STUDY GUIDE FOR COMPREHENSIVE EXAMINATIONS Various departments of the School of Church Music have compiled suggestions for students preparing to take comprehensive examinations. These suggestions, areas of study, and sample questions follow. However, these examinations are truly comprehensive and concerned with all facets of all courses. The student should therefore have a wide-ranging knowledge of each individual subject as well as a thorough understanding of the relationships between areas and be able to express it in a concise, clear, and well-organized manner. The following lists are provided only as a reminder of some of the areas that may be covered on the exams.

Master of Music

General Music Music Theory

Harmony

Chord spelling in all keys, major and minor: major, minor, augmented, and diminished triads seventh chords (dominant, diminished, non-dominant) secondary dominants and seventh chords borrowed chords (modal alterations, mixed modes) Neapolitan chord augmented sixth chords

modulation non-chord tones (non-harmonic tones, dissonances) figured bass symbols chord connection in four parts (SATB) Roman numeral analysis of all of the above from actual literature. Realization of figured bass—knowledge of the notational conventions.

Recommended texts:

Benjamin, Thomas, Michael Horvit, and Robert Nelson. Techniques and Materials of Tonal Music. 7th ed. Belmont, CA: Thomson/Schirmer, 2008

Benward, Bruce, and Marilyn Saker. Music in Theory and Practice. 8th ed. Boston: McGraw-Hill, 2009.

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Counterpoint/Fugue Motivic, melodic, contrapuntal devices: inversion, augmentation, diminution For any fugue: identification of subject, answer (tonal and real and the reasons for each),

countersubject(s), episode, stretto Contrapuntal/fugal sections within primarily homophonic compositions

Recommended texts:

Mason, Neale B. Essentials of Eighteenth-Century Counterpoint. Dubuque, IA: W. C. Brown, 1968. [out of print, but good]

Kennan, Kent. Counterpoint: Based on Eighteenth-Century Practice. 4th ed. Upper Saddle River, NJ: Prentice Hall, 1999.

Gauldin, Robert. A Practical Approach to Sixteenth-Century Counterpoint. Prospect Heights, IL: Waveland Press, 1995.

Gauldin, Robert. A Practical Approach to Eighteenth-Century Counterpoint. Prospect Heights, IL: Waveland Press, 1995.

Form phrase structure

cadences phrases, phrases in combination (phrase group, period, phrase expansion, asymmetrical

period, double period) section melodic/harmonic departure and return based on key centers, key contrasts identification of small forms (simple binary, rounded binary, ternary) identification of larger forms (sonata, rondo) variation forms (theme and variations, passacaglia, chaconne)

Recommended text: Spencer, Peter, and Peter M. Temko. A Practical Approach to the Study of Form in

Music. Englewood Cliffs, NJ: Prentice-Hall, 1988. Instrumentation classification of instruments (woodwind, brass, percussion, strings)

names of instruments in English, French, German, and Italian transposition of instruments clefs

playing techniques (e.g., spiccato, tonguing, pizzicato, mute) and their names in English, French, German, and Italian.

Recommended text:

Kennan, Kennan, and Donald Grantham. The Technique of Orchestration. 6th ed. Upper Saddle River, NJ: Prentice Hall, 2002.

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Post-Tonal expanded scale resources: chromatic, whole-tone, pentatonic, octatonic expanded harmonic resources: ninth, eleventh, thirteenth chords, quartal chords, clusters,

parallelism (planning), polychords/polytonality, atonality expanded rhythmic resources: nonmetric rhythms, asymmetric meters, changing time

signatures, polyrhythm, additive rhythms serial procedures: twelve-tone technique, serialization of rhythm, dynamics, articulation aleatoric, indeterminacy, set theory Recommended texts:

Dallin, Leon. Techniques of Twentieth Century Composition. 3rd ed. Dubuque, IA: W. C. Brown, 1974.

Kostka, Stefan. Materials and Techniques of Twentieth-Century Music. 3rd ed. Upper Saddle River, NJ: Pearson Prentice Hall, 2006.

Lester, Joel. Analytic Approaches to Twentieth-Century Music. New York: Norton, 1989.

Music History Written Examination The written examination is based primarily on the identification and discussion of five or six musical scores. The exam will focus on sacred music but instrumental works will also be included. The student will need to supply the period of composition and a possible composer for each excerpt. Other items that will need to be provided for some of the excerpts include:

• musical characteristics typical of the period of composition • identification of standard liturgical texts (including items of the mass, the

requiem, and the canticles) • translations of instrument names (especially period instruments) and score

indications • identification of specific compositional techniques

In addition, information on a select number of sacred music masterpieces will be tested, either through objective questions or brief essays. For each of the works below, know the following:

• historical background • source(s) of text, their musical setting, and their dramatic function • style and structure

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Works

Carissimi, Jephte Bach, St. Matthew Passion Handel, Messiah Haydn, The Creation Mozart, Requiem Beethoven, Missa solemnis Mendelssohn, Elijah

Berlioz, Requiem Brahms, Ein deutsches Requiem Verdi, Requiem Stravinsky, Symphony of Psalms Honegger, Le Roi David Poulenc, Gloria Britten, War Requiem

Oral Examination Be prepared to do the following:

• provide an overview of a period (e.g., style characteristics, new genres, composers and titles of works)

• trace the development of a genre (e.g., mass, oratorio, symphony) • identify composers (period in which they were active, works composed, musical

style) • identify composers of specific works • define terms • discuss a score (as in the written portion) • integrate historical and theoretical concepts

Church Music Philosophy in Ministry The student should be able to discuss in a comprehensive manner the biblical, theological, and philosophical foundations that have, throughout Christian history, provided the bases for attitudes and practices in church music and that form the basis for the student’s own concepts. Specific subject areas include:

• The nature and purpose of church music. Included here are the principles of the aesthetics of music, the arts, and Christian experience, and the reasons why music has been shown special favor throughout the history of the church.

• Attitudes toward church music in the various historical periods. The student

should be able to identify and discuss the forms that have been the expressions of church music philosophy throughout history as well as to specific musical examples.

• The functions of music in the ministries of the church. The student must be able

to discuss principles that relate to the purpose and use of music in worship, discipleship, and evangelism.

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• The functions and role of the musical leadership and the musical organizations in

the church. The student must be able to discuss principles that relate to the functions and the role of the minister of music, congregation, choirs and ensembles, soloists, etc.

• The selection of church music literature. The student must be able to discuss the

principles and criteria for selecting church music literature.

• Bibliography. The student should be familiar with the basic book and periodical resources that comprised the reading lists for courses. He or she should also be able to summarize the significant content of the reading sources that have been most helpful in the formation of his/her own concepts of church music.

Administration in Ministry Students should review their class notes and know the essential points, methods, and ideas in Randall Bradley, From Postlude to Prelude (Fenton, MO: Morningstar Music, 2004). Administration in ministry is designed to develop leadership skills in the organization and management of a local church music ministry. It is the foundation that prepares the minister of music for the responsibilities of the process of music ministry. The minister of music is a minister, worship leader, educator, musician, and administrator. The student should be able to demonstrate substantial understanding of these tasks.

• Foundations of the Music Ministry. Know the statements of the denomination regarding the tasks and functions of the church music ministry. Identify, explain, and create a Music Ministry Mission Statement.

• The Call to a Local Church. Discuss the factors a prospective minister of music

should examine as he or she considers a new place of service. Know and understand the need for and use of a job description.

• Church Organization. Understand the basic concepts and facts related to shared

ministry, staff relations, the music council, the music committee, personnel, and finance committees.

• Music Ministry Organization. Construct the basic organizational structure of a

fully graded music ministry in a local church. Include the schemes of choir grading, sources of literature and material, and any other factors related to the program. Several approaches to music training for the entire church should be demonstrated.

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• Music Ministry Growth. Identify and discuss music ministry growth strategies, tools, and resources. Such strategies promote and encourage long-term spiritual and numerical growth in the music program.

• Music Ministry Planning. Good planning is basic to the successful Music

Ministry. Information relative to both short-term and long-range planning will be included.

• Interpersonal Relationships and Public Relations. Be able to demonstrate

effective communication procedures and techniques that assist the minister of music in building strong interpersonal relationships. Discuss promotional ideas for the church’s music ministry.

• Music Ministry Budget. Identify and describe the need for a music ministry

budget. Justify budget requests through the use of the Ministry Action Proposal.

• Acoustics and building design. The minister of music must be conversant with the basic terminology of building acoustics and the factors involved in the design of a sanctuary, choir suite, and other facilities. A summary of basic knowledge of sound reenforcement systems is needed. The student will be asked to generalize about the guidelines for an effective sound reenforcement installation and methods to train sound operators.

• The Basic Bibliography of the Music Ministry. The basic bibliography of the field

should be included in the minister of music’s library. Be able to give title, author, and annotations of significant content.

• The Minister of Music as a Minister. Know and summarize the principles and

concepts that will be of assistance in ministering to those involved in the music program of the church. Discuss ways in which the minister of music can continue to grow spiritually as well as musically.

Congregational Song The student should be familiar with the styles, forms, and periods of congregational song throughout Christian history. The student should be able to discuss the great movements in hymnic development, giving illustrative texts and tunes. This includes the trends of the twentieth century as reflected in significant contemporary collections of Christian song. There may be questions covering large areas of congregational song, from which the student will be asked to select one or more for answering. The purpose of this procedure is to give the student opportunity to select areas most congenial to him/her. The questions will call for broad discussion of basic principles rather than obscure details.

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Within the general areas selected, the student should be able to organize the material historically, sequentially, or logically with appropriate details to amplify the development of the period or genre in question. The best preparation for this section is a careful review of the notes for the course in congregational song and a continued alertness to the subject during the period of seminary study. Following are some sample questions or question areas:

• Discuss Christian song in the early church.

• Discuss the historical backgrounds, theological beliefs, styles of texts, styles of

hymn tunes, and significant collections related to:

16th century 17th century 18th century 19th century 20th century

• Students may be asked to identify the names of persons – by nationality, period,

work (author, translator, composer, arranger, compiler, editor) – who have made a significant contribution to hymnody. (Example: Isaac Watts / English / 18th century / author)

• Students may be asked to identify texts associated with hymn tunes (by name). (Example: NICAEA – “Holy, Holy, Holy”)

• Students may be asked to provide bibliography on specific subjects, such as books on hymns, books on hymn tunes, hymnal companions, biographies of authors/composers.

• Students may be asked to scan hymn texts, identify poetic devices, hymnic meters, rhyme scheme, biblical imagery, etc., and analyze melodically, harmonically, and rhythmically one or more hymn tunes, and identify the style and time frame.

Worship Students need to study all aspects of the worship class as outlined in the syllabus. However, this guide will help them focus their study on the more salient issues.

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• Thoroughly discuss, including scripture citations, the following Hebrew Worship Periods: Patriarchal Period, Mosaic Period, Period of the Judges, Temple and Cultus, and Prophets and Psalms.

• Discuss the role of the arts in Temple worship (include scripture citations) comparing the building/dedication of the first temple and the building/dedication of the second temple.

• Discuss Jesus’ involvement with synagogue and temple worship. Know the basic

elements of synagogue worship, including its historical development and role in Hebrew society. As well, discuss how Christ revealed Himself and God’s purpose in these settings. Please include scripture citations.

• Compare the writings of Pliny the Younger, Justin’s First Apology, and the Didache.

First, identify each source and applicable worship elements. Second, compare the writings and describe late 1st and early 2nd Century worship practice.

• Discuss the hallmarks and themes of Early Christian Worship. Please include scripture

references.

• Discuss the influence of Paul concerning Early Christian Worship practice. Be sure to include discussions about the significance of Paul’s letters, variety of worship elements, Christian Body Life concept, his influence on Baptism, and his influence on the Lord’s Supper. (Be thorough, include scripture citations, and focus your discussion of Baptism and Lord’s Supper to the influence of Paul.)

• What were the major worship issues leading to the Reformation? In other words, what

were the issues of the Catholic Church in the 14th and 15th centuries concerning congregational involvement in worship (mass), role of the priests and prayer, and role of scripture? Who were early reformers such as Wycliffe and Hus, and what were the critiques they levied toward the church?

• Create a chart using bullet points to comparing the beliefs of Luther, Calvin, and Zwingli.

The top of the chart should have three categories going across: Luther, Calvin, and Zwingli. The areas going down the side should be: Music, Lord’s Supper, Other Major Beliefs, Symbolism, and Style of Worship. Also, what is the regulative principle?

• Discuss the role of Martin Bucer in the Reformation. Please include a discussion of his

work between Zwingli and Luther, his contribution to the worship form with Calvin, and his influence on the British Reformation with Cranmer and influence on the newly formed Church of England.

• This is a blend of Worship and Congregational Song: How did the development and use

of Gospel song (including the Sunday School Songs) and popularity of the great revival events influence the worship practice and songs of the local church?

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• Discuss the Isaiah 6 model of worship in great detail. As well, plan an entire worship service using this model.

• Define the following terms:

A. Postmodern (What is the origin of the term? How is this term applied to Worship and the Church?)

B. Paradigm (Give a non-church definition. Give an application to the modern church.) C. Convergent Worship D. Seeker Sensitive Worship E. Blended Worship (Please include an example of a blended music sequence.) F. Praise and Worship (This is the worship style, not the philosophical debate.) G. Emergent Worship H. The Christian Year (Please outline.) I. Para-Church Movement J. Jesus People K. Define the actual term – “Worship”

• Discuss and Outline the following worship models: 5- Phase Model, 4-Fold Plan

• What are the major issues of the “worship wars” of the late 20th century? How did this

influence Baptist worship practice?

• As Baptists seem to be moving toward an event-driven style of worship in the 21st century, how does this influence artistic ministry in worship and programs designed for discipleship and missions such as children’s choirs, youth music ministries, senior adult arts programs, and community arts ministries? What is your opinion of target marketed worship services (such as those based on music style), age appropriate worship (based on age), and multiple campus worship events under the leadership of one church?

M.M. Concentrations Applied Concentrations All students in an applied concentration should be able to address the following topics in their specific area.

• Technique • Pedagogy • Diction (conducting and voice concentrations) • Acoustics • Literature

History Style

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• Performance • Philosophy of program building • Bibliography and discography

Pedagogy Literature Reference materials History of performers and performances Genres

Accompanying Technique Be able to discuss and demonstrate the skills specifically required of pianists for successful accompanying and ensemble playing (“listening vs. hearing,” voicing, phrasing, articulation). Also be able to discuss the practice of reducing an orchestral score to a piano score, and that of the imitation of orchestral instruments on the piano. Literature Know the place of the piano and the harpsichord in the literature of chamber music. Know the names, style, and poetic subject matter of the main song cycles of the vocal literature (lieder), and the most performed songs (chanson) of French composers Fauré, Debussy, and Ravel. Be able to identify the major works written for piano and instrument (violin, viola, violoncello; flute, clarinet, oboe; trumpet). Be able to summarize the contributions of Mozart, Haydn, Beethoven, Schubert, Schumann, and Brahms to the literature written for piano duo or two pianos. For each of the above items, have a speaking knowledge of style, specifically that which refers to the place of the piano as an equal partner in the ensemble. Performance Know and be able to articulate the role of accompanist as collaborative pianist. Bibliography Shirlee Emmons, The Art of the Song Recital Maurice Hinson, Music for More Than One Piano , The Piano in Chamber Music Deon Nielson Price, Accompanying Skills for Pianists Gerald Moore, Am I Too Loud? , Farewell Recital , The Schubert Song Cycles

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, Singer and Accompanist: The Performance of Fifty Songs , The Unashamed Accompanist Composition The concentration examination in composition tests the student’s knowledge and proficiency in post-tonal analysis, score and composer identification of works from the twentieth and twenty-first centuries, orchestration, and composition. Conducting

Technique Be able to discuss and demonstrate the skills and techniques specifically required of conductors:

• The posture of a conductor 1. Stance 2. Establishing the conducting plane a. Choral conducting preferences b. Instrumental preferences 3. Extension and “impulse of will” 4. Maintaining central location as norm 5. Adapting to circumstances 6. Use of podium and stand height

• Conducting without baton 1. Hand position; relaxed, flexible and natural looking 2. Transfer of focus and energy from smaller to larger parts of the body

• The three parts of every conducting gesture 1. Preparation a. Tempo b. Style c. Dynamics d. Avoiding “double preps” and “counting off” 2. Ictus a. Clarity and strength to vary the expressiveness and style 3. Rebound a. Size and speed

(“Music is not what happens on the beat, but what happens between the beats.”) • Basic Conducting Patterns

1. Cyclical nature of conducting gestures and the control and communication that occurs between beat points 2. Two Frame (2/4, cut time) 3. Three Frame (3/4)

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4. Four Frame (4/4) 5. Two Frame (5/4, 6/4) 6. Three Frame (9/4, divided 3) 7. Four Frame (12/4, divided 4)

• Asymmetrical Conducting Patterns 1. Two Frame (5/8 = 3+2 or 2+3) 3. Three Frame (8/8 = 3+2+3 or 2+3+3 or 3+3+2; 7/8 = 2+2+3 etc.) 4. Four Frame (10/8 = 3+3+2+2 etc. or 11/8 = 3+3+3+2 etc. )

• Preparation of any beat 1. One full beat 2. Move up in the direction opposite the prepared beat 3. In tempo

• The release or Cut-Off 1. Should have the same dynamic and stylistic intensity as the sound you are releasing 2. Determining the direction of the release 3. “Stop” release 4. Releases with baton vs. left hand

• Incorporating the use of negation 1. To clarify rhythmical durations 2. Before important entrances 3. During rests

• Conducting micro vs. macro rhythms • Frequent meter changes

1. Thinking ahead while hearing the now • The principle of “economy of motion”

1. Focuses attention upon the music, not the conductor 2. Always leaves something for reserve 3. Choreography versus conducting 4. Showing the drama and passion of the music 5. Awareness of extraneous body motion a. “Mouthing” the words b. Head motions c. Bending at the knees or waist d. Bouncing on the toes e. Hitches in the beat patterns f. Never sing with the choir as you conduct

• Conducting with a baton 1. Basic grip 2. Floating versus a firm wrist action

• Expressive gestures 1. Active gestures (characterized by the presence of “impulse of will”) a. Legato (smooth, flowing connection from ictus to ictus) b. Staccato (momentary stop of all motion immediately after the reflex)

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c. Tenuto (tip of the stick drops below the hand and wrist; executed with a controlled, slower rebound) d. Gesture of Syncopation (stop at the top of the rebound before the beat that requires the after-beat response)

• Passive gestures (characterized by the lack of “impulse of will”) a. “Dead” gestures b. Preparatory beats (avoid double preps)

• Conducting the fermata 1. Fermata - cessation of rhythm and suspension of time (executed with a sustained tenuto gesture) 2. Releasing a fermata: 2 methods a. Fermata without a caesura (fermata acts as an elongated tenuto; no release necessary) b. Fermata with a caesura (the release acts as the preparation for the next beat; release in the opposite direction of the next beat)

• Use of the left hand 1. Independence between the hands 2. Activating and deactivating the left hand 3. For the execution of cues/releases

• Cues 1. Defining the purpose a. Thematic content b. Entrance after long rest c. Direct the attention of the audience d. Others?

• Dynamics 1. Gradual changes 2. Subito changes 3. Use of the left hand 4. Accents

• Phrasing A. Shaping a line B. Use of the left hand

• Tempo Changes Literature

• Discuss 5-10 works that include chorus and orchestra • Define musical terms • Name anthems or major works by a variety of famous composers

Bibliography Annotated Bibliography of the following subjects:

• Vocal Pedagogy • Score Preparation

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• Conducting Technique • Choral Diction • History of Choral Literature

Written Examination The written examination is based primarily on the identification and discussion of conducting five or six musical scores. The exam will focus on choral sacred music but instrumental works will also be included. The student will need to supply the period of composition and a possible composer for each excerpt. Other items that will need to be provided include:

• The ability to draw all patterns for meters (1-12) that may be utilized to conduct the specific score

• The ability to discuss conducting problems within a given piece of music • The procedures to be utilized in achieving balance, blend, diction, rhythmic

precision, phrasing, cut-offs, and all various aspects of performance • The musical characteristics typical of the period of composition • A description of your personal philosophy of conducting technique as it relates to

stance, posture, conducting with or without baton, use of left hand, plane, and parts of the conducting gestures (preparation, ictus, rebound)

• Translations of text, instrument names (especially period instruments), and score indications

• Identification of specific compositional techniques and music terms • Basic bibliography in conducting technique, choral diction, voice pedagogy,

history of choral and/or instrumental literature, and score study

In addition, information on a select number of sacred music masterpieces will be tested, either through objective questions or brief essays. For each of the works below, know the following:

• Historical background and unique conducting issues found within • Source(s) of text, general instrumentation, musical setting, and their dramatic

function • Style and structural issues that relate to conducting

Works

Carissimi, Jephte Bach, St. Matthew Passion Vivaldi, Gloria Handel, Messiah Haydn, The Creation Mozart, Requiem Beethoven, Missa solemnis

Mendelssohn, Elijah Berlioz, Requiem Brahms, Ein deutsches Requiem Verdi, Requiem Fauré, Requiem Stravinsky, Symphony of Psalms Honegger, Le Roi David

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Poulenc, Gloria Britten, War Requiem

Duruflé, Requiem Rutter, Magnificat

Oral Examination Be prepared to do the following:

• Provide an overview of a period (e.g., style characteristics, performance practices, new genres, composers and titles of works)

• Trace the development of a choral and/or instrumental genre (e.g., mass, oratorio, symphony)

• Identify composers (period in which they were active, choral/instrumental works composed, musical style)

• Identify composers of specific choral and instrumental works • Define musical terms • Discuss conducting problems within a given piece of music • Discuss choral and instrumental techniques used in achieving outstanding musical

outcomes in performance (e.g., articulation, balance, dynamics, phrasing) • Explain and identify all transposing and non-transposing instruments

(understanding concert pitch with regard to their notated and sounded pitches) • Discuss the expressive gestures in conducting • Discuss your methodology for score study and preparation • Discuss the problems of conducting music with regard to stylistic traits, historical

backgrounds, and musical forces • Provide a bibliography of all related subjects in the study of conducting • Provide anthem literature and composers in the various historical periods and in

various categories, such as hymn arrangements, psalm settings, and appropriate pieces for use at Thanksgiving, Advent, Christmas, Holy Week, and Easter

• Identify composers and major works for Christmas, Easter, and other designated times and occasions of the church calendar

• Identify major choral works by such notable composers as Bach, Handel, Purcell, Brahms, Fauré, Holst, Stravinsky, Orff, Kodály, Thompson, Dello Joio, Bernstein, Britten, and Rutter

• Describe the physical processes in singing: respiration, phonation, resonation, and articulation

• Provide an in-depth awareness of the related processes and methodologies for explaining and teaching proper vocal and choral techniques (e.g., voice registers, voice classification, phonation, breathing, posture, vibrato, resonance, articulation, diction, vowel positions, consonant sounds, syllabic stress, and the correction of problems)

• Produce and describe correct vowel and consonant sounds utilizing IPA symbols • Translate basic Italian, Latin, and German texts and terms into English

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• Score-reading at the piano will include four-part open score playing of given choral works, string quartets, and/or early classical period symphonic works with transposing instruments.

Jazz Studies Be prepared to do the following:

• Demonstrate a clear understanding of the roots of jazz and the various style periods as well as their important performers/sidemen and landmark recordings/compositions. Jazz is preserved for our study and enjoyment through recordings. Unlike western art music, which can be studied through printed scores, very little about the essence of jazz is written down.

• Define important terminology related to jazz.

• Analyze a transcribed jazz solo.

• Discuss the history of your instrument since 1900 and be able to discuss the

important performers who contributed to its development in jazz music.

• Identify important compositions in a listening test.

• Transcribe a passage from a listening example that contains a single line melody or chords.

• Demonstrate skills learned in specialized courses you have taken during your

degree, such as jazz composition, church orchestra practicum, advanced jazz improvisation, etc.

Music Education The student should be familiar with the historical, philosophical, social, and psychological foundations of music education and how they relate to church music education. A solid knowledge of the main approaches to teaching music for all age groups is expected as well as the solution to the problems encountered in teaching music. The student should be familiar with the resources for educational materials used in music ministry. The following outlines for the three main courses in church music education will serve as a basic foundation for study.

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Church Music Education I (Preschool and Children) History and Philosophy of Children’s Choirs in the SBC

• Biblical foundations (scripture references and denominational doctrines) • Values of the children’s choir experience to the child

musical spiritual social

• Learning theories and their implications to music education • A history of children’s choirs in the SBC

Organization and Administration of a Children’s Choir Program

Methods of Teaching Children about Music

• SBC curriculum basic resources other teaching aids

• Other curricula • Educational philosophies of Edwin Gordon, Zoltán Kodály, Jacques Dalcroze, and

Carl Orff: compare and contrast • Writing effective lesson plans • Developmental characteristics of children and their implications for teaching

music • Appropriate learning activities for younger preschoolers (birth through three),

older preschoolers (four and five years old), younger children (grades 1-3), and older children (grades 4-6) listening moving singing

o criteria for song selection (assessing song collections, hymns, anthems, and musicals/cantatas)

o ranges (birth to voice change) o how to achieve good tone quality o causes and helps for the “uncertain” singer o how to assess the overall singing ability of a group of children o devising appropriate vocalises from hymns, anthems, and other

song material o sequential approach to teaching part singing o how to introduce new songs to younger preschoolers, older

preschoolers, younger children, and older children playing instruments

o writing and performing instrumental arrangements for classroom instruments

o names of classroom instruments and performance techniques o techniques for using instruments effectively in preschool and

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children’s choirs creating music: improvisational techniques (vocal and instrumental)

• Helping children develop music reading skills rhythm: sequence of introducing rhythmic values (experiential to concrete

activities; use of rhythmic syllables before symbol) melody: sequence of introducing intervals (use of solfège syllables before

symbol) form expression harmony

• Five broad understandings about church music that children should gain through participating in children’s choirs music in worship music in the Christian life music in missions and outreach our heritage in music hymnology

• Planning for preschool and children's choir rehearsals Resources and equipment for children’s choirs

Church Music Education II (Youth, Adult, and Senior Adult) Church Music Education II (Youth and Adult Music Education) is designed to provide the minister of music with methods and materials that will aid in the development of youth and adult choirs. The contemporary minister of music must be an effective educator, administrator, conductor, and minister. The comprehensive examination gives the student an opportunity to demonstrate significant understanding of these roles.

• Youth and Adult Principles of Learning. Learning principles for young people are different from those of children. Learning principles for adults are different from those of young people. Outline the differences. Give examples of the learning theories of significant writers in the fields of middle school, high school, and adult education as needed.

• The Minister of Music as an Administrator. To be an effective choral

conductor, the minister of music must have vision, establish education objectives, set goals based on the objectives, and create a rehearsal process to reach the visionary goals. The rehearsal approach is based on solid educational principles that utilize multi-sensory learning skills. Be able to summarize ways in which the minister of music can establish the vision, determine the needs, and reach the goals through the process of rehearsal.

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• The Minister of Music as a Diagnostician. Much of the minister of

music’s work is based on evaluation. He or she must evaluate the quality of an anthem by considering its text, its music, and the skill development of the choir. As a conductor, the minister of music must be able to analyze the component parts of a musical work such as range, tessitura, musical form, rhythm, harmony, instrumentation, accompaniment, meter, and difficulty.

• The Minister of Music as a Conductor. The conductor must communicate

effectively in order to lead, teach, and guide the choir in reaching its educational goals. Demonstrate rehearsal procedures and choral techniques that will improve note learning, tone quality, rhythm, pitch, and expression of the volunteer choir.

• The Minister of Music as a Voice Teacher. Understanding the choir’s

voices, working on vocal development, and dealing with the changing voice are part of the minister of music’s role as a voice teacher. A thorough comprehension of the changing voice, and the problems created by the change, is needed. Evaluation of a vocal problem and demonstration of a procedure to solve the problem will be required.

• The Minister of Music as a Minister. The minister of music is responsible

for guidance and counseling of choir members as well as providing a climate for spiritual growth through the music ministry. Illustrate ways in which the conductor can deal with the spiritual aspects of the choir.

Church Music Education III Due to the nature of the course, different topics are addressed that expand the content of Church Music Education I and II (multiculturalism, assessment, music curriculum, music therapy, etc). Students should review these topics.

Music History Music History concentrations should be thoroughly competent with the information provided above under the general music exams. In addition, students should be prepared to:

• discuss each period in music history, citing changes in musical styles, new genres and emphases, representative composers and their works, and cultural background (political and religious)

• trace the developments of sacred music genres (e.g., mass, motet, anthem,

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oratorio) as well as instrumental genres (e.g., sonata, symphony, concerto, string quartet)

• identify briefly composers, theorists, terms, and titles

Music in Worship

Biblical Theological Presuppositions • Basic Theological Presuppositions • Basic Musical Philosophical Assumptions • Relational Framework for Music Ministry • Primary Old Testament Sources/Music Ministry • Primary New Testament Sources/Music Ministry • Worship: Key Biblical Texts

John 4:19-24 o Seven Theological Principles o The Spirituality of Worship o The Integrity of Worship o The Corporeality of Worship

Exodus 33:7-11 (and following) o Concept of Communion with God o Results of Authentic Worship

Revelation 3:14-22: Communion with God o (The Table)

Isaiah 6:1-9a: Encounter with God o (The Throne)

Other related and supporting texts: o (e.g., Exodus 20:3; Deuteronomy 6:5; Matthew 6:21;

Philippians 3:3; Acts 2:42-47; Romans 12:1; Luke 9:23) • The Priority of Worship: Biblical Case in Summary

The Nature of Worship

• Four or five definitions • Basic Vocabulary of Worship (Biblical)

Six principal verbs Larger vocabulary of worship attitudes, actions, and spiritual

functions • Basic Patterns/Approaches to Worship Form

Isaiah 6 Synagogue Corinthian Practice Roman Mass Contemporary Models (including eclectic, charismatic, praise and

worship, and church growth models)

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The Planning and Leading of Worship

• A Basic Approach to Worship Planning • Advantages of Long-Range Planning • The Leading of Worship

Integration: Music in Worship

• Six Primary Roles of Music in Worship • The Music of the Congregation in Worship

The Musical Forms (historic and contemporary) Building a Singing Congregation The Hymnal

• The Choir and Its Music Roles of the Choir in Worship The Musical Forms

• The Worship Team • The Instrumentalists in Worship

The Organist/Pianist/Synthesist Other Instrumentalists Texted and Non-texted Music

• The Soloist and Vocal Ensembles

Issues, Standards, and Ideals • Formality/Informality • Excellence • Creativity • Relationship of Worship to Nurture and Evangelism • The Purpose of Music in the Church

Music Theory The concentration examination in music theory tests the student’s ability to analyze music from any period of music history and to write effectively regarding the analysis. The test consists of one or more musical examples that the student must analyze and write a short essay outlining the results of the analysis. Other components that may appear on the exam will be definition of terms relating to music theory and scores for identification. Organ The written examination consists of following sections: Terminology

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Brief definitions of terms Long Essay on a particular “school” Discuss for example, the French Classic, North German, German Romantic, French Symphonic,

or Neo-Baroque/Neo-Classic school Discuss representative composers, compositions, style, and characteristics of representative

organs Short Essays Subjects may include nationalistic characteristics, genres, periods, major composers, organ

building, and pedagogy (philosophy and knowledge of method books) Performance Practice Identify primary and secondary sources Score Identification Identify possible period, style, nationality, “school,” and composer of about twelve score excerpts The oral examination covers subjects tested on the written examination with emphasis on areas in which the student showed weakness in the written examination. Piano Pedagogy

Concepts

• Students will be able to discuss in detail such pedagogy concepts as associationist/cognitive learning theory, being able to identify benefits and negative points of each as well as major founders associated with each.

• Discuss discovery learning process and how it relates to cognitive learning.

• Discuss the process involved in teaching motor skills and cognitive concepts.

• Be familiar with different note reading methods and be able to give a critical evaluation of a beginning method book, citing all facets of teaching such as rhythm, musicianship, and technique.

• Understand techniques of judging and evaluating student performances.

• Be able to discuss the process of developing a student’s technique, with an understanding of different approaches and methods.

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Literature Have a broad understanding of beginning and intermediate teaching literature with familiarity of both standard classical literature as well as popular teaching repertoire. Understand all stages involved in a student’s repertoire including planning, choosing, assigning, teaching, preparing and polishing for performance, and memory skills. Teaching Students will be familiar with methods involved in teaching in different settings including the private lesson, group class, functional skills teaching, and masterclass.

Piano Performance Technique Know the principles of good technique: the salient points which lead to tonal control, speed, strength, alignment, and clarity in piano playing. Literature Be able to discuss the development of the major genres and forms of piano literature throughout history (sonata, theme and variations, and others) Be able to identify the major works for piano by opus number (certain Beethoven sonatas, Schumann multi-movement character pieces, Schubert sonatas, Brahms character pieces, and others) Performance Program Building: Building a program chronologically (oldest music to newest, or vice versa), by texture, key, length, or other considerations Stage presence and decorum, timing, acoustical considerations, and similar issues Know all relevant information relating to the pieces you performed on your recital Bibliography and Discography Pedagogy Literature Be able to identify the focus of significant books on piano literature and on the biographies of the major composers for piano from the 17th century to the present. Reference Materials Know what complete editions of the composers of the common practice period are recommended. Be conversant with those materials which support teaching and the history of teaching the piano, and the piano’s construction.

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History of Performers and Performances Be familiar with the names and playing styles of pianists who have contributed the most to the art of playing the piano over the last two hundred years. Voice Pedagogy/Voice Performance Written Examination

• Famous singers of the past and present in the six major voice classifications: soprano, mezzo-soprano, contralto, tenor, baritone, bass

• Major composers of Italian, German, French, American, and British solo vocal literature:

their major solo vocal works, including titles of individual songs and song cycles as well as the poets or sources of the texts of these works

• Titles of books and authors used as sources for the following: voice pedagogy, foreign

language diction, solo vocal literature, translations of texts, interpretation of song literature

• Voice pedagogy terminology with definitions, descriptions, examples (based on texts by McKinney, Miller, and others). This section will be more extensive for the Voice Pedagogy concentration.

• Plan a recital for a voice type other than your own at various age levels (high school, undergraduate, graduate, doctoral) in various voice categories

• Transcribe into IPA (International Phonetic Alphabet) excerpts of Italian, French, and German recitative and solo song texts

Oral Exam

• Answer questions related to repertoire presented in the Voice Performance or Voice

Pedagogy recital

• Answer questions correctly that were incorrect on the written exam

• Be prepared to discuss in detail a philosophy of proper vocal technique

• Be prepared to name composers of solo song from various countries when titles are given

• Be prepared to discuss/compare styles of composers of solo vocal literature