Regents for Higher Education: 1.) To provide an outstanding general education program for the State of Oklahoma with strong offerings in the liberal arts and sciences. This program will feature interdisciplinary team-teaching and will extend throughout the undergraduate experience; 2.) To offer programs of study approved by the State Regents for Higher Education, culminating in the Bachelor of Arts, Bachelor of Science, and Bachelor of Fine Arts degrees; 3.) To offer a limited number of career, professional, and specialized degree programs which would be especially strengthened when combined with an interdisciplinary, liberal arts foundation; 4.) To provide a learning environment particularly suited to the needs of academically and artistically talented stu-dents while offering all students the advantages of an interdisciplinary, liberal arts program; 5.) To assemble a faculty whose interests, knowledge, and experiences transcend their spe-cialized fields of graduate study and who are dedicated to liberal arts education; 6.) To operate on a flexible trimester plan which will permit some students to complete a baccalau-reate degree in three years and allow all students to progress in their academic programs at a rate that they desire; 7.) To conduct research and foster scholarly activities appropriate to the nature and the needs of the university; 8.) To provide cultural, educational, and professional opportunities and services which enrich the university and the state.

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3 MUSIC DEPARTMENT STATEMENT OF PURPOSE

The academic purpose of the University of Science and Arts of Oklahoma’s Department of Music is to train capable, effective, and curious musicians. The music department (hereafter referred to as “department”) also offers courses and ensembles for the non-music major which can be applied towards the Interdisciplinary Studies (hereafter referred to as “IDS”) artistic expression requirement. The department engages in arts advocacy through an active performance calendar, participation in university and community events, and involvement with Oklahoma school districts. Rooted in this purpose statement, the department offers:

1. A rigorous and challenging music curriculum designed to meet the needs of students in preparation for careers in music and in compliance with the standards of the National Association of Schools of Music (NASM).

2. Diverse performance opportunities, both solo and collaborative, for music students and consistent with the university mission.

3. Degree programs which provide suitable options for students, and in keeping with the university mission.

4. Quality instruction by highly qualified personnel in general music coursework and ap-plied studio instruction.

5. A learning environment and facilities conducive to student learning and progress

6. Coursework, ensemble experiences, and performances which enhance the university mission and engender an appreciation and understanding of music for the general student population.

The music program features student-centered curricula and individualized attention. A Bachelor of Arts degree in music focuses on music in the context of a broad liberal arts program. Students completing the music program will be effective performers, achieve profi-ciency in musical literacy, apply knowledge of musical concepts by performing and creating music, demonstrate achievement of performance competence in their area of specialization, and integrate cross-curricular connections with music and other disciplines.

4 ACCREDITATION

The University of Science and Artst has been an accredited member of the National Asso-ciation of Schools of Music (NASM) since 1956. Students completing the music education degree are granted teacher certification in music grades PreK–12 in either vocal music or instrumental music by the Oklahoma State Department of Education.

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5 MUSIC DEGREES

USAO offers a Bachelor of Arts (B.A.) degree with a major in music. A student may choose to emphasize in music performance, music business, or music education. Students pursuing the emphasis in music education must choose a specialization in either vocal or instrumental music.

5.1 BACHELOR DEGREES IN MUSIC AND MUSIC MINOR

BACHELOR OF ARTS: MUSIC EDUCATION

The Bachelor of Arts in music with an emphasis in music education, ideal for those students who want to teach, leads to PreK–12 music certification in Oklahoma in either vocal music or instrumental music. The degree consists of IDS courses, the professional education core, the musicianship core, and additional music coursework in the area of specialization. All students pursuing this degree select a specialization in either vocal music or instrumental music. Students also choose a primary specialization (from the areas of brass, percussion, piano, voice, or woodwinds) on which they will perform a senior recital or present a senior project. Music education majors must complete all professional education requirements for teacher certification. These requirements include one trimester of student teaching. At least two trimesters of summer enrollment are necessary to complete all degree requirements within four years. Specific requirements for the IDS core are found in the university catalog (hereafter referred to as “catalog”). Requirements for teacher education preparation are found on the Education Division website or in the catalog. A checksheet for this degree is found in the Music Department Policy Handbook (hereafter referred to as “handbook”) appendix beginning on p. 66. Advisors for music education students are Dr. Jan Hanson (vocal) and Dr. Kate Sekula (instrumental).

BACHELOR OF ARTS: PERFORMANCE

The Bachelor of Arts in music with an emphasis in performance is a liberal arts degree in music with a selected primary specialization. Though featuring an emphasis in performance, the B.A. in music is not a professional performance degree. The degree is suited for students who plan to pursue graduate study in music, want to pursue careers in music or music-related careers, want to serve as music leaders in churches or communities, or plan to enter graduate professional programs outside of music, such as law. All students pursuing this degree select a primary specialization from the areas of brass, composition, guitar, percussion, piano, voice, or woodwinds on which they will perform a senior recital or present a senior project. A checksheet for this degree is found in the handbook appendix beginning on p. 66. Advisors for performance emphasis students are Dr. Stephen Weber (composition, guitar, piano, and voice) and Dr. Kate Sekula (brass, percussion, and woodwinds).

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BACHELOR OF ARTS: MUSIC BUSINESS

The Bachelor of Arts in music with an emphasis in music business allows students to develop their musical skills while acquiring theoretical and practical skills of the business industry. It is not a professional degree and is suited for students who seek a basic, comprehensive knowledge and skills foundation for work and growth in the music industry through a colle-giate experience that includes the completion of a music degree. It is designed for students with an interest in pursuing graduate school or careers in music business. A checksheet for this degree is found in the handbook appendix beginning on p. 66. The advisor for the music business emphasis is Dr. Stephen Weber.

MINOR IN MUSIC

USAO students majoring in other academic fields who have a secondary passion for music may choose to minor in music. The Music Minor is comprised of a minimum of 21 hours of coursework including music theory, music history, primary and secondary applied studio instruction, recital attendance, and major ensemble enrollment. Students must complete at least six hours of upper division coursework in music as part of the music minor. A checksheet for this degree is found in the handbook appendix beginning on p. 66. The advisor for music minors depends on the primary area of specialization.

5.2 COMPONENTS OF THE MUSIC DEGREE

Each music degree contains several broad components which combine to form a complete Bachelor of Arts degree. All music degrees contain the components of the interdisciplinary studies core, musicianship core, applied studio instruction, and a music specialization. Stu-dents emphasizing in teacher education complete a professional education core. Students emphasizing in music business complete a business core. Additionally, assessment milestones continually review student progress and allow for timely advisor intervention.

Interdisciplinary Studies

USAO is distinctive in offering an interdisciplinary, liberal arts core that spans all four years of its students’ academic careers. The Interdisciplinary Studies (IDS) core includes two types of classes. There are skills courses that teach students to express themselves clearly in both speech and writing and to master skills in areas such as mathematics and critical thinking. In addition, there are also concept courses that emphasize the complexity and interconnectedness of the human world. The interdisciplinary nature of these courses means that they examine topics from multiple academic perspectives and not just from the view point of a single field or specialization. To emphasize the broad, multi-faceted nature of the interdisciplinary approach, the concept courses are team-taught. All students at USAO complete 46 hours of IDS coursework.

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Musicianship Core

Regardless of area of emphasis, all music majors must complete 24 hours of a required musicianship core. The core consists of courses in music theory, aural skills, music history, and conducting.

Applied Studio Instruction

Regardless of area of emphasis, all music majors complete a specific number of hours of applied studio instruction on their area of primary specialization. The total number of hours required changes depending on the emphasis. This component requires preparation and participation in weekly lessons (see applied studio instruction p. 23), performance and attendance at student recitals (see recital attendance p. 27), performance of a jury exam each fall (see fall trimester juries p. 35), and performance of a progress and skills exam each spring (see spring progress and skills exam p. 36). Depending on the area of emphasis, a senior recital or senior project may also be required (see senior recital/project p. 25).

Professional Education Core

For students choosing the emphasis in teacher education, a core of 28 hours of coursework in professional education must be completed. This core is listed on music department check-sheets, available in the handbook appendix beginning on p. 66, on the department public shared drive (see department public shared drive p. 20), and in the catalog.

Business Core

For students choosing the emphasis in music business, a core of 29 hours of coursework in music business, business, and communications must be completed. This core listed on music department checksheets, available in the handbook appendix beginning on p. 66, on the department public shared drive (see department public shared drive p. 20), and in the catalog.

Specializations

All music majors must select and complete coursework for a given specialization. For stu-dents emphasizing in teacher education, the specializations are instrumental or vocal music education. Students emphasizing in performance or music business select an area of pri-mary specialization from the broader specializations of brass/guitar/percussion/woodwinds, composition, piano, or voice.

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Assessment Milestones

All music majors complete a broad range of assessment milestones. This allows for continuous evaluation of the student by the department. Milestone assessments include the following:

1. Department audition (see p. 12)

2. Application to degree (see p. 37)

3. Juries and progress and skills exams (see p. 35 and p. 36)

4. Primary specialization qualifying exam (see p. 37)

5. Piano proficiency (see p. 38)

6. Senior recital/project hearing (if teacher education or performance) (see p. 38)

7. Comprehensive portfolio (see p. 40)

8. Exit interview (see p. 39)

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6 ADMISSION TO UNDERGRADUATE STUDY

6.1 ENTRANCE EXPECTATIONS FOR MUSIC MAJORS

GENERAL BACKGROUND

The department recommends that the music major entering the university should have:

1. Several years of ensemble experience (choir or band) on a primary area of specialization.

2. Experience performing as a soloist.

3. Four or more years’ experience in an area of primary specialization (brass, composition, guitar, percussion, piano, voice, or woodwinds) on which they will pursue further study.

4. Basic note-, sight-, and rhythm-reading skills.

5. Basic keyboard skills (helpful, but not required).

6. Basic familiarity with different musical styles (classical, popular, music theater, jazz, etc.).

CHARACTERISTICS

To be successful as a music major, a student must possess the following characteristics:

1. A passion for music.

2. A desire to practice diligently and improve skills in a primary area of specialization.

3. An enjoyment of performing both within a group and as a soloist.

4. Effective study skills which must include time management, organization, and effective note-taking.

5. A desire to learn and an ability to be receptive and responsive to teaching.

6. A sense of gratification from music-making and music studies.

7. An interest in understanding how music works.

8. A drive to be tenacious in pursuit of excellence.

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6.2 AUDITIONS

All students intending to major in music are required to audition on their primary spe-cialization for the music faculty prior to acceptance into the music major. The primary specialization may be chosen from the areas of brass, composition, guitar, percussion, piano, voice, or woodwinds (i.e. a primary specialization in trumpet from the area of brass). Stu-dents intending to pursue the emphasis in music education may only select a specialization from the areas of brass, percussion, piano, voice, or woodwinds.

The general repertoire required of all instrumentalists includes: 1) two musical selections in contrasting styles or from two different periods; 2) scales or an etude; 3) and sight reading and/or rhythm reading. The general required repertoire of all vocalists includes: 1) one art song, preferably in a language other than English; 2) an additional art song or musical theater song in any language; 3) sight singing and/or rhythm reading; 4) and vocalizing. Students wishing to specialize in composition must present a portfolio of their work.

6.3 TRANSFER STUDENTS

Transfer students must familiarize themselves with the transfer admissions information avail-able in the catalog. General education and teacher education coursework (if applicable) will be evaluated by the registrar and chair of the Division of Education. Music curriculum will be evaluated by music faculty and the department coordinator (hereafter referred to as “coordinator”). Transfer students are responsible for all of the material in this handbook. While transfer students may have completed many degree requirements at their previous in-stitution, all transfer students are required to complete the following requirements at USAO in order to graduate:

1. A department audition (see auditions p. 12).

2. An incoming student self-assessment essay (see incoming student self-assessment essay p. 35).

3. A piano proficiency (see piano proficiency p. 38).

4. Three trimesters of MUSC 2880 with a grade of “pass” (see recital attendance p. 27).

5. Three trimesters in a major ensemble (see ensembles p. 22).

6. A senior recital/project (if applicable) (see senior recital/project guidelines p. 25).

7. An exiting student self-assessment essay (see exiting student self-assessment essay p. 38).

8. A comprehensive portfolio from their point of entry in the department (see comprehensive portfolio p. 40).

9. An exit interview (see exit interview p. 39).

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7 SCHOLARSHIPS

Students accepting a scholarship are expected to maintain all music scholarship recipient expectations described on p. 17.

7.1 TALENT PLUS SCHOLARSHIPS

Talent Plus Scholarships are awarded for talent in music. Students must complete a depart-ment audition. These scholarships are one-year awards and are non-renewable. They are available to high school seniors having a GPA of 3.25 on a 4.0 scale and a composite ACT score of 24 or higher. Oklahoma residency and U.S. citizenship are required. This scholar-ship is a tuition waiver with an estimated value of $3,200–$3,600. Talent Plus Scholarship recipients are required to participate in a major ensemble (concert choir or concert band), depending on the area of primary specialization. Talent Scholarships may be awarded to music majors, music minors, or non-music majors. Students who declare music as their major may audition for a USAO Foundation scholarship in the spring of their first year (see returning music major scholarships below).

7.2 TALENT SCHOLARSHIPS

Talent scholarships are awarded for talent in music. Students must complete a department audition. These scholarships are one-year awards and are non-renewable. They are available to high school seniors having a GPA of 3.00 on a 4.0 scale and a composite ACT score of 19 or higher. Oklahoma residency and U.S. citizenship are required. Scholarship amounts vary from $800 to $2,000. Talent scholarship recipients are required to participate in a major ensemble (concert choir or concert band), depending on the area of primary specialization. Talent Scholarships may be awarded to music majors, music minors, or non-music majors. Students who declare music as their major may audition for a USAO Foundation scholarship in the spring of their first year (see returning music major scholarships below).

7.3 FRESHMAN NOVIKOW TUITION SCHOLARSHIP

The Novikow scholarship for incoming freshmen is awarded through a department audition. Students who audition prior to May 1 of each year will receive scholarship consideration priority. The Novikow scholarship is only awarded to students who declare music as their major. The scholarship stipulates a minimum high school GPA requirement of 3.0 (on a 4.0 scale) and a minimum composite ACT score of 20. These scholarships are four-year awards and cover tuition costs only (not room and board). Recipients are required to con-tinuously enroll in recital attendance and a major ensemble (concert choir or concert band, depending on the student’s area of primary specialization) every fall and spring trimester of their academic career at USAO (exception: music education majors in their professional trimester). Recipients must also maintain a cumulative GPA of 3.0 while at USAO and en-roll in a minimum of 15 hours each fall and spring trimester. Novikow scholarship recipients will be evaluated at the end of each spring for continued scholarship eligibility. Recipients

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must complete a Financial Aid Update Form every year (due by mid-April) available on the Financial Aid website.

7.4 TRANSFER STUDENT SCHOLARSHIPS

Transfer students should familiarize themselves with the transfer student scholarships avail-able through the Financial Aid Office. Transfer students are also eligible for USAO Founda-tion scholarships from the department. USAO Foundation scholarships are awarded based on music audition performance, class standing, and previous institution GPA. Students must have a cumulative GPA of 3.0 on a 4.0 scale in order to be considered for a transfer student scholarship.

7.5 RETURNING MUSIC MAJOR SCHOLARSHIPS

Scholarship auditions for returning music majors are administered during finals week of the spring trimester as part of the progress and skills exam. Students wishing to be considered for a USAO Foundation scholarship must fill out a Scholarship Audition Adjudication Sheet, available in the appendix of this document on p. 97 or on the department public shared drive (see department public shared drive p. 20). Students must also fill out a Financial Aid Update Form (due by mid-April) available on the Financial Aid website. Failure to complete the appropriate forms disqualifies students from receiving awards. Students must have a cumulative GPA of 3.0 on a 4.0 scale in order to be considered for a USAO Foundation scholarship. Foundation scholarships for returning students include:

Beets Scholarship Brooks Scholarship Burnett Scholarship Davis-Waldorf Scholarship MacDowell Club Scholarship Murdoch Scholarship Rapp Scholarship

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7.6 CONTINUING SCHOLARSHIP POLICIES AND PROVISIONS

1. Continuing students will be evaluated on an individual basis. Certain criteria for scholarships are determined by the music faculty and include:

(a) Student achievement and performance in all music courses.

(b) Student commitment and dedication (attendance/participation in courses and recitals).

(c) Student growth academically and as performers during the course of the year.

2. Continuing students who wish to be considered for a scholarship MUST fill out a Financial Aid Update Form (due by mid-April) available on the Financial Aid website. The form must be filled out annually.

3. Students enrolled in small performing ensembles (MUSC 4901) are eligible for a scholar-ship supplement i.e., additional scholarship money on top of their regularly-determined allocation for participation in more than one ensemble. The student must be enrolled in this ensemble in addition to their major ensemble. Supplements for participation in MUSC 4901 are approximately $250 and will be included in each student’s scholarship package for the following academic year.

4. Continuing student scholarships will include consideration of the student’s dedication to active participation in performing ensembles as demonstrated the previous year. Early enrollment for the following academic year is encouraged as evidence of continued interest in active involvement.

5. Selection for scholarships is a competitive process. Students may receive scholarships in varying amounts. The coordinator determines who receives a scholarship and in what amount based on the criteria listed in this section, faculty input, and university scholarship guidelines for class status and GPA. Scholarship recommendations will be submitted by the coordinator to the Financial Aid Office by May 1.

6. All scholarships are for one year unless otherwise indicated. All scholarships are contin-gent upon admission to USAO and student adherence to the music scholarship recipient expectations as described on p. 17 and in this section.

7. Students may lose eligibility for a scholarship if they fail to meet scholarship require-ments. Performance and participation requirements will be monitored and enforced by the department. Academic and enrollment requirements will be monitored and enforced by the Financial Aid Office.

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8 STUDENT RESPONSIBILITIES

Every music student is required to follow the procedures within the handbook. Handbook policies affect music majors, music minors, and all students enrolled in music ensembles. Graduation may be delayed if these procedures are not followed. In the event that there is a conflict between the handbook and the catalog, it is understood that the handbook is correct.

8.1 GENERAL MUSIC MAJOR EXPECTATIONS

Each music major within the department is expected to:

1. Limit off-campus commitments, allowing ample time for university work and academic progress.

2. Meet with their advisor each trimester to ensure that they are in the proper sequence of courses in IDS and in the music curriculum.

3. Refer often to the catalog and the appropriate advisement checksheets (available in the handbook appendix beginning on p. 66) to ensure that progress toward graduation is not hindered.

4. Familiarize themselves with all university policies regarding admission, retention, aca-demics, student services, and other information contained in the catalog.

5. Understand the academic rigor and standards of the music major and commit to meet-ing these standards.

8.2 SPECIFIC MUSIC MAJOR EXPECTATIONS

In order to graduate in a timely manner, each music major within the department must:

1. Formally audition for the department on their area of primary specialization (see au-ditions p. 12).

2. Complete a incoming student self-assessment essay (see incoming self-assessment essay p. 35).

3. Continuously enroll in applied studio instruction for their area of primary specialization and complete a leveling sequence in that area (see applied studio instruction p. 23).

4. Continuously enroll in MUSC 2880, recital attendance, as a lab component to every trimester in which they enroll in applied studio instruction for their area of primary specialization (see recital attendance p. 27).

5. Perform a fall jury or a spring progress and skills exam every trimester in which they enroll in applied studio instruction for their area of primary specialization (see fall juries and spring progress and skills exams p. 36).

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6. Pass a piano proficiency exam (see piano proficiency p. 38).

7. Maintain a minimum GPA requirement. Music majors pursuing the emphases of per-formance or music business must maintain a cumulative GPA of 2.0. Music majors pursuing the emphasis in teacher education must maintain a 2.75 GPA in music course-work and a 3.0 GPA in Liberal Arts and Science Coursework. Recipients of USAO Foundation scholarships must maintain a cumulative GPA of 3.0. Freshman Talent Plus or Talent Scholarship recipients who wish to be considered for future Foundation scholarships should maintain a cumulative GPA of 3.0.

8. Music majors pursuing the emphases of performance or teacher education must com-plete a senior recital or senior project (see senior recital p. 25).

9. Maintain a comprehensive portfolio containing concert programs, writing samples, compositions, self-assessment essays, and additional supporting materials (see com-prehensive portfolio p. 40).

10. Complete an exit self-assessment essay (see exiting student self-assessment essay p. 38).

11. Complete a music program survey (see music program survey p. 39).

12. Complete an exit interview (see exit tnterview p. 39).

8.3 MUSIC MAJOR SCHOLARSHIP RECIPIENT EXPECTATIONS

While some music scholarships carry additional criteria, all music majors receiving music scholarships are expected to:

1. Declare status as a music major.

2. Maintain a cumulative GPA of 3.0.

3. Enroll in their major ensemble every fall and spring trimester (see ensembles p. 22) (exception: music education majors in their professional trimester).

4. Enroll in applied studio instruction for their area of primary specialization and MUSC 2880, recital attendance, every fall and spring trimester (see applied studio instruction p. 23 and recital attendance p. 27) (exception: music education majors in their professional trimester).

5. Maintain full-time status (12-18 hours) every fall and spring trimester.

6. Demonstrate Satisfactory Academic Progress (SAP) as detailed on p. 34-35 of the catalog.

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8.4 HEARING HEALTH

Part of the role of any professional is to remain in the best condition to practice the profession. As aspiring musicians, this involves safeguarding hearing health. Whatever a student’s plans are after graduation they owe it to themselves and to their fellow musicians to do everything possible to protect their hearing. Certain behaviors and exposure to certain sounds can, over time, damage hearing. In most cases, noise-related hearing loss does not develop overnight. If a student is serious about pursuing a career in music, they need to protect their hearing. The way you hear music, the way you recognize and differentiate pitch, the way you play music; all are directly connected to your hearing. NASM has published documentation regarding hearing health which is available in appendix beginning on p. 98. All students are encouraged to read this information and to constantly take steps to protect their hearing health.

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9 DEPARTMENT POLICIES

9.1 COMMUNICATION

Communication with music students may take on the following forms:

1. Postings to department bulletin boards

2. E-mails, phone calls, or texts from the coordinator or other faculty members

3. Announcements at student recitals

4. Postings to faculty office doors

5. The department web site (www.usao.edu/music)

6. Student mailboxes, located in Davis Hall 247

7. Faculty websites

8. Course websites

9. Division, department, or ensemble facebook pages

It is the student’s responsibility to frequently check locations where information is posted or disseminated.

DEPARTMENT WEBSITE

The department website (www.usao.edu/music) contains information regarding music de-grees, faculty, facilities, policies, scholarship auditions, and performances. Please check the website periodically for content changes.

MAILBOXES

Each music major is assigned a department mailbox. Mailboxes are located in Davis Hall 247. They are arranged alphabetically. The music student current trimester portfolio (see comprehensive portfolio p. 40) is kept in this mailbox.

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9.2 FORMS AND THE DEPARTMENT PUBLIC SHARED DRIVE

All necessary forms and paperwork for the music major are available on the department pub-lic shared drive (j:/AHSERVER/Public Share/MUSIC DEPT). These documents include, but are not limited to:

1. Fall jury sheets

2. Spring progress and skills exam sheets

3. Concert summary guidelines

4. Degree checksheets

5. Syllabus for MUSC 2880, recital attendance

6. Student recital sign-up form

7. Sample senior recital hearing program

8. Senior recital hearing form

9. Sample concert summary

10. Scholarship audition adjudication sheet for returning students

11. Piano proficiency guidelines/form

12. Student information sheet

13. Instructions for incoming and exiting student self-assessment essays

14. Music program survey

Copies of all forms are also available in the handbook appendix beginning on p. 47.

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9.3 FACILITY USE

Davis Hall Davis Hall houses music department classrooms, faculty offices, practice rooms, the department office and the Division of Arts and Humanities Office.

Music Office Davis Hall 245 is accessible Mon–Fri between the hours of 8am–5pm; the office houses music faculty mailboxes, a small refrigerator, student portfolio files, a desk, and lounge space.

Practice Rooms Davis Hall 126, 128, 130, 132, 134, and 136 are accessible Mon–Fri, 8am–5pm; For access after hours or on weekends, contact security (405-222-8066) with your ID ready, identify yourself by name, and indicate that you are a music major.

Music Pocket Library The pocket library is located on the first floor of Nash Library and houses a wide selection of texts, recordings, scores, teaching materials as well as computer work stations and study space; contact the library to obtain information about operating hours and policies.

Music Recording Studio Davis Hall 241 is available for use by students with permission from a music faculty member; permission is only granted to students who have had instruction on the use of the technology and are enrolled in music courses or are music work-study students .

Alumni Chapel The Steinway grand piano in the alumni chapel may be used by students preparing for senior recitals, but only with the permission or supervision of a music faculty member; a facility request form must be completed in order to use this space.

Class Piano Lab Davis Hall 232 is accessible Mon–Fri between the hours of 8:00am– 5:00pm.

Music Computer Lab Davis Hall 247 is accessible Mon–Fri between the hours of 8:00 am–5:00pm.

Music Classrooms Davis Hall 242 and 244 may be used for studying, practicing, or rehearsing when they are not in use for regularly scheduled courses as posted on each door.

Music Annex Only percussionists or tubists enrolled in applied studio instruction are allowed unaccompanied access to the music annex; all other students must be under faculty supervision when in the music annex; smoking, eating, and drinking (except water) are not permitted in the annex.

Lockers Music students may select a locker for book storage by placing a padlock on that locker; students must provide their own padlocks, which must be removed at the end of the school year; lockers are located in the practice room corridor.

No one may use university facilities for non-academic purposes. No student may use university facilities to teach private lessons for compensation. Practice rooms and lounge

spaces are not to be used for sleeping.

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9.4 WORK-STUDY

Music students may be eligible for the work-study program as determined by the Financial Aid Office. Please see Dr. Jan Hanson, music work study supervisor, for qualifications, guidelines, and expectations.

9.5 ACADEMIC POLICIES

ENSEMBLE ENROLLMENT

Music ensembles provide students with valuable experiences in collaborative performance and exposure to a variety of styles and genres. Music majors must complete six consecutive hours in their major ensemble. Music minors and transfer students must complete three hours of major ensemble. Students accepting music scholarships must continually enroll in the appropriate major ensemble for their primary specialization as part of the scholarship requirements. Though only six hours of major ensemble are required in the degree program, it is expected that all music majors will enroll in their major ensemble every trimester.

The major ensemble for each degree and area of specialization is listed below:

Performance or Music Business (brass, percussion, or woodwind) = Concert Band Performance or Music Business (voice) = Concert Choir Performance or Music Business (guitar or piano) = Either Concert Band or Concert Choir Instrumental Music Education (brass, percussion, or woodwind) = Concert Band Vocal Music Education (voice or piano) = Concert Choir

Music majors and non-majors may have the option to enroll in additional small ensembles based on their interests and areas of expertise. These ensembles are listed in the catalog under the course number MUSC 4901 and often include the pep band, jazz band, vocal jazz ensemble, chamber choir, opera scenes, music theatre workshop, and other small chamber ensembles. These ensembles often require an audition. Students must consult with the director of the ensemble for audition information and ensemble expectations. Music majors must also be enrolled in their major ensemble in order to participate in any additional ensemble. Enrollment in ensembles beyond the major ensemble is generally accompanied by an additional stipend to scholarship awards for returning students (see continuing scholarship policies and provisions p. 15).

SEQUENCED COURSES

Courses that are in sequence must be completed in succession. These courses are Music Theory I through IV, Aural Skills I and II, Forms and Analysis, and Class Piano I through IV. Sequenced courses require a grade of C or better to move from one level to the next. A grade of C or better is required in the final course of each sequence in order to complete the sequence. Students cannot enroll in upper level courses (3000, 4000) until they have completed lower level courses (1000, 2000).

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GRADES

Music majors pursuing the emphases of performance or music business must maintain a cumulative GPA of 2.0. Music majors pursuing the emphasis in teacher education must maintain a 2.75 GPA in music coursework and a 3.0 GPA in Liberal Arts and Science Coursework. Music scholarship recipients must maintain a cumulative GPA of 3.0.

COURSE MATERIALS

Most courses have required materials i.e. textbooks, music, etc. It is the student’s responsi-bility to purchase course materials before the end of the add/drop period each trimester. Failure to purchase required materials will make it impossible to pass a course. Stu-dents may look up required course materials at any time on the USAO Bookstore website (www.usaobookstore.com/SiteText.aspx?id=31198).

COURSE ASSIGNMENTS

The department policy regarding coursework is as follows:

1. All coursework must be completed and submitted on the designated due date.

2. Coursework submitted late will receive a grade of zero. In the case of medical or family emergencies the course instructor must be notified in advance to make arrangements for timely submission of homework. Cases of plagiarism, cheating, or copying fall under the written university policy. Consult the catalog for more information.

9.6 APPLIED STUDIO INSTRUCTION

All music majors and music minors select a primary specialization for applied studio instruc-tion from the areas of brass, composition, guitar, percussion, piano, voice, or woodwinds. Music students select their primary specialization their freshman year. Students must au-dition, prior to acceptance, on their intended primary specialization. Students wishing to change their primary specialization must request an audition in the new specialization with approval of the coordinator. If the student passes the audition, the primary specialization is changed with the understanding that curriculum hours and the leveling sequence (see pri-mary specialization leveling p. 36) must be met in the new area. Students may not register for more hours in the primary area than the curriculum prescribes, thus students changing their primary specialization must plan to extend their graduation date. A change to compo-sition as the area of primary specialization requires submission of a portfolio of compositions to the music faculty.

Enrollment in applied studio instruction requires a written permission slip from a USAO music instructor. Students enrolled in applied studio instruction for the fall or spring trimesters must concurrently enroll in recital attendance, MUSC 2880 (see recital atten-dance p. 27). Each applied studio instructor details additional specific requirements in course syllabi.

Students must meet with the applied studio instructor during, or prior to, the first week of courses to determine a lesson time. Once schedules are set by the instructor they are

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posted on their office/classroom door or on a music bulletin board. Contact information for adjunct applied studio instruction instructors is posted on a music bulletin board.

Applied studio instruction is a privilege. Generally, only music majors and music minors may enroll in applied studio instruction, with the exception of students who have requested and received an applied studio instructor’s permission.

Students are expected to practice at least five hours per week, per hour of applied studio instruction. Instructors may require a record of weekly practice. Students are required to purchase repertoire or etude books. Applied studio instruction also requires performance on student recital (see recital attendance p. 27), a fall jury (see fall trimester juries p. 34) or a spring progress and skills exam (see spring progress and skills exam p. 36). Students must perform on a student recital once for each hour of applied studio instruction in their area of primary specialization for which they are enrolled (i.e. if a student is enrolled in two hours, they must perform on two recitals).

9.6.1 Studio Change Policy

Students wishing to request a change of studio instructor (in applied areas with multiple faculty members) must follow the procedure described below:

1. Present to the Department Coordinator, in writing, a request for change in studio assignment, clearly stating:

• The name of the current studio teacher

• The name of the proposed new studio teacher, and

• The reason(s) for requesting a change

2. The Department Coordinator will call a meeting of the faculty members involved to review the request for approval or denial.

3. The Department Coordinator will inform the student, in writing, of the decision, with copies to the faculty members involved and the Chair of the Division of Arts and Humanities. Should the request be denied, the reason(s) for the denial should be clearly stated.

4. If dissatisfied with the decision, the student may appeal to the Chair of the Division of Arts and Humanities.

– Prior to initiating the procedure above, the student is strongly encouraged to meet with the current teacher to discuss issues and concerns that presumably have fos-tered the reasons for a change of studio teacher. Resolution of these issues and concerns prior to pursuing the steps above is in the best interests of the student, faculty members, and the Department of Music.

– Studio changes may occur only between semesters, preferably at the end of an academic year.

– Failure by the student to follow this protocol in its every detail will result in the denial of the request.

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9.7 SENIOR RECITAL/PROJECT

For the music major emphasizing in performance or music education, a senior recital (30-50 minutes in length) or senior project is required. Students emphasizing in music educa-tion present their senior recital or project during the trimester preceding the professional trimester. Students emphasizing in performance present their senior recital or project during their final trimester of enrollment.

SENIOR RECITAL

Length, scope, and repertoire/content of the recital is determined by the applied studio instructor. A “traditional” recital demonstrating student competence in performance of music of various periods is the standard format for the recital option. Students intending to perform on a secondary instrument must have approval from the primary and secondary applied studio instructors. There is no encore at academic senior recitals at the bachelor’s degree level. Deviation from this format must be approved by the applied studio instructor and the coordinator.

SENIOR PROJECT

Students who choose to do a senior project in lieu of a traditional recital must confer with the instructor they wish to supervise their project during their junior year to begin planning the content and scope of the project. The project may take on a variety of forms such as a lecture-recital, a lecture-demonstration, a research project and presentation, or a multimedia presentation-performance. Students are encouraged to consider projects that are interdis-ciplinary in nature. The student must prepare a formal project proposal for music faculty approval by the end of the junior year.

SENIOR RECITAL/PROJECT TIMELINE:

BEGINNING OF TRIMESTER

The student will complete a facility request, available online at usao.edu/current-students/facility-request-forms, with the help of their applied studio instructor or advising professor. This form will be completed as soon as possible to reserve the date and to ensure that no conflicts arise with the university calendar. The form will require a faculty signature. Return the completed form to the administrative assistant for student services. Students must retain a copy of this form for their records. The student must also secure the services of an accom-panist at this time, if one is needed for the recital. Students may be financially responsible for the accompanist’s services.

SIX WEEKS PRIOR

The student, with the help of their private studio instructor, will request a recital hearing date. Requests for a recital hearing should be made to the coordinator. The hearing should occur no later than four weeks prior to the recital date.

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FOUR WEEKS PRIOR

The recital/project hearing must be presented to the music faculty. The student prepares a preliminary program with selections/content listed in the order of anticipated perfor-mance/discussion and provides a copy for each faculty member at the hearing. The music faculty will decide if the student has adequately prepared for the recital. They may rec-ommend approval, approval with stipulations, or request that the recital date be delayed or postponed. Permission to present the recital/project on the requested date will be de-nied if the recital/project hearing results are not acceptable at least three weeks prior to the recital/project date. A recital hearing program sample can be found in the handbook appendix on p. 92.

The student must also place a request with the University Music Appreciation Club for a reception.

TWO WEEKS PRIOR

The student must fill out two print request forms at usao.edu/forms/print-request-form: 1) one for the recital program and 2) one for the recital poster. In the field “department” fill in the word “music.” The printing services office will prepare proof copies of the program and poster to be checked for errors by both the student and the applied studio instructor.

ONE WEEK PRIOR

The student may formally request for the coordinator or another faculty member to record the recital/project. Details concerning the reception must be finalized with the university Music Appreciation club. Reception expenses are usually incurred by the student. Students must consult with their applied studio instructor or advising professor concerning special needs or equipment. Printed recital posters should be given to the coordinator for posting. If students would like their event to be publicized on the department facebook page, a request must be given to the coordinator at this time.

THREE DAYS PRIOR

The student must check with the administrative assistant for the physical plant and with the security office to confirm that all needed facilities will be open as requested. Air conditioning or heating must be activated several hours in advance of the recital hour in order to maintain a comfortable temperature during the recital/project and reception.

RECITAL/PROJECT PRINTING GUIDELINES

All recital/project posters and programs must be printed through USAO printing services and approved before printing by the applied studio instructor or advising professor. All students use the template designed by USAO Printing Services for recital posters and pro-grams. The department pays for 20 posters on colored paper and 50 programs on a half-sheet template. Voice students may be required to print additional pages with text translations at their own expense. The template for recital programs includes only information pertinent to the recital (date, time, place, selections, composers, additional performers, name of ap-plied studio instructor). Personal “thank-yous” may be expressed at the reception after the

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recital. The following sentences must occur on the recital program: “Ms./Mr. (student) is a student of (primary studio instructor’s name)” and “This recital is in partial fulfillment of the Bachelor of Arts degree.”

9.8 DEPARTMENT ATTENDANCE POLICIES

RECITAL PERFORMANCE/ATTENDANCE

Recital attendance, MUSC 2880, is a performance lab course which affords students the opportunity to gain valuable performance experience in front of their peers and hear a va-riety of repertoire and genres. Student Recitals occur approximately every other Tuesday at 12:00PM in the Music Annex large rehearsal room. Performance on student recital is required of all music majors enrolled in applied studio instruction for their area of primary specialization. Music selections must be approved by the applied studio instructor. Ar-rangements for an accompanist must be made in a timely manner. Students enrolled in one credit hour of applied studio instruction for their area of primary specialization must perform once for student recital; those enrolled in two credit hours should perform twice. Music majors must pass recital attendance five times to complete graduation requirements; music minors must pass two trimesters, and transfer students must pass three trimesters to complete graduation requirements. Scholarship recipients may have additional enrollment requirements (see continuing scholarship policies and provisions p. 17 and scholarships p. 13).

Since recital attendance is a zero credit course, students receive a grade of either a P (pass) or NP (no pass) for the course each trimester. A passing grade in recital attendance requires attendance at 75% of music events offered each trimester, submission of one concert summary, performance at at least one student recital, and submission of an updated portfolio (see comprehensive portfolio on p. 40) at the fall jury and the spring progress and skills exam. A performance calendar listing all events approved for credit is available on the music department website at the beginning of each trimester. Students may attend off-campus performances for recital attendance only if they are pre-approved by the coordinator. The course syllabus, found in the handbook appendix on p. 93 and on the department public shared drive (see department public shared drive p. 20), outlines expectations in detail.

Students taking instruction on secondary areas of specialization may not be required to perform on student recitals. Students should consult with their applied studio instructor for course requirements.

PERFORMING ON STUDENT RECITAL

Students intending to perform on a student recital must fill out a student recital form. This form details the name of the performer, the title of the composition, composer, movements to be performed, and accompanist (if applicable). Student recital forms must be turned in to the coordinator no later than 12:00PM the day prior to the recital. Student recital forms are available outside of the coordinator’s office, on the department public shared drive (see department public shared drive p. 20), and in the handbook appendix on p. 89.

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STUDENT RECITAL ATTIRE

Always check with your applied studio instructor to receive guidelines regarding appropriate student recital attire. Clothing must appear professional and must not be distracting. A dress shirt and tie with dress slacks is appropriate for men. A dress or skirt of modest length, dress slacks, and blouse or dress shirt is appropriate for women.

APPLIED STUDIO INSTRUCTION ATTENDANCE

The attendance policy for applied studio instruction is:

2 absences — 1 letter grade drop 3 absences — 2 letter grade drops 4 absences — 3 letter grade drops 5 absences — automatic failure

This policy holds firm regardless of how many hours of applied studio instruction a student is enrolled in. Studio lessons may be rescheduled:

1. When the applied studio instructor is unable to teach at a scheduled time due to a conflict or illness.

2. When the student is seriously ill or responds to a family emergency and notifies the ap-plied studio instructor in advance and provides documentation for the illness/emergency.

3. When the student is involved in a music faculty-initiated activity related to the Okla-homa Music Educators Association (see p. 43), the National Association of Teachers of Singing, the National Association for Music Education (see p. 43), the Oklahoma Choral Director’s Association (OCDA), the American Choir Director’s Association (ACDA), or faculty-initiated community performances and recruiting activities.

Applied studio instructors are obligated to reschedule lessons only for reasons listed above.

ACADEMIC COURSE AND ENSEMBLE ATTENDANCE

The following guidelines allow ample flexibility to accommodate serious illness, emergency, or unavoidable conflict. No distinction is made between “excused” and “unexcused” absences:

3 meetings/rehearsals per week — 4 absences — 1 letter grade drop 2 meetings/rehearsals per week — 3 absences — 1 letter grade drop 1 meeting/rehearsal per week — 2 absences — 1 letter grade drop

An additional letter grade drop will be added for each additional absence.

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9.9 ADVISING

All music majors will be assigned a faculty music advisor. Dr. Jan Hanson advises students emphasizing in vocal music education. Dr. Kate Sekula advises students emphasizing in instrumental music education, music business, or performance (brass, percussion, or wood-wind specializations). Dr. Stephen Weber advises students emphasizing in performance (composition, piano, guitar, or voice specializations).

Students must plan to meet with their advisor 1-2 times per trimester. Students are expected to complete preliminary planning before an advising session and are encouraged to keep a record of their degree progress on their own degree checksheet (checksheets are available in the handbook appendix beginning on p. 66).

Additionally, students must familiarize themselves with the role of academic advisers as stated in the catalog; mainly:

Academic advisers, department chairs, and academic staff members are available to aid students in understanding the requirements and regulations. Students, however, are responsible for reading and understanding academic policies and procedures as well as academic course requirements. It is also the student’s ultimate responsibility to meet them. The responsibility for meeting all graduation requirements rests with the student. 1

FACULTY AVAILABILITY

All full-time music faculty members host ten office hours each week. Consult schedules posted on faculty office doors or listed in course syllabi to determine when they are available to meet with you. Though a walk-in meeting with a music faculty member may be an option, it is more polite to schedule an appointment.

STUDENT FILES

Three sets of files are established and maintained by students, advisors, and the coordinator. Each is detailed below.

Advising File

Student advisee files are maintained by faculty advisors. These files include a current degree checksheet, copies of enrollment forms, add/drop slips, records of grades distributed by the registrar’s office, and any other paperwork pertaining to advising.

Confidential Files

Student confidential files are maintained by the coordinator. These files contain student information sheets, fall jury sheets, spring progress and skills exam sheets, self-assessment essays, music program surveys, and annual advising checksheets from advisors.

1catalog 2014-2016, p. 19

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Comprehensive Portfolio

Students are expected to compile a portfolio each trimester. Each student receives a file folder in their student mailbox (see mailboxes p. 19) in Davis Hall 247. Students should use this folder to collect items acquired for the portfolio during the trimester. The portfolio is brought to the fall jury and the spring progress and skills exam. Items from each trimester are then placed in each student’s comprehensive portfolio in the music office. For more detailed information regarding the portfolio, see comprehensive portfolio p. 40.

9.10 COURSE SCHEDULES AND LOADS

A typical fall or spring trimester load of courses for music students is between 15 and 18 hours. For status as a music major, freshmen and sophomores must enroll in their required major ensemble (see p. 22), applied studio instruction for their area of specialization (see p. 23), music theory, class piano or applied studio instruction in piano, and recital attendance (see p. 27). A typical load for junior and senior students who have completed the music theory, aural skills, and class piano sequences (see p. 22) may include music history, conducting, applied studio instruction, recital attendance, a major ensemble, music electives, music education or music business courses as appropriate.

Sequencing of courses is extremely important (see sequenced courses p. 22). No music courses have multiple sections. Some courses are offered every other year. It is the student’s responsibility to know when courses are offered and to take courses at the appropriate time in their academic career. Failure to take courses as they appear in rotation may delay graduation. The current music course rotation is listed on the next page.

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Current Music Course Rotation Schedule:

Offered every fall and spring:

MUSC 1051 Concert Choir MUSC 1081 Concert Band MUSC 2880 Recital Attendance Applied Studio Instruction

Offered every fall:

MUSC 1031 Class Piano I MUSC 1111 Aural Skills I MUSC 1113 Music Theory I MUSC 2031 Class Piano III MUSC 2103 Music Theory III MUSC 3102 Forms and Analysis

Offered every spring:

MUSC 1031 Class Piano II MUSC 1121 Aural Skills II MUSC 1123 Music Theory II MUSC 1203 The Enjoyment of Music MUSC 2031 Class Piano IV MUSC 2113 Music Theory IV

Offered every odd-year fall:

MUSC 3201 Music Technology MUSC 3303 Music History to 1750 MUSC 3322 History of Pop. Music in Amer. MUSC 4102 Principles of Conducting

Offered every odd-year spring:

MUSC 4562 Secondary Vocal Methods MUSC 4572 Secondary Instr. Methods

Offered every even-year spring:

MUSC 3313 Music History 1750–present MUSC 4112 Choral Conducting MUSC 4212 Instrumental Conducting

Offered every even-year fall:

MUSC 4552 Elementary Music Methods

Offered every year (trimester may change):

MUSC 1102 Music Fundamentals

Offered every other year (trimester may change):

MUSC 3212 Survey of World Music MUSC 3512 Voice Pedagogy MUSC 3522 Diction for Singers

Offered periodically:

MUSC 1021 Class Voice MUSC 1061 Class Guitar MUSC 1161 Orchestral Strings MUSC 2002 Accompanying MUSC 2101 Applied Accompanying MUSC 3122 Music Business

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10 STUDENT ASSESSMENT

Students must meet competencies in order to successfully complete music degree programs. All music courses have competencies specified in course syllabi and in alignment with NASM and, if applicable, the state of Oklahoma teacher education standards. Broader competencies in music are detailed below. Evaluation for each competency takes place in the form of course requirements as detailed in department syllabi, minimum required course grades in sequenced courses (see sequence courses on p. 22), the completion of a piano proficiency exam (see piano proficiency on p. 38), a senior recital or senior project (if required) (see senior recital p. 25), and the completion of a comprehensive portfolio (see comprehensive portfolio p. 40) and exit interview (see exit interview p. 39).

10.1 COMPETENCIES

PERFORMANCE

At the completion of the music degree, all music majors will:

1. Demonstrate competencies at the 1000, 2000, 3000, and 4000 level as described in the progress and skills exam guidelines in an area of primary specialization.

2. Perform solo and chamber repertoire appropriate to each level of instruction in an area of primary specialization.

3. Perform etudes and technical studies appropriate to each level of instruction in an area of primary specialization.

4. Demonstrate proper stage deportment, communication, and musicality.

5. Demonstrate ensemble leadership.

MUSIC THEORY

At the completion of the music degree, all music majors will:

1. Demonstrate understanding of the materials of music, including melody, harmony, rhythm, timbre, and formal structure.

2. Complete competencies required for each level of music theory as detailed in course syllabi.

3. Demonstrate command of aural skills in music, including sight-singing, melodic, har-monic, and rhythmic dictation, scale, interval and triad identification and formal lis-tening.

4. Complete competences required for each level of aural skills as detailed in course syllabi.

5. Demonstrate command of the materials of music through compositions and arrange-ments as required in the music theory and aural skills course sequence.

6. Demonstrate formal and harmonic analytical skills.

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MUSIC HISTORY

At the completion of the music degree, all music majors will:

1. Demonstrate comprehensive understanding of historical periods in the musical, visual, and performing arts and their relationship with cultural, sociological, and philosophical ideas.

2. Demonstrate a breadth of knowledge regarding significant music genres, styles, forms, performance practices, composers, and specific works from antiquity to the present through written assessment and aural identification.

3. Complete competencies in music history as detailed in the course syllabi.

4. Demonstrate collaborative peer work through small group presentation.

5. Demonstrate understanding of research methods and materials in music through the completion of research papers in music history courses.

MUSICIANSHIP

At the completion of the music degree, all music majors will:

1. Demonstrate the ability to harmonize, transpose, and improvise through experiences in class piano, music theory, and in applied studio instruction on their principal in-strument.

2. Demonstrate competency in conducting and leading ensembles.

3. Demonstrate ability in comprehensive score preparation including historical perspec-tive, detailed analysis, procedure and conducting techniques.

4. Demonstrate ability to effectively communicate music through performance experi-ences.

PROFESSIONAL EDUCATION

At the completion of the music degree, students pursuing the emphasis in music education will:

1. Be familiar with music curricular materials at the elementary and secondary level.

2. Prepare and present effective lesson plans aligned with state and national music stan-dards.

3. Demonstrate understanding of teaching strategies and various learning styles through documentation of adaptations for special learners, cross-curricular connections, and use of technology.

4. Demonstrate understanding of classroom management, curriculum development, program-building, and strategies for teaching success through written and oral assessments.

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5. Formulate a teaching philosophy based on the USAO effective teacher model and mis-sion statement.

MUSIC BUSINESS

At the completion of the music degree, students pursuing the emphasis in music business will:

1. Demonstrate a general knowledge of music industry organization.

2. Demonstrate a general knowledge of intellectual property.

3. Demonstrate a general knowledge of artist and concert management.

4. Demonstrate a general knowledge of music organizations.

5. Demonstrate a general knowledge of technological influence on the music industry.

6. Demonstrate a general knowledge of information or data source locations.

7. Demonstrate a general knowledge of economics.

8. Demonstrate a general knowledge of accounting.

9. Demonstrate a general knowledge of business law, management, ethics, and marketing.

10. Demonstrate a general knowledge of international business practices.

MUSIC TECHNOLOGY

At the completion of the music degree, students will:

1. Demonstrate a general knowledge of music notation software.

2. Understand the basics of digital audio, audio editing softwares, and how to edit digital audio files.

3. Demonstrate an understanding on copyright and fair use.

4. Demonstrate use of slide show presentation software and interactive whiteboard hard-ware/software, and supporting educational materials for the music education classroom

5. Use and manage a variety of music sharing tools.

6. Create, save, retrieve, edit, and refine their original musical ideas.

7. Understand how advances in music technology influence traditional careers in music and produce new creative opportunities.

8. Understand the pedagogical and practical applications of technology to their musical activities.

9. Understand how to use technological resources for research and information-gathering in the field of music (databases, professional organizations, music-related resources).

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10.2 INCOMING STUDENT SELF-ASSESSMENT ESSAY

As a part of the department’s on-going program and student evaluation process, all USAO music majors are asked to complete an incoming self-assessment essay. This assessment is used by the department to monitor, assist, and evaluate the progress and goals of all majors. Please note that all music majors must turn in this self-assessment to the coordinator by the end of their second week of enrollment. It is our hope that this system of assessment will assist our student/faculty advising process and will also provide each student with a clearer idea of personal and professional goals and expectations.

The coordinator will review and grade the self-assessment essays based on the content, supporting ideas, grammar, spelling, and writing flow. The purpose of this grade is not to critique a student’s personal ideas or experiences. Rather, it is meant to make sure each student completes the task thoughtfully and carefully. Each student will discuss their self-assessment with their major advisor during their appointment for enrollment for the next trimester.

Students will NOT be allowed to register for the next trimester or change degrees UNTIL this assessment has been completed with a grade of “C” or better. This document will form the foundation for your future academic planning and will be compared to your exit self-assessment essay (see exiting student self-assessment essay p. 38) to better record your goals and progress throughout your time at USAO. A copy must be placed in you comprehensive portfolio (see comprehensive portfolio p. 40). A copy will also be placed in your confidential file. The confidential file will also provide valuable material to faculty in the future who may be called upon to reference your work as a student. Instructions for completing the essay and a grading rubric are found in the handbook appendix beginning on p. 72.

10.3 FALL TRIMESTER JURIES

All music majors perform a fall trimester jury in which they must demonstrate progress in their area of primary specialization. Composition students are required to bring a portfolio of completed works, or works in progress, and have at least one work performed for the exam (if resources are unavailable, MIDI is okay). A sign-up sheet for juries is posted one week prior to juries. Specific expectations for juries are determined by applied studio instructors. The student fills out a jury sheet with the assistance of their applied studio instructor. The jury sheet is available on the public shared drive (see public shared drive p. 20) and in the handbook appendix beginning on p. 77. The student must bring eight copies of the jury sheet to the jury. Consult the applied studio instruction syllabus for information pertaining to the weighting of the jury grade in the final course grade. Juries missed due to a student’s negligence or poor planning will not be made up. If a student misses a jury due to a documented illness or emergency, they will receive an Incomplete in the course. It is the student’s responsibility to schedule a make-up jury time. Students enrolled in applied studio instruction on secondary instruments may not be required to perform a jury and should consult with their applied studio instructor.

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10.4 SPRING TRIMESTER PROGRESS AND SKILLS EXAMS

All music majors enrolled in applied studio instruction in their area of primary specialization perform a progress and skills exam during finals week of the spring trimester. Specific expectations for progress and skills exams are found in the handbook appendix beginning on p. 48. The exam includes specific requirements in repertoire, technical studies, and etudes appropriate to each specialization and for each level of study. Composition students are required to bring a portfolio of completed works, or works in progress, and have at least one work performed for the exam (if resources are unavailable, MIDI is okay).

A sign-up sheet is posted one week prior to the exams. A progress and skills exam sheet is filled out with the assistance of the applied studio instructor. The progress and skills exam sheet is available on the public shared drive (see public shared drive p. 20) and in the handbook appendix beginning on p. 83. The student must bring eight copies of the progress and skills exam sheet to the exam. Consult the applied studio instruction syllabus for information pertaining to the weighting of the progress and skills exam grade in the final course grade. Exams missed due to a student’s negligence or poor planning will not be made up. If a student misses an exam due to a documented illness or emergency, they will receive an Incomplete in the course. It is the student’s responsibility to schedule a make-up exam time. Students enrolled in applied studio instruction on secondary instruments may not be required to perform a progress and skills exam and should consult with their applied studio instructor.

Students wishing to apply for a USAO Foundation scholarship for the following aca-demic year must fill out and bring eight copies of the scholarship audition adjudication sheet (available in the handbook appendix on p. 87 and on the public shared drive (see public shared drive p. 20)) to the progress and skills exam. Additional criteria for continuing music student scholarships are available on p. 15.

10.5 PRIMARY SPECIALIZATION LEVELING

Students must demonstrate competency at each level of applied studio instruction (1000, 2000, 3000) in their area of primary specialization before being passed to the next level. In other words, freshmen are enrolled in 1000 level applied studio instruction in their area of primary specialization. They must pass the 1000 level requirements before they can enroll in the 2000 level. Students must pass the 2000 level requirements for their area of primary specialization before they can enroll at the 3000 level. Students must pass the 3000 level requirements for their area of primary specialization before they can enroll in the 4000 level. Students must reach the 4000 level before they can complete a senior recital or senior project. If students are pre-enrolled for the next level of applied studio instruction and fail to pass their current level requirements the faculty advisor will un-enroll them and enroll them in the previous level of applied studio instruction. Students who do not pass a level may retake the exam at the next jury or progress and skills exam. It is imperative that students become familiar with the expectations at each level by regularly consulting the progress and skills exam guidelines, found in the handbook appendix beginning on p. 48, for their area of primary specialization.

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Students who wish to change their area of primary specialization must first consult with the coordinator. Then, they must audition in the intended new area of primary specialization for the music faculty. Finally, they must begin the instrument leveling sequence on their new area of primary specialization from the 1000-level. Students who change their area of primary specialization should expect to extend their graduation date.

10.6 APPLICATION TO DEGREE

During the second trimester (generally at the end of the freshman year) of music course-work at USAO all students must apply for official admission to the Bachelor of Arts degree program. Students must fill out an application for admission, available in the appendix on p. 90 and on the public shared drive (see public shared drive p. 20), and submit it to the coordinator no later than the last Friday prior to the jury or progress and skills exam day(s) of the trimester. At this time, the student is evaluated and assessed by the music faculty regarding their performance in music theory, aural skills, class piano, performance on their primary specialization, ensemble participation, their level of commitment, and their overall growth as a musician. At the end of assessment, students will either be granted admission to the degree program, be granted admission with probationary status, or will be asked to find a more suitable major. If granted admission with probationary status, students will be advised about their deficiencies and must discuss a plan to fix those deficiencies with their adviser. Students with probationary status must re-apply for degree admission at the end of the next trimester. Students will receive a letter from the coordinator detailing the results of their application to the degree within two weeks of the jury or progress and skills exam for the trimester of application. A copy of this letter will also be given to the student’s advisor for placement in the advising file.

10.7 PRIMARY SPECIALIZATION QUALIFYING EXAM

During the fourth trimester (generally at the end of the sophomore year) of applied studio instruction students are evaluated and assessed by the music faculty regarding their per-formance on their primary specialization. This evaluation is part of the jury or progress and skills exam and is meant to determine likelihood of the student completing leveling requirements on their area of primary specialization.

Recommendations are made by the faculty for approval, probationary status, or denial to continue with the current primary specialization. Students may not enroll in 3000-level applied studio instruction until they have passed the qualifying exam. Probationary status may require additional private instruction at the previous level, a meeting with the music faculty, or deferral of approval until standards have been met. Students who demonstrate that they have met competencies are approved by the music faculty for further upper division private instruction. Students who, after probationary status and remediation, do not pass the qualifying exam will need to change their primary area of specialization (this will require an audition as well as beginning on that new specialization at the 1000-level) or will be asked to find a more suitable major.

Students will receive a letter from the coordinator detailing the results of their qualifying exam within two weeks of completing the exam. A copy of this letter will also be given to

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the student’s advisor for placement in the advising file.

10.8 PIANO PROFICIENCY

Keyboard proficiency is an important component of overall musicianship. Upon entering USAO, students are placed in class piano or applied studio instruction on piano based on a combination of demonstrated playing skills and musical knowledge. Students enrolled in class piano must complete the class piano sequence from the point of placement (see sequenced courses p. 22).

All music majors must pass a piano proficiency examination. Students in class piano will take the exam as a final component of the fourth trimester of the class piano sequence. Students who do not pass the proficiency at the end of class piano IV will be required to enroll for applied studio instruction in piano until the proficiency is passed. Students enrolled in piano as their primary specialization must sign up for an additional jury or progress and skills exam time slot to complete their piano proficiency when their applied studio instructor deems that they have been adequately prepared for the exam. Students enrolled in applied studio instruction in piano as a secondary instrument will perform the proficiency exam in lieu of a jury or progress and skills exam. Proficiency requirements include repertoire, harmonization, transposition, keyboard harmony, technique, accompanying, improvisation, and sight-reading. A copy of the proficiency requirements is found in the handbook appendix on p. 88.

Students will receive a letter from the coordinator detailing the results of their piano proficiency exam within two weeks of completion of the exam. A copy of this letter will also be given to the student’s advisor for placement in the advising file.

10.9 SENIOR RECITAL/PROJECT HEARING

The senior recital/project hearing serves as a final performance evaluation prior to public performance. In preparation for the senior recital/project, students perform a hearing for the music faculty four weeks prior to the recital date. For detailed information regarding the senior recital/project and recital hearing see p. 25.

Students will receive a letter from the coordinator detailing the results of their recital hearing within 48 hours of completion of the hearing. A copy of this letter will also be given to the student’s advisor for placement in the advising file.

10.10 EXITING STUDENT SELF-ASSESSMENT ESSAY

As a part of the department’s on-going program and student evaluation process, all USAO music majors are asked to complete an exit self-assessment essay. This assessment is used by the department to monitor, assist, and evaluate the progress and goals of all majors. Please note that all music majors must turn in this self-assessment to the coordinator as part of their comprehensive portfolio (see comprehensive portfolio p. 40) one week prior to their exit interview (see exit interview on p. 39). It is our hope that this system of assessment will assist our student/faculty advising process and will also provide each student with a clearer idea of personal and professional goals and expectations.

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The coordinator will review and grade your self-assessment essay based on the content, supporting ideas, grammar, spelling, and writing flow. The purpose of this grade is not to critique a student’s personal ideas or experiences. Rather, it is meant to make sure each student completes the task thoughtfully and carefully. Each student will discuss their self-assessment with the music faculty during their exit interview (see exit interview p. 39).

Please note that students will NOT be allowed to graduate UNTIL this assessment has been presented to and discussed with the music faculty. Students will not be allowed to graduate until they obtain a grade of “C” or better on the self-assessment. This document will form the final reflection on each student’s goals and progress throughout their time at USAO. A copy of the essay will be placed in your confidential file. The confidential file will also provide valuable material to faculty in the future who may be called upon to reference your work as a student. Instructions for completing the essay and a grading rubric are found in the handbook appendix beginning on p. 74.

10.11 MUSIC PROGRAM SURVEY

As a part of the department’s on-going program evaluation process, all USAO music majors are asked to complete a program survey prior to graduation. This assessment is used by the department to monitor, assist, and evaluate the effectiveness of the music program. All graduating music majors must complete the survey. The survey is available in the handbook appendix beginning on p. 103 and on the department public shared drive (see department public shared drive p. 20). Please note that all music majors must turn in the survey to the coordinator one week prior to their exit interview. The survey will be discussed with the music faculty as part of the exit interview. Students will NOT be allowed to graduate UNTIL the program survey has been presented to and discussed with the music faculty.

10.12 EXIT INTERVIEW

At end of a student’s coursework, the student will schedule an appointment for an exit interview with music faculty. The exit interview occurs during the jury or progress and skills exam time of their graduating trimester. The student must sign up for two jury/exam time slots.

The student must turn in their comprehensive portfolio (see comprehensive portfolio p. 40) and music program survey (see music program survey p 39) to the coordinator one week prior to the exit interview. During the interview these documents will be reviewed and the student’s professional aims will be discussed. The student will have the opportunity to answer questions regarding their experience in the department and to make comments or suggestions about ways to improve the program.

Students will receive a letter from the coordinator detailing the results of their exit interview within 48 hours of the interview. The letter will review each assessment milestone listed in this handbook and state whether the student has completed all requirements for graduation. A copy of this letter will also be given to the student’s advisor for placement in the advising file.

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10.13 COMPREHENSIVE PORTFOLIO

All music students, with the assistance of their advisor, will compile a comprehensive port-folio. The purpose of the portfolio is to collect and archive documents essential for graduate school, future employers, or other professional purposes. It is also helpful in reviewing a student’s progress during their time in the program.

Each trimester, specific items must be included in the portfolio. The portfolio will be examined by the music faculty at juries and progress and skills exams every trimester. Failure to provide a complete and updated portfolio each trimester will result in a grade of “No Pass” for recital attendance (see recital attendance p. 27).

The final comprehensive portfolio is due to the coordinator one week prior to the student’s exit interview (see exit interview above). It is the student’s responsibility to compile and collect items for the portfolio. It is the advisor’s responsibility to monitor the contents of the portfolio each trimester. The coordinator will review the student’s portfolio using the exit interview checksheet available in the appendix on p. 104.

The final compressive portfolio should be compiled in the following manner: all items must be 3-hole punched and inserted into a 2- or 3-inch 3-ring binder. This binder should be new or in excellent condition. Clearly labeled divider tabs should be used for each section of the portfolio. A cover page should be inserted into the front cover of the binder or placed as the first page in the binder. The cover page should state the following information:

Comprehensive Portfolio of

Student’s Name Bachelor of Arts: Student’s Emphasis

Primary Applied Specialization: Student’s Primary Instrument Date of Portfolio Submission

The following materials must be included in the comprehensive portfolio in the order spec-ified below. For oversized items such as methods notebooks or the professional educational portfolio, fill out an “Oversized Items Information Form” (see appendix Oversized Items Information Form p. 106) and place it in the “General Documents” section of the portfolio:

1. General Documents

Curriculum Vita/Resume Degree checksheet Transcript(s) Headshot (optional) Oversized Item Information Form

2. Self-Assessment Essays

Incoming student self-assessment essay Exiting student self-assessment essay

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3. Academic Documents

Student course projects Student research papers Other student writing projects

4. Analytical Documents

Concert summaries Music analyses (form charts, score analyses, etc.)

5. Creative Documents

Compositions Arrangements Software projects

6. Applied Studio Instruction Documents

Progress and skills exam forms Jury forms

7. Performance Documents

Programs from all solo and ensemble concerts on which you performed

Fill out an “Additional or Outside Performances Form” for each event you performed on but for which you do not have a program (see appendix Additional or Outside Performances Form p. 105)

Comprehensive repertoire sheet (optional)

8. Music Education Documents (required for Bachelor of Arts in Music Education only)

Statement of teaching philosophy Sample lesson plans (2-3) Other papers/projects as required in music ed. courses (sample of 2-3)

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11 MUSIC ORGANIZATIONS AND OPPORTUNITIES

AMERICAN CHORAL DIRECTORS ASSOCIATION

Founded in 1959, the American Choral Directors Association (ACDA) is a nonprofit music-education organization whose expressed purposes outline the association’s dedication to the advancement of choral music. ACDA membership consists of choral directors and students who represent more than one million singers across the United States.

CHICKASHA AREA ARTS COUNCIL

The Chickasha Area Arts Council (CAAC) is a nonprofit cultural and educational agency that supports, encourages, coordinates, and promotes high-quality activities and programs in the arts and humanities for the Chickasha area community. The council meets once a month and sponsors several arts events each year.

COLLEGE BAND DIRECTORS NATIONAL ASSOCIATION

The members of the College Band Directors National Association (CBDNA) are devoted to the teaching, performance, study and cultivation of music, with particular focus on the wind band medium. CBDNA is an inclusive organization whose members are engaged in continuous dialog encompassing a myriad of philosophies and professional practices. CBDNA is committed to serving as a dynamic hub connecting individuals to communities, ideas, and resources. Each year, the Oklahoma members of the CBDNA co-sponser with OkMEA the Oklahoma Intercollegiate Honor Band, a performance opportunity for Oklahoma’s collegiate band students.

DAVIS-WALDORF PERFORMING ARTS SERIES

The Davis-Waldorf Performing Arts Series provides four concert opportunities for USAO students and the community each year. Performers in the series are world-class musicians and attendance at these concerts by USAO music students is strongly encouraged. Reduced-priced or free tickets may be available to USAO students for some of these events.

MACDOWELL MUSIC CLUB

The MacDowell Music Club is a member of the National Federation of Music Clubs. It is open to anyone interested in actively promoting music excellence. Meetings are held monthly. Speak with a member of the group if you are interested in participating. The USAO MacDowell Club Scholarship recipient performs for the club each year.

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NATIONAL ASSOCIATION FOR MUSIC EDUCATION

The National Association for Music Education (NAfME), among the world’s largest arts education organizations, is the only association that addresses all aspects of music education. NAfME advocates at the local, state, and national levels; provides resources for teachers, parents, and administrators; hosts professional development events; and offers a variety of opportunities for students and teachers. The association orchestrates success for millions of students nationwide and has supported music educators at all teaching levels for more than a century.

NATIONAL ASSOCIATION OF TEACHERS OF SINGING

Founded in 1944, National Association of Teachers of Singing, Inc. (NATS) is the largest professional association of teachers of singing in the world with more than 7,000 members in the United States, Canada, and nearly 30 other countries. Driven by its mission statement, NATS offers a variety of lifelong learning experiences to its members, with workshops, intern programs, master classes and conferences, all beginning at the chapter level and progressing to national events. Students of NATS members have access to one of the organization’s most widely recognized activities: Student Auditions. They also have the opportunity, along with members, to compete at a national level through the National Association of Teachers of Singing Artist Awards (NATSAA), the National Music Theater Competition (NMTC), and beginning in 2014 the National Student Auditions competition.

OKLAHOMA CHORAL DIRECTORS ASSOCIATION

The Oklahoma Choral Directors Association (OCDA) is the Oklahoma chapter of the ACDA. It offers an annual opportunity for students to be recommended for and participate in an All-Collegiate Honor Chorus.

OKLAHOMA MUSIC EDUCATORS ASSOCIATION

The mission of the Oklahoma Music Educators Association (OkMEA) is: 1) to ensure that every student in grades K-12 receives a high-quality, sequential music education, provided by a certified music educator; 2) to provide professional development for pre-service and in-service music teachers; 3) to create a better awareness of the value of music education; and 4) to recognize outstanding student musicians in Oklahoma through OkMEA All-State organizations.

OKLAHOMA MUSIC THEORY ROUND TABLE

The Oklahoma Music Theory Round Table (OMTRT) is the premier professional organiza-tion for collegiate Music Theory professors in the state of Oklahoma, and additionally serves all Music Theory and composition students in the Oklahoma University system. In its an-nual meetings, the organization addresses issues pertinent to Music Theory and composition instruction at the collegiate level, including but not limited to curriculum needs, educational resources, innovative teaching methods, and various topics in contemporary Music Theory.

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OMTR also serves as a platform for the performance and analysis of repertoire vital to the ongoing development of music theorists and their students.

UNIVERSITY MUSIC APPRECIATION CLUB

University Music Appreciation Club (UMA) is a student organization for those interested in supporting music activities at USAO. Its purpose is to support and encourage cultural events and provide experiences relevant to the artistic growth of musicians within the university community. Officers include president, vice-president, and secretary-treasurer. Meetings are held on a regular basis. Dues are minimal.

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12 MUSIC FACULTY

12.1 FULL TIME

Dr. Jan Hanson, Professor of Music: B.S., Texas Women’s University; M.M., Indiana University; D.M.A., North Texas State University.

Roles: Academic adviser for vocal music education majors, music work study supervisor, director of concert choir. University sponsor for University Musician Appreciation Club, OkMEA/NAfME collegiate chapter, and OCDA/ACDA collegiate student members.

Dr. Kate Sekula, Assistant Professor of Music: B.S., Lebanon Valley College, B.A., Lebanon Valley College; M.M. George Mason University; Ph.D., University of Connecticut.

Roles: Department coordinator, academic adviser for instrumental music education majors, music business majors, and performance (brass, percussion, and woodwind) majors, director of concert band.

Dr. Stephen Weber, Professor of Music, B. Mus. Ed., Concordia University-Chicago; M.A., State College of New Jersey; Ph.D., Texas Tech University.

Roles: Chair of the Division of Arts and Humanities, academic advisor for performance (pi-ano, composition, voice, and guitar) majors; audio recording of concerts and recitals.

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PART TIME

Ron Blankinship, Applied Studio Instructor of Percussion: B.A. and M.A., Oklahoma Christian University.

Lindsey Jessick, Applied Studio Instructor of Brass: B.M., Ithaca College; M.M. Univer-sity of Tennessee; D.M.A. (in progress), University of Oklahoma.

Sarah Jo Martin, Applied Studio Instructor of Voice: B.M., Stephen F. Austin State Uni-versity; M.M., Oklahoma City University.

Anna Roach, Applied Studio Instructor of Clarinet: D.M.A., Texas Tech University.

Mamie Sprinkle-Baker, Applied Studio Instructor of Flute and Saxophone, Director of Jazz Band: B.M. and M.M. (in progress), Southwestern Oklahoma State University

Francisco Venegas, Applied Studio Instructor of Guitar, B.A., Pontificia Universidad Jave-riana; M.M., Oklahoma City University.

Rob Vollmar, Instructor for History of Popular Music in America, B.A., University of Sci-ence and Arts of Oklahoma.

SUPPORT STAFF

Rhenada Finch, Staff Accompanist: B.A., University of Science and Arts of Oklahoma.

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Appendices Progress and Skills Exam Expectations p. 48 Advisement Checksheets p. 66 Incoming Student Self-Assessment Essay Instructions p. 72 Exiting Student Self-Assessment Essay Instructions p. 74 Self-Assessment Grading Rubric p. 75 Jury Sheets p. 77 Progress and Skills Exam Sheets p. 83 Scholarship Audition Adjudication Sheet p. 87 Piano Proficiency Sheet p. 88 Student Recital Form p. 89 Application for Admission to Degree p. 90 Senior Recital Hearing Sheet p. 91 Recital Hearing Program Sample p. 92 Recital Attendance Syllabus p. 93 Returning Student Scholarship Audition Form p. 97 Protecting Your Hearing Health p. 98 Music Program Survey p. 103 Exit Interview Checksheet p. 104 Additional or Outside Performance Form p. 105 Oversized Items Information SHeet p. 106

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Progress and Skills Exam Expectations (Listed Alphabetically by Area of Primary Specialization)

These reviews are diagnostic in nature and are designed to assist students and faculty in advisement, curriculum guidance, and career choice. The student may, at times, be re-directed in music studies through assessment of career goals. This review should foster a spirit of encouragement in helping the student move forward in attaining an appropri-ate level of music skills as efficiently as possible. Skills appropriate for graduation will be comprehensive of all skills acquired at each level. While not all emphases require a senior recital/project, all students are encouraged to complete a senior recital/project. Evalua-tion and advisement comments will be included with the progress and skills exam form in the comment section. For detailed information regarding the progress and skills exams, see spring trimester progress and skills exam on p. 36.

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=

=

Bassoon

Anticipated accomplishments at the end of the freshman year: � � • Demonstrated skill of all major scales, memorized, in 2 octaves in � =� at the tempo of

� � =120, ascending and descending. • Proficient completion of 10-12 etudes, based on the student’s proficiency, as assigned by the instructor.

• Proficient completion of 4-6 standard solo repertoire pieces as determined by the in-structor. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam): • Demonstrated skill of all major and minor (all three version) scales in 2 octaves, mem-

= � � � � � orized, in � at the tempo of =120, ascending and descending.

• Proficient completion of 12 etudes as assigned by the instructor. • Proficient completion of 6 standard solo repertoire pieces to be determined by the instructor from different time periods than studied in freshman year. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three versions) scales as stated in fresh-man and sophomore accomplishments as well as accompanying arpeggios.

• Proficient completion of 12 etudes at the advanced level. • Proficient completion of 6-8 standard solo repertoire pieces to be determined by the in-structor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments for graduation: • Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three versions) scales as stated in freshman and sophomore accomplishments as well as accompanying arpeggios. Additional scales and exercises as determined by the instructor.

– Proficient completion of 12 etudes at the advanced level.

– Proficient completion of 6-8 standard solo repertoire pieces to be determined by the instructor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

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=

=

Clarinet

Anticipated accomplishments at the end of the freshman year: � � • Demonstrated skill of all major scales, memorized, in 2 octaves in � =� at the tempo of

� � =120, ascending and descending. • Proficient completion of 10-12 etudes, based on the student’s proficiency, as assigned by the instructor.

• Proficient completion of 4-6 standard solo repertoire pieces as determined by the in-structor. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam): • Demonstrated skill of all major and minor (all three version) scales in 2 octaves, mem-

= � � � � � orized, in � at the tempo of =120, ascending and descending.

• Proficient completion of 12 etudes as assigned by the instructor. • Proficient completion of 6 standard solo repertoire pieces to be determined by the instructor from different time periods than studied in freshman year. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three versions) scales as stated in fresh-man and sophomore accomplishments as well as accompanying arpeggios.

• Proficient completion of 12 etudes at the advanced level. • Proficient completion of 6-8 standard solo repertoire pieces to be determined by the in-structor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments for graduation: • Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three versions) scales as stated in freshman and sophomore accomplishments as well as accompanying arpeggios. Additional scales and exercises as determined by the instructor.

– Proficient completion of 12 etudes at the advanced level.

– Proficient completion of 6-8 standard solo repertoire pieces to be determined by the instructor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

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Composition

Anticipated accomplishments at the end of the freshman year:

• Demonstrated skill at score design, note-setting, and editing. • Production of at least four original compositions, two of which should be performed for the progress and skills exam (as resources allow; MIDI is acceptable).

• Original compositions should include one arrangement, one work for solo instrument, one duo or trio, and one work for voice.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam):

• Production of at least four original compositions, two of which should be performed for the progress and skills exam (as resources allow; MIDI is acceptable).

• Original compositions should include a trio or quartet (brass, percussion, guitar, wind), a work for solo instrument and accompaniment, an SATB work, and one arrangement.

Anticipated accomplishments at the end of the junior year:

• Production of at least four original compositions, two of which should be performed for the progress and skills exam (as resources allow; MIDI is acceptable).

• Original compositions should include one work for large ensemble (chamber ensemble, band, orchestra, or choir).

Anticipated accomplishments for graduation:

• Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Production of at least four original compositions, two of which should be per-formed for the progress and skills exam or jury of the final trimester (as resources allow; MIDI is acceptable).

– Original compositions should include a variety of styles and compositional tech-niques, but should also display the composer’s personal style and use of composi-tional materials.

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Euphonium

Anticipated accomplishments at the end of the freshman year:

• Demonstrated skill of all major scales in two octaves. � • Demonstrated skill of Pilafian and Sheridan’s Brass Gym chromatic study at � = 120+

and other technical exercises as assigned. • Performance of repertoire and etudes as assigned by instructor

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstrated skill of all major and minor (all three forms) scales in two octaves. • Demonstrated skill of technical exercises as assigned by the instructor, including mul-tiple tonguing.

• Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of repertoire and etudes as assigned by instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

Anticipated accomplishments at the end of the junior year:

• Demonstrated skill of all major and minor (all three forms) scales in two octaves. • Demonstrated skill of technical exercises as assigned by the instructor. • Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression • Performance of repertoire and etudes as assigned by instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

• Demonstrated familiarity with treble clef.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three forms) scales in two octaves. – Demonstrated skill of technical exercises as assigned by the instructor. – Inclusion of appropriate use of vibrato; evidence of mature musicality and expres-

sion. – Performance of repertoire and etudes as assigned by instructor. – Evidence of familiarity with appropriate performance practice for contrasting

styles of music from different eras.

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=

=

Flute

Anticipated accomplishments at the end of the freshman year: � � • Demonstrated skill of all major scales, memorized, in 2 octaves in � =� at the tempo of

� � =120, ascending and descending. • Proficient completion of 10-12 etudes, based on the student’s proficiency, as assigned by the instructor.

• Proficient completion of 4-6 standard solo repertoire pieces as determined by the in-structor. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam): • Demonstrated skill of all major and minor (all three version) scales in 2 octaves, mem-

= � � � � � orized, in � at the tempo of =120, ascending and descending.

• Proficient completion of 12 etudes as assigned by the instructor. • Proficient completion of 6 standard solo repertoire pieces to be determined by the instructor from different time periods than studied in freshman year. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three versions) scales as stated in fresh-man and sophomore accomplishments as well as accompanying arpeggios.

• Proficient completion of 12 etudes at the advanced level. • Proficient completion of 6-8 standard solo repertoire pieces to be determined by the in-structor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments for graduation: • Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three versions) scales as stated in freshman and sophomore accomplishments as well as accompanying arpeggios. Additional scales and exercises as determined by the instructor.

– Proficient completion of 12 etudes at the advanced level.

– Proficient completion of 6-8 standard solo repertoire pieces to be determined by the instructor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

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Guitar

Anticipated accomplishments at the end of the freshman year:

• Right Hand: Demonstrated skill of R.H. (P,I,M,A) technique for block chords, thumb strum, and basic arpeggiation patterns using basic open string chords and basic barre chords. Demonstrated skill of all major and minor (all three forms) scales up to three sharps/flats (one and two octaves) following the fingerings of at least one representative method (Segovia, Carcassi, Aguado, etc.). Alternation of fingers I,M on single strings for melodic lines.

• Left Hand: Demonstrated use of L.H. (1, 2, 3, 4) technique for basic open string chords (E, Em, A, Am, D, Dm, G, C) and basic barre chords (F, B) in 1st/4th position, performing chord-to-chord changes over a beat. Demonstrated skill performing simple melodic lines in keys up to three sharps/flats using individual strings.

• Completion of at least six (6) etudes from a collection of simple studies (e.g., Brouwer’s Simple Studies, Segovia’s F. Sor Studies, Carcassi’s 25 Progressive Studies, etc.).

• Proficient performance of at least two (2) beginner standard solo repertoire pieces as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Right Hand: Demonstrated skill with R.H. technique for playing pizzicato, advanced block chords, advanced strumming techniques, and advanced arpeggiation patterns, using all open string chords and advanced barre chords. Demonstrated skill of all major and minor (all three forms) scales up to five sharps/flats (one and two octaves) following the fingerings of at least one representative method (Segovia, Carcassi, Aguado, etc.) and/or the student’s choice of scale shapes. Alternation of fingers I,M on single strings, and string crossing for melodic lines and compound melodies in alternation with P (counterpoint).

• Left Hand: Demonstrated skill with L.H. technique for advanced open string chords (M, m, MM7, Mm7, mm7, dm7, and dd7) and advanced barre chords in 1st/9th position, performing chord-to-chord changes over various simple meters. Simple melodic lines in keys up to five sharps/flats using individual strings. Natural harmonics using L.H. fingers on all strings.

• Completion of at least eight (8) etudes from a collection of progressive studies (e.g., ´ ´ Brouwer’s Nuevos Estudios Sencillos, Sor’s 12 Etudes Op. 6, Giuliani’s 24 Etudes, Op.

48, Sagreras’s Guitar Lessons/Books 1-3, etc.) • Completion of two (2) preludes for guitar approved by the instructor from any set or collection (e.g., Tarrega, Villa-Lobos, Giuliani, etc).

• Proficient performance of at least two (2) intermediate standard solo repertoire pieces as determined by the instructor.

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Anticipated accomplishments at the end of the junior year:

• Right Hand: Demonstrated proficiency of R.H. technique for playing extended block chords, extended strumming techniques, and extended arpeggiation patterns, using all open string chords and advanced barre chords. Demonstrated skills of all major and minor scales (all three forms), two octaves, following the fingerings of at least one representative method (Segovia, Carcassi, Aguado, etc.) and/or the student’s choice of scale shapes. Alternation of I,M, and introduction of A as auxiliary on single strings, string crossing for single melodic lines, and advanced compound melodies in alternation with P (counterpoint). Voice separation/hierarchy (bass/ accompaniment, melody), in homophonic texture in regards of the disposition of the musical content. Effective dynamic control (p, mp, mf, f, sfz , cresc, dim, etc.).

• Left Hand: Demonstrated proficiency of L.H. technique for any possible open string chords and any barre chords in 1st/12th position, smoothly performing chord-to-chord changes over multiple meters. Single compound melodic lines in all the keys (idiomatic for the instrument), using individual strings.

• At least eight (8) etudes or advanced exercises from a collection of progressive studies ´ ´ (e.g., Sagreras’s Guitar Lessons/Books 4-6, Sor’s 25 Etudes Op. 60, Regondi’s Etudes,

Carlevaro’s Serie Didactica 1-4, etc.). • Completion of two (2) preludes/caprices for guitar approved by the instructor from any set or collection (e.g., Tarrega, Legnani, Giuliani, etc).

• At least one (1) movement from a J.S. Bach suite/partita. • At least one (1) piece/movement from a major work by Roland Dyens, Mauro Giuliani, Agustin Barrios, or F. Moreno Torroba.

• Proficient performance of at least two (2) standard solo repertoire pieces as determined by the instructor.

Anticipated accomplishments for graduation:

• If music education or music performance emphases: performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging repertoire from the student’s composi-tion portfolio as selected by the student and instructor.

• Regardless of student’s chosen area of emphasis, by graduation all guitar students should accomplish the following:

– Right Hand: Mastery of R.H. technique for all extended techniques (Tambura, Dedillo, Percussion, Rasgueados, Bartok pizz., etc.), extended block chords, ex-tended strumming techniques, and extended arpeggiation patterns, using all ad-vanced open and barre chords. Demonstrated skill of all major and minor scales (all three forms), and modes, two octaves, following the fingerings of at least two or more representative methods (Segovia, Carcassi, Aguado, etc.) and/or the student’s choice of scale shapes. Alternation of I,M, and A as auxiliary on single strings, string crossing for advanced single and compound melodies in alternation with P (counterpoint). Effectiveness of voice separation/hierarchy, in homophonic content. Artificial harmonics using R.H fingers on all strings. Effective dynamic control.

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– Left Hand: Mastery of L.H. technique for any possible open string chords and any barre chords in 1st/(when possible) 20th position, smoothly performing chord-to-chord changes over multiple meters. Single and multiple compound melodic lines in all the keys (idiomatic for the instrument), using individual and/or multiple strings.

– Both Hands: Effective R.H. and L.H. articulations (staccato, legato, tenuto, mar-catto, etc.).

– At least ten (10) etudes or advanced exercises from a collection of progressive stud-ies (e.g., Bogdanovic’s Polyrhythmic and Polymetric Studies, Tennant’s Pumping

´ Nylon, Iznaola’s Kytharologus, Villa-Lobos’s Etudes, W.235, etc.).

– At least one (1) movement from a J.S Bach suite/partita, preferably a Prelude, Fugue, or Gige.

– At least one (1) piece/movement from a major work by Joaquin Rodrigo, Leo Brouwer, M. Castelnuovo-Tedesco, or Sergio Assad.

– Performance of at least two (2) advanced standard solo repertoire pieces as de-termined by the instructor.

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Horn

Anticipated accomplishments at the end of the freshman year:

• Demonstrated skill of all major scales in two octaves. • Demonstrated skill of technical exercises as assigned by the instructor. • Performance of repertoire and etudes as assigned by the instructor.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstrated skill of all major and minor (all three forms) scales in two octaves. • Demonstrated skill of technical exercises as assigned by the instructor, including mul-tiple tonguing.

• Evidence of maturing musicality and expression. • Performance of repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

Anticipated accomplishments at the end of the junior year:

• Demonstrated skill of all major and minor (all three forms) scales in two octaves. • Demonstrated skill of technical exercises as assigned by the instructor. • Evidence of maturing musicality and expression. • Performance of repertoire and etudes as assigned by instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

• Demonstration of the basic principles of transposition.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three forms) scales in two octaves.

– Demonstrated skill of technical exercises as assigned by the instructor.

– Evidence of mature musicality and expression.

– Performance of repertoire and etudes as assigned by the instructor.

– Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

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=

=

Oboe

Anticipated accomplishments at the end of the freshman year: � � • Demonstrated skill of all major scales, memorized, in 2 octaves in � =� at the tempo of

� � =120, ascending and descending. • Proficient completion of 10-12 etudes, based on the student’s proficiency, as assigned by the instructor.

• Proficient completion of 4-6 standard solo repertoire pieces as determined by the in-structor. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam): • Demonstrated skill of all major and minor (all three version) scales in 2 octaves, mem-

= � � � � � orized, in � at the tempo of =120, ascending and descending.

• Proficient completion of 12 etudes as assigned by the instructor. • Proficient completion of 6 standard solo repertoire pieces to be determined by the instructor from different time periods than studied in freshman year. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three versions) scales as stated in fresh-man and sophomore accomplishments as well as accompanying arpeggios.

• Proficient completion of 12 etudes at the advanced level. • Proficient completion of 6-8 standard solo repertoire pieces to be determined by the in-structor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments for graduation: • Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three versions) scales as stated in freshman and sophomore accomplishments as well as accompanying arpeggios. Additional scales and exercises as determined by the instructor.

– Proficient completion of 12 etudes at the advanced level.

– Proficient completion of 6-8 standard solo repertoire pieces to be determined by the instructor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

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Percussion

Anticipated accomplishments at the end of the freshman year:

• Marimba Skills: Demonstrated skill on all major scales up to three sharps/flats in 2 octaves. Performance of one solo with two mallets and one solo with four mallets.

• Snare Skills: Demonstrated skill on open, closed, and single stroke rolls, slow-fast-slow, Paradiddle, and Flam. Table of Time up to 12.

• Timpani Skills: Performance of two etudes by Mitchell Peters demonstrating proper tone and body movement.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Marimba Skills: Demonstrated skills on all 48 scales (12 major, natural minor, har-monic minor & melodic minor), in 2 octaves, ascending and descending; demonstrated skill on the chromatic scale ascending and descending covering the full range of the instrument; four-mallet chordal rolls and wrist rotation exercises; one etude by Nancy Zeltsman; one vibraphone pedaling etude.

• Snare Skills: Demonstrated skill on all 40 PAS rudiments, slow-fast-slow. • Timpani Skills: Performance of one Mitchell Peters tuning etude.

Anticipated accomplishments at the end of the junior year:

• Marimba Skills: Demonstrated skill on all 48 scales (12 major, natural minor, har-monic minor & melodic minor), ascending and descending, covering the full range of the instrument; demonstrated skill on the chromatic scale ascending and descending covering the full range of the instrument; demonstrated skill on all major, minor, and diminished arpeggios, ascending and descending, in two octaves; four mallet chordal rolls and wrist rotation exercises; one etude from Nancy Zeltsman; one four-mallet vibraphone etude or solo.

• Snare Skills: Demonstrated skill on all 40 PAS rudiments, slow-fast-slow. One rudi-mental solo by Mitch Markovitch.

• Timpani Skills: Completion of four solos with tuning changes. • One multi-percussion solo and one drum set solo. • Hand Drum Skills: Demonstration of the ability to play-a-long using appropriate style and technique.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Comprehensive of all skills acquired at each level

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Piano

Anticipated accomplishments at the end of the freshman year:

• Completion of the various components of the Piano Proficiency Exam: repertoire, tech-nique, keyboard harmony, transposition, harmonization, sight-reading, accompanying, and improvisation (ee piano proficiency p. 38).

• Performance of at least two standard solo repertoire pieces from different periods at the intermediate to early advanced level, or as determined by the instructor. Examples of these can be found in Alfred’s Essential Keyboard Repertoire, Volumes 1-4. Other examples: Bach Inventions, Chopin Mazurkas or Preludes, Barkok Mikrokosmos, vol-umes 3-4.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstration of skill with all major and minor scales and arpeggios in three or more octaves.

• Completion of technical studies as determined by the instructor. • Performance of four standard solo repertoire pieces from various periods at the inter-mediate to early advanced level, or as determined by the instructor. Examples of these can be found in Alfred’s Essential Keyboard Repertoire, volumes 1-4. Other exam-ples: Bach Inventions, Mozart or Haydn Sonatas, Mendelssohn Songs Without Words, Chopin Mazurkas, Preludes, or Waltzes, Bartok Mikrokosmos, volumes 3-4.

Anticipated accomplishments at the end of the junior year:

• Demonstration of the mechanics of technical skills, musical tone production, accurate rhythmic interpretation, appropriate use of articulation and dynamics, and appropriate fingering.

• Performance of four standard solo repertoire pieces from various periods at the ad-vanced level, or as determined by the instructor. Examples of these can be found in Alfred’s Essential Keyboard Repertoire, volumes 5-6. Other examples: Bach Sinfonia or Preludes and Fugues from the Well-Tempered Clavier, Beethoven Sonatas, Chopin Nocturnes, Brahms Intermezzi, Bartok Mikrokosmos, volumes 5-6.

• Completion of technical studies as determined by the instructor. • Demonstration of progress in musical interpretation and communication.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Continuation and ongoing development of skills from the junior level.

– Performance of four repertoire pieces from various periods at the advanced level as determined by the piano instructor.

– Completion of one movement from a piano concerto.

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=

=

Saxophone

Anticipated accomplishments at the end of the freshman year: =

� � • Demonstrated skill of all major scales, memorized, in 2 octaves in � � at the tempo of � � =120, ascending and descending.

• Proficient completion of 10-12 etudes, based on the student’s proficiency, as assigned by the instructor.

• Proficient completion of 4-6 standard solo repertoire pieces as determined by the in-structor. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the sophomore year (Qualifying Exam): • Demonstrated skill of all major and minor (all three version) scales in 2 octaves, mem-

= � � � � � orized, in � at the tempo of =120, ascending and descending.

• Proficient completion of 12 etudes as assigned by the instructor. • Proficient completion of 6 standard solo repertoire pieces to be determined by the instructor from different time periods than studied in freshman year. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three versions) scales as stated in fresh-man and sophomore accomplishments as well as accompanying arpeggios.

• Proficient completion of 12 etudes at the advanced level. • Proficient completion of 6-8 standard solo repertoire pieces to be determined by the in-structor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

• Additional music curricula for tone production and technical skill as determined by the instructor.

Anticipated accomplishments for graduation: • Performance of compositions in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting repertoire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three versions) scales as stated in freshman and sophomore accomplishments as well as accompanying arpeggios. Additional scales and exercises as determined by the instructor.

– Proficient completion of 12 etudes at the advanced level.

– Proficient completion of 6-8 standard solo repertoire pieces to be determined by the instructor that will continue to explore differing time periods. At least two pieces/movements must have been performed on student recital.

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Trombone

Anticipated accomplishments at the end of the freshman year:

• Demonstrated skill of all major scales in two octaves, ascending and descending. • Demonstrated skill of technical exercises as assigned by the instructor. • Performance of standard solo repertoire and etudes as assigned by instructor.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstrated skill of all major and minor (all three forms) scales in two octaves, ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor, including mul-tiple tonguing.

• Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

Anticipated accomplishments at the end of the junior year:

• Demonstrated skill of all major and minor (all three forms) scales in two octaves, ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor. • Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

• Demonstrated introductory reading ability of passages in tenor clef.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three forms) scales in two octaves, ascending and descending.

– Inclusion of appropriate use of vibrato; evidence of mature musicality and expres-sion.

– Performance of standard solo repertoire and etudes as assigned by the instructor.

– Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

– Demonstrated continued familiarity with reading passages in tenor clef.

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Trumpet

Anticipated accomplishments at the end of the freshman year: • Demonstrated skill of all major scales in two octaves up to high C (C], D, E[, E, and F scales may be played one octave), ascending and descending.

� • Clarke Technical Studies: Demonstrated skill performing the First Study at � = 120+ and other technical exercises as assigned by the instructor.

• Performance of standard solo repertoire and etudes as assigned by the instructor.

Anticipated accomplishments at the end of the sophomore year (qualifying exam): • Demonstrated skill of all major and minor (all three forms) scales in two octaves up to high C, ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor (Clarke, Arban, etc.), including multiple tonguing.

• Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

Anticipated accomplishments at the end of the junior year: • Demonstrated skill of all major and minor (all three forms) scales in two octaves up to high C, ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor (Clarke, Arban, etc.).

• Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

• Demonstration of basic principles of transposition and knowledge of high horns.

Anticipated accomplishments for graduation: • Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three forms) scales in two octaves up to high C, ascending and descending.

– Inclusion of appropriate use of vibrato; evidence of maturing musicality and ex-pression.

– Performance of standard solo repertoire and etudes as assigned by the instructor.

– Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

– Demonstration of continued familiarity with the principles of transposition and knowledge of high horns.

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Tuba

Anticipated accomplishments at the end of the freshman year:

• Demonstrated skill of all major scales in two octaves, ascending and descending. � • Demonstrated skill of Pilafian and Sheridan’s Brass Gym chromatic exercise at � 120+

and other technical exercises as assigned by the instructor. • Performance of standard solo repertoire and etudes as assigned by the instructor.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstrated skill of all major and minor (all three forms) scales in two octaves, ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor, including mul-tiple tonguing.

• Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

Anticipated accomplishments at the end of the junior year:

• Demonstrated skill of all major and minor (all three forms) scales in two octaves (three octaves as appropriate), ascending and descending.

• Demonstrated skill of technical exercises as assigned by the instructor. • Inclusion of appropriate use of vibrato; evidence of maturing musicality and expression. • Performance of standard solo repertoire and etudes as assigned by the instructor. • Evidence of familiarity with appropriate performance practice for contrasting styles of music from different eras.

• Demonstrated knowledge of other keyed tubas.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Demonstrated skill of all major and minor (all three forms) scales in two octaves (three octaves as appropriate), ascending and descending.

– Inclusion of appropriate use of vibrato; evidence of maturing musicality and ex-pression.

– Performance of standard solo repertoire and etudes as assigned by instructor. – Evidence of familiarity with appropriate performance practice for contrasting

styles of music from different eras. – Demonstrated knowledge of other keyed tubas.

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Voice

Anticipated accomplishments at the end of the freshman year:

• Demonstration of the mechanics of technical skills, clear tone production, accurate intonation, use of vibrato, articulation, and appropriate diction accuracy in the Italian and English languages.

• Demonstration of a clear understanding of the musical parameters guiding appropriate repertoire.

• Demonstration of skill with music reading, rhythmic accuracy, and support of range. • Performance of six contrasting solo songs or arias in the English and Italian languages in several styles.

Anticipated accomplishments at the end of the sophomore year (qualifying exam):

• Demonstration of fluency in music reading with ability to learn material independently without the aid of piano demonstrations and/or track accompaniment recordings.

• Performance of six contrasting solo songs, arias, lieder, or chansons in the English, Italian, German and/or French languages. Performance should demonstrate confidence in stage deportment and memory.

Anticipated accomplishments at the end of the junior year:

• Performance of six standard solo repertoire pieces appropriate in scope and similar in challenge to advanced studies books designated by the instructor.

• Diction and language singing skills should include English, Italian, German, and French with the possibility of Spanish and/or other languages. Repertoire should include important and representative arias from operatic literature.

Anticipated accomplishments for graduation:

• Performance in a music faculty reviewed performance hearing and presentation of a formal half-hour senior recital or senior project with contrasting and challenging reper-toire from the student’s composition portfolio as selected by the student and instructor OR

• If pursuing emphasis in Music Business where senior recital/project is not required:

– Performance of six standard solo repertoire pieces appropriate in scope and similar in challenge to advanced studies books designated by instructor.

– Diction and language singing skills should include English, Italian, German, and French with the possibility of Spanish and/or other languages. Repertoire should include important and representative arias from operatic literature.

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A minimum of 21 hours is required

A minimum of 6 hours of upper division work is required

Music Theory (6 to 8 hours) Hours Trimester Electives (3 to 6 hours from the following) Hours Trimester

MUSC 1102 Music Fundamentals 2 __________ MUSC 3122 Music Business 2 __________

MUSC 1111 Aural Skills I1 1 __________ MUSC 3201 Music Technology 1 __________

MUSC 1113 Music Theory I1 3 __________ MUSC 3212 Survey of World Music 2 __________

MUSC 1121 Aural Skills II2,3 1 __________ MUSC 3303 Music History to 17503 3 __________

MUSC 1123 Music Theory II2,3 3 __________ MUSC 3313 Music History 1750-Present3 3 __________

MUSC 3322 The History of Popular Music in America 2 __________

Music History (3 hours) MUSC 4102 Principles of Conducting3 2 __________

MUSC 1203 The Enjoyment of Music 3 __________ MUSC 4112 Choral Conducting 2 __________

MUSC 3303 Music History to 17503 3 __________ MUSC 4212 Instrumental Conducting 2 __________

MUSC 3313 Music History 1750-present3 3 __________ MUSC 4562 Secondary Vocal Methods 2 __________

MUSC 4572 Secondary Instrumental Methods 2 __________

Studio Instruction (3 hours primary instrument, 1 hour secondary) MUSC 4880 Special Topics in Music4 1 __________

MUSC _____ Applied Studio Instruction __________ ___ __________ MUSC 4901 Small Ensemble5 1 __________

MUSC _____ Applied Studio Instruction __________ ___ __________

MUSC _____ Applied Studio Instruction __________ ___ __________

MUSC _____ Applied Studio Instruction __________ ___ __________

Recital Attendance (2 trimesters passed)

MUSC 2880 Recital Attendance 0 __________

MUSC 2880 Recital Attendance 0 __________ Notes:1Music Theory I and Aural Skills I must be taken concurrently

Major Ensemble (3 hours of MUSC 1051 or MUSC 1081) 2Music Theory II and Aural Skills II must be taken concurrentlyMUSC _____ Concert ______________ 1 __________ 3Pre-requisites must be met to take these coursesMUSC _____ Concert ______________ 1 __________ 4Special Topics courses may be repeatedMUSC _____ Concert ______________ 1 __________ 5Small Ensemble may be repeated

Minor requirements effective June 2016

Minor in Music -- University of Science and Arts of Oklahoma

Incoming Music Major Self-Assessment Essay Instructions

The following must be completed by all entering music majors (freshmen and transfers) prior to the end of the second week of classes.

As a part of the music department’s on-going program and student evaluation process, all USAO music majors are asked to complete an incoming self-assessment essay. This assess-ment is used by the department to monitor, assist, and evaluate the progress and goals of all majors. Please note that all music majors must turn in this self-assessment to the Co-ordinator by the end of their second week of enrollment. It is our hope that this system of assessment will assist our student/faculty advising process and will also provide each student with a clearer idea of personal and professional goals and expectations.

The Coordinator will review and grade your self-assessment essay based on the content, supporting ideas, grammar, spelling, and writing flow. The purpose of this grade is not to critique a student’s personal ideas or experiences. Rather, it is meant to make sure each student completes the task thoughtfully and carefully. Each student will discuss their self-

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assessment with their major advisor during their appointment for enrollment for the next trimester.

Students will NOT be allowed to register for the next trimester or change degrees UNTIL this assessment has been completed with a grade of at least a “C”. This document will form the foundation for your future academic planning and will be placed in your comprehensive portfolio file to better record your goals and progress throughout your time at USAO. It will also be placed in your confidential file. The confidential file will also provide valuable material to faculty in the future who may be called upon to reference your work as a student.

All music majors must respond to the following questions in a thoughtful and complete man-ner. Please use an appropriate formal letter format as you respond to these questions:

1. What do you think your greatest academic or personal strengths are?

2. What do you think your greatest musical strengths are?

3. What do you anticipate your biggest academic challenges or obstacles will be during your time at USAO?

4. What do you anticipate your biggest musical challenges or obstacles will be during your time at USAO?

5. Based on both your accomplishments and challenges as a student and musician, what are your plans or goals for your academic and musical career during your time at USAO? What possible career would you like to pursue once you have your degree? Consider the department’s mission statement and goals as you explain your answer.

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Exiting Music Major Self-Assessment Essay Instructions

The following must be completed by all graduating music majors prior to the exit interview:

As a part of the music department’s on-going program and student evaluation process, all USAO music majors are asked to complete an exit self-assessment essay. This assessment is used by the department to monitor, assist, and evaluate the progress and goals of all majors. Please note that all music majors must turn in this self-assessment to the coordinator one week prior to their exit interview. It is our hope that this system of assessment will assist our student/faculty advising process and will also provide each student with a clearer idea of personal and professional goals and expectations.

The coordinator will review and grade your self-assessment essay based on the content, sup-porting ideas, grammar, spelling, and writing flow. The purpose of this grade is not to critique a student’s personal ideas or experiences. Rather, it is meant to make sure each student completes the task thoughtfully and carefully. Each student will discuss their self-assessment with the music faculty during their exit interview.

Please note that students will NOT be allowed to graduate UNTIL this assessment has been presented to and discussed with the music faculty. Students will not be allowed to graduate until they obtain a grade of at least a “C” on the self-assessment. This document will form the final reflection on each student’s goals and progress throughout their time at USAO. A copy must be included in your comprehensive portfolio. It will also be placed in your confidential file. The confidential file will also provide valuable material to faculty in the future who may be called upon to reference your work as a student.

All music majors must respond to the following questions in a thoughtful and complete man-ner. Please use an appropriate formal letter format as you respond to these questions:

1. What do you think your greatest academic strengths are?

2. What do you think your greatest musical strengths are?

3. What were your biggest academic challenges or obstacles during your time at USAO?

4. What were your greatest challenges or obstacles as a musician during your time at USAO?

5. Explain the role or importance of school and music studies in your life.

6. Based on both your accomplishments and challenges as a student and musician, what are your plans or goals for your musical career now that you are done at USAO? How does this relate to your original academic and musical goals when you first entered USAO?

7. How has USAO prepared you, both musically and academically, for your future life plans? Consider the university and the department’s mission statements and goals as you explain your answer.

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SELF-ASSESSMENT GRADING RUBRIC

5 4 3 2 1

Main Content

Self-assessment answers all 5 questions in instructions. All answers are thoughtfully and

carefully crafted.

Self-assessment answers all but one question in

instructions. All or most answers are thoughtfully and

carefully crafted.

Self-assessment only answers 3 questions. Most answers are

thoughtfully and carefully crafted.

Self-assessment only answers 2 questions. Most answers show some effort to be thoughtfully

and carefully crafted.

Self-assessment answers only 1 question. Answers are not

thoughfully or carefully crafted.

Sub Content

All major points are backed up by facts and appropriate

discussion. Author makes additional thoughtful

comments.

All major points are backed up by facts and appropriate

discussion.

Most major points are backed up by facts and appropriate

discussion.

Some major points are backed up by facts and discussion.

Major points have no facts to back them up or any pertinent

discussion.

FlowSentences are complete and they connect to one another easily. The writing "flows".

Sentences are complete and understandable. There are no

fragments or run-on sentences.

Most sentences are complete and understandable. Others

require some work. Some are fragments or run-ons.

Few sentences are complete and easy to understand.

Others require some work.

Sentences are incomplete, too fragmentary, or too long. It

makes reading them difficult.

Paragraph and Sentence structure

Skillful use of paragraph and sentence structure with correct

punctuation.

Writing mostly follows paragraph form, although some new paragraphs are

necessary. Some punctuation missing.

Maybe one or two paragraphs exists, but for the most part summary is not in paragraph

form. Lots of missing or incorrect punctuation.

No paragraph delineation. Summary looks like one run-on paragraph or column. Poor use

of punctuation.

Not written in paragraph form. Incomprehensible structure.

No correct punctuation.

Grammar, spelling, and

legibility.

High use of the English language. No mistakes in

spelling or grammar.

High use of the English language. Only 1-2 mistakes in

spelling or grammar.

Several, easily missed errors in spelling or grammar.

Many unnecessary mistakes in spelling or grammar.

Full of grammar and spelling errors.

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Scholarship Audition Adjudication Sheet Instructions: This sheet is for students who wish to be considered for a Foundation scholarship for the upcoming academic year. Students should consult the Music Department Policy Handbook for complete information regarding scholarships. Fill out the top portion of this form and bring eight copies to your spring progress and skills exam. Student Name: ___________________________________ Date: ___________________________________________ Student Class Standing: ____________________________ Faculty Use Only: Give the student a rating in the following areas (use the traditional letter grade system A-F). If you have not had the student in class or have not been able to observe them in a particular category, then mark it as Not Observed (NO). _____ 1. Quality of musical performance at recitals, concerts, and exams _____ 2. Attendance/participation in classes _____ 3. Commitment to, and enthusiasm for, the music program _____ 4. Reliability _____ 5. Respect and cooperation _____ 6. Punctuality _____ 7. Overall growth in academic and musical endeavors _____ 8. Likelihood for successful completion of music degree _____ I recommend the above student to be considered for a Foundation music scholarship _____I do not recommend the above student to be considered for a Foundation music scholarship If not recommended, list reasons: ___________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________

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Name _______________________ Trimesters studied __________ Date _____________

Piano Proficiency

1. Technique – Major and minor scales and arpeggios, two octaves, hands together,

in C, G, D, A, F, B-flat and E-flat

2. Keyboard Harmony – All M, m, dim and aug triads and I-IV-I-V-I

progressions in C, G, D, A, F, B-flat and E-flat

3. Harmonization – Prepare three types of harmonizations on a given

melody: block chords, waltz bass, broken chord, etc. The melody will be

provided one week in advance of the proficiency exam.

4. Transposition – Transpose block harmonization above into 2 keys.

5. Repertoire – Perform an approved solo by memory:

Title _______________________________ Composer ____________________

Additional Repertoire _______________________________________________

_______________________________________________

6. Accompanying – Prepare an approved accompaniment for singer, instrumentalist,

or ensemble. If possible, bring your soloist to the exam and perform the piece

together.

7. Sight-Reading – Sight-read a simple song accompaniment, piano duet part or

repertoire piece.

8. Improvisation – Improvise a melody over a given harmonic progression. You

may choose the key and meter for the improvisation.

Pass Retake

___ ___ Technique

___ ___ Keyboard Harmony

___ ___ Harmonization

___ ___ Transposition

___ ___ Repertoire

___ ___ Accompanying

___ ___ Sight-reading

___ ___ Improvisation

Grade _________________ Faculty Signature _________________________________

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APPLICATION FOR ADMISSION TO THE BACHELOR OF ARTS IN MUSIC OR MUSIC EDUCATION

Instructions: Fill out this form and return to the Coordinator of Music by the official last day of classes (consult the current course schedule) of your second trimester of enrollment in music coursework at USAO. Name _____________________________ Date ____________________________

Credit hours completed (as of end of second trimester): ________________________________

Advisor: ________________________________

Cumulative GPA: ________________________________

Ensembles in which you are currently enrolled: ________________________________

Anticipated trimester\year of graduation: ________________________________

Degree Program and Emphasis: (select one option)

Option 1: _____B.A. in Music Education Area of Specialization: (select one) _____ vocal _____ instrumental Option 2: _____B.A. with an Emphasis in Performance Option 3: _____B.A. with an Emphasis in Music Business Primary Instrument: Area of primary specialization (i.e. flute, piano, composition): ________________________________

Applied studio instructor: ________________________________ Music Coordinator Use Only: Application to admission _____ Approved _____ Not approved If not approved, list reasons: ______________________________________________________________

_____________________________________________________________________________________ Coordinator’s Signature Date

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RECITAL HEARING ADJUDICATION FORM Name: ________________________________ Instrument: ____________________________ Trimesters of study in this area: ____________

Recital Hearing Date: ____________________ Recital/Project Date: ____________________

Faculty Use Only: Did the student provide an adequate printed recital hearing program? ____Yes ___ No COMMENTS (continue on back): Based on the student’s preparation for the recital hearing, I recommend the following: _____ Pass: student may present recital/project on the date listed above. _____ Pass with Stipulation(s): student may present recital/project on the dated listed above as long as they meet the following stipulation(s): _____________________________________________________ _____ Retake. The student must delay their recital date and complete a new recital hearing 4 weeks prior to the newly-established date. Reason(s): ______________________________________________ _____________________________________________________________________________________ FACULTY SIGNATURE: _______________________________

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Robert Perou, flute

Senior Recital Hearing

Tuesday March 8, 2016

Allegro* Francois Devienne

Allemande* Henry Purcell

Sonata No. 5 in F Major* George Frideric Handel

I. Larghetto

II. Allegro

III. Siciliana

IV. Giga

Sicilienne, Op. 79 * Gabriel Fauré

Sky Watch…looking inward… Deborah J. Anderson

Somewhere over the Rainbow Harold Arlen and Russ Robinson

*Indicates performed on student recital

Lindsay Robbins, flute

Alyssa Schupman, flute

Dr. Kate Sekula, flute, piano, and harpsichord

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Scholarship Audition Adjudication Sheet Instructions: This sheet is for students who wish to be considered for a Foundation scholarship for the upcoming academic year. Students should consult the Music Department Policy Handbook for complete information regarding scholarships. Fill out the top portion of this form and bring eight copies to your spring progress and skills exam. Student Name: ___________________________________ Date: ___________________________________________ Student Class Standing: ____________________________ Faculty Use Only: Give the student a rating in the following areas (use the traditional letter grade system A-F). If you have not had the student in class or have not been able to observe them in a particular category, then mark it as Not Observed (NO). _____ 1. Quality of musical performance at recitals, concerts, and exams _____ 2. Attendance/participation in classes _____ 3. Commitment to, and enthusiasm for, the music program _____ 4. Reliability _____ 5. Respect and cooperation _____ 6. Punctuality _____ 7. Overall growth in academic and musical endeavors _____ 8. Likelihood for successful completion of music degree _____ I recommend the above student to be considered for a Foundation music scholarship _____I do not recommend the above student to be considered for a Foundation music scholarship If not recommended, list reasons: ___________________________________________________________ _______________________________________________________________________________________ _______________________________________________________________________________________

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Protecting Your Hearing Health: Student Information Sheet on Noise-Induced Hearing Loss

NASM/PAMA: November 2011 V-2

Protecting Your Hearing Health

An NASM – PAMA

Student Information Sheet on Noise-Induced Hearing Loss

Hearing health is essential to your lifelong success as a musician.

Your hearing can be permanently damaged by loud sounds, including music. Technically, this is

called Noise-Induced Hearing Loss (NIHL). Such danger is constant.

Noise-induced hearing loss is generally preventable. You must avoid overexposure to loud sounds,

especially for long periods of time.

The closer you are to the source of a loud sound, the greater the risk of damage to your hearing

mechanisms.

Sounds over 85 dB (your typical vacuum cleaner) in intensity pose the greatest risk to your hearing.

Risk of hearing loss is based on a combination of sound or loudness intensity and duration.

Recommended maximum daily exposure times (NIOSH) to sounds at or above 85 dB are as follows:

o 85 dB (vacuum cleaner, MP3 player at 1/3 volume) – 8 hours

o 90 dB (blender, hair dryer) – 2 hours

o 94 dB (MP3 player at 1/2 volume) – 1 hour

o 100 dB (MP3 player at full volume, lawnmower) – 15 minutes

o 110 dB (rock concert, power tools) – 2 minutes

o 120 dB (jet planes at take-off) – without ear protection, sound damage is almost immediate

Certain behaviors (controlling volume levels in practice and rehearsal, avoiding noisy environments,

turning down the volume) reduce your risk of hearing loss. Be mindful of those MP3 earbuds. See

chart above.

The use of earplugs and earmuffs helps to protect your hearing health.

Day-to-day decisions can impact your hearing health, both now and in the future. Since sound

exposure occurs in and out of school, you also need to learn more and take care of your own hearing

health on a daily, even hourly basis.

It is important to follow basic hearing health guidelines.

It is also important to study this issue and learn more.

If you are concerned about your personal hearing health, talk with a medical professional.

If you are concerned about your hearing health in relationship to your program of study, consult the

appropriate contact person at your institution.

This information is provided by the National Association of Schools of Music (NASM) and the

Performing Arts Medicine Association (PAMA). For more information, check out the other NASM-

PAMA hearing health documents, located on the NASM Web site at the URL linked below.

http://nasm.arts-accredit.org/index.jsp?page=NASM-PAMA_Hearing_Health

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Exit Interview Checksheet

Student Name: _____________________________ Exit Interview Date: ___________________________

Music Portfolio:

The portfolio contains the following items in the following order:

_____ Title page/cover with the correct information

_____ Clearly labeled tabbed sections

_____ Curriculum Vita/Resume

_____ Degree checksheet

_____ Transcript(s)

_____ Over-sized Item Information Form

_____ Both incoming and exiting student self-assessment essays

_____ Course projects, papers, or other writing documents

_____ All concert summaries

_____ Music analysis examples

_____ Compositions, arrangements, or software projects

_____ Progress and skills exam forms

_____ Jury exam forms

_____ Performance programs

_____ Teaching Philosophy (music education only)

_____ Sample lesson plans (music education only)

Music Department Survey:

_____ Survey completed

Exit Interview:

_____ Exit Interview completed

The above student has completed all requirements for the Music Department Exit Interview procedure.

Music Coordinator Signature: ____________________________ Date: _____________________

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Additional or Outside Performance Form

Please fill out this form for any outside or additional performances in which you took part. This form

may also be used for events for which there was no program or for which you have lost the program.

Place the completed form in your final comprehensive portfolio. Use one form for each performance.

Name: _______________________________________________________________________________

Date of Performance: ___________________________________________________________________

Who(m) was the performance for? ________________________________________________________

What was your role (solo, collaborator, group member, conductor, etc.)? _________________________

_____________________________________________________________________________________

Instrument on which you performed: ______________________________________________________

Type of music performed or list of selections performed:

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

_____________________________________________________________________________________

Length of performance: _____________________ minutes

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Over-sized Items Information Form

Some classes may require over-sized materials (notebooks, binders, file boxes, scores, etc.) that will not

fit into your final comprehensive portfolio. These items do not need to be included in your final

comprehensive portfolio, but should be listed below. Please include this form with your portfolio.

Over-sized Item 1:

Description of item: ____________________________________________________________________

Name of Class for which this was required: __________________________________________________

Over-sized Item 2:

Description of item: ____________________________________________________________________

Name of Class for which this was required: __________________________________________________

Over-sized Item 3:

Description of item: ____________________________________________________________________

Name of Class for which this was required: __________________________________________________

Over-sized Item 4:

Description of item: ____________________________________________________________________

Name of Class for which this was required: __________________________________________________

Over-sized Item 5:

Description of item: ____________________________________________________________________

Name of Class for which this was required: __________________________________________________

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