e.u. department of music handbook - evangel …€¦ · e.u. department of music handbook 2011-12 2...

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Department of Music

Handbook 2011-12

E.U. Department of Music Handbook 2011-12

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I. Purposes, Objectives, Standards .........3

II. Faculty, Staff .......................................4

III. Degree Plans .....................................10

A. B.M. in Music Education ...........11

1. Dual Certification...................12

B. B.M. in Church Music ...............13

C. B.M. in Performance ..................15

D. B.A. in Music ..............................18

E. B.S. in Music ...............................19

F. Masters in Music .........................20

1. M.M. in Music Education ......20

2. M.M. in Performance ............21

IV. Music Minors ....................................23

V. Course Descriptions ..........................24

VI. Applied Music ...................................29

VII. Music Ensembles ..............................39

VIII. Recitals ..............................................41

IX. Piano Proficiency ..............................44

X. Accompanists ....................................47

XI. Miscellaneous ...................................48

XII. Financial Assistance..........................49

XIII. Appendices ........................................51

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Purposes, Objectives, Standards

he Evangel University Department of

Music is vitally interested in the spir-

itual, academic, social, and aesthetic

development of every student. The purpose

of the department is to provide an excellent

musical education that is thoroughly integrat-

ed with the university’s emphasis on the de-

velopment of strong Christian character.

Within this framework, students are required

to grapple with new intellectual, musical, aes-

thetic, social, ethical and technological chal-

lenges.

The Department of Music’s objectives are:

To bring a breadth of stimulating

intellectual experiences in music

that will challenge each student to

become a thinking and disciplined

person responsive and sensitive to

the needs of society.

To encourage the search for the

good and the beauty in music

through formal study and con-

sistent exposure to a variety of fine

aesthetic experiences.

To acquaint students with the

physical properties of sound, the

theoretical aspects of music found

in nature, and the compositional

procedures developed from uni-

versal natural principles.

These objectives are realized by means of a

well-established music curriculum, a highly-

trained music faculty, and many varied per-

formance opportunities. The entire campus

community is provided many worthwhile con-

certs and recital programs, inspiring Chapel

music, and various guest artists through the

university Artist Series.

The Department of Music is a member of the

National Association of Schools of Music and

the Missouri Association of Departments and

Schools of Music. Courses and degree plans

are designed to satisfy requirements of these

accrediting agencies.

The degree program leading to the Bachelor of

Music in Music Education also conforms to cer-

tification requirements of the Missouri Depart-

ment of Elementary and Secondary Schools and

the National Council for Accreditation of

Teacher Education.

The Department of Music is an integral part of

Evangel University. Therefore, students are un-

der the same rules for attendance, discipline, and

exams that prevail in all other parts of the uni-

versity. Regulations and requirements not spe-

cifically described in the Music Handbook will

be governed by the rules in the University Cata-

log and the Student Handbook.

While professors make every effort to be help-

ful in the pursuit of academic/musical excel-

lence, evaluation is based on high collegiate

standards. Students are expected to be on time

for classes, lessons, rehearsals, and appoint-

ments. Students should develop a mature pro-

fessionalism by consistent practice and study,

and maintain the responsibility for their own

continuing motivation.

Music majors should monitor extracurricular

activities to leave ample time for study and

practice. Academic pursuits must be given

high priority. The atmosphere and philosophy

of the Department of Music is centered on the

biblical concept of stewardship. The desire is

to seek to develop the gifts given to us by God

to the highest degree.

A student with insufficient musical back-

ground and accomplishment in a particular

applied area may be enrolled on a conditional

basis. If there is not satisfactory progress, the

student will be continued at a lower applied

level until such time as the deficiency is made

up. A student with significant deficiencies

should probably not plan to graduate in 4

years.

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DEPARTMENT CHAIRMAN Michael Kolstad, Professor (1991)

B.M.E., Evangel College

M.M., University of North Carolina-Greensboro

D.M.A., University of North Carolina-Greensboro

(Applied areas - trombone, euphonium, tuba)

FULL-TIME FACULTY Larry Dissmore, Professor (1988)

B.M.E., University of Wisconsin-Eau Claire

M.M., Wichita State University

D.M.A., University of Missouri-Kansas City

(Applied areas - violin, viola)

Richard Honea, Professor (1981)

B.M., North Texas State University

M.M., North Texas State University

D.M., Indiana University

(Applied area - voice)

Linda Ligate, Professor (1986)

B.M., University of British Columbia

M.M., University of Illinois

D.M., Florida State University

(Applied area - piano)

Tom Matrone, Assistant Professor (2003)

A.A., Zion Bible Institute

B.M.E., Northwest College

M.M., Drake University


Gregory Morris, Associate Professor (1999)


M.M., Texas Christian University

D.M.A., University of North Texas


Jason Salazar, Assistant Professor (2007)

B.A., Evangel University

M.M., Missouri State University

(Applied area - percussion)


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Susan Smith, Associate Professor (1980)

B.M.E., Oral Roberts University

M.S., Southwest Missouri State University


Sharon Wilkins, Associate Professor (1984)


M.A., Drury College


ADJUNCT FACULTY

Jane Munson-Berg (1989)

B.M., Louisiana State University

M.M., Manhattan School of Music


Kathryn Cole (2010)

B.M.E, Evangel University


(Applied area – voice)

Kathleen Cowens (2008)

B.M., Missouri State University

M.S. (Music Ed.), Missouri State University

(Applied area - flute)

Doree Donaldson (1995)


M.M., University of Missouri-Kansas City


Darren Eddington (2010)

B.M.E, Evangel University


(Applied area – trumpet)

Dawn Gutierrez (2011)

B.S., New York University

M.A., Aaron Copland School of Music at Queens College


Christine Hammar (2010)

B.A., Augustana College

(Applied area – hand bells)


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Clint Harrison (1995)

B.M., Southwest Baptist University

(Applied area - guitar)

Robin Hendry (2003)

B.M., St. Louis Conservatory of Music

(Applied area - percussion)

Eric Jackson (2009)


M.M., Indiana University Jacobs School of Music

(Applied area – horn)

Christopher Lair (2009)

B.M., University of Kansas

M.M., University of Kansas

D.M., Florida State University

(Applied area – tuba/euphonium)

Mark Lawley (2010)

B.ME., Evangel College



Matthew Moore (2010)

B.A., Evangel University

(Applied area – trombone)

Mark Porter (2004)



D.M.A., University of Arkansas

(Applied area - horn)

Adam Shelton (2010)



(Applied area – saxophone)

Sheri Slater (2000)


M.M., Texas Tech University

D.M.A., Texas Tech University

(Applied area - clarinet)


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Lia Southern (2011)

B.M. Universidad Nacional de Colombia (1998)

M.M., University of Arkansas (2002)

D.A., Ball State University (2003)

Sue Stubbs (2008)

B.M., Juilliard

M.M., University of Missouri-Columbia

(Applied area – string bass)

Elizabeth Suh (2007)

B.S., Illinois State University


(Applied area - violin)

Randall Wildman (2010)

B.M., Evangel University


(Applied area – piano)

Timothy Wootton (2007)


M.M., Arizona State University

(Applied area - trumpet)

PROFESSORS EMERITI

Edna Baker (1957-1981)

B.M., Texas Christian University

M.M., Texas Christian University


Calvin Johansson (1964-2003)

B.M., Houghton College

S.M.M., Union Theological Seminary

D.M.A., Southwestern Theological Seminary

(Applied areas - piano, organ)

Joseph Nicholson (1960-1991)

B.M.E., Texas Wesleyan College

M.M.E., North Texas State University

D.M.A., University of Missouri-Kansas City

(Applied area - trombone, euphonium, tuba)


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John S. Shows (1966-2007)



(Applied area - trumpet, horn)

ADMINISTRATIVE STAFF

Tonya Thurman (1987)

Office Manager

Lynne Hall (2006)

Administrative Assistant/Receptionist


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Admission into the Program

tudents must first be accepted to Evangel

University before applying for Admis-

sion to the Music Program. Students who

wish to be admitted as a music major should

have some experience reading and perform-

ing music. The admission requirements for

the Department of Music include:

1. An audition in the primary area of

study (voice, keyboard, or instru-

mental). Repertoire suggestions can

be found on the Evangel University

Department of Music website. Pia-

nists and instrumentalists will

demonstrate proficiency on scales.

Sight-reading in the area of perfor-

mance concentration will also be re-

quired. On-site auditions are pre-

ferred.

2. Vocalists will be given an Ear Train-

ing/Tonal Memory exam.

3. A short personal essay describing

what aspirations the student has in

pursuing a career in music.

4. Recommendation from three (3) mu-

sic professionals.

Based on an audition in the chosen area, a

student may:

1. Be given full acceptance into the

music major curriculum.

2. Be accepted on a conditional status

for a period of one semester, at

which time they must re-audition

during the semester jury exam.

3. Be advised to pursue another area of

study or possibly to minor in music.

Other Considerations

ncoming students who do not complete

the music audition process may enroll in

music courses for one semester. At the con-

clusion of that semester, the student must

apply to complete the music audition pro-

cess as outlined above.

Current Evangel University students wishing

to transfer to the music program must suc-

cessfully complete the music audition pro-

cess as stated above and successfully com-

plete one semester of study in their chosen

performance area prior to being admitted to

the music program.

Transfer students from other institutions

must successfully complete the music audi-

tion process by the conclusion of this first

semester of study. At the conclusion of this

semester, the jury members will make a

formal recommendation to the Department

Chair regarding the ability of the transfer

student to be successful in that performance

area.

S I

http://www.evangel.edu/Academics/Music/AuditionSuggestions.asp


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DEGREE PLANS he primary music curriculum at Evangel

leads to the professional Bachelor of

Music degree, fully recognized and ap-

proved by the National Association of

Schools of Music. For the B.M. degree, a

student must select, after auditions and ad-

visement, from one of the 3 degree empha-

ses . . . Music Education, Church Music, or

Performance. Also offered is the Bachelor

of Arts and Bachelor of Science in Music

degrees, with an expanded major in music,

for students desiring the liberal arts (non-

vocational) approach to the study of music.

Bachelor of Music achelor of Music in Music Education

consists of 65.5 credits of music and

music education courses, and 30 credits in

professional education courses. This degree

emphasis prepares students to teach music at

K-12 levels in public/private schools.

Teaching certification is granted by the Mis-

souri State Department of Education. This

curriculum also meets the approval of the

National Council for Accreditation of

Teacher Education.

Bachelor of Music in Church Music consists

of 71 credits of music and music education

courses, and 18 credits in church music

courses. This degree emphasis prepares stu-

dents for effective church music ministry.

Bachelor of Music in Performance consists

of 82 credits of music and music education

courses. This degree emphasis prepares stu-

dents to teach applied music lessons and to

pursue graduate study in applied music.

Bachelor of Arts he Bachelor of Arts in Music contains

49 credits of music courses. This de-

gree offers an option to the student with a

strong interest in music but not desiring to

pursue specific preparation for teaching,

ministry, or performance.

Bachelor of Arts in Music with an emphasis

in Theatre consists of 49 credits of music

courses and 21 credits in theatre courses.

The degree emphasis is for a student with a

strong interest in music and theatre.

Bachelor of Science (Music Business,

Recording Technology, or Worship

Leadership) he Bachelor of Science in Music con-

sists of 43 credits of music courses and

24 credits of music business, recording

technology, or worship leadership courses.

The emphasis of this degree prepares stu-

dents to more adequately meet the educa-

tional requirements for those who wish to

pursue professional careers in music busi-

ness, recording technology, or worshipl-

Leadership. Some of these professional

fields would include Music Administration

(managing symphonies, music societies, pop

stars, etc), Music Software Development,

Electronic Musical Instrument Engineering,

Recording Engineering, Record Production,

Retail Music (selling music, instruments,

and accessories), Music Publishing, Church

Ministry, Worship Leader, etc.

Additional Degree Information ll professional bachelor degree pro-

grams are designed to meet graduation

requirements in four years, but a student

may elect a lighter load by attending sum-

mer school, by extending the college work

over a longer period of time, or by taking

college level entrance placement exams

(CLEP).

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Advisement considerations for the Bache-

lor of Music in Music Education. For

specific curriculum requirements, see

Appendix A, pg. 51.

General Education

1. See Degree Sheet, Appendix A, pg. 51.

Professional Education

1. EDUC 219 (Found. of Ed.) and EDUC

220 (Practicum) must be taken concur-

rently.

2. MUED 342 (Sec. Methods) and MUED

343 (Sec. Meth. Practicum) must be

taken concurrently.

3.EDUC 437 (Student Teaching) and

EDUC 427 (S.T. Seminar) must be taken

concurrently.

Note: All Music Education students must

make formal application for admission to the

Teacher Education program. (See university

catalog.)

Music & Music Education 1. It is strongly recommended that the

Senior Recital not be scheduled during

the student teaching semester.

2. Hours designated for Applied Piano may

be used as music elective credit (e.g.

more applied lessons, additional ensem-

bles, church music courses, vo-

cal/instrumental certification) after piano

proficiency is passed.

2. Music majors are required to partici-

pate in a major ensemble (MORG 111

University Band, MORG 113 Universi-

ty Chorus, MORG 121 University Cho-

rale, MORG 123 College Orchestra,

MORG 151 Marching Band) each se-

mester of full-time study at Evangel

University, excluding the student teach-

ing semester.


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DO

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AT

ION

Dual Certification

Bachelor of Music in Music Education

Vocal/Choral Majors

desiring Instrumental Endorsement

Basic Musicianship and Performance - 65.5 credit hours

Instrumental Endorsement

*Vocal/Choral Music PK-12 Certificate

Methods/Techniques (str., br., ww., perc.) - 6 (*5)

Applied Major Instrument - 2

Instrumental Ensemble - 2

Advanced Instrumental Conducting - 2

Instrumentation/Arranging - 2

Total - 14 (*7)

Instrumental Majors

desiring Vocal/Choral Endorsement

Basic Musicianship and Performance - 65.5 credit hours

(described on p. 125 of university catalog)

Vocal/Choral Endorsement

*Instrumental Music PK-12 Certificate

Choral Arranging - 2

Applied Voice - 4 (*1)

Choral Techniques - 2

Advanced Choral Conducting - 2

Choral Literature - 2

Choral Ensemble - *2

Total - 14 (*3)

* These credits have been included in the primary certified degree.


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Advisement Considerations for

Bachelor of Music in Church Music. For


Appendix B, pg. 53.

General Education 1. See Degree Sheet for specific re-

quirements, Appendix B, pg. 53.

Professional Church Music 1. Student must choose between

MUED 331(Elem. Mus. Meth.) or

MUED 342 (Sec. Mus. Meth.).

2. Admission to Church Music program

must be approved at the end of the

sophomore year.

3. Music internship must have approval

of Department Chairman.

4. Church Music Administration 423

(odd years) and Graded Choirs 430

(even years) are offered only every

other year. Be sure and enroll in one

of the above each semester begin-

ning with the fall semester of the

junior year.

Music Core 1. Applied secondary hours may be

used as elective credits after piano

proficiency is passed.

2. VOIC 011 Class Voice suggested as

first semester of applied voice study.

Admission to the Program A student may be admitted to the Bachelor

of Music in Church Music program upon

successful completion of the following crite-

ria:

1. Achieve a cumulative GPA of

2.25 by the end of the first se-

mester of the sophomore year.

2. Achieve a cumulative GPA of

2.50 by the end of the first se-

mester of the junior year.

3. Circulate approval form among

appropriate faculty (refer to pg.

14)

Procedure 1. At the beginning of the second se-

mester of the sophomore and junior

years, the advisor will ascertain that

the required GPA has been met. The

student will be advised as to his aca-

demic standing.

2. Must receive approval during the se-

cond semester of the sophomore year

for suitability for music ministry as

noted by the music faculty, one fac-

ulty member from Theology, one

general faculty member, and the stu-

dent’s resident assistant. The student

is responsible for circulating the

proper forms (see pg. 14).


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Admission to the

BACHELOR OF MUSIC IN CHURCH MUSIC Degree

TO:__________________________________________________

(Name of Faculty Member)

APPLICANT’S NAME:___________________________________

ID# __________________________________________________

***APPLICANTS: DO NOT WRITE BELOW THIS LINE***

You are requested to evaluate the above-named student based upon your knowledge of the

student’s character, personality, study habits, academic record, attitude, spiritual depth and

commitment, and suitability for music ministry. A yes answer indicates approval of the

applicant.

YES_____ NO_____ PLEASE RETURN WITHIN ONE WEEK TO THE MUSIC CHAIR

If NO, or if there are reservations, please explain:

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

________________________________________________________________________

________Signed ________________________________________

(Date) (Faculty Member)


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Bachelor of Music in Performance. For


Appendix C, pg. 55.

General Education See degree sheets for specific requirements,

Appendix C, pg. 55.

Music & Music Education 1. Applied secondary hours may be

used as music elective credit after pi-

ano proficiency is passed.

2. Student must choose between

MUED 443 (Instrumental Materials)

and MUED 444 (Choral Materials).

3. MUED 232 (Diction) is required for

Vocal Performance majors as one

elective.

Performance Requirements

1. All performance majors are required

to present a 30-minute junior recital.

Recital requirements are determined

by the major professor and the music

faculty. Continuation in the perfor-

mance degree program is contingent

on the satisfactory completion of this

requirement.

2. All performance majors must present

a senior recital consisting of 50

minutes of representative perfor-

mance literature. Qualifications for

the senior recital are the equivalent

or higher than those of the 50-minute

certificate recital. Repertoire re-

quirements, performance standards,

and memorization requirements vary

according to the area of concentra-

tion, whether vocal, instrumental, or

keyboard. Standards and require-

ments are determined by the major

professor and the music faculty.

Admission to the Program 1. A student may be admitted to the

Bachelor of Music in Performance

program upon successful completion

of a 20-minute audition of music that

demonstrates the potential for a ca-

reer in music as a performing artist.

(Specific repertoire requirements are

noted in the next column.).

2. The audition is to be presented to the

entire music faculty during the 3rd

semester of applied study at Evangel

University. (Transfer students with

more than three semesters of applied

study must audition at the beginning

of the first E.U. semester.) Transfer

students with less than three semes-

ters of applied study must audition at

the conclusion of three semesters of

applied study (combining transferred

and E.U. semesters).

3. Permission to present this required

audition will be granted by the De-

partment of Music Chairman upon

written request by the student. The

written request (page 17) needs to be

made at least one month prior to the

audition date. Information concern-

ing available dates can be secured

from the Chairman.

4. In addition to the prepared solo ma-

terial, the audition will include the

presentation of a “Quick-Study

Composition”. This selection will be

given to the student by the major ap-

plied faculty one day before the audi-

tion for quick preparation and best

possible presentation in the audition.

Memorizing this piece is not re-

quired.


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5. A cumulative GPA of 2.00 or above

is required at the end of the 3rd se-

mester of study or the semester in

which the audition occurs.

Repertoire Requirements:

Piano 1. Three movements from a Bach Suite

or a Prelude and Fugue from Bach’s

WTC.

2. Either the first or third movement

from a classical sonata (Haydn, Mo-

zart, Beethoven).

3. Suitable 19th or 20th century selec-

tion.

4. All selections should be memorized.

Organ 1. Baroque composition (J.S. Bach,

Händel, Buxtehude).

2. Selection from romantic period

(Franck, Mendelssohn).

3. French literature (Widor, Vierne).

Voice 1. Operatic (Oratorio) aria sung in the

original language.

2. 2 English, 2 German, 2 French, and 2

Italian art songs. (The Italian art

songs can be satisfied by the briefer

17th and 18th century Italian aria

genre).

3. All selections (except oratorio aria)

should be memorized.

Instrumental 1. Technical etude/solo (demonstrate

articulation, rhythmic precision).

2. Melodic etude/solo (demonstrate

tone, phrasing, interpretation).

3. Contest-type solo (theme and varia-

tions).

4. Sonata or Concerto (two contrasting

movements).

5. One solo should be memorized.

4. Suitable 20th century American com-

position.

5. Memory is not required.


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Admission to the

BACHELOR MUSIC IN PERFORMANCE

Degree

TO: Dr. Michael Kolstad, Chairman

Department of Music

I, _________________________________, hereby petition the Music Faculty to hear my

audition for admission into the Bachelor of Music in Performance on _____________________.

(Date)

Audition pieces: ______________________________

______________________________

_____________________________

_____________________________

Quick-study piece: _____________________________

_____________________________

Approval by Music Faculty:

__________________________________

__________________________________

__________________________________

__________________________________

__________________________________

__________________________________

__________________________________


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Advisement considerations for Bachelor

of Arts in Music. For specific degree

Requirements, see Appendix D, pg. 57.

.

General Education See Degree Sheet for specific general educa-

tion requirements, Appendix D, pg. 57.

Music Core 1. Applied music hours are recom-

mended to be taken in same area.

2. Upper division theory to be chosen

from MUSC 348 (Analysis of Music

Form), MUSC 342 (Counterpoint),

MUSC 345 (Orchestration), MUSC

439 (Composition & Choral Arrang-

ing 439).


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Bachelor of Science in Music. For specific

degree requirements, see Appendix E, pg.

59.

General Education See Degree Sheet for specific general educa-

tion requirements, Appendix E, pg. 59.

Music Core 1. Applied music hours are recom-

mended to be taken in same area.

2. Upper division theory to be chosen

from MUSC 348 (Analysis of Music

Form), MUSC 342 (Counterpoint),

MUSC 435 (Orchestration), MUSC

439 (Composition & Choral Arrang-

ing).


20 | P a g e

Master of Music

Evangel University offers two master’s pro-

grams in music: Master of Music Education

(MME) and Master of Music Performance

(MM). These programs can be completed in

two years, utilizing evening and summer

classes. A number of classes are also offered

either online or as a hybrid class, which

combines both classroom and online instruc-

tion.

Students active in a profession – whether it

be in teaching, church work, or music per-

formance careers – may earn course credit

for professional activities in their chosen

performance areas. Examples would include

a teacher conducting an ensemble in a class-

room setting.

Master of Music Education

The Master of Music Education degree is

designed to assist current or future music

educators with additional professional re-

sources necessary to further their goals for

excellence in the classroom and to prepare

them for entry into a doctoral program in

Music Education.

Candidates for the MME degree will

demonstrate the following:

1.Skills and abilities necessary to be an

effective music educator.

2.Detailed knowledge of music theory,

Music History Survey and research

in music education.

3.A personal commitment to Christian

ethics and values.

Admissions requirements

1. A bachelor’s degree from an ac-

credited institution with a major

in a field or coursework equiva-

lent to the Bachelor of Music in

Music Education with a K-12

teaching certification or other

degrees conferring a music teach-

ing certificate as approved by the

Director of Graduate Music Stud-

ies.

2. Minimum cumulative GPA of

3.0 in a bachelor’s degree pro-

gram. A student with a GPA of

less than 3.0 may be considered

for provisional admission and

must pass the Praxis II exam and

earn a GPA of 3.0 during their

first semester in the program in

order to move to regular stand-

ing.

3. Successful completion of the

GRE Exam.

4. Meet all admissions requirements

as listed in the Evangel Universi-

ty Graduate Catalog including

spoken and written knowledge of

English sufficient to complete re-

search and written projects.

5. Successfully pass Entrance Ex-

ams in Performance, Piano, Con-

ducting, Music Theory and Mu-

sic History Survey before or dur-

ing the first 12 credit hours of the

program in order to move to reg-

ular standing.

6. Successfully pass a final oral ex-

am demonstrating a comprehen-

sive knowledge of those areas of

music covered in the Master of

Music Education

program.


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Course requirements

Course # Course Title Cr.

Musicianship (9 hours)

MUS 541 Grad. Music Theory Review 3

MUS 548 Grad. Music History Survey

Review 3

MUE 538 Graduate Conducting 3

Music Education (12 hours)

EDU 543 History & Philosophy of

American Ed. 3

MUE 631 Learning Theories of Mu-

sic Education 3

EDU 533 Theories, Problems &

Practice in Curr. Dev. 3

EDU 633 Educational Psychology 3

Research (3)

EDU 507

OR EDU

509 OR

MUS 699

Research Methods & Stats

OR Action Research OR

Research Project

3

Music Electives (8 hours)

MUS 980 Applied Lessons 1+

MOR 500 Ensembles .5+

MUE 544 Technology in Music/Media 3

MUE 550 Kodaly Method 3+

MUS 593 Special Topics in Music 3

Master of Music Performance

The Master of Music in Performance is de-

signed to assist students desiring a career as

a performing artist to realize those goals by

offering a concentrated study of their per-

formance area. Entrance into this program is

highly selective and is predicated on the

ability of the applicant to have the perfor-

mance potential necessary to actively pursue

a professional performance career.

Candidates for the MM degree will

demonstrate the following:

1. Abilities necessary to achieve a

successful music career.

2. Detailed knowledge of music

theory, Music History Survey

and research in music education.

3. A personal commitment to Chris-

tian ethics and values.

Admissions requirements

1. A bachelor’s degree from an ac-

credited institution with a major

in a field or coursework equiva-

lent to the Bachelor of Music.

2. Minimum cumulative GPA of

3.0 in a bachelor’s degree pro-

gram.

3. Successful completion of the

GRE Exam.

4. Meet all admissions requirements

as listed in the Evangel Universi-

ty Graduate Catalog including a

spoken and written knowledge of

English sufficient to complete re-

search and written projects.

5. Successfully pass Entrance Ex-

ams in Performance, Piano, Con-

ducting, Music Theory and Mu-

sic History Survey before or dur-

ing the first 12 credit hours of the


22 | P a g e

program in order to move to reg-

ular standing.

6. Perform a formal audition recital

before or within the first 12 cred-

it hours of the program in order

to move to regular standing. The

length and content of this pro-

gram will consist of repertoire as

specified in the Graduate Music

Catalog. An accompanist will be

provided if requested a minimum

of three months in advance of the

date of the recital. Based on the

approval of the music faculty at

Evangel University, a potential

MM candidate will either be ac-

cepted or denied admission to the

program.

Course requirements

Course # Course Title Cr.

MUS 541 Grad. Music Theory Review 3

MUS 548 Grad. Music History Survey

Review 3

MUS 593 Special Topics in Music 3

Music Performance (17 hours)

MUS 980 Applied Lessons 12

MUS 690 Solo Recital I 1

MUS 691 Solo Recital II 1

MUS 642 Solo Literature 3

Research (3 hours)

EDU 507

OR EDU

509 OR

MUS 699

Research Methods & Stats

OR Action Research

OR Research Project 3

Electives (3 hours)

MUS 980 Applied Lessons 1+

MOR 500 Ensembles .5+

MUE 544 Technology in Music/Media 3

MUE 550 Kodaly Methods 3


23 | P a g e

The Music Minor he student who wishes to participate in

the rich heritage of music for himself

may elect to minor in music. There are three

minors available (General Music, Music

Technology, Music Business). These pro-

grams provide the opportunity to develop

skills needed for a rewarding vocation in

music.

Curricular Requirements:

(3 Different Music Minors)

General Music Minor 5 Applied Music 100/300

2 MUSC 113 (Music Appreciation)

2 MUSC 345, or 346 (Music History

Survey)

6 MUSC 141, 142 (Music Theory I, II)

2 MUSC 143, 144 (SSET I, II)

3 MUED 235 (Intro. To Music Tech.)

Or

3 MUSC 296 (Worship Leadership)

2 MUED 333 (Basic Conducting)

2 MORG 111, 113, 121, 123 (Band,

Chorus,Chorale, Orchestra)

24 hours (total)

Minor in Music Technology 5 Applied Music 100/300

2 MUSC 113 (Music Appreciation)

2 MUSC 345, or 346 (Music History

Survey)


2 MUSC 143, 144 (SSET I, II)

3 MUED 235 (Intro. to Music Technology)

3 MUSC 335 (Music Technology II)

2 MORG 111, 113, 121, 123 (Band, Chorus,

Chorale, Orchestra)

25 hours (total)

Minor in Music Business 5 Applied Music 100/300

6 MUSC 345 and 346 (Music History

Survey)


2 MUSC 143, 144 (SSET I, II)

3 MUSB 300 (Survey of Music Business)

3 MUSB 335 (Commercial Music)

2 MORG 111, 113, 121, 123 (Band, Chorus,

Chorale, Orchestra)

27 hours (total)

ll music minors are required to at-

tend six (6) recitals each semester in

which they are enrolled in applied music.

Recitals are considered an integral part of

the student’s education and additional recital

attendance is encouraged. This requirement

may be met by recitals and concerts on

campus. Concerts sponsored by the Spring-

field Symphony, the Mid-America Singers,

Springfield Regional Opera, and other

colleges can also apply.

Music minors are required to take applied

music exams (juries) in every applied

music area in which they are enrolled.

T

A


24 | P a g e

COURSE DESCRIPTIONS

Music Courses (MUSC) 113 Music Appreciation (2)

A general education course familiarizing the

student with cultural tradition, masterpieces

of music, and the contribution of music to

everyday living. Emphasis is placed on the

enjoyment of music rather than building up

a body of facts about it. Meets 2 hours per

week.

131 Introduction to Music Theory (2)

A course designed to acquaint the student

with the rudimentary elements of music.

The study provides an understanding of

scales and keys, intervals and chords, and

rhythmic and pitch aspects of music nota-

tion, as well as introductory experiences at

the keyboard and in sight singing. Meets 3

hours per week.

141 Music Theory I (3)

A course in fundamentals, melodic writing,

modes, counterpoint, four-part harmoniza-

tion, and analysis. Students not proficient

in piano must take piano concurrently with

Theory I. Meets 3 hours per week.

142 Music Theory II (3)

A continuation of Music Theory I.

143 Sight Singing and Ear Training I (1)

Singing at sight, melodic and harmonic

dictation, and keyboard harmony. Normally

taken with MUSC 141. Meets 2 hours per

week.

144 Sight Singing and Ear Training II (1)

A continuation of SSET I.

241 Music Theory III (3)

Continuation of Theory I and II leading to

chromatic harmony, advanced modulation,

three-part counterpoint, and idioms of 20th

century music. Meets 3 hours per week.

242 Music Theory IV (3)

A continuation of Music Theory III.

243 Sight Singing and Ear Training III (1)

Continuation of Sight Singing and Ear

Training I and II. Normally taken with

Music 241. Meets 2 hours per week.

244 Sight Singing and Ear Training IV (1)

A continuation of Sight Singing and Ear

Training III. Normally taken with Music

242. Meets 2 hours per week.

250 Worship Heritage of the Modern

Pentecostal Church (3)

A core course for the Church Music and

Music Education major or an elective hu-

manities course familiarizing the student

with an appreciation of cultural traditions/

heritage of the Pentecostal church with an

emphasis on gospel songs and hymns, an

examination of musical and poetic forms as

well as the composers and lyricists of music

used during musical worship, and the value

of congregational participation in worship.

Meets 3 hours per week.

253 Studio Techniques I (3)

An introduction to the techniques of work-

ing in a recording studio. Topics include mi-

crophone design, application and placement;

recording, editing and signal processing in

Cubase; and studio etiquette. Meets 3 hours

per week.

296 Worship Leadership (3)

The essence of this class is to discover what

the Bible says about worship. While trends,

styles and opinions come and go, there are

timeless principles to be understood. This

study will provide the student with a solid

foundation on which to build a worship


25 | P a g e

ministry as a layperson or as a vocational

worship leader. The class is open to all stu-

dents with an interest in worship leadership.

Offered each fall semester. Meets 3 hours

per week.

335 Music Technology II (3)

A course that examines the production of

music through MIDI and computer-based

sequencing programs, peripheral devices,

MIDI orchestration, sampling, virtual instru-

ments, digital audio in multiple file formats,

multi-track recording, post-processing of

multi-track recordings, and composition of

original music. Meets 3 hours per week.

342 Counterpoint (2)

Studies in two- three- and four-voice coun-

terpoint in the style of the 18th century. In-

cludes the invention and fugue, as well as

non-imitative forms. Prerequisite: MUSC

242. Meets 2 hours per week.

345 Music History Survey I (3)

A survey of significant musical develop-

ments, stylistic elements, representative rep-

ertoire, and prominent composers from An-

tiquity, The Medieval Era, The Renaissance

Era, The Baroque Era, and The Vocal Music

of The Early Classical Era, and including an

introduction to the Music of East Asia and

Japan. Meets 3 hours per week.

346 Music History Survey II (3)

A survey of the significant composers, liter-

ature, and stylistic development of Western

Music History Survey from the Classical Era

through the present (approximately 1750-

2012). Meets 3 hours per week.

348 Analysis of Musical Form (2)

The analytical study of the main architectur-

al forms of music, beginning with the simple

and leading to the more complex. Meets 2

hours per week.

363 Studio Techniques II (3)

Emphasizes more advanced techniques of

working in a recording studio. Topics in-

clude advanced signal processing, mixing

and mastering. Also includes information

about operating a recording studio as a busi-

ness. Meets 3 hours per week.

422 Christianity @ Work (3)

A study of the theological and philosophical

foundations of a Christian musical aesthetic,

especially as it relates to music in the

church. Included is a brief look at the in-

fluence contemporary culture has had on the

arts from the perspective of the Judeo-

Christian worldview. Meets 3 hours per

week.

423 Church Music Administration (2)

Intensive study in the ministerial purposes,

principles, and methodology of each musical

unit commonly found in the local church

program. Special attention is given to pro-

cedures for the successful management of

the musical ministries of children, youth,

and adults from the standpoint of the small,

medium, and large congregation. Guidance

is also offered in the matter of staff relation-

ships, responsibilities, and privileges. Meets

2 hours per week.

424 Church Music History Survey/

Hymnology (2)

A comprehensive study of the musical

traditions of the temple, the early church,

Eastern and Western rites, the Genevan,

German and English Reformations, the

evangelical awakenings in England and

America, the Pentecostal revival, and the

charismatic renewal. Also included, a study

of the philosophical and theological ra-

tionale behind the whole tradition of hymn

singing in the church. Included is a study of

the syntactical structure of hymnody, a study

of hymnody from the historical, musical,

and theological point of view, as well as


26 | P a g e

practical approaches to the use of the hym-

nal topical, metrical, melodic, compos-

er/author, Scriptural, and theological. Ap-

plication to hymnal use in the service is

studied: methods of introducing hymns to

the congregation, hymn accompaniment

possibilities, the use of vocal and instrumen-

tal descants, concertatos, and use of anthem

material. Meets 2 hours per week.

430 The Graded Choir Program (2)

An intensive study in organizing, adminis-

tering, and conducting the choir program of

the local church. Emphasis is placed on a

clear ensemble from a Biblical perspective,

materials and methodology pursuant to ful-

filling these goals, and a study of vocal

technique for children. Meets 2 hours per

week.

432 Worship Choir (3)

A course that examines philosophies for

modern church choirs based on a theological

underpinning and a practical context for

ministry in today’s society. Meets 3 hours

per week.

435 Orchestration (2)

A study of instrumentation, with practical

experience in scoring for strings, winds, and

percussion, singly and in combination, in-

cluding use of the full orchestra. Principles

of band arranging included. Meets 2 hours

per week.

439 Composition and Choral Arranging (2)

A course providing opportunity for the stu-

dent to apply his musical knowledge in crea-

tive writing and arranging; particular focus

is given to choral settings. Approval of in-

structor required for students not meeting

specific degree requirements. (Additional

credits in composition can be taken as

MUSC 493). Meets 2 hours per week.

442 Solo Literature (1)

A survey of solo literature, history, and

composers with emphasis on the applied ma-

jor field. (A-Keyboard, B-Voice, C-

Instrumental). Meets 1 hour per week.

473 Music in Media (3)

A course designed to teach students how to

make use of music in a variety of media ap-

plications. From composing original music

to using preexisting recordings, students will

be challenged to prepare music for film, tel-

evision, websites, video games and other

media. Meets 3 hours per week.

488 Piano Tuning and Repair (2)

An introduction to the theoretical, physical,

and practical aspects of tuning; to the me-

chanical and acoustical functions of the pi-

ano’s action and other parts; and to minor

repairs, regulation, and the general mainte-

nance of the piano. The course includes

practical experience in setting the tempera-

ment, tuning of unisons and octaves, and

action regulating. Upon successful comple-

tion, the student should be able to become a

knowledgeable apprentice to an established

piano technician. Meets 2 hours per week.

290/490 Directed Readings (1-2)

293/493 Special Problems in Music (1-2)

294/494 Travel (1-3)

496 Music Seminar (1-3)

498 Music Practicum/Internship (1-6)

299/499 Research Projects (1-3)

Music Education Courses (MUED)

232 Diction (1)

Fundamentals of diction in singing. The

course focuses on the pronunciation of sing-


27 | P a g e

ing English, Italian, German, and French.

The use of the International Phonetic Alpha-

bet will be the unifying factor throughout

the course of study. Meets 2 hours per

week--one lecture and one laboratory

235 Music Technology (3)

A course designed to aid music students

(Music Industry, Music Education, Perfor-

mance, Church Music, and Bachelor of Arts

in Music) in becoming better acquainted

with the broad range and interrelated use of

instructional technology and media materials

as well as techniques associated with these

items. Emphasis is on the practical problems

of choosing, using, and inventing instruc-

tional materials. Proficiency in equipment

operation is required. Meets 3 hours per

week.

236 Woodwind Techniques (2)

A practical introduction to the technical

problems involved in the playing and teach-

ing of woodwind instruments. Meets 3

hours per week.

331 Music Methods in Elementary School

Teaching (2)

A course designed for music education ma-

jors to prepare the student for specialized

music teaching in the elementary school

through the study of music teaching methods

and materials. Meets 2 hours per week plus

occasional elementary classroom

observation.

333 Basic Conducting (2)

Fundamental techniques of the baton; basic

choral and instrumental technique; and

practical work in rehearsal situations. Meets

2 hours per week.

338 String Techniques (2)



ing of the violin, viola, cello, and string

bass. Meets 3 hours per week.

340 Percussion/Brass Techniques (1)



ing of percussion and brass instruments.


342 Music Methods in Secondary School

Teaching (2)

A course designed for music education ma-

jors to help the prospective student teacher

understand his task and equip him with a

knowledge of present music methods and

materials. Meets 2 hours per week.

343 Practicum in Secondary Music

Methods (1)

Taken concurrently with MUED 342. In-

cludes three hours per week of teacher aide

experiences at the secondary level in the

public school setting.

437 Instrumental Conducting and

Techniques (2)

Study of specific band and orchestral prob-

lems and conducting routine. Detailed work

in score reading from all periods. Meets 2

hours per week.

438 Choral Conducting and Techniques (2)

Study of the particular problems of choral

conducting; interpretation of choral litera-

ture, choir development, score reading.


440A Keyboard Pedagogy (2)

C Instrumental Pedagogy (2)

A study of the methods of teaching applied

music with emphasis on the materials suita-

ble for beginning students in the applied ma-

jor field. Meets 2 hours per week.


28 | P a g e

440B Vocal Pedagogy and Choral

Techniques (2)

A study of the traditional methods of teach-

ing applied voice and an introduction to cho-

ral techniques applicable to elementary, sec-

ondary, and church choirs. Meets 2 hours

per week.

443 Instrumental Materials (2)

A study of music and materials appropriate

for use in elementary and secondary music

teaching. Attention is also given to practical

application of skills in developing a strong

music program, public relations, concert

planning, festivals, etc. Meets 2 hours per

week.

444 Choral Materials (2)

Designed to immerse the student with good

choral literature especially suitable for high

school or junior high school performance, as

well as to acquaint the student with the great

choral masterworks. Style, programming

techniques, selection of music, and listening

are emphasized. Meets 2 hours per week.

Music Business Courses (MUSB)

300 Survey of Music Business (3)

A course designed to aid music students in

becoming better acquainted with the broad

range of business aspects in the music indus-

try. It is especially recommended for those

interested in pursuing a career in the music

business industry. The course will include a

survey of the industry covering several

broad topics including record deals, publish-

ing, copyright and licensing issues, promo-

tion, etc. Meets 3 hours per week.

335 Commercial Music (3)

A course designed to aid music students in

becoming better acquainted with various

aspects of the music industry. It is especially

recommended for those interested in pursu-

ing a career in the music business. The

course will include a survey of the industry

covering several broad topics including rec-

ord deals, publishing, copyright and licens-

ing issues, promotion, etc. There will be an

emphasis on information dealing directly

with the music recording industry. Meets 3

hours per week.

498 Internship in Music Business (3)

An internship in an organization providing

working experience and use of developing

knowledge in marketing, accounting, man-

agement, human relations recording tech-

nology, or administrative skills. Course is

designed to assist student in the exploration

of their theological calling by examining

their talents and interests in relation to ca-

reer opportunities. Prerequisite: Permission

of instructor and department head. Offered

on demand.

Degree Completion/A.A. Courses

(MUSA)

103 History of Jazz (3)

A general education course (designed for the

humanities credit of the Evangel University

degree completion program) familiarizing

the student with the cultural traditions, mas-

terpieces of jazz, performers of jazz, and the

contribution of jazz to everyday living. Em-

phasis is placed on the enjoyment of jazz

rather than building up a body of facts about

the genre. Meets 4 hours per week.

110 20

th & 21

st Century American Music (3)

A general education course familiarizing the

student with various American music genres

of the 20th

and 21st centuries including

Blues, Jazz, Broadway Musicals, Rock and

Roll, and Classical. The study will include

an exam as related to American music of

cultural traditions, masterpieces, performers,

and the contribution of American Music to

everyday living. Meets 4 hours per week.


29 | P a g e

Applied Music

Level Numbers The following procedure is used regarding

the course number for applied music levels:

100 level indicates freshman or

sophomore status

300 level indicates junior or senior

status

The section number should reflect the num-

ber of credits taken. For example, VOIC

300-1 would indicate enrollment for one

credit, 300-2 enrollment for two credits, etc.

Applied Music Level Requirements Entering level for music majors in their ap-

plied primary area is usually 941. Please

note that in the applied primary a student

must finish the 972 level as a pre-requisite to

graduation. Note also that instrumental ma-

jors must complete piano level 922; vocal

majors must complete piano level 932.

Instructors Assignment of the applied music teacher is

made by the Chairman of the department

with due consideration for a student’s pref-

erence and the balanced distribution of fac-

ulty teaching loads.

Late Policy Lessons must begin and end on time. The

student is expected to be responsible for im-

plementing this policy. If a student is more

than five minutes late for a 25-minute lesson

or ten minutes late for a 50-minute lesson,

an absence will be given.

Absence Policy

For lessons which meet once a week

for one or two credit hours: dropped

on 5th absence with an “F” or “W”

given.

For lessons which meet twice a week

for two or three credit hours:

dropped on 9th absence with an “F”

or “W” given.

Absences will be excused and lessons made

up under the following conditions:

The student is responsible to see that

advance notice of 24 hours is given

to the instructor.

Lessons are made up only if the stu-

dent is sick, on school assignment, or

excused by the Chair of the Depart-

ment of Music.

Written excuses may be requested by

the instructor involved.

Practice Curriculum in private study requires 5 hours

of practice per week for each credit hour.

This is an absolute minimum.

Practice rooms in general are unassigned

and available on a first-come, first-served

basis.

The use of the Recital Hall for practice must

be placed on the schedule by the Music Of-

fice staff.


30 | P a g e

Applied Exams Exams are given at the end of each semester

by an examining committee of music facul-

ty. Music majors and minors are ex-

pected to take exams in every area of ap-

plied study in which they may be engaged

during any given semester. Non-music

majors taking applied music as an elective

may be excused from applied exams at the

discretion of the teacher.

Scheduling applied exams is done online

through the student portal. Students should

register for 5 minutes for a 1-credit lesson

and 10 minutes for a 2-, 3-, or 4-credit les-

son.

The examination may cover all of the mate-

rial studied that semester. A piece of the

student’s own choosing is performed after

which the committee may choose from his

repertoire sheet. All or part of a piece may

be heard. The student’s accompanist must

be present. General knowledge of compos-

ers, forms, and musical terms used in the

repertoire is expected.

Repertoire sheets must be computer generat-

ed for the jury examination. Students may

go to any computer lab across campus, or

access the form via the Internet.

Applied Piano Exams The piano primary should prepare at least

three works for performance at the applied

exam. At least one selection should be

memorized and it is recommended that se-

lections include a movement of a sona-

ta/sonatina and/or a contrapuntal composi-

tion. Additional works studied during the

semester, but not prepared specifically for

the piano exam, should be listed on the rep-

ertoire sheet.

The piano performance major should pre-

pare at least four works for performance at

the applied exam. At least two selections

should be memorized and the selections

should include a movement of a sonata and/

or a contrapuntal composition.

Applied Music Courses Private lessons are available in the following

areas:

BASS String Bass

BSON Bassoon

CELO Cello

CLAR Clarinet

EUPH Euphonium

FLUT Flute

GUIT Guitar

HARP Harp

HORN French Horn

OBOE Oboe

ORGN Organ

PERC Percussion

PIAN Piano

SAXO Saxophone

TRBN Trombone

TRPT Trumpet

TUBA Tuba

VILA Viola

VILN Violin

VOIC Voice

A one credit lesson will consist of 14 weekly

25-minute lessons. 2-, 3- and 4-credit les-

sons will consist of 14 weekly 50-minute

lessons. Responsibilities (literature, practice

time, etc.) will be determined by the applied

teacher.

Applied Bassoon-BSON (Private)

Course descriptions are similar to clarinet.

Applied Clarinet-CLAR (Private)

Level #

911-914 (1-2 credits each semester)

Lazarus, Method for Clarinet, Part II;

Kroepsch, 416 Progressive Daily Studies;

Artistic Studies Book IV (includes Rose, 40


31 | P a g e

Studies, 32 Etudes and 6 Caprices) from the

French School. Various solo works.



Kroepsch, Daily Studies, Artistic Studies,

Book I. Various solo works.



Kroepsch, Daily Studies, Artistic Studies,

Book III from the Italian School. Various

solo works.


Foundation Studies from Baermann Book

III; Artistic Studies Book III. Solos selected

from Brahms, Sonatas and Weber, Concerti.


Foundation Studies from Baermann Book

III; Artistic Studies Book III. Solos compa-

rable to Berstein’s, Sonata and Milhaud’s

Duo Concertante.


Jeanjean, 20 Grandes Etudes; Bonade, Or-

chestral studies Book III. Spohr, Concerto

No. 1; Finzi, Five Bagatelles; unaccompa-

nied works such as Stravinski’s, Three

Pieces.


Uhl, 48 Etudes Book I; all scales and arpeg-

gios from memory; advanced solo and sym-

phonic literature. Various ensemble litera-

ture Senior Recital.

Applied Euphonium-EUPH (Private)

Course descriptions are similar to trombone.

Applied Flute-FLUT (Private)

Level #


Kujala, The Flutist's Progress; other ap-

propriate beginning materials.


Pares, Daily Exercises; other appropriate

intermediate materials.


Bona, Rhythmical Articulation; works

comparable to Händel, Sonata in D Major;

Gluck, Scene from Orpheus; Rohlig, A

Little Shepherd Music.


Bona, Rhythmical Articulation; Berbigui-

er, Etudes; basics of transposition; Händel

and Marcello sonatas; works comparable to

Hindemith, Echo; Honegger,

Romance.


Andersen, 24 Exercises for the Flute; Platti

and Telemann sonatas; works comparable to

Faure; Fantasie, Haydn, Concerto in D;

Hosmer, Rhapsody, Literature for 2, 3, and

4 flutes.


Altes, 26 Selected Studies; works compara-

ble to Chaminade, Concertino; Griffes,

Poem; Hue, Fantasie, chamber literature.


Orchestral studies; review of tone produc-

tion, vibrato usage, articulation forms; unac-

companied flute works such as Debussy,

Syrinx; Thomson, Sonata; Hindemith, Acht

Stucke; recital.

Applied Guitar-GUIT (Group)

011 Introduction to Guitar (1)

Basic guitar techniques for the beginner.

Reading music and learning chords are em-

phasized. Meets 2 hours per week. Applied

lesson fee.

012 Intermediate Guitar (2)

A continuation of GUIT 011. Meets 2 hours

per week. Applied lesson fee.


32 | P a g e

Applied Guitar-GUIT (Private)

Level #


Introduction to basic right- and left-hand

technique including rest stroke and free

stroke; Aaron Shearer, Classic Guitar

Technique, Vol. 1; Sight reading: first

position.


Further study of basic right- and left-hand

technique; Aaron Shearer, Classic Guitar

Technique, Vol. 1; selected etudes in first

position; sight reading; positions one

through five.


Beginning to intermediate level pieces in-

cluding Minuet in E minor. DeVissee and

Lesson in a minor, Sor; other etudes utiliz-

ing left-hand techniques of bar and slur;

chromatic scale in first position; sight read-

ing: positions one through seven.


Six Lute Pieces of the Renaissance, ed.

Chilesotti; Tarrega, Lagrima and Adelita;

Ponce, Preludes I and VI; Sor, Etude V

(ed. Segovia) and Carcassi, Etude III for

development of melody over accompani-

ment; Segovia scales and technical studies;

sight reading: all positions.


Milvan, Pavanes; Bach, Prelude from Cel-

lo Suite I; Narvaez, Variations on

Guardame las Vacas; Brouwer, Ten

Etudes; Villa Lobos, Prelude IV; Llobet,

Catalonian Songs; Poulenc, Sarabande;

etudes by Sor and Carcassi; Segovia scales

and technical studies; sight reading: all

positions.


Mudarra, Fantasia #10; Händel, Sarabande

with Variations; Bach, Gavottes I & II

from Cello Suite VI; Tarrega, Capricho

Arabe; Villa-Lobos, Suite Populaire

Brasilienne; emphasis on phrasing and mu-

sicality; etudes by Sor and Carcssi; Segovia

scales and technical studies; sight reading:

all positions.


Torroba, Pieces Caracteristiques, Sonati-

na; tarrega, Recuerdos de la Alhambra;

Sor, Grand Solo; Ponce, Sonata III; Bach,

Lute Suite I; Albeniz, Granada or Leven-

da; etudes by Sor and Carcassi; Segovia

scales and technical studies; sight reading:

all positions; emphasis on musicality and

subtleties of tone production.

Applied Horn-HORN (Private)

Level #


Fundamentals of posture, hand positions,

breathing tonal production, and articulation.

Getchell, Practical Studies (Book 1); Pot-

tag, Daily Exercises; Sansone, Modern

Method (Book 1). Solos by Getchell, Krol,

Ployhar, Lawton, and others.


Continuation of fundamentals. Getchell,

Practical Studies (Book 2); Pottag, Daily

Exercises; Sansone, Modern Method

(Book 2). Solos by Hartley, Kander, Law-

ton, McKay, Porret, and others. All major

and minor scales and arpeggios up to 3 flats

and 3 sharps.


Establish a daily warm-up and technical de-

velopment routine. Emphasis on tonal pro-

duction/intonation studies. Pottag, Prepara-

tory Melodies; Goldstein, Etudes (Book 1);

King, 25 Studies and Preludes; Skornica,

Intermediate Method. Solos by Bakaleini-

koff, Corelli, Faure, Haddad, and others. All

major and minor scales and arpeggios up to

5 flats and 5 sharps.


33 | P a g e


Continue on a daily warm-up and technical

development routine. Emphasis on articula-

tion contrasts, alternate fingering, interval

studies. Kopprasch, 60 Selected Studies;

Kling, 40 Characteristc Studies; Maxime

Alphonse, 40 Etudes Faciles; Weast, Valu-

able Repetitions. Solos by Mozart, Heiden,

Clerisse, Dubois, Gliere, Glazounov, Uber,

Mindlin, and others. All major scales and

arpeggios. Sight reading.


Continued development of advanced tech-

nique. Maxime-Alphonse, 40 Etudes Moy-

enne Force; Schantl, Grand Theoretical

and Practical Method; Little, Embou-

chure Builder; Musser, Rhythm in Con-

temporary Music. Solos by Bozza, Mo-

zart, Gallay, Haydn, F. Strauss, and others.

All minor scales and arpeggios. Sight read-

ing.


Continued development of tone, technique,

and work on transposition. Maxime-

Alphonse, 20 Etudes Difficiles; Reynolds,

48 Etudes; Chamber, Orchestral Excerpts

(Book 1, 2); Teuber, Progressive Studies in

Flexibility and Range Development. So-

los by Beethoven, R. Strauss, Rosetti, Du-

kas, Wilder, and others. Continued sight

reading.


Advanced technique. Schuller, Studies for

Unaccompanied Horn; Chambers, Orches-

tral Excerpts (Books 3, 4); F. Strauss, 17

Concert Studies; Solos by R. Strauss, Boz-

za, Reynolds, Saint-Säens, Hindemith, and

others.

Applied Oboe-OBOE (Private)

Course descriptions are similar to clarinet.

Applied Piano-PIAN (Group)

011 Introduction to Keyboard (1)

An introductory class for beginning students

designed to equip with basic skills that will

apply to any standard keyboard including

the acoustic piano, electronic keyboard,

synthesizer, harpsichord, or organ. Empha-

sis on note reading, rhythms, chords, har-

monic progressions, fingering patterns,

scales, and beginning technique. Meets 2

hours per week. Applied lesson fee.

012 Intermediate Piano (1)

A continuation of PIAN 901.

121 Class Piano (1)

Designed for music majors taking piano as a

secondary instrument. Includes development

of basic keyboard technique, sight-reading,

harmonization of melodies, transposition,

and solo and ensemble repertoire. Normally

taken with MUSC 141. Meets 2 hours per

week. Applied lesson fee.

122 Class Piano (1)

A continuation of Class Piano 911. Meets 2

hours per week. Applied lesson fee.

017 Contemporary Worship

Improvisation (1)

Practical instruction in adapting hymns for

evangelistic service playing and for creative

solo arrangement. Styles from basic cho-

rales to gospel are studied. Intermediate pi-

ano skills are pre-requisite. Meets 2 hours


221 Class Piano (1)

A continuation of Class Piano 912. Course

includes portions of the piano proficiency

exam. Meets 2 hours per week. Applied les-

son fee.

222 Class Piano (1)

A continuation of Class Piano 921. Course

includes completion of the piano proficiency


34 | P a g e

exam which the student must pass to receive

credit. Meets 2 hours per week. Applied les-

son fee.

Applied Piano-PIAN (Private)

Level #


Appropriate beginning piano materials.


Appropriate intermediate piano materials

such as the Op. 20 Kuhlau Sonatinas.

931-934 1-2 credits each semester

Materials such as Beethoven, Sonatas, Op.

49 No’s 1 and 2; Clementi, Sonatinas Op.

36; Mendelssohn, Songs Without Words;

Kabalevsky, Variations Op. 40; Bach,

Short Preludes and Fugues; Bartok, Mikro-

kosmos, Book IV; Bach, Short Preludes and

Fugues and easier Two-part Inventions.


Two-part inventions or movements of vari-

ous suites by J.S. Bach; Beethoven, Sonata

Op. 2, No. 1, or another of similar difficulty;

selections from classic, romantic and con-

temporary composers; scales; selected tech-

nical studies and exercises.


Preludes and Fugues from the Well-Tem-

pered Clavier, inventions, suites, or partitas

by J.S. Bach; Op. 10 of the Beethoven Sona-

tas or comparable sonatas by Mozart and

Haydn; selections from classic, romantic and

contemporary composers; selected technical

studies and exercises.


Suites, Partitas, Preludes and Fugues from

the Well-Tempered Clavier by J.S. Bach,

or other Baroque works; Beethoven sonatas

such as Op. 27, No. 1 and Op. 28, or com-

parable sonatas of other composers; arpeg-

gios; selected technical studies and exercis-

es.


A continuation and expansion of repertoire

explored in levels 961-966; representative

selections from Baroque, Classical, Roman-

tic, and Contemporary composers; selected

technical studies and exercises.

Applied Organ-ORGN (Group)

018 Hymn Playing/Improvisation (1)

Practical instruction in adapting hymns for

evangelistic service playing and for creative

solo arrangement. Styles from basic cho-

rales to gospel are studied. Intermediate or-

gan skills are pre-requisite. Meets 2 hours


Applied Organ-ORGN (Private)

No previous organ study is necessary.

However, students must have piano back-

ground equivalent to that of entering piano

majors.

Level #


Instruction books such as Dupre or Gleason;

fundamental study of organ touch; pedal

scales and studies such as Nilson, Phillips,

etc.; easier trios by Rheinberger, etc.; J.S.

Bach, simpler choral preludes, little preludes

and fugues; elementary registration and

hymn playing; simpler pieces from various

periods; methods of practices and study.


More advanced pedal and manual studies,

trios, hymns, chorale preludes of various

styles, preludes and fugues; easier sonatas or

suites, pieces by American and European

composers such as Clokey,Titcomb, Ed-

mundson, Bingham, Howells, Jongen,

Brahms; Buxtehude and other pre-Bach

composers; advanced registration, phrasing,

styles, and hymn playing.


35 | P a g e


More difficult works by J.S. Bach, such as

Fantasie and Fugue in C minor, Prelude

and Fugue in A Major; Franck, Cantabile,

Piece Heroique; Mendelssohn, Sonata 6;

Vaughan-Williams, Three Preludes;

Sowerby, Carrilon.


More difficult works by J.S. Bach, preludes

and fugues, trios, large choral preludes; Mo-

zart, Fantasie in F minor; extended works

such as sonatas or symphonies of Widor,

Vierne, Reger, Karg-Elert, Hindemith, Mu-

let.

Applied Saxophone-SAXO (Private)

Level #


Rubank, Advanced Methods Vol. I and II

or Rubank, Selected Studies. Solo works

from Rubank’s Concert and Contest Col-

lection and Teal’s Solos for the Alto Saxo-

phone Player. Review of embouchure, tone

production, articulation and vibrato.


Rubank, Selected Studies. Solo works from

Teal Solos for the Alto Saxophone Player;

Eccles Sonata.


Rubank, Selected Studies; Bach, Sonata in

G minor; Bozza, Aria; Schumann, Three

Romances.


Hite, Melodious and Progressive Studies

Book II; Lunde, Sonata; Händel, Sonata;

Quatrieme, Sonata; Lantier, Sicilienne.



Book II; Creston, Sonata; Gurewich, Con-

certo in E minor; Jolivet, Fantasy-Im-

promptu.



Book II; Heidn, Sonata; Milhaud, Scara-

mouche; unaccompanied works such as De-

bussy, Syrinx.


All major scales and minor scales from

memory. Jacobi, Sonata; Glazounov, Con-

certo; Maurice, Tableaux de Provence;

other advanced solo literature. Senior recital

with perfomance on at least two instruments

of the saxophone family.

Applied Trumpet-TRPT (Private)

Level #


Fundamentals of tone production; Edwards-

Hovey, Cornet Method (Book 1); Hering,

The Beginning Trumpeter; Clarke, Ele-

mentary Studies For The Cornet; Kinyon,

Breeze-Easy Method for Trumpet (Book

1); solos by Lawton, Pelz, Vandercook, Wil-

liams.


Continuation of fundamentals; Edwards-

Hovey, Cornet Method (Book 2); Hering,

The Progressing Trumpeter; Kenyon,

Breeze-Easy Method for Trumpet (Book

2); solos by Buchtel, Beeler, Gallois, Kin-

you. Major and minor scales and arpeggios

up to 3 flats and 3 sharps.


Continuation of fundamentals; Goldman,

Foundation to Cornet and Trumpet, Van-

der Woude, Pre-Virtuoso Studies, Getchell,

Second Book of Practical Studies; Pottag,

Preparatory Melodies for Trumpet; solos

by Donaudy, Fitzgerald, Hovhaness, Purcell,

Montbrun. Major and minor scales and ar-

peggios up to 5 flats and 5 sharps.


36 | P a g e


Emphasis on development of solid tone,

clean technique, multiple tonguing. Arban,

Complete Cornet Method; Concone, Lyri-

cal Studies; Smith, Lip Flexibility on the

Cornet; Clarke, Technical Studies; Hering,

The Achieving Trumpeter. Sight-reading;

solos by Fitzgerald, Bakaleinikoff, Ander-

son, Vivaldi, Ropartz, Bozza, Gliere; all ma-

jor scales and arpeggios.


Emphasis on finger-tongue coordination,

consistent double and triple tongue, sight-

reading, tonal warmth and projection.

Clark, Characteristic Studies; Arban,

Complete Cornet Method; Hering, 32

Progressive Etudes; Kopprasch, 60 Select-

ed Studies. Solos by Balay, Barat, Haydn,

Purcell, Bozza, Corelli, Goedicke and oth-

ers. All minor scales and arpeggios.


Continued emphasis on advanced tech-

niques, sightreading, warm-ups, BERP sys-

tem, tone bending, etc. Arban, Complete

Cornet Method; Brandt, Technical Stud-

ies; Schlossberg, Daily Drills and Tech-

nical Study; Smith,Top Tones For Trum-

pet; solos by Hummel, Sowerby, Clarke,

Presser, Sanders, Bernstein, Persichetti, and

others.


Schlossberg, Daily Drills and Technical

Study; Arban, Complete Cornet Method;

Brandt, Orchestral Excerpts (Vol. 1-3);

Charlier, 36 Etudes; solos by Tomasi, Hin-

demith, Händel, Kennan, Jolivet, Stevens,

Telemann, Torelli, Sowerby, and others.

Applied Trombone-TRBN (Private)

Level #


Fundamentals of tone production; Beeler,

Play Away Method; Cimera-Hovey, Meth-

od for Trombone; solos by A. Meyers, L.

Smith, P. Tanner, and Vandercook.


Continuation of fundamentals; Cimera-

Hovey, Method for Trombone; Colin,

Melodious Fundamentals; Tanner & We-

ber, Studies and Melodious Etudes. Solos

by A. Pinard, P. Tanner, and Douay-

Gouinguine. Major and minor scales and

arpeggios through 4 flats and 4 sharps.


L. Little, Embouchure Builder; F. Buchtel,

Trombone Method, Bk. I; Williams Meth-

od of Scales; solos by B. Boy, Cimera,

Clerissa, Händel, Pinard, and Mendelssohn.


Establish a daily warm-up/technical devel-

opment routine. V. Cornettos Method: Ar-

ban, Complete Method; Scale and Arpeg-

gio Studies; emphasis on development of

tone, technique, and sight reading. Hering,

40 Progressive Etudes; scale and arpeggio

studies; solos by Daneels, Dubois, Händel,

Mozart, Ostrander, H. Smith, Tanner, and

others. Listening assignments of trombone

recordings.


The Remington Warm-up Studies; Arban,

Complete Method; Bordogni-Rochut, Me-

lodious Etudes, Bk I; Blazhevich, Clef

Studies; scale & arpeggio studies including

I, IV, V, I; solos by Barat, Berlioz, and

Guilmant. Colley, Tuneup CD based into-

nation training system.


Arban, Complete Method; Tyrrell, 40

Progressive Studies; Blazevich, Clef Stud-

ies; Bordogni-Rochut, Melodious Etudes,

Books 1 & 2; orchestral studies; solos by

Bernstein, David, Grofe, Davison, Galliard,


37 | P a g e

McKay, and Sanders. Colley, Tuneup CD

based intonation training system.


Continued development of advanced tech-

nique; Remington Warm-up Studies;

Bordogni-Rochut Melodious Etudes, Books

1-2; Tyrrell, 40 Progressive Studies;

Blazevich, Clef Studies; orchestral studies;

emphasis on solo literature including solos

such as Casterede, Creston, George, Hinde-

mith, Jacobs, Milhaud, and White. Colley,

Tuneup CD based intonation training sys-

tem.

Applied Tuba-TUBA (Private)

Course descriptions are similar to trombone.

Applied Viola-VILA (Private)

Course descriptions are similar to violin.

Applied Violin-VILN (Private)

Level #


Materials such as Anderson-Frost, All for

Strings, books I & II; Suzuki, Violin

School, books I & II; Applebaum, First Po-

sition Etudes; Wolfahrt, Foundation Stud-

ies, book I.


Wolfahrt, Foundation Studies, books I &

II; Grissen, C. Learn with Tunes, book III;

Whistler, Introducing the Positions, book

I; Hrimaly, Scale Studies; Suzuki, Violin

School, book III.


Whistler, Introducing the Positions, book

II; Wolfahrt, Foundation Studies, book II;

Kreutzer, Forty-Two Studies; Suzuki, Vio-

lin School, books III & IV.


Major and minor scales and arpeggios in

three octaves; Kreutzer etudes; Corelli and

Händel sonatas; Concerti by Biotti, Vivaldi

or equivalent.


Scales and arpeggios in three octaves; scales

in thirds, sixths, and octaves. Kreutzer and

Rode etudes. Händel and Mozart sonatas.

Concerti by Mozart or equivalent.


Three octave scales and arpeggios contin-

ued. Scales in thirds, sixths, octaves, and

tenths. Rode and Don’t etudes. Beethoven

sonatas. Concerti by Mozart or equivalent.


Scales in all forms. Dont etudes. Sonatas

by Wieniawski, Saint-Säens, Mendelssohn

or equivalent.

Applied Violincello--CELO (Private)

Course descriptions are similar to violin.

Applied Voice-VOIC (Group)

011 Class Voice (1)

A study of the fundamental techniques of

singing. Discussion and application of

proper posture, breathing, tone production,

and diction, with emphasis on performance.

It is usually expected that this course pre-

cede all other applied voice study at the col-

lege level. Meets two hours per week. Ap-

plied lesson fee.

Applied Voice-VOIC (Private)

Level #911-934 (1-3 credits each semester)

A study of the fundamental principles of

tone production, including breath control

and resonance, through the medium of such

exercises and songs as may fit the students

particular need.


More advanced work in fundamental princi-

ples of tone production, breath control, pro-

nunciation and enunciation; songs in English


38 | P a g e

and Italian; selected vocalises and technical

studies.

951-956 91-3 credits each semester)

Old English, Italian, German, and American

songs; major, minor and chromatic scales

and arpeggios; selected vocalises and tech-

nical studies.


Italian, French, German opera and oratorio

literature; contemporary English and Ameri-

can songs; study of advanced vocal tech-

nique; selected vocalises and technical stud-

ies.


Italian, French, German, English and Amer-

ican songs; more difficult arias of opera and

oratorio; continued study of advanced vocal

technique; selected vocalizes and technical

studies.

For further vocal repertoire sequencing,

see Appendix G, pg. 63


39 | P a g e

Music Ensembles All students working toward the Bachelor of

Arts degree in Music, Bachelor of Music in

Music Education, Church Music, Perfor-

mance, or Bachelor of Science in Music, and

all music minors are required to participate

in the University Band, University Chorus,

University Chorale or University Orchestra.

The specific ensemble requirements vary

according to degree track and primary

emphasis.

Concert Orchestra, Concert Choir, String

Ensemble, Jazz Ensemble, Woodwind En-

semble, Brass Ensemble, Handbell Choir

and other chamber ensembles do not count

toward meeting the major or minor ensem-

ble requirement. Participants may partici-

pate in these ensembles to fulfill music

elective credits.

Music majors are required to participate

in a major ensemble during each semester

of full-time study at Evangel University,

excluding the student teaching semester in

which the major ensemble participation

requirement is waived.

Music Organizations (MORG) Open to all students regardless of major area

of study. Students working toward any BA

or BM in Music degree are required to par-

ticipate in the University Band, University

Chorus, University Orchestra, or University

Chorale. (Students may register for addi-

tional credit in succeeding semesters.)

017 Concert Orchestra (.5 optional)

Selected instrumentalists for university pro-

motion and travel. Selected by audition

from University Band and University Or-

chestra. Meets 3 hours per week.

018 Woodwind Ensemble (.5 optional)

Open to all qualified woodwind players.

Meets 1 hour per week.

019 Brass Ensemble (.5 optional)

Open to all qualified brass players. Meets 1

hour per week.

020 Concert Choir (.5 optional)

Selected singers for university promotion

and travel. Selected by audition from Uni-

versity Chorus and University Chorale.


021 Jazz Ensemble (.5 optional)

Open to all qualified players with the per-

mission of the instructor. Meets 3 hours per

week.

022 String Ensemble (.5 optional)

Open to all qualified string players. Meets 1

hour per week.

023 Handbell Choir (.5 optional)

Designed to meet requirements for Church

Music majors. Open to all qualified players.


024-1 Flute Ensemble (.5 optional)

Designed to meet special needs of music

students admitted to the performance degree.

(Enrollment by permission of the instructor.)


024-2 Stained Glass Story (.5 optional)

Select contemporary Christian ensemble de-

signed for ministry and promotion for Evan-

gel University. Selected by audition. Open

to any student. Meets 3 hours per week.

024-3 Tuba/Euphonium Ensemble

(.5 optional)

A performance outlet for all tuba and eu-

phonium students. Performances include

concerts and special events/exhibitions. The

ensemble is open to all qualified performers


40 | P a g e

with permission of instructor. Meets 1 hour

per week.

025 Opera Workshop (.5 optional)

Open to selected singers by permission of

the instructor. Concerts presented in the

spring semester only. Meets 2 hours per

week.

030 Guitar Ensemble (.5 optional)

Open to qualified players with the permis-

sion of the instructor. Meets 1 hour per

week.

111 Symphonic Band (.5)

Open to all qualified students. One concert

is presented each semester. Meets 3 hours

per week.

113 University Chorus (.5)

Open to all interested students. Presents 2

concerts each year. Meets 3 hours per week.

121 University Chorale (.5)

Selected singers study chamber choral

works through an audition process. Presents

2 concerts each year. Meets 3 hours per

week.

123 University Orchestra (.5)

Open to all qualified students. Presents 2

concerts each year. Meets 3 hours per week.

151 Marching Band (.5)

Open to all interested students. Offers brass,

percussion, woodwind and auxiliary per-

formers the opportunity to play in a march-

ing/concert ensemble. A variety of literature

is prepared. Performances include concerts,

half-time shows, and special events/exhi-

bitions. Meets 3 hours per week.


41 | P a g e

Recitals The art of music is realized in actual per-

formance. Therefore, emphasis is placed on

listening to concerts and recitals and per-

forming both solo and ensemble literature.

Recital Attendance 1. Music majors are required to attend a

minimum of 12 concerts each semes-

ter; music minors, a minimum of 6.

2. This requirement may be met by

participation in or attendance at

departmental recitals, area forums,

faculty recitals, concerts by the

Springfield Symphony, community

concerts, regional opera, Mid-

America Singers, and other universi-

ty concerts. At least 2 concerts

must be university orchestra or

symphony performances. Usually

it is expected that no more than 2

off-campus events, other than sym-

phony, be counted toward the recital

requirement.

3. Recitals will, of course, vary in

length. Students are expected to ar-

rive promptly and remain for the en-

tire program. No attendance credit

will be granted to those missing

more than 10 minutes due to tardy

arrival or early departure.

4. The student is responsible for sub-

mitting attendance slips to the Music

Office for recital attendance or by

using the electronic attendance tak-

ing devices.

5. The student is responsible for meet-

ing the attendance requirements.

Recital attendance results are posted

on the student transcript each semes-

ter.

Recital/Forum Performance 1. Each applied major (except BA &

BS) is required to perform once each

semester in an Area Forum. Accom-

panying or ensemble playing cannot

be counted toward fulfilling this re-

quirement. Juniors shall perform

twice each semester; all seniors (ex-

cept BA & BS majors) shall give a

Senior Recital.

2. Meeting deadlines for submitting

song titles and composer names to

the Music Office for printing are the

responsibility of both the teacher and

the student.

3. Performers need to attend the entire

recital/forum to receive recital credit.

Stage Presence 1. Entrances and exits to and from the

stage are normally made from the

left side. The soloist should always

enter before the accompanist regard-

less of gender.

2. Bowing and gracious acknowledg-

ment of applause is expected. The

performer’s appearance should be

“dressy” for all recitals; formal attire

for Senior Recitals and other major

concert events is considered appro-

priate.

Non-Degree Recitals Underclass recitals and recitals by BA & BS

majors are allowed if the student has been

performing regularly on Honors Recitals and

Area Forums. Special permission by the

Department Chairman is required.

Degree Recitals 1. All graduating students (except BA

& BS majors) will give a recital as

one of the requirements for a degree.


42 | P a g e

A Senior Recital will involve a min-

imum of 30 minutes actual perfor-

mance. The music faculty will ac-

cept or reject the recital as meeting

the requirement for the degree. This

judgment is based upon interpreta-

tion, technique, memorization, and

general musicianship. If the recital

is not accepted, it must be repeated.

2. Senior students with outstanding

ability may elect to give a Certificate

Recital upon recommendation of the

instructor. A Certificate Recital will

involve 50 minutes of actual perfor-

mance for which the candidate will

receive a certificate of performance

that will be recorded on his/her tran-

script. Repertoire, performance, and

memorization requirements vary ac-

cording to the area of concentration,

whether vocal, instrumental, or key-

board, etc. Standards and require-

ments are determined by the major

professor and the music faculty.

3. The applied jury committee will ac-

cept applications for Certificate Re-

citals during the junior applied music

exams. Final approval for a Certifi-

cate Recital will be given after the

public performance. If the committee

decides that it does not meet the

standards of a Certificate Recital, it

may be accepted as a Senior Recital.

4. All degree recitals are to be recorded

and the CD and printed program

placed in the music library. The stu-

dent is responsible for making re-

cording arrangements. Emphasis is

placed upon excellence in perfor-

mance rather than non-musical con-

siderations. It is expected that the

stage settings for recitals be kept

simple. Special lighting, extraordi-

nary decorations, fancy props, and

unusual effects of various kinds are

discouraged. Items in question

should be approved by the applied

instructor and the Department

Chairman.

5. Students giving recitals should not

feel obligated to provide flowers or

gifts for instructors, accompanists,

ushers, or others assisting with the

program.

6. Engraved announcements are viewed

as unsuitable. Those wishing to in-

vite friends, relatives, students, and

faculty outside the Department of

Music may send a copy of the pro-

gram with a short, hand-written note.

7. Flash pictures should be taken before

or following the program rather than

while the student is performing.

8. Receptions following degree recitals

are considered appropriate.

9. Program notes are expected in con-

nection with degree recitals. These

are to be written by the student and

edited by the applied teacher prior

to submission for printing.

10. Students must be enrolled for credit

in their major applied area during the

semester in which a recital is given.

11. A Recital Checklist is to be filled out

and returned one week prior to the

recital. These are available in the

form rack across from the student

lockers.

12. In order for a student to schedule a

Saturday recital, he or she must


43 | P a g e

submit a letter of request to the De-

partment Chair with signatures of

their applied teacher, plus two other

full-time faculty members stating

they will attend. Applications with-

out the signatures will not be accept-

ed.

13. Sunday Senior Recitals are not

permitted.

14. Recitals are not permitted with less

than three weeks remaining in either

the fall or spring semester without

special permission of the Music

Department Chair.

15. Recitals should be scheduled on the

calendar two months prior to the

recital date in cooperation with the

major teacher and the Music Office.

16. September and October recitals

scheduled the preceding spring

semester will be considered tentative

until confirmed with the Music

Office.

Area Forums 1. 3 Area Forums defined by major

emphases. . . Instrumental,

Keyboard, Voice . . . will convene

bi-weekly throughout the semester.

2. Applied teachers and major/minor

students from each emphasis will

meet simultaneously in separate

locations.

3. Students will perform pieces and

receive immediate feed-back from

professors in attendance.

4. Performance on Area Forums will be

monitored by major applied faculty.

5. Students from each Area Forum will

be chosen to perform on monthly

student Honors Recitals.


44 | P a g e

Piano Proficiency The piano proficiency exam is required of

all music majors (except BA & BS). Prepa-

ration for this exam is designed to provide

proficiency in those functional keyboard

skills needed for future classroom and studio

teaching. This will include sight reading,

harmonization, transposition, and accompa-

niment. Non-keyboard majors will nor-

mally take the exam as part of Class

Piano.

Students are expected to complete the pi-

ano proficiency exam by the end of the

junior year. This can be accomplished by

presenting one or more items at the follow-

ing times:

1. Piano proficiency exams are sched-

uled two times per year (October and

March). Students may present as

many items as they wish at these

times.

2. At the jury exam (at end of each

semester), students may present one

or two items of piano proficiency.

3. Students are expected to attempt at

least one proficiency item every se-

mester beginning with the second

semester of piano study.

4. All items of the piano proficiency,

with the possible exception of the

final keyboard level, must be com-

pleted before the senior recital may

be scheduled.

Requirements 1. Play the following patriotic songs in

a manner suitable for accompanying

group singing using any standard 3-

or 4 voice setting:

America

America The Beautiful

The Star-Spangled Banner

2. Prepared school song or the equiva-

lent; a single line melody in the right

hand is to be harmonized by an ap-

propriate accompaniment in the left

hand.

a. The harmonization should in-

clude the I, IV, V7 chords. The

letter name of the chord should

be printed or written on the

score.

b. The melodic line should range

over at least one octave and in-

clude skips and steps.

c. The left-hand accompaniment

should be suited to the style of

the melody.

3. Play at sight a song similar to item

#2.

a. The letter name of the chord will

be indicated on the score.

b. Keys with signatures up to 4

sharps and 4 flats should be stud-

ied in preparation of this sight

reading.

c. Left-hand accompaniment may

be block chords for this require-

ment.

4. Sight read a piano composition:

a. Instrumental primaries complete

level 912.

b. Vocal primaries read level 922.

c. Piano primaries read level 932.

5. Transposition

a. Instrumental primaries—the

prepared transposition of a

song similar to Item #2 into

keys with signatures up to 4

sharps and 4 flats. Left-hand


45 | P a g e

accompaniment may be block

chords for this requirement.

b. Vocal primaries—same re-

quirement as instrumental

primaries.

c. Keyboard primaries—the

transposition of a 4-part cho-

rale or hymn to keys up and

down a second and third from

the original key. The follow-

ing chorales and hymns are

considered suitable for this

requirement. The student may

choose one of these or one of

similar level. Hymns: “Let

Us With A Gladsome Mind,”

“The King of Love My Shep-

herd Is” (Dykes), “Come

Thou Long Expected Jesus”

(Prichard). Chorales: #42,

“Du Friedefurst, Herr Jesus

Christ” (measures 1-4); #67,

“Kommt, Lasst Euch den Her-

ren Lehren” (measures 1-4),

(measures 1-8).

6. Accompaniment

a. Instrumental primaries—play an

accompaniment to an instrumen-

tal solo. The soloist is to appear

at the examination with the stu-

dent. The composition should be

chosen from standard instrumen-

tal literature and approved by the

student’s piano teacher or a

member of the piano faculty

prior to the exam.

b. Vocal primaries—the playing of

an accompaniment to a vocal

solo. The soloist is to appear at

the examination with the student.

The composition should be cho-

sen from standard vocal literature

and approved by the student’s

piano teacher or a member of the

piano faculty prior to the exam.

c. Piano primaries—not required.

7. Open Score

a. Instrumental primaries—not

required.

b. Vocal primaries—two 4-part vo-

cal scores are to be prepared.

The specific pieces will be cho-

sen by the instructor and the key-

board faculty. The student will be

required to read any combination

of two voices.

c. Piano primaries—two 4-part

open scores are to be prepared.

The specific pieces will be cho-

sen by the instructor and the key-

board faculty. At the exam time,

the committee will choose any

one, or excerpts from both for

students to play.

8. Completion of keyboard level:

a. Instrumental primaries complete

level 922.

b. Vocal primaries complete level

932.

c. Piano primaries complete level

972.


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Scales and Arpeggios

Piano Primaries

First Semester All major and harmonic minor scales, major

and minor arpeggios, two octaves, hands

separately.

Second Semester All major and harmonic minor scales, major

and minor arpeggios, two octaves, hands

together.

Third Semester All major and harmonic minor scales, major,

minor, and dominant seventh arpeggios,

three octaves hands together.

Fourth Semester All major and harmonic minor scales, major,

minor, and dominant seventh arpeggios, di-

minished seventh arpeggios, three octaves

hands together.

Fifth Semester Major and harmonic scales, major, minor

diminished seventh and dominant seventh

arpeggios, four octaves, mm. = 100.

Sixth Semester Major, harmonic, and melodic minor scales,

major, diminished seventh and dominant

seventh arpeggios, four octaves, mm. = 100.

The scale and arpeggio requirements will be

part of each semester’s jury exam. If they

are not passed, an “I” will automatically be

given and six weeks allowed to make up the

deficiency before a permanent “F” is as-

signed. In order to make up the deficiency,

the student must take a scale test for which

there will be a late test fee of $5.00.

All piano primaries must pass the sixth

semester requirement.

Scales and Arpeggios

Piano Secondaries

First Semester All major and harmonic minor scales, one

octave, hands separately.*

Second Semester All major and harmonic minor scales, one

octave, hands together.

Third Semester All major and harmonic minor scales, two

octaves, hands together; all major and minor

arpeggios, two octaves, hands separately.

Fourth Semester All major and harmonic minor scales, two

octaves, hands together; all major and minor

arpeggios, three octaves, hands separately;

dominant seventh arpeggios, hands separate-

ly.

*At the discretion of the piano instructor,

one preliminary semester of the major scales

only, one octave, hands separately, may

precede the basic four-semester sequence.

The scales and arpeggio requirements will

be part of each semester’s jury requirement.

If they are not passed, an “I” will automati-

cally be given and six weeks allowed to

make up the deficiency before a permanent

“F” is assigned. In order to make up the de-

ficiency, the student must take a scale test

for which there will be a late fee of $5.00.

All piano secondaries must pass the fourth

semester requirement.


47 | P a g e

Accompanists here is a definite musical maturing pro-

cess that comes about as a result of ac-

companying. Both the soloist and accompa-

nist profit by the discipline of playing to-

gether. Accompanists and soloists are to

practice independently until enough mastery

has been achieved to warrant ensemble prac-

tice. An accompanist is not to teach the so-

loist notes, rhythms, entrances, etc. There

must be enough ensemble practice each

week to effect a developing musical maturi-

ty, but the soloist is expected not to make

excessive demands upon the accompanist’s

time.

Accompanist is expected to: 1. Approach his/her accompanying re-

sponsibilities with a positive attitude

and a cooperative spirit.

2. Learn his/her music and play it well.

3. Cooperate with the soloist’s teacher

in the matter of being present at les-

sons as determined by the musical

and pedagogic needs of the soloist.

Teachers will use wisdom and sound

judgment in making demands of the

accompanist’s time for lesson ap-

pearance.

Soloist is responsible for: 1. Finding his/her own accompanist in

consultation with his applied teacher.

2. Giving the accompanist the music in

ample time for thorough preparation.

3. Practice independently from his ac-

companist—learning his/her own

notes, rhythms, entrances, etc.

Keyboard teachers will be responsible for

their individual students in several areas:

1. Supply assistance in the art of ac-

companying as needed by the

student.

2. Supervise the amount and intensity

of the accompanying activity.

a. In general, no more than two so-

loists per single accompanist.

b. Every keyboard student who is

capable should accompany at

least one person.

c. Accompanying skills will be tak-

en into consideration when as-

signing grades. Final grades for

students who are conspicuously

slothful, inefficient, and uncoop-

erative will be carefully scruti-

nized. Teachers of soloists who

have accompanists who fall into

these categories have the respon-

sibility of conferring with the

keyboard teacher.

3. Include a limited number of selected

accompaniments on their student’s

repertoire as appropriate study litera-

ture. These must be approved by the

teacher.

4. Circulate a list among the faculty of

potential accompanists. This will be

done the 2nd week of each semester

and will include the student’s name,

his classification, his general accom-

panying ability, and his keyboard

teacher’s name.

T


48 | P a g e

MISCELLANEOUS

University-Owned Instruments elected university-owned instruments are

available for rent to students. There is a

$25.00 fee payable to the Music Office.

Care should be taken in the use of school

instruments. Any extraordinary repairs are

the student’s responsibility. Further infor-

mation may be obtained from the Instrument

Check-out Office in the Instrumental Re-

hearsal Room.

Honors at Graduation he music faculty each year selects from

the senior class the “Outstanding Musi-

cian of the Year.” This award is recorded in

the student’s file as well as on a plaque out-

side the Music Office. A personalized

plaque is also presented to the recipient.

Awards for Academic Excellence and certif-

icates for “Certificate Recital” performances

are also presented at Baccalaureate.

Springfield Symphony usic majors are encouraged to attend

concerts presented by the Springfield

Symphony. Attendance at these concerts

should be reported to the Music Office for

recital credit.

Outside Engagements n occasion, students have been in-

volved in public performances under

circumstances not considered to be in the

best interests of either the university or the

student. For this reason, it is requested that

those planning performances outside the

Department of Music discuss the matter first

with his/her applied major instructor.

STUDENT ORGANIZATIONS

College Music Educators National

Conference AfME is an affiliate of the Music Educa-

tors National Conference (MENC) which

is the organization that serves as leader

and spokesman for music education in the

United States. Its 60,000 members are men

and women engaged in music teaching or

other music education work at all institu-

tional levels from pre-school through col-

lege/university students. There are 600

campus chapters of NAfME.

NAfME is a collegiate membership classifi-

cation providing for student participation in

the activities of a student chapter, of the

state division, and of the national associa-

tion.

Student membership dues for the school

year (Sept.-May) are $8.00 ($6.00 of this

entitles the student to a monthly issue of the

Music Educators Journal and $2.00 is for the

local chapter). All music majors and minors

are encouraged to join.

Pi Kappa Lambda he Epsilon Psi chapter of Pi Kappa

Lambda was installed at Evangel Col-

lege in 1985.

PKL is a National Music Honor Society.

The society offers recognition to students

who attain high levels of scholarship and

achievement in the field of music.

Qualified junior and senior music majors are

nominated for membership by a faculty

committee of the chapter. Students selected

for membership are publicly presented dur-

ing an Honors Recital.

Provision is made for honoring faculty

members and alumni by membership in the

local chapter

S

T

M

O

N

T


49 | P a g e

.Financial Assistance tudent Financial Assistance is a supple-

ment to help meet university costs. It is

divided into four categories: Scholarships,

Grants, Loans, and Employment. To qualify

for Financial Assistance, students must ap-

ply each year. For federal assistance, eligibility must be

established by completing either the Finan-

cial Aid Form (FAF), the Family Financial

Statement (FFS), or the Federal Student Aid

Applications and mailed as instructed on the

form (allow approximately 8 weeks for pro-

cessing). Federal Assistance programs in-

clude: Work Study, National Direct Student

Loan, Supplemental Educational Opportuni-

ty Grant, Pell Grant, and Guaranteed Student

Loan.

All Scholarships, Grants, Loans, and

Employment are administered by the Of-

fice of Enrollment. However, the De-

partment of Music does make recommen-

dations for awarding all the music schol-

arship monies.

These music scholarship monies are award-

ed on the basis of: demonstrated musician-

ship (by audition), academic credentials (by

college GPA, high school grades, ACT

scores), Christian commitment (by pastoral,

alumni, instructor recommendation), and

leadership capability (by supportive letters

from counselors, youth pastors, and music

teachers). The Department of Music also

considers its needs in the various compo-

nents within the department - instrumental-

ists, vocalists, pianists, and the specific

needs within each category, e.g., the balance

of vocal parts, attention to sections of in-

struments, and the continued quest for quali-

ty string and keyboard players.

Scholarship monies awarded by the Depart-

ment of Music are divided into three main

categories.

1. Music Performance Scholarships

This is the major category of scholar-

ships awarded by the Department of

Music. These awards are based on

performance ability (demonstrated

by audition) and the specific needs

within the department, particularly

within the bands, choirs, and orches-

tra.

2. Academic Department Scholar-

ships These scholarships are based on aca-

demic ranking and cumulative GPA

while at Evangel University. Awards

are only given to upper-classmen.

3. Music Endowment Scholarships This is an ever-growing category of

music awards. Most of the named

scholarships are based on perfor-

mance criteria in specifically-named

performance areas.

S


50 | P a g e

These endowed scholarships are normally

awarded to upper-class students, and public

recognition is given on Awards Day/

Baccalaureate:

Delta and Donald Aldrich (Music

Education)

Constance Lee Altman Memorial

(Voice)

Edna Baker (Voice)

Mark and Casey (Snavely) Bass

Memorial (Concert Choir)

Pauline Chism Memorial (Open)

Christian Fidelity Foundation (Open)

Arlene C. Culbertson Memorial

(Open)

Peter DiTomassi Memorial (Open)

Lance and Frances Grantham (Brass)

Bill and Georgia Gunn (Brass)

Kay Daniel Harrison (Piano)

Calvin & Ella Mae Hawkins (Violin)

Adena Seguine Holsinger (Piano)

Calvin Johansson (Church Music)

Gwen Jones Memorial (Organ)

June Kean Memorial (Piano/Organ)

Ralph Lanning Memorial (String)

Beverly Lewis (Open)

Kenneth and Valna Ligate Memorial

(Piano)

Grady and Janice Manley (Voice)

Music Alumni (Open)

M.B. Netzel Memorial (Violin)

Rita Shepherd Nicholson Memorial

(Low Brass)

Ozark Handbell Festival (Handbells)

Betty Palma (Piano)

James Ramsey Memorial (Concert

Choir)

Myrtle Schmidgall Memorial (Open)

Wanda Shows Memorial (Voice)

Robert Snell (Open)

Mary Jane Sparks Memorial

(Woodwind)

Jennifer Lynn Spence Memorial

(Piano)

H.R. & Alice M. Swingle Memorial

(Open)

Angela Dawn Sydnor Memorial

(Open)

Mark Thallander (Organ)

Jewell Hubbard Trump (Open)

Neil Wallace Memorial (Open)

J.P. Wannenmacher Memorial

(Violin)

Walter Lee Weaver Memorial

(Band)

Mr. & Mrs. Wm. Robert Willis

(Open)

Further Information ll music scholarships are reassigned

annually. Continuing student auditions

are usually held in February; new student

auditions are usually held in November,

February, and March.

Auditions should illustrate the applicant’s

best area(s) of performance, be 5-8 minutes

in length, and be a recital/contest piece with

contrasting movements, or substantial por-

tions of differing solos. New students need

to have three supportive letters to accompa-

ny the completed application.

A


51 | P a g e

Appendix A


52 | P a g e

Appendix A-1


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Appendix B


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Appendix B-1


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Appendix C


56 | P a g e

Appendix C-1


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Appendix D


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Appendix D-1


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Appendix E


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Appendix E-1


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Appendix E-2


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Appendix F


63 | P a g e

Appendix G

Vocal Repertoire Repertoire for applied voice students consists of styles from all historical periods of vocal

music. Voice primaries are expected to complete the following sequence. Voice second-

aries will follow a similar, less extensive course of study.

1. Memorize the material listed below as a minimum.

2. Keep an accurate record of the material covered.

3. Build a file for public school vocal contests for all voices of various

levels, difficulty, periods, and composers

.

Freshman

Fall

6 English

2 Italian

Sing on recital

Spring 6 English

2 Italian

Sing on recital

Sophomore

Fall

5 English

1 Italian

2 German

Sing on recital

Spring 5 English

1 Italian

1 French

Sing on recital

Junior

Fall

4 English

1 Italian

2 German

2 French

1 Aria (opera/oratorio)

2 Recital performances

(Begin to anticipate senior recital)

Spring 4 English

1 Italian

2 German

2 French

1 Aria

2 Recital performances

Senior

Fall

Senior recital material

Spring Present senior recital

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