school of music handbook

SHELBY AND FERNE COLLINSWORTH SCHOOL OF MUSIC at CALIFORNIA BAPTIST UNIVERSITY

JOSEPH E. BOLIN, D.M.A. DEAN

School of Music Handbook

UNDERGRADUATE 2020-21

Revised: December 29, 2020 “…inspiring students to the highest standards of musical craft and personal character,

preparing them for success in musical professions.”

Collinsworth School of Music at California Baptist University 8432 Magnolia Avenue • Riverside, CA 92504 Phone: (951) 343-4251 • Fax: (951) 343-4570

Website: music.calbaptist.edu

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TABLE of CONTENTS Faculty and Staff 4 Mission Statement, Program Description, and Accreditation 5 Mission, Vision, Values, and Character 6-7 Bachelor of Music and Bachelor of Arts Degrees 8 Four-Year Plans: 8-17 Bachelor of Music in Commercial Performance 9 Bachelor of Music in Composition 10 Bachelor of Music in Instrumental Performance 11 Bachelor of Music in Music Education – Choral Emphasis (with Credential) 12 Bachelor of Music in Music Education – Instrumental Emphasis (with Credential) 13 Bachelor of Music in Piano Performance 14 Bachelor of Music in Studio Production 15 Bachelor of Music in Vocal Performance 16 Bachelor of Arts in Music for Worship Arts and Ministry 17 General Education Requirements 18 Degree Requirements: 19-32 Bachelor of Music in Commercial Performance 19 Bachelor of Music in Composition 20-21 Bachelor of Music in Instrumental Performance 22-23 Bachelor of Music in Music Education 24-25 Bachelor of Music in Piano Performance 26-27 Bachelor of Music in Studio Production 28 Bachelor of Music in Vocal Performance 29-30 Bachelor of Arts in Music for Worship Arts and Ministry 31-32 Single Subject Matter Program in Music 33 Teaching Credential Program (Traditional Path) 34 Integrated Credential Program (from 2020) 35 Integrated Credential Program (prior to 2020) 36 BM Music Education with Teaching Credential Coursework (prior to 2020) 37-38 Minor in Music 39 Minor in Worship Arts and Ministry 40 Music Concentrations 41-42 Music Concentrations and Music Majors 43

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TABLE of CONTENTS (continued) Facilities / Offices and Studios / Practice Rooms / Lockers 44

Scholarships and Awards 45

NAfME Collegiate 45

Private Instruction 46-47 Student Recitals / Performance Forum 48 Performance Levels 48 Upper Division Qualifications 49 Senior Recitals 50-51 Junior Recitals 51 Repertoire for Private Instruction - Piano, Vocal, Instrumental 52-54 Piano Instruction Policy 55 Piano Proficiency: 56-64 Piano Proficiency Requirements - Division I 57 Piano Proficiency Requirements - Division II 58 Piano Proficiency Requirements - Division III 59 Piano Proficiency Requirements - Division IV 60 Piano Proficiency Requirements - Division V 61 Piano Proficiency Requirements - Division VI 62 Sample Repertoire for Piano Proficiency - Divisions I, II, and III 63 Sample Repertoire for Piano Proficiency - Divisions IV, V, and VI 64 Inversion Patterns for Piano Proficiency - Division IV 64 Worship Arts Proficiencies 65 Standards of Writing Style and Musical Citation 66 Ensembles 67-69 Addenda: NASM/PAMA – Protect Your Hearing Every Day 70-78

NASM/PAMA – Protect Your Neuromusculoskeletal and Vocal Health Every Day 79-91 Performance Levels Rubrics 92-113

Note: Highlighted sections are currently being considered for revision. This updated edition of the School of Music Handbook supersedes all previous versions.

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FACULTY and STAFF

Joseph E. Bolin, D.M.A. – Dean – Choral Music, Worship Arts Lance Beaumont, D.M.A. – Associate Dean – Graduate Studies and Program Development, Guitar

Angela Brand-Butler, D.M.A. – Professor – Music History, Piano John Reinebach, D.M.A. – Professor – Voice Glenn Pickett, D.M.A. – Professor – Composition, Music History Stephen Posegate, D.M.A. – Professor – Music Education Gene Moon, D.M.A. – Associate Professor – Director of Orchestral Studies, Symphony Orchestra Gene Peterson, D.M.A – Associate Professor – Director of Choral/Vocal Studies, Choral Conducting David Toledo, Ph.D. – Associate Professor – Director of Worship Studies, Accreditation and Assessment Guy Holliday, D.M.A. – Assistant Professor – Director of Bands, Conducting Joshua Rodriguez, Ph.D. – Assistant Professor – Music Theory, Composition Jennifer Cruz, M.M. – Assistant Professor – Director of Keyboard Studies

Steven Dahlgren, M.M. – Assistant Professor – University Choir and Orchestra, Piano Hector Jimenez, M.M. – Assistant Professor – Worship Arts Travis Maclay, M.A. – Assistant Professor – Director of Operations, Worship Arts Dan St. Marseille, M.M. – Assistant Professor – Director of Jazz Studies, Associate Director of Bands Tom Brooks – Assistant Professor – Director of Commercial Music Ruth Noemy Wheeler, M.M. – Lecturer – Assistant Conductor, Symphony Orchestra and UCO, Strings Brenda Reinebach, M.A. – Lecturer – Voice Rick Muchow, B.A. – Artist in Residence – Worship Arts Travis Maclay – Director of Operations Courtney Ladd – Administrative Assistant Johna Taylor – Administrative Assistant Matthew McConnell – Technical Director Performance and Events Coordinator (position vacant)

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MISSION STATEMENT, PROGRAM DESCRIPTION, and ACCREDITATION

The mission of the Collinsworth School of Music at California Baptist University is to inspire students to the highest standards of musical craft and personal character, preparing them for success in musical professions. With an educational environment distinguished by vibrant, interactive teaching, a prolific performance culture (featuring over 200 concerts a year), and a strong emphasis on building personal and professional character, the School of Music at CBU stands as a unique scholastic institution, dedicated to providing rigorous training in the arts to equip young musicians for successful careers as performers, composers, music educators, and worship leaders. Furthermore, the CBU School of Music believes in preparing high caliber, versatile musicians. While many institutions of higher learning center their curriculum and experiences around a limited segment of the musical sphere, CBU intentionally provides hands-on training in a multitude of musical styles and genres without compromise. In addition to its comprehensive focus on Western art music, the school intentionally blends folk and jazz styles, world music, commercial music, studio and technical production, and modern and traditional church music to most effectively prepare future artists for what awaits them in the modern marketplace of professional musicians. The School of Music is fully accredited by the National Association of School of Music (NASM) and is committed to the continued refinement of its educational opportunities as we strive to accomplish our mission of preparing the next generation of career musicians. Annually, the music program publishes a handbook to acquaint students with the faculty and academic programs. This handbook will help you better understand some of the requirements, policies, and procedures that specifically pertain to our program. The information contained in this handbook should be used in conjunction with the current Undergraduate Catalog (http://catalog.calbaptist.edu). Read these two documents carefully – they contain answers to many of the questions you will have. If questions do arise, do not hesitate to ask the appropriate faculty member. Students are urged to consult with faculty members about any problem relative to their work at the University. Welcome to the Shelby and Ferne Collinsworth School of Music at California Baptist University!

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MISSION, VISION, VALUES, and CHARACTER

MISSION WE EMBRACE: What constitutes our institution’s “Win”

“…to inspire students to the highest standards of musical craft and personal character, preparing them for success in musical professions.”

VISION WE LIVE: A picture of what we are building

“…a spiritually vibrant community where students can receive top-tier academic, musical, professional, and personal preparation for a variety of diverse musical careers.”

VALUES WE HOLD: Principles we corporately hold important that inform and dictate culture

Craft …expressed with artistry and excellence Character …lived with distinction in culture Connection …to God through worship, others through relationship, and the diversity of

the human experience as expressed in the arts CHARACTER WE TEACH: Habitually practiced attitudes and behaviors that distinguish an individual Taught, exemplified, celebrated, and required in the SOM

1. Diligence vs. Laziness Applying my full heart, energy, and effort to my life’s work. 2. Delivery vs. Self-Excusal Overcoming ALL obstacles to finishing ANY task with which I’m entrusted, no matter the

challenge or lack of resources. 3. Perseverance vs. Quitting Faithfully investing in what’s most important, especially prior to witnessing results. 4. Extra-Mile Effort vs. Adequacy Distinguishing myself by consistently going beyond what is required of me. 5. Preparation vs. “Winging it” Investing the necessary research and rehearsal to successfully execute in life’s

performances. 6. Responsibility vs. Abdication Owning the duties and accountability associated with the people, tasks, and possessions

placed in my care. 7. Dependability vs. Unreliability Earning the confidence of those around me by consistently meeting their expectations. 8. Initiative vs. Procrastination Taking the first step toward seizing an opportunity or meeting a need without

prompting or provocation. 9. Problem-Solving vs. Unproductivity Utilizing my energies to offer well-researched, creative solutions to inevitable daily

challenges (rather than creating drama through regurgitations of already apparent problems).

10. Excellence vs. Mediocrity Executing an endeavor with superior quality. 11. Professionalism vs. Amateurism The consistent execution of excellence in a chosen discipline. 12. Intentionality vs. Impulsiveness Using pre-determined vision and long-game objectives instead of instinctual impulses

to govern my daily decisions. 13. Leadership vs. Passivity Influencing those around me by exemplifying and championing successful behavior. 14. Discretion vs. Foolishness Considering my words and actions prior to their execution so as to not incur

unintended consequences.

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CHARACTER (continued) 15. Inspiration vs. Domination Harnessing the power of intrinsic and extrinsic motivation instead of fear and guilt to

challenge people to greatness. 16. Organization vs. Chaos Constructing my time, activities, possessions, and responsibilities in a systematic

fashion as to maximize productivity. 17. Enthusiasm vs. Apathy Establishing my personal commitment to an idea, cause, or endeavor with the

passionate energy I give to its expression and/or execution. 18. Clarity vs. Ambiguity Avoiding conflict, confusion, and unproductivity by ensuring that all information and

expectations are clearly understood. 19. Teachability vs. Self-Sufficiency Knowing that there is something I can learn from everyone I encounter and

demonstrating an eagerness to do so. 20. Self-Discipline vs. Self-Indulgence Exercising restraint and/or effort today so I don’t have to experience regret and

consequences tomorrow. 21. Courage vs. Cowardice Boldly embracing the frightening or unnatural for the purpose of personal growth and

professional effectiveness. 22. Creativity vs. Monotony Employing the power of the new to reflect the inspiration and glory of God. 23. Attentiveness vs. Disinterest Affirming the value of an individual by giving exclusive attention to their words,

emotions, and personal needs. 24. Encouragement vs. Criticism Looking for, recognizing, and celebrating the growth and successes of those around me. 25. Kindness vs. Rudeness Extending attitudes of gentleness and warmth, especially in moments of interpersonal

tension. 26. Deference vs. Entitlement Limiting my freedom as not to offend the convictions, conscience, or preferences

of others. 27. Respect vs. Disregard Understanding the value and position of those in my life and giving honor, significance,

and submission accordingly. 28. Patience vs. Agitation Peacefully enduring the irritations and imperfections of others. 29. Loyalty vs. Betrayal Supporting and protecting the vision, values, and reputation of those I love and serve. 30. Gratitude vs. Privilege Expressing, through attitudes and gestures, sincere thanks to those who have invested

in my life. 31. Positivity vs. Negativity Viewing all my circumstances as opportunities for growth and exhibiting an optimistic

attitude in the midst of challenge. 32. Conviction vs. Ambivalence Establishing personal beliefs that cannot be compromised no matter the consequences. 33. Flexibility vs. Rigidity A willingness to embrace unanticipated opportunities or directives even when they

conflict with my preferences or plans. 34. Integrity vs. Corruption Guarding God’s mission for my life by living above reproach in the eyes of my

community and culture. 35. Honesty vs. Deception Preserving the trust of others by speaking and living the truth without trickery,

manipulation, or spin. 36. Humility vs. Arrogance Living with the understanding that my accomplishments and my potential are ultimately

due to God’s gifts and others’ investments in me. 37. Servanthood vs. Self-serving Consistently giving of my time, energies, and resources to meet the needs of those

around me. 38. Wisdom vs. Myopia Understanding the optics of life through the lens of the Divine. 39. Grace vs. Accusation Gifting to others (moment by moment) the same mercy, forgiveness, and acceptance

with which Christ has gifted me. 40. Joy vs. Hopelessness Understanding that, through all my circumstances, God is working for my good and

for His glory. 41. Faith vs. Disbelief Living in the reality of what God has promised even prior to witnessing its fulfillment. 42. Love vs. Selfishness Choosing the glory of God and the good of others over self-gratification, self-interest,

and self-glory.

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BACHELOR of MUSIC DEGREE

The Bachelor of Music degree provides an appropriate background for students who may have career aspirations as teachers, musicians, church music leaders, or who plan to make music an avocation upon completion of their coursework. This music degree may equip the student for graduate work in music, depending upon the choice of graduate institution. Classes and performing experiences enable students to know, understand, perform and teach diverse musical styles. Dr. Joseph Bolin, Dean of the Collinsworth School of Music, is committed to providing new and unique opportunities for our students to grow and reach their full potential. Admission to Music Major or Minor is determined by the following: • Performance Audition • Music Theory Placement Exam The results of this theory and aural skills exam determine placement within the music theory sequence. Music Majors and Minors will be subject to a yearly review by music faculty to determine the student’s continuation in the program.

BACHELOR of ARTS DEGREE in MUSIC for WORSHIP ARTS and MINISTRY

The Worship Arts and Ministry major is designed to prepare students for worship ministry in the highly eclectic culture of the modern evangelical church. The degree program is built to fully equip worship leaders/pastors to be musically excellent and stylistically versatile, proficient in pastoral and professional skills, and committed to the scriptural call of servant leadership in the example of Christ.

FOUR-YEAR PLANS

In the following pages (9-16), four-year plans for all seven majors leading to a Bachelor of Music degree are given. On page 17, a four-year plan for the Bachelor of Arts in Music for Worship Arts and Ministry degree is given. It is strongly recommended that students follow the plan for their major closely to ensure a timely completion of the degree requirements. Please note that many upper division courses for the specific majors are offered on a two-year cycle, and the four-year plans below start in the fall of odd years or fall of even years. Students who begin their first (Freshman) year in the fall semester of an odd year will find it necessary to take several courses in the Junior year even though they are listed in the Senior year below, and vice versa. Please see your major advisor about this necessity. Also, it is important to note that General Education courses are not listed on the four-year plans. G.E. courses will be spread out over all four years, and it is important to refer to your Degree Guide and seek the help of an Academic Advisor to ensure that you are meeting all graduation requirements and staying on track to graduate on time.

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Bachelor of Music in Commercial Performance The following represents a four-year plan for music courses to be taken by students majoring Commercial Performance. This plan reflects music courses taken in sequence. Please note that General Education requirements (24-39 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Freshman Year - Fall Semester (Odd) 11 units MUS 012 Class Piano I* 1 MUS 016 Rhythm Instruments I 1 MUS 046 Popular Music Ensemble: 50s-70s 1 MUS 080-089 Private Instruction 2 MUS 105 Introduction to Commercial Music Studies 2 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 Sophomore Year - Fall Semester (Even) 17 units MUS 047 Popular Music Ensembles: 80s-Contemporary 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 301 Survey of Music History^ 3 MUS 386 Audio Recording and Studio Techniques I 3 MUS 460-469 Private Instruction 2 PHY 125 Physics of Music 3 PHY 125L Physics of Music Lab 1 Junior Year - Fall Semester (Odd) 13 units MUS 305 Survey of Popular Song 2 MUS 336 Commercial Arranging II 2 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 366 Live Sound Techniques and Applications 3 MUS 446 Commercial Music Ensemble 1 MUS 460-469 Private Instruction 2 Senior Year - Fall Semester (Even) 4 units MUS 446 Commercial Music Ensemble 1 MUS 496 Internship 3

Freshman Year - Spring Semester 11 units MUS 022 Class Piano II* 1 MUS 026 Rhythm Instruments II 1 MUS 046 Popular Music Ensemble: 50s-70s 1 MUS 080-089 Private Instruction 2 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 282 Music Technology** 2 Sophomore Year - Spring Semester 17 units MUS 047 Popular Music Ensembles: 80s-Contemporary 1 MUS 236 Music Entrepreneurship 3 MUS 246 Music Marketing 3 MUS 306 History of Popular Music 3 MUS 326 Commercial Arranging I 2 MUS 387 Audio Recording and Studio Techniques II 3 MUS 460-469 Private Instruction 2 Junior Year - Spring Semester 10 units MUS 308 History of Jazz 3 MUS 356 Commercial Instrumental or Vocal Project I 1 MUS 396 Lighting Techniques and Applications 3 MUS 446 Commercial Music Ensemble 1 MUS 460-469 Private Instruction 2 Senior Year - Spring Semester 2 units MUS 446 Commercial Music Ensemble 1 MUS 456 Commercial Instrumental or Vocal Project II 1

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. ^MUS 301 Survey of Music History satisfies the G.E. History Requirement (Political World). §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (under Biblical and Theological Core).

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Bachelor of Music in Composition The following represents a four-year plan for music courses to be taken by students majoring in Composition. This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Freshman Year - Fall Semester (Even) 9 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 1 MUS 09x Major Ensemble 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology*** 2 Sophomore Year - Fall Semester (Odd) 8 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 Junior Year - Fall Semester (Even) 14 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 46x Private Instruction 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 311 Form and Analysis 2 MUS 354 Private Lessons in Composition 1 MUS 414 Interpretive Arranging 2 MUS xxx Upper Division Elective or Concentration¶ 3 Senior Year - Fall Semester (Odd) 13 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 46x Private Instruction 1 MUS 324 Music History III§§ 3 MUS 390 Projects in Musical Analysis 1 MUS 354 Private Lessons in Composition 1 MUS 472 Orchestration 3 MUS xxx Upper Division Elective or Concentration¶ 3

Freshman Year - Spring Semester 7 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 Sophomore Year - Spring Semester 12 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 253 Intro to Music Composition 3 Junior Year - Spring Semester 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 46x Private Instruction 1 MUS 323 Music History II 3 MUS 412 Instrumental Conducting OR MUS 413 Choral Conducting 2 MUS 372 Counterpoint 2 MUS 354 Private Lessons in Composition 1 MUS 283 Electronic Music 2 Senior Year - Spring Semester 11 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 46x Private Instruction 1 MUS 325 Music History IV 2 MUS 354 Private Lessons in Composition 1 MUS xxx Upper Division Elective or Concentration¶ 3 MUS xxx Upper Division Elective or Concentration¶ 3 MUS 431 Senior Recital/Project NC

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Eight (8) units of Private Instruction must be completed on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (under Biblical and Theological Core). §§MUS 324 Music History III satisfies the G.E. History requirement (under The Political World). ¶Composition majors must complete twelve (12) units of upper division electives or complete a 12-unit music concentration. NOTE: The Composition major satisfies all 39 upper division units required for graduation.

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Bachelor of Music in Instrumental Performance The following represents a four-year plan for music courses to be taken by students majoring in Instrumental Performance. This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Freshman Year - Fall Semester (Odd) 11 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology*** 2 Sophomore Year - Fall Semester (Even) 10 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 2 MUS 09x Major Ensemble 1 MUS 095 or 096 Chamber Ensemble or Jazz Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 Junior Year - Fall Semester (Odd) 11 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 463-468 Private Instruction 2 MUS xxx Upper Division Elective or Concentration¶ 3 Senior Year - Fall Semester (Even) 13 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 324 Music History III§§ 3 MUS 463-468 Private Instruction 2 MUS xxx Upper Division Elective or Concentration¶ 3 MUS xxx Upper Division Elective or Concentration¶ 3

Freshman Year - Spring Semester 9 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 Sophomore Year - Spring Semester 11 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 2 MUS 09x Major Ensemble 1 MUS 095 or 096 Chamber Ensemble or Jazz Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 Junior Year - Spring Semester 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 323 Music History II 3 MUS 345 Orchestral and Band Literature∞ (Sp. Even) 3 MUS 419 Instrumental Pedagogy§§§ (Sp. Even) 2 MUS 463-468 Private Instruction 2 Senior Year - Spring Semester 9 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 463-468 Private Instruction 2 MUS 325 Music History IV 2 MUS xxx Upper Division Elective or Concentration¶ 3 MUS 431 Senior Recital/Project NC

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Sixteen (16) units of Private Instruction must be completed in total; eight (8) units must be on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (under Biblical and Theological Core). §§MUS 324 Music History III satisfies the G.E. History requirement (Political World). §§§MUS 419 Instrumental Pedagogy is offered in the Spring (even years only). Students under catalogs beginning in even years should take the course during the spring semester of their Senior year. ¶Instrumental Performance majors are required to complete twelve (12) units of upper division music electives or a 12-unit music concentration. ∞MUS 345 Orchestral and Band Literature is offered in the Spring (even years only). Students under catalogs beginning in even years should take the course during the spring semester of their Senior year. NOTE: The Instrumental Performance major satisfies all 39 upper division units required for graduation.

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Bachelor of Music in Music Education – Choral Emphasis with Integrated Teaching Credential

The following represents a four-year plan for music courses to be taken by students majoring in Music Education with a Choral emphasis. Beginning in Fall 2020, Music Education curriculum has embedded the Teaching Performance Expectations (TPEs) for the Integrated Teaching Credential (see courses in BOLD type). This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Does not include EDU 498/580 Student Teaching and Seminar and EDU 499/583 Student Teaching Portfolio. Freshman Year - Fall Semester (Odd) 7 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 1 MUS 09x Major Ensemble 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 Sophomore Year - Fall Semester (Even) 9 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 MUS 440 Instrumental Tech. for Woodwinds (Fa. Even) 1 Junior Year - Fall Semester (Odd) 16 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 311 Form and Analysis 2 MUS 408 Jazz Pedagogy (Fall) 2 MUS 427 Diction for Singers I 1 MUS 441 Instrumental Techniques for Brass (Fall Odd) 1 MUS 46x Private Instruction 1 MUS 491H Chamber Singers 1 MUS 405 Introduction to Music Education 3 Senior Year - Fall Semester (Even) 13 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 §§MUS 324 Music History III 3 MUS 444 Vocal Techniques (Fall Even) 1 1 MUS 46x Private Instruction 1 MUS 472 Orchestration 3 MUS 479 Choral Methods 3 MUS 491H Chamber Singers 1

Freshman Year - Spring Semester (Even) 8 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 014 Class Guitar 1 Sophomore Year - Spring Semester (Odd) 12 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 443 Instrumental Techniques for Strings (Sp. Odd) 1 MUS 282 Music Technology*** 2 Junior Year - Spring Semester (Even) 16 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 323 Music History II 3 MUS 344 Choral Literature (Sp. Even) 3 MUS 413 Choral Conducting 2 MUS 428 Diction for Singers II 1 MUS 442 Instrumental Techniques for Percussion (Sp.Ev.) 1 MUS 46x Private Instruction 1 MUS 491H Chamber Singers 1 MUS 475 General Music Methods (Spring) 3 Senior Year - Spring Semester (Odd) 7 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 325 Music History IV 2 MUS 431 Senior Recital/Project NC MUS 46x Private Instruction 1 MUS 473 Advanced Studies in Music Education (Spring) 3

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Eight (8) units of Private Instruction must be on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. Students must take the Music Education-specific section of this course in the spring of the sophomore year. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (Biblical Core). §§MUS 324 Music History III satisfies the G.E. History requirement (under The Political World). NOTE: The Music Education major satisfies all of the 39 upper division units required for graduation.

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Bachelor of Music in Music Education – Instrumental Emphasis with Integrated Teaching Credential

The following represents a four-year plan for music courses to be taken by students majoring in Music Education with a Choral emphasis. Beginning in Fall 2020, Music Education curriculum has embedded the Teaching Performance Expectations (TPEs) for the Integrated Teaching Credential (see courses in BOLD type). This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Does not include EDU 498/580 Student Teaching and Seminar and EDU 499/583 Student Teaching Portfolio. Freshman Year - Fall Semester (Odd) 7 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 1 MUS 09x Major Ensemble 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 Sophomore Year - Fall Semester (Even) 9 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 MUS 440 Instrumental Tech. for Woodwinds (Fa. Even) 1 Junior Year - Fall Semester (Odd) 15 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 311 Form and Analysis 2 MUS 405 Introduction to Music Education 3 MUS 408 Jazz Pedagogy (Fall) 2 MUS 441 Instrumental Techniques for Brass (Fall Odd) 1 MUS 46x Private Instruction 1 MUS 49x Chamber Music (see Major Requirements) 1 Senior Year - Fall Semester (Even) 15 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 §§MUS 324 Music History III 3 MUS 444 Vocal Techniques (Fall Even) 1 MUS 445 Marching Band Techniques 2 1 MUS 46x Private Instruction 1 MUS 472 Orchestration 3 MUS 476 Instrumental Methods 3 MUS 49x Chamber Music (see Major Requirements) 1

Freshman Year - Spring Semester (Even) 8 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 014 Class Guitar 1 Sophomore Year - Spring Semester (Odd) 12 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 282 Music Technology*** 2 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 443 Instrumental Techniques for Strings (Sp. Odd) 1 Junior Year - Spring Semester (Even) 15 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 323 Music History II 3 MUS 345 Orchestral and Band Literature (Sp. Even) 3 MUS 412 Instrumental Conducting 2 MUS 442 Instrumental Techniques for Percussion (Sp.Ev.) 1 MUS 46x Private Instruction 1 MUS 475 General Music Methods (Spring) 3 MUS 49x Chamber Music (see Major Requirements) 1 Senior Year - Spring Semester (Odd) 7 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 325 Music History IV 2 MUS 431 Senior Recital/Project NC MUS 46x Private Instruction 1 MUS 473 Advanced Studies in Music Education (Spring) 3

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Eight (8) units of Private Instruction must be on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. Students must take the Music Education-specific section of this course in the spring of the sophomore year. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (Biblical Core). §§MUS 324 Music History III satisfies the G.E. History requirement (under The Political World). NOTE: The Music Education major satisfies all of the 39 upper division units required for graduation.

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Bachelor of Music in Piano Performance The following represents a four-year plan for music courses to be taken by students majoring in Piano Performance. This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Freshman Year - Fall Semester (Even) 10 units MUS 050 Performance Forum 0 MUS 082 Private Instruction: Piano* 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology** 2 Sophomore Year - Fall Semester (Odd) 10 units MUS 050 Performance Forum 0 MUS 082 Private Instruction: Piano 2 MUS 093 or 095 Chamber Singers or Chamber Ensemble 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 Junior Year - Fall Semester (Even) 13 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 462 Private Instruction: Piano* 2 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 418 Piano Pedagogy I (Fall Even)¶¶¶ 2 MUS xxx Upper Division Elective or Concentration∞ 3 Senior Year - Fall Semester (Odd) 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 462 Private Instruction: Piano 2 MUS 324 Music History III§§ 3 MUS 334 Piano Literature I (Fall Odd)¶ 2 MUS xxx Upper Division Elective or Concentration∞ 3

Freshman Year - Spring Semester (Odd) 8 units MUS 050 Performance Forum 0 MUS 082 Private Instruction: Piano 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 Sophomore Year - Spring Semester (Even) 11 units MUS 050 Performance Forum 0 MUS 082 Private Instruction: Piano 2 MUS 093 or 095 Chamber Singers or Chamber Ensemble 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 Junior Year - Spring Semester (Odd) 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 462 Private Instruction: Piano 2 MUS 323 Music History II 3 MUS 256 Basics of Accompanying (Sp. Odd)§§§ 2 MUS xxx Upper Division Elective or Concentration∞ 3 Senior Year - Spring Semester (Even) 11 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 462 Private Instruction: Piano 2 MUS 325 Music History IV 2 MUS 335 Piano Literature II (Spring Even)¶¶ 2 MUS xxx Upper Division Elective or Concentration∞ 3 MUS 431 Senior Recital/Project NC

*Sixteen (16) units of Private Instruction: Piano must be taken in total (8 units for the BM Core, and 8 for the Piano Performance Major). Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (under Biblical and Theological Core). §§MUS 324 Music History III satisfies the G.E. History requirement (Political World). §§§MUS 256 Basics of Accompanying is offered in Spring (odd years only). Students under catalogs beginning in odd years should take the course during the spring semester of their Senior year. ¶MUS 334 Piano Literature I is offered in Fall (odd years only). Students under catalogs beginning in odd years should take the course during the fall semester of their Junior year. ¶¶MUS 335 Piano Literature II is offered in Spring (even years only). Students under catalogs beginning in odd years should take the course during the spring semester of their Junior year. ¶¶¶MUS 418 Piano Pedagogy is offered in Fall (even years only). Students under catalogs beginning in odd years should take the course during the fall semester of their Senior year. ∞Piano Performance majors must complete twelve (12) units of upper division music electives or a music concentration. NOTE: The Piano Performance major satisfies all 39 upper division units required for graduation.

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Bachelor of Music in Studio Production The following represents a four-year plan for music courses to be taken by students majoring Studio Production. This plan reflects music courses taken in sequence. Please note that General Education requirements are not included below (see the University Catalog: Undergraduate or an academic advisor). Freshman Year - Fall Semester (Odd) 9 units MUS 012 Class Piano I* 1 MUS 016 Rhythm Instruments I 1 MUS 080-089 Private Instruction 1 MUS 105 Introduction to Commercial Music Studies 2 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 Sophomore Year - Fall Semester (Even) 15 units MUS 080-089 Private Instruction 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 301 Survey of Music History^ 3 MUS 386 Audio Recording and Studio Techniques I 3 PHY 125 Physics of Music 3 PHY 125L Physics of Music Lab 1 Junior Year - Fall Semester (Odd) 12 units MUS 337 Audio Signal Processing 3 MUS 347 Music Production I 3 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 366 Live Sound Techniques and Applications 3 Senior Year - Fall Semester (Even) 8 units MUS 367 Contemporary Trends in Music Engineering 3 MUS 477 Audio Mastering 2 MUS 496 Internship 3

Freshman Year - Spring Semester 10 units MUS 022 Class Piano II* 1 MUS 026 Rhythm Instruments II 1 MUS 080-089 Private Instruction 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 282 Music Technology** 2 MUS 217 Critical Listening for Music Production 1 Sophomore Year - Spring Semester 15 units MUS 080-089 Private Instruction 1 MUS 236 Music Entrepreneurship 3 MUS 246 Music Marketing 3 MUS 306 History of Popular Music 3 MUS 326 Commercial Arranging I 2 MUS 387 Audio Recording and Studio Techniques II 3 Junior Year - Spring Semester 13 units MUS 308 History of Jazz 3 MUS 357 Music Production II 3 MUS 377 Post Production and Editing 3 MUS 396 Lighting Techniques and Applications 3 MUS 397 Studio Production Project I 1 Senior Year - Spring Semester 4 units MUS 487 Sound Design for Film and Multimedia 3 MUS 497 Studio Production Project II 1

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. ^MUS 301 Survey of Music History satisfies the G.E. History Requirement (Political World). §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (under Biblical and Theological Core).

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Bachelor of Music in Vocal Performance The following represents a four-year plan for music courses to be taken by students majoring in Vocal Performance. This plan reflects music courses taken in sequence. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Freshman Year - Fall Semester (Even) 8 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 081 Private Instruction: Voice** 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 Sophomore Year - Fall Semester (Odd) 9-10 units MUS 050 Performance Forum 0 MUS 081 Private Instruction: Voice 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 Junior Year - Fall Semester (Even) 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 093 Chamber Singers 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 427 Diction for Singers I (Fall Even)¶ 1 MUS 461 Private Instruction: Voice 2 MUS xxx Upper Division Elective or Concentration∞ 3 Senior Year - Fall Semester (Odd) 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 324 Music History III§§ 3 MUS 423 Vocal Repertory Lab (Fall Odd)¶¶¶ 2 MUS 461 Private Instruction: Voice 2 MUS xxx Upper Division Elective or Concentration∞ 3

Freshman Year - Spring Semester (Odd) 10-11 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 081 Private Instruction: Voice 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 282 Music Technology*** 2 Sophomore Year - Spring Semester (Even) 11-12 units MUS 050 Performance Forum 0 MUS 081 Private Instruction: Voice 2 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 Junior Year - Spring Semester (Odd) 14 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 093 Chamber Singers 1 MUS 323 Music History II 3 MUS 333 Song Literature (Spring Odd)¶¶ 3 MUS 428 Diction for Singers II (Spring Odd)¶ 1 MUS 461 Private Instruction: Voice 2 MUS xxx Upper Division Elective or Concentration∞ 3 Senior Year - Spring Semester (Even) 11 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS xxx Additional Ensemble (see Major Requirements) 1 MUS 325 Music History IV 2 MUS 417 Vocal Pedagogy (Spring Even)§§§ 2 MUS 431 Senior Recital/Project NC MUS 461 Private Instruction: Voice 2 MUS xxx Upper Division Elective or Concentration∞ 3

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Sixteen (16) units of Private Instruction: Voice must be completed in total (8 units for the BM Core, and 8 units for the Vocal Performance Major). ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (Biblical Core). §§MUS 324 Music History III satisfies the G.E. History requirement (Political World). §§§MUS 417 Vocal Pedagogy is offered in the Spring (even years only). Students under catalogs beginning in odd years should take the course during the spring semester of their Junior year. ¶MUS 427 Diction for Singers I is offered in Fall (even years only). MUS 428 Diction for Singers II is offering in Spring (odd years only). Students under catalogs beginning in odd years should take the course during the fall semester of their Senior year. ¶¶MUS 333 Song Literature is offered in Spring (odd years only). Students under catalogs beginning in odd years should take the course during the spring semester of their Senior year. ¶¶¶MUS 423 Vocal Repertory Lab is offered in Fall (odd years only). Students under catalogs beginning in odd years should take the course during the fall semester of their Junior year. ∞Vocal Performance majors must complete twelve (12) units of upper division music electives or a music concentration. NOTE: The Vocal Performance major satisfies all of the 39 upper division units required for graduation.

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Bachelor of Arts in Music for Worship Arts and Ministry with a Christian Studies Minor

The following represents a four-year plan for music courses to be taken by students majoring in Music for Worship Arts in Ministry. This plan reflects music courses taken in sequence for students beginning in the fall of an even year. General Education requirements (19-34 units) are not included. Requirements for the Christian Ministries Minor are in italics. Freshman Year - Fall Semester (Even) 10 units MUS 015 Class Piano for Worship Arts I* 1 MUS 017 Class Guitar for Worship Arts I 1 MUS 050 Performance Forum 0 MUS 054 Worship Forum 1 MUS 081 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, 490C-E) 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 120 Introduction to Music Ministry 1 Sophomore Year - Fall Semester (Odd) 15 units MUS 050 Performance Forum 0 MUS 054 Worship Forum 1 MUS 082 Private Instruction: Piano* OR MUS 088 Private Instruction: Guitar 1 MUS 461 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, or 490C-E) 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 282 Music Technology∞ (Technology G.E.) 2 MUS 202 Music in Global Cultures 2 CST 130 New Testament Survey 3 Junior Year - Fall Semester (Even) 15 units MUS 050 Performance Forum 0 MUS 454 Worship Forum 1 MUS 462 Private Instruction: Piano* OR MUS 468 Private Instruction: Guitar 1 MUS 461 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, 490C-E) 1 MUS 304 Craft of Ministry I¶ 3 MUS 312 Introduction to Conducting 2 MUS 301 Survey of Music History§ (History G.E.) 3 CST 350 Biblical Interpretation 3 Summer between Junior and Senior Year (Odd) 1 unit MUS 474 Worship Ministry Internship 1 Senior Year - Fall Semester (Odd) 10 units MUS 050 Performance Forum 0 MUS 454 Worship Forum 1 MUS 364 Songwriting and Commercial Production 3 CBS 403 Congregation and Community OR CBS 415 Biblical Wisdom and Human Behavior 3 CST 370 The Christian Faith 3

Freshman Year - Spring Semester (Odd) 12 units MUS 025 Class Piano for Worship Arts II* (if needed) 1 MUS 027 Class Guitar for Worship Arts II 1 MUS 050 Performance Forum 0 MUS 054 Worship Forum 1 MUS 081 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, 490C-E) 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 CST 110 Old Testament Survey 3 Sophomore Year - Spring Semester (Even) 10 units MUS 050 Performance Forum 0 MUS 054 Worship Forum 1 MUS 082 Private Instruction: Piano* OR MUS 088 Private Instruction: Guitar 1 MUS 461 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, 490C-E) 1 MUS 370 Worship Technology 3 COM 113 Oral Communication (Communication G.E.)^ OR CST 451 Biblical Preaching (Communication G.E.) 3 Junior Year - Spring Semester (Odd) 14 units MUS 050 Performance Forum 0 MUS 454 Worship Forum 1 MUS 462 Private Instruction: Piano* OR MUS 468 Private Instruction: Guitar 1 MUS 461 Private Instruction: Voice 1 MUS xxx Ensemble (069, 090, 091, 092, 094, 489, 490C-E) 1 MUS 404 Craft of Ministry II 2 MUS 360 Theology, History, and Practice of Worship¶¶ 3 MUS 332 Psalms, Hymns, and Spiritual Songs 2 Political World (G.E.) (Political Sci. or WLD141) 3 <<< Summer (Odd) Senior Year - Spring Semester (Even) 3 units MUS 050 Performance Forum 0 MUS 454 Worship Forum 1 MUS 434 Creative Worship Planning 2 MUS 494 Senior Recital/Project for Worship Arts 0

*Piano instruction is expected every semester until the Piano Proficiency (Division III) exam has been passed. ∞MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 301 Survey of Music History also satisfies the History requirement for G.E. (under Political World). ^COM 113 and CST 451 satisfy the Communication Studies requirement for G.E. (under Social World). If CST 451 is preferred, the course must be taken after the freshman year, since it is upper division. ¶MUS 304 has been approved as a variance for the Upper Division Elective in the Christian Studies Minor by the School of Christian Ministries. ¶¶MUS 360 has been approved as a variance for CST 360 in the Christian Studies Minor by the School of Christian Ministries. NOTES: Worship Arts and Ministry majors may complete an optional 12-unit music concentration (except for the Worship Arts Concentration). The WAM major satisfies all 39 upper division units required for graduation as well as all 9 units of Christian Studies courses required for G.E. (Biblical and Theological Core). WAM majors must also declare the Christian Studies Minor.

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GENERAL EDUCATION REQUIREMENTS

The General Education requirements will follow the curriculum set forth for other university degree programs. The university’s G.E. requirements total 40-55 units; however, 12-21 units of those required will be met through specific Core and/or Major Requirements of the degrees. It should be noted that the sum of required units for General Education, Core Requirements (if applicable), and Major Requirements may be fewer than the 124 units required to graduate, so additional coursework may be necessary to meet the 124-unit minimum to graduate.

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Bachelor of Music in Commercial Performance Degree Requirements (109-124 units)

The Commercial Performance major trains students to be agile and adaptable music performers in the 21st century, bridging performance, music technology, and music industry practices within a practice-oriented degree. The program incorporates a diverse range of musical genres, styles, and exploration of contemporary instrumentation.

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Sixteen (16) units of G.E. requirements will be met through the specific coursework of the Commercial Performance major. Students will complete 24-39 units of G.E.

Major Requirements (85 units) Lower Division Performance Requirements (12 units)

• MUS 012 - Class Piano I (1) • MUS 016 - Rhythm Instruments I (1) • MUS 022 - Class Piano II (1) • MUS 026 - Rhythm Instruments II (1) • MUS 046 - Popular Music Ensemble: 50s-70s (1) 2 units total • MUS 047 - Popular Music Ensemble: 80s-Contemporary (1) 2 units total • MUS 080-089 - Private Instruction (1-2) 4 units total, same instrument

Lower Division Requirements (26 units) • MUS 105 - Introduction to Commercial Music Studies (2) • MUS 114 - Music Theory I (3) • MUS 115 - Musicianship Lab I (1) • MUS 124 - Music Theory II (3) • MUS 125 - Musicianship Lab II (1) • MUS 214 - Music Theory III (3) • MUS 215 - Musicianship Lab III (1) • MUS 236 - Music Entrepreneurship (3) • MUS 246 - Music Marketing (3) • MUS 282 - Music Technology 1 (2) • PHY 125 - Physics of Sound and Music 2 (3) • PHY 125L - Physics of Sound and Music Lab 2 (1)

Upper Division Performance Requirements (12 units) • MUS 446 - Commercial Music Ensemble (1) 4 units total • MUS 460-469 - Private Instruction (1-2) 8 units total, same instrument

Upper Division Requirements (35 units) • MUS 301 - Survey of Music History 3 (3) • MUS 305 - Survey of Popular Song (2) • MUS 306 - History of Popular Music (3) • MUS 308 - History of Jazz (3) • MUS 326 - Commercial Arranging I (2) • MUS 336 - Commercial Arranging II (2) • MUS 356 - Commercial Instrumental or Vocal Project I (1) • MUS 360 - Theology, History, and Practice of Worship 4 (3) • MUS 366 - Live Sound Techniques and Applications (3) • MUS 386 - Audio Recording and Studio Techniques I (3) • MUS 387 - Audio Recording and Studio Techniques II (3) • MUS 396 - Lighting Techniques and Applications (3) • MUS 456 - Commercial Instrumental or Vocal Project II (1) • MUS 496 - Internship (3)

1 MUS 282 satisfies the G.E. Technology requirement (Competency Requirements). 2 PHY 125 and PHY 125L satisfy the G.E. Lab Science requirement (Foundations). 3 MUS 301 satisfies the G.E. History requirement (Political World). 4 MUS 360 satisfies 3 units of the G.E. Christian Studies requirement (Biblical and Theological Core).

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Bachelor of Music in Composition Degree Requirements (112-129 units)

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twelve (12) units of G.E. requirements will be met through the specific coursework of the Composition major. Students will complete 28-43 units of G.E.

Major Requirements (84-86 units) Core Applied Music Requirements (16-18 units)

• MUS 012 - Class Piano I * (0-1) • MUS 022 - Class Piano II * (0-1) • MUS 050 - Performance Forum 1 (0) • MUS___ - Private Instruction (8 units minimum**) 2 • MUS___ - Major Ensemble (8 units minimum) 3

*Enrollment in Class Piano (MUS 012 or 022) is required of music majors whose primary instrument is other than piano each semester until the Piano Proficiency requirements are met. An opportunity to attempt to pass the Piano Proficiency exam for first semester students will be offered during rehearsal camp. For returning students, an attempt to pass the exam or portions of the exam will be offered at the end of each semester. See Music Handbook for Piano Proficiency requirements. **Students must complete eight (8) units of Private Instruction on the same instrument or voice. 1 Enrollment in MUS 050 - Performance Forum is required for each semester in residence of all music majors. 2 Enrollment for one unit of MUS 080-089, 460-469 Private Instruction is required for each semester of residence for all music majors. A minimum of eight (8) units is required. 3 Enrollment is required in at least one Major Ensemble (MUS 067, 068, 091, 092, 094, 097, 099, 490A, 490B, 490C, 490D, 490E, 490F, 490H) for full credit during each semester of enrollment at California Baptist University. A minimum of eight (8) units is required. Additional ensembles may be taken for 0-1 units.

Core Lower Division Requirements (20 units) • MUS 114 - Music Theory I (3) • MUS 115 - Musicianship Lab I (1) • MUS 124 - Music Theory II (3) • MUS 125 - Musicianship Lab II (1) • MUS 202 - Music in Global Cultures (2) • MUS 214 - Music Theory III (3) • MUS 215 - Musicianship Lab III (1) • MUS 224 - Music Theory IV (3) • MUS 225 - Musicianship Lab IV (1) • MUS 282 - Music Technology 4 (2)

Core Upper Division Requirements (15 units) • MUS 312 - Introduction to Conducting (2) • MUS 313 - Music History I (2) • MUS 323 - Music History II (3) • MUS 324 - Music History III 5 (3) • MUS 325 - Music History IV (2) • MUS 360 - Theology, History, and Practice of Worship 6 (3) • MUS 431 - Senior Recital and Project (0)

4 MUS 282 satisfies the G.E. Technology requirement (Competency Requirements). 5 MUS 324 satisfies the G.E. History requirement (Political World). 6 MUS 360 satisfies 3 units of the G.E. Christian Studies requirement (Biblical and Theological Core).

Composition Major Requirements (33 units) Lower Division Requirements (5 units)

• MUS 253 - Introduction to Music Composition (3) • MUS 283 - Electronic Music (2)

Upper Division Requirements (16 units) • MUS 311 - Form and Analysis (2)

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• MUS 354 - Private Lessons in Composition (1-2) 4 units total • MUS 372 - Counterpoint (2) • MUS 390 - Projects in Musical Analysis (1) • MUS 412 - Instrumental Conducting OR

MUS 413 - Choral Conducting (2) • MUS 414 - Interpretive Arranging (2) • MUS 472 - Orchestration (3)

Additional Requirements (12 units) Students must complete twelve (12) units of additional upper division music electives OR complete one of the following 7 concentrations: Jazz Studies; Keyboard Collaborative Arts; Live Music Production (MD); Songwriting; Studio Production; Worship Arts; Worship Tech. See Music Concentrations page in the Music Handbook.

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Bachelor of Music in Instrumental Performance Degree Requirements (112-129 units)

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twelve (12) units of G.E. requirements will be met through the specific coursework of the Instrumental Performance major. Students will complete 28-43 units of G.E.







Instrumental Performance Major Requirements (33 units) Private Instruction Requirements (8 units) *Students must complete eight (8) units of private instruction in the same instrumental area from the following list of courses. These eight (8) units are in addition to those in the Core Applied Music Requirements.

• MUS 463 - Private Instruction: Organ (1-2) • MUS 464 - Private Instruction: Woodwinds (1-2) • MUS 465 - Private Instruction: Brass (1-2) • MUS 466 - Private Instruction: Strings (1-2)

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• MUS 467 - Private Instruction: Percussion (1-2) • MUS 468 - Private Instruction: Guitar (1-2)

Ensemble Requirements (8 units) Core Ensemble Requirements Complete two (2) units from the following:

• MUS 095 - Chamber Ensemble (1) • MUS 096 - Jazz Ensemble (1)

Additional Ensemble Requirements Complete six (6) additional units from the following:

• MUS 067 - Symphonic Band (1) • MUS 090 - University Choir and Orchestra (1) • MUS 095 - Chamber Ensemble (1) • MUS 096 - Jazz Ensemble (1) • MUS 097 - Wind Ensemble (1) • MUS 099 - Symphony Orchestra (1) • MUS 489 - University Choir and Orchestra (1) • MUS 490A - Major Ensemble: Symphonic Band (1) • MUS 490F - Major Ensemble: Wind Ensemble (1) • MUS 490H - Major Ensemble: Symphony Orchestra (1) • MUS 491A - Chamber Ensemble: Chamber Orchestra (1) • MUS 491B - Chamber Ensemble: Piano (1) • MUS 491C - Chamber Ensemble: Guitar (1) • MUS 491D - Chamber Ensemble: Winds (1) • MUS 491E - Chamber Ensemble: Jazz Combo (1) • MUS 491F - Chamber Ensemble: Jazz Ensemble (1)

Upper Division Requirements (5 units) • MUS 345 - Orchestral and Band Literature (3) • MUS 419 - Instrumental Pedagogy (2)

Additional Requirements (12 units) Students must complete twelve (12) units of additional upper division music electives OR complete one of the following 7 concentrations: Jazz Studies; Keyboard Collaborative Arts; Live Music Production (MD); Songwriting; Studio Production; Worship Arts; Worship Tech. See Music Concentrations page in the Music Handbook.

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Bachelor of Music in Music Education with Integrated Teaching Credential

Degree Requirements (114-131 units)

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twelve (12) units of G.E. requirements will be met through the specific coursework of the Music Education major. Students will complete 28-43 units of G.E. Courses in BOLD type have embedded TPEs for the Integrated Teaching Credential and must be taken in a specific order. See Music Education 4-year plan.




Core Lower Division Requirements (20 units) • MUS 114 - Music Theory I (3) – Fall • MUS 115 - Musicianship Lab I (1) – Fall • MUS 124 - Music Theory II (3) – Spring • MUS 125 - Musicianship Lab II (1) – Spring • MUS 202 - Music in Global Cultures (2) • MUS 214 - Music Theory III (3) – Fall • MUS 215 - Musicianship Lab III (1) – Fall • MUS 224 - Music Theory IV (3) – Spring • MUS 225 - Musicianship Lab IV (1) – Spring • MUS 282 - Music Technology 4 (2)

Core Upper Division Requirements (15 units) • MUS 312 - Introduction to Conducting (2) • MUS 313 - Music History I (2) – Fall • MUS 323 - Music History II (3) – Spring • MUS 324 - Music History III 5 (3) – Fall • MUS 325 - Music History IV (2) – Spring • MUS 360 - Theology, History, and Practice of Worship 6 (3) • MUS 431 - Senior Recital and Project (0)


Music Education Major Requirements (35 units) Lower Division Requirement (1 unit)

• MUS 014 - Class Guitar

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Upper Division Requirements (21 units) • MUS 311 - Form and Analysis (2) – Fall • MUS 405 - Introduction to Music Education (3) – Fall • MUS 408 - Jazz Pedagogy (2) – Fall • MUS 440 - Instrumental Techniques for Woodwinds (1) – Fall (Even Years) • MUS 441 - Instrumental Techniques for Brass (1) – Fall (Odd Years) • MUS 442 - Instrumental Techniques for Percussion (1) – Spring (Even Years) • MUS 443 - Instrumental Techniques for Strings (1) – Spring (Odd Years) • MUS 444 - Vocal Techniques (1) – Fall (Even Years) • MUS 472 - Orchestration (3) – Fall • MUS 473 - Advanced Studies in Music Education (3) – Spring, starting SP21 • MUS 475 - General Music Methods (3) – Spring

Emphasis Requirements (13 units) Music Education students must select an emphasis from the following: Choral Emphasis; Instrumental Emphasis.

Choral Emphasis • MUS 344 - Choral Literature (3) – Spring (Even Years) • MUS 413 - Choral Conducting (2) – Spring • MUS 427 - Diction for Singers I (1) – Fall (Even Years) • MUS 428 - Diction for Singers II (1) – Spring (Odd Years) • MUS 479 - Choral Methods (3) – Fall, starting FA20 • MUS 491H - Chamber Ensemble: Chamber Singers (1) 3 units total

Instrumental Emphasis Core Instrumental Emphasis Requirements

• MUS 345 - Orchestral and Band Literature (3) – Spring (Even Years) • MUS 412 - Instrumental Conducting (2) – Spring • MUS 445 - Marching Band Techniques (2) – Fall (Even Years) • MUS 476 - Instrumental Methods (3) – Fall, starting FA20

Chamber Music Requirement Complete three (3) units from the following:

• MUS 490A - Major Ensemble: Symphonic Band (1) • MUS 491A - Chamber Ensemble: Chamber Orchestra (1) • MUS 491B - Chamber Ensemble: Piano (1) • MUS 491C - Chamber Ensemble: Guitar (1) • MUS 491D - Chamber Ensemble: Winds (1) • MUS 491E - Chamber Ensemble: Jazz Combo (1) • MUS 491F - Chamber Ensemble: Jazz Ensemble (1)

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Bachelor of Music in Piano Performance Degree Requirements (115-130 units)

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twelve (12) units of G.E. requirements will be met through the specific coursework of the Piano Performance major. Students will complete 28-43 units of G.E.

Major Requirements (87 units) Core Applied Music Requirements (16 units)

• MUS 050 - Performance Forum 1 • MUS___ - Private Instruction (8 units minimum*) 2 • MUS___ - Major Ensemble (8 units minimum) 3

NOTE: Piano Performance majors must pass Piano Proficiency (Division I). The necessary skills will be covered in Private Instruction, so Class Piano is not required. An opportunity to attempt to pass the Piano Proficiency exam for first semester students will be offered during rehearsal camp. For returning students, an attempt to pass the exam or portions of the exam will be offered at the end of each semester. See Music Handbook for Piano Proficiency requirements. *Students must complete eight (8) units of Private Instruction on the same instrument or voice. 1 Enrollment in MUS 050 - Performance Forum is required for each semester in residence of all music majors. 2 Enrollment for one unit of MUS 080-089, 460-469 Private Instruction is required for each semester of residence for all music majors. A minimum of eight (8) units is required. 3 Enrollment is required in at least one Major Ensemble (MUS 067, 068, 091, 092, 094, 097, 099, 490A, 490B, 490C, 490D, 490E, 490F, 490H) for full credit during each semester of enrollment at California Baptist University. A minimum of eight (8) units is required. Additional ensembles may be taken for 0-1 units.




Piano Performance Major Requirements (36 units) Private Instruction Requirements (8 units) Complete eight (8) units from the following:

• MUS 462 - Private Instruction: Piano (1-2) 8 units total

Ensemble Requirements (8 units) Core Ensemble Requirements

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Complete two (2) units from the following:

• MUS 093 - Chamber Singers (1) • MUS 095 - Chamber Ensemble (1)


• MUS 067 - Symphonic Band (1) • MUS 068 - Camerata (1) • MUS 090 - University Choir and Orchestra (1) • MUS 091 - Magnolia Singers (1) • MUS 092 - Lancer Chorus (1) • MUS 093 - Chamber Singers (1) • MUS 094 - Rhapsody (1) • MUS 095 - Chamber Ensemble (1) • MUS 096 - Jazz Ensemble (1) • MUS 097 - Wind Ensemble (1) • MUS 099 - Symphony Orchestra (1) • MUS 489 - University Choir and Orchestra (1) • MUS 490A - Major Ensemble: Symphonic Band (1) • MUS 490B - Major Ensemble: Camerata (1) • MUS 490C - Major Ensemble: Magnolia Singers (1) • MUS 490D - Major Ensemble: Lancer Chorus (1) • MUS 490E - Major Ensemble: Rhapsody (1) • MUS 490F - Major Ensemble: Wind Ensemble (1) • MUS 490H - Major Ensemble: Symphony Orchestra (1) • MUS 491B - Chamber Ensemble: Piano (1) • MUS 491E - Chamber Ensemble: Jazz Combo (1) • MUS 491F - Chamber Ensemble: Jazz Ensemble (1) • MUS 491H - Chamber Ensemble: Chamber Singers (1)

Lower Division Requirement (2 units) • MUS 256 - Basics of Accompanying (2)

Upper Division Requirements (6 units) • MUS 334 - Piano Literature I (2) • MUS 335 - Piano Literature II (2) • MUS 418 - Piano Pedagogy I (2)

Additional Requirements (12 units) Students must complete twelve (12) units of additional upper division music electives OR complete one of the following 8 concentrations: Jazz Studies; Keyboard Collaborative Arts; Live Music Production (MD); Piano Pedagogy; Songwriting; Studio Production; Worship Arts; Worship Tech.See Concentrations page in the Music Handbook.

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Bachelor of Music in Studio Production Degree Requirements (110-125 units)

This major equips students to understand and apply technologies in the field of studio production, preparing them for diverse careers in the music industry. Students will learn technologies and principles in current use as well as emerging technologies and practices utilized by professionals within the field of studio production.

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Sixteen (16) units of G.E. requirements will be met through the specific coursework of the Studio Production major. Students will complete 24-39 units of G.E.

Major Requirements (86 units) Performance Requirements (8 units)

• MUS 012 - Class Piano I (1) • MUS 016 - Rhythm Instruments I (1) • MUS 022 - Class Piano II (1) • MUS 026 - Rhythm Instruments II (1) • MUS 080-089 - Private Instruction (1-2) 4 units total

Lower Division Requirements (27 units) • MUS 105 - Introduction to Commercial Music Studies (2) • MUS 114 - Music Theory I (3) • MUS 115 - Musicianship Lab I (1) • MUS 124 - Music Theory II (3) • MUS 125 - Musicianship Lab II (1) • MUS 214 - Music Theory III (3) • MUS 215 - Musicianship Lab III (1) • MUS 217 - Critical Listening for Music Production (1) • MUS 236 - Music Entrepreneurship (3) • MUS 246 - Music Marketing (3) • MUS 282 - Music Technology 1 (2) • PHY 125 - Physics of Sound and Music 2 (3) • PHY 125L - Physics of Sound and Music Lab 2 (1)

Upper Division Requirements (51 units) • MUS 301 - Survey of Music History 3 (3) • MUS 306 - History of Popular Music (3) • MUS 308 - History of Jazz (3) • MUS 326 - Commercial Arranging I (2) • MUS 337 - Audio Signal Processing (3) • MUS 347 - Music Production I (3) • MUS 357 - Music Production II (3) • MUS 360 - Theology, History, and Practice of Worship 4 (3) • MUS 366 - Live Sound Techniques and Applications (3) • MUS 367 - Contemporary Trends in Music Engineering (3) • MUS 377 - Post Production and Editing (3) • MUS 386 - Audio Recording and Studio Techniques I (3) • MUS 387 - Audio Recording and Studio Techniques II (3) • MUS 396 - Lighting Techniques and Applications (3) • MUS 397 - Studio Production Project I (1) • MUS 477 - Audio Mastering (2) • MUS 487 - Sound Design for Film and Multimedia (3) • MUS 496 - Internship (3) • MUS 497 - Studio Production Project II (1)

1 MUS 282 satisfies the G.E. Technology requirement (Competency Requirements). 2 PHY 125 and PHY 125L satisfy the G.E. Lab Science requirement (Foundations). 3 MUS 301 satisfies the G.E. History requirement (Political World). 4 MUS 360 satisfies 3 units of the G.E. Christian Studies requirement (Biblical and Theological Core).

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Bachelor of Music in Vocal Performance Degree Requirements (116-133 units)

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twelve (12) units of G.E. requirements will be met through the specific coursework of the Vocal Performance major. Students will complete 28-43 units of G.E.





Core Upper Division Requirements (15 units)

• MUS 312 - Introduction to Conducting (2) • MUS 313 - Music History I (2) • MUS 323 - Music History II (3) • MUS 324 - Music History III 5 (3) • MUS 325 - Music History IV (2) • MUS 360 - Theology, History, and Practice of Worship 6 (3) • MUS 431 - Senior Recital and Project (0)


Vocal Performance Major Requirements (37 units) Private Instruction Requirements (8 units)

• MUS 461 - Private Instruction: Voice (1-2) 8 units total

Ensemble Requirements (8 units) Core Ensemble Requirements

• MUS 093 - Chamber Singers (1) 2 units total

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• MUS 068 - Camerata (1) • MUS 090 - University Choir and Orchestra (1) • MUS 091 - Magnolia Singers (1) • MUS 092 - Lancer Chorus (1) • MUS 093 - Chamber Singers (1) • MUS 094 - Rhapsody (1) • MUS 489 - University Choir and Orchestra (1) • MUS 490B - Major Ensemble: Camerata (1) • MUS 490C - Major Ensemble: Magnolia Singers (1) • MUS 490D - Major Ensemble: Lancer Chorus (1) • MUS 490E - Major Ensemble: Rhapsody (1) • MUS 491H - Chamber Ensemble: Chamber Singers (1)

Upper Division Requirements (9 units) • MUS 333 - Song Literature (3) • MUS 417 - Vocal Pedagogy (2) • MUS 423 - Vocal Repertory Lab (2) • MUS 427 - Diction for Singers I (1) • MUS 428 - Diction for Singers II (1)

Additional Requirements (12 units) Students must complete twelve (12) units of additional upper division music electives OR complete one of the following 8 concentrations: Jazz Studies; Keyboard Collaborative Arts; Live Music Production (MD); Piano Pedagogy; Songwriting; Studio Production; Worship Arts; Worship Tech. See Concentrations page in the Music Handbook.

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Bachelor of Arts in Music for Worship Arts and Ministry with a Christian Studies Minor

Degree Requirements (106-124 units) The Music for Worship Arts and Ministry major is designed to prepare students for worship ministry in the highly eclectic culture of the modern evangelical church. The program is built to fully equip worship leaders/pastors to be musically excellent and stylistically versatile, proficient in pastoral and professional skills, and committed to the scriptural calling of servant leadership in the example of Christ. Students must also declare a Christian Studies Minor. The requirements for the Christian Studies Minor will be satisfied by completing all coursework listed below.

General Education Requirements (40-55 units) The General Education requirements will follow the curriculum set forth for other university degree programs. Twenty-one (21) to twenty-four (24) units of G.E. requirements will be met through the specific coursework of the Music for Worship Arts and Ministry major. Students will complete 16-34 units of G.E.

Major Requirements (90 units) Applied Music Requirements (28 units)

• MUS 015 - Class Piano for Worship Arts I* (1) • MUS 017 - Class Guitar for Worship Arts I* (1) • MUS 025 - Class Piano for Worship Arts II* (1) • MUS 027 - Class Guitar for Worship Arts II* (1) • MUS 050 - Performance Forum 1 (0) • MUS 054 - Worship Forum (1) 4 units total • MUS 454 - Worship Forum (1) 4 units total

*Piano Proficiency Requirements and Exemptions: Pianists who pass all fifteen (15) skills of Piano Proficiency (Division III) may be exempt from MUS 015 and MUS 025. Students must stay enrolled in Class Piano for Worship Arts until Piano Proficiency is completed. 1 Enrollment in MUS 050 Performance Forum is required for each semester in residence of all music majors. Private Instruction Requirements Complete six (6) units from either of the following two courses:

• MUS 081 - Private Instruction: Voice** (1-2) • MUS 461 - Private Instruction: Voice** (1-2)

Complete four (4) units from either of the following two course sequences: • MUS 082 - Private Instruction: Piano** (1-2) • MUS 462 - Private Instruction: Piano** (1-2)

OR • MUS 088 - Private Instruction: Guitar** (1-2) • MUS 468 - Private Instruction: Guitar** (1-2)

**Private Instruction Requirements: Students must stay enrolled in Private Instruction: Voice AND Private Instruction: Piano OR Private Instruction: Guitar until Level 3 of the Worship Arts Proficiency is completed. Ensemble Requirements Complete six (6) units from the following:

• MUS 069 - Worship Collective (1) • MUS 090 - University Choir and Orchestra (1) • MUS 091 - Magnolia Singers (1) • MUS 092 - Lancer Chorus (1) • MUS 094 - Rhapsody (1) • MUS 489 - University Choir and Orchestra (1) • MUS 490C - Major Ensemble: Magnolia Singers (1) • MUS 490D - Major Ensemble: Lancer Chorus (1) • MUS 490E - Major Ensemble: Rhapsody (1)

Lower Division Requirements (20 units) • COM 113 - Oral Communication OR

CST 451 - Biblical Preaching (3) • MUS 114 - Music Theory I (3)

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• MUS 115 - Musicianship Lab I (1) • MUS 120 - Introduction to Music Ministry (1) • MUS 124 - Music Theory II (3) • MUS 125 - Musicianship Lab II (1) • MUS 202 - Music in Global Cultures (2) • MUS 214 - Music Theory III (3) • MUS 215 - Musicianship Lab III (1) • MUS 282 - Music Technology 2 (2)

Upper Division Requirements (27 units) • CBS 403 - Congregation and Community OR

CBS 415 - Biblical Wisdom and Human Behavior (3) • MUS 301 - Survey of Music History 3 (3) • MUS 304 - Craft of Ministry I (3) • MUS 312 - Introduction to Conducting (2) • MUS 332 - Psalms, Hymns, and Spiritual Songs (2) • MUS 360 - Theology, History, and Practice of Worship 4 (3) • MUS 364 - Songwriting and Commercial Production (3) • MUS 370 - Worship Technology (3) • MUS 404 - Craft of Ministry II (2) • MUS 434 - Creative Worship Planning (2) • MUS 474 - Worship Ministry Internship (1) • MUS 494 - Senior Recital and Project for Worship Arts (0)

Christian Studies Minor Requirements (15 units) Christian Studies Course Requirements 4

• CST 110 - Old Testament Survey (3) • CST 130 - New Testament Survey (3) • CST 350 - Biblical Interpretation (3) • CST 370 - The Christian Faith (3)

Upper Division Elective Requirement Complete three (3) additional units from the following:

• PHI 303 - Apologetics (3) – Prerequisite: PHI 213 • PHI 324 - Applied Ethics (3) • PHI 343 - Philosophy of Religion (3) • PHI 353 - Comparative Religions 5 (3) • PHI 433 - Apologetics: Theory and Method (3) – Prerequisite: PHI 213

2 MUS 282 satisfies the Technology Competency Requirement for G.E. 3 MUS 301 satisfies the History Requirement for G.E. (Political World) 4 MUS 360 is an approved variance for CST 360 Church History (3 units) in the Christian Studies Minor. 5 PHI 353 is the recommended course to satisfy the Upper Division Elective Requirement for the Christian Studies Minor. It also satisfies the Philosophy Requirement for G.E. (Cultural World).

Optional Concentrations* (12 units) Students can earn an optional concentration in the following 6 areas: Jazz Studies; Keyboard Collaborative Arts; Live Music Production (MD); Songwriting; Studio Production; Worship Tech. Each optional concentration requires the completion of a minimum of twelve (12) distinct units beyond the major. See the Concentrations page in the Music Handbook. *Music for Worship Arts and Ministry majors may not complete the Worship Arts or Piano Pedagogy concentration.

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SINGLE SUBJECT MATTER PROGRAM in MUSIC

The School of Music’s Music Education major is a Single Subject Matter Preparation Program (SMPP) approved by the California Commission on Teacher Credentialing (CTC). Music Education students who complete all elements of the program can expect to meet the Music Single Subject Requirements and receive subsequent approval to enter the Credential program, providing that all other requirements for admittance to the program have been met. Additionally, students who complete the BM in Music Education degree successfully will not have to take the California Subject Examinations for Teachers® (CSET®) exam in music. The Subject Matter Preparation Program in Music prepares students for a career in teaching music in elementary and secondary schools within the state of California. In the view of the university, public education is one of the most crucial aspects of American life. Those who want to enter this field must first demonstrate a strong capacity for teaching, an enlightened vision of the educational enterprise, and a commitment to seek the training necessary to fulfill the responsibility. Each student admitted to the program will be expected to demonstrate a thorough understanding not only of the subject matter itself, but also of the vocation of an educator. The program has been designed specifically to prepare future teachers to communicate to their students the value and significance of music in a variety of human cultures and contexts. Subject Matter Preparation Program in Music (16 units) This “Commission-approved teacher preparation program” curriculum is designed for those students who will be seeking Single Subject Teaching Credential in Music from the State of California (see www.ctc.ca.gov). Students interested in teaching should contact their Faculty Advisor in the School of Music for advising. In addition to meeting these requirements, students should contact the Teacher Education Credential Program within the School of Education. MUS 311 Form and Analysis 2 units MUS 405 Introduction to Music Education 3 MUS 440 Instrumental Techniques for Woodwinds 1 MUS 441 Instrumental Techniques for Brass 1 MUS 442 Instrumental Techniques for Percussion 1 MUS 443 Instrumental Techniques for Strings 1 MUS 444 Vocal Techniques 1 MUS 472 Orchestration 3 MUS 475 General Music Methods 3

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TEACHING CREDENTIAL PROGRAM (Traditional Path)

The Teaching Credential Program requires 36 units (21 units of coursework, plus 15 units of Student Teaching and Seminar), traditional in three (3) semesters. Music Education majors who plan to get a Preliminary Single Subject Teaching Credential should be aware that there are three (3) Teaching Credential Program courses that may be taken as an undergraduate prior to acceptance into the Teacher Credential Program, potentially saving time and tuition. Graduates who begin the Teaching Credential Program in the summer could do their Student Teaching in the following spring and be ready to enter the Music Education profession at the beginning of a school year when most teaching positions are available. The following Teaching Credential Program courses are cross-listed and may be taken as an undergraduate prior to Credential Program Acceptance (9 out of 21 coursework units required for the credential): • EDU 409/509 Educational Psychology (3 units) – includes 4 hours of fieldwork • EDU 411/511 Theories and Methods for Teaching Diverse Students (3 units) – 10 hours of fieldwork • ETC 407/507 Technology and Learning (3 units) The following Teaching Credential Program courses may be taken only after receiving Credential Program Acceptance (12 out of 21 coursework units), which is, traditionally, after graduation. To take these courses as an undergraduate, please see information on the Integrated Credential Program below: • EDU 407/507 Reading and Writing in the Content Area (3 units) – 20 hours of fieldwork • EDU 490/519 Subject Area Specialization (3 units) – 30 hours of fieldwork • EDU 497/514 Secondary Methods (3 units) – 20 hours of fieldwork • EDU 440/518 Classroom Management and Ethics (3 units) – 10 hours of fieldwork Other Required Coursework for the Teaching Credential Program: POL 213 American Government (3) – Offered in Fall and Spring Satisfies GE Political Science requirement (under Political World). Must earn a grade of B or better. OR take a one-day class and pass the US Constitution Exam at APU or CSUSB.

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INTEGRATED CREDENTIAL PROGRAM (from 2020)

Beginning in the Fall of 2020, the School of Music has fully integrated the Music Education major and the coursework for the Teaching Credential program. The Teaching Performance Expectations (TPEs) of the traditional Credential program have been embedded in the Music Education curriculum, thus eliminating the need for students to take 21 units of the Credential program coursework, which are traditionally taken in the fifth year. The fully Integrated Credential Program essentially reduces the time to receive a Preliminary Single-Subject Teaching Credential from 5.5 years to 4.5 years, saving the student a great deal of time and money. Following completion of the four-year degree in Music Education, students will be ready to do their Student Teaching semester. This presents two options:

1. Completing Student Teaching in the traditional way as a graduate student under the guidance of a Master Teacher.

2. Completing Student Teaching in the context of an “internship” (i.e. a full-time paid teaching position), but without the benefit of a Master Teacher.

Students must apply and be accepted into the Credential Program during the sophomore year. A valid Certificate of Clearance (COC) and letters of recommendation are required. Please contact the School of Education for the full list of requirements for applying to the Credential Program. Music Education students must maintain a 3.0 GPA in all coursework with embedded TPEs. Those courses include the following: MUS 282 - Music Technology* MUS 405 - Introduction to Music Education MUS 344 - Choral Literature OR MUS 345 - Orchestral and Band Literature MUS 475 - General Music Methods MUS 479 - Choral Methods OR MUS 476 - Instrumental Methods MUS 473 - Advanced Studies in Music Education Coursework with embedded TPEs must be taken in a specific order beginning in the spring semester of the sophomore year. See 4-year Plan for the Music Education major with the Integrated Teaching Credential. *PLEASE NOTE: A special section of MUS 282 - Music Technology with embedded TPEs will be offered in the spring semester only. Music Education majors must take this section in the sophomore year in order for the course to count toward the Integrated Teaching Credential.

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INTEGRATED CREDENTIAL PROGRAM (prior to 2020)

The Integrated Credential Program allows Bachelor of Music in Music Education students to complete the Teaching Credential coursework concurrently with their undergraduate degree requirements. This makes it possible for the graduate to enter into an internship (i.e. a full-time paid teaching position), if one is available, immediately following completion of the BM in Music Education degree. Commission-approved intern programs are alternatives to the traditional path of acquiring a Preliminary Single-Subject Teaching Credential that allows an individual the ability to complete their teacher preparation coursework concurrently with their first year or two in a paid teaching position. CBU’s Teaching Credential Program is a “Commission-approved intern program.” In this program, Student Teaching is completed while the student is teaching full time with an Intern Credential. A faculty advisor will visit to observe and critique the intern’s teaching and offer supportive comments and suggestions for developing effective teaching strategies. In order to participate in the Integrated Credential Program, the student must have completed 25% of the Music Education major and passed the CBEST exam. Application to the program may be made no sooner than the fall semester of the sophomore year. Completing the credential coursework in addition to the Music Education degree requirements will involve taking credential and/or G.E. coursework over the summers or online. The student must be have completed 75% of the Music Education major to be eligible to begin Student Teaching. For additional information on the Credential Program, see the online Academic Catalog or contact the School of Education. Students must meet the following requirements to be admitted to the Integrated Credential Program:

1. Demonstrate basic skills competency • Take the California Basic Education Skills Test (CBEST); OR • Demonstrate competence through an alternate route

2. Demonstrate subject matter competency • Enrolled in an approved subject matter competency program; OR • Take the California Subject Examinations for Teachers (CSET) for the appropriate

credential area 3. Meet U.S. Constitution requirement 4. Grade Point Average (GPA)

• Minimum GPA of 2.75 for acceptance • Maintain a GPA of 3.0 for all methods courses while in the program

5. Verification of Certificate of Clearance 6. Three Recommendations, completed on forms provided, from professional sources who can

address your potential for success. Family members and friends may not complete recommendations.

7. Satisfactory interview with an Education Committee faculty member 8. Literacy sample completed at the interview

To qualify for an Intern Credential, an individual must have earned a BM in Music Education (that meets the subject matter competence requirement), passed the CBEST exam, meet the U.S. Constitution requirement (see above “Other Required Coursework for the Teaching Credential Program”), obtain character and identification clearance, be enrolled in the Teaching Credential Program, and have completed the following courses:

• EDU 409/509 Educational Psychology (3 units) • EDU 411/511 Theories and Methods of Teaching Diverse Students (3 units) • EDU 497/514 Secondary Methods (3 units)

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Bachelor of Music in Music Education – Choral Emphasis with Teaching Credential Coursework (Prior to Fall 2020)

The following four-year plan combines the BM in Music Education (Choral emphasis) with the Teaching Credential Program coursework, allowing the student to complete all required coursework for the degree and the Preliminary Single Subject Teaching Credential with the exception of Student Teaching. Students who complete this hybrid program will be eligible to do their Student Teaching in the traditional manner with a Master Teacher or as a full-time paid teacher with an Intern Credential upon graduation. The Preliminary Single Subject Credential is received after completion of Student Teaching, which may be done during the first semester on the job. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Freshman Year - Fall Semester (Odd) 9 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 1 MUS 09x Major Ensemble 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology*** 2 Summer btwn Freshman and Sophomore Years 6 units G.E. coursework 6 Sophomore Year - Fall Semester (Even) 9 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 MUS 440 Instrumental Techn. for Woodwinds (Fa. Even) 1 Summer btwn Sophomore and Junior Years 6 units EDU 409 Educational Psychology¢ 3 EDU 407 Technology and Learning¢ 3 Junior Year - Fall Semester (Odd) 17 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 311 Form and Analysis 2 MUS 427 Diction for Singers I 1 MUS 441 Instrumental Techniques for Brass (Fall Odd) 1 MUS 46x Private Instruction 1 MUS 472 Orchestration 3 MUS 491H Chamber Singers 1 EDU 407 Reading and Writing in the Content Area¢ 3 Summer btwn Junior and Senior Years 6 units G.E. coursework (if needed) 6 Senior Year - Fall Semester (Even) 18 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 §§MUS 324 Music History III 3 MUS 405 Introduction to Music Education 3 MUS 408 Jazz Pedagogy (Fall) 2 MUS 444 Vocal Techniques (Fall Even) 1 1 MUS 46x Private Instruction 1 MUS 479 Choral Methods 3 MUS 491H Chamber Singers 1 EDU 497 Secondary Methods¢ 3

Freshman Year - Spring Semester (Even) 8 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 014 Class Guitar 1 Sophomore Year - Spring Semester (Odd) 13 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 443 Instrumental Techniques for Strings (Sp. Odd) 1 EDU 411 Theories and Methods of Teaching Diverse Students¢ 3 Junior Year - Spring Semester (Even) 16 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 323 Music History II 3 MUS 344 Choral Literature (Sp. Even) 3 MUS 413 Choral Conducting 2 MUS 428 Diction for Singers II 1 MUS 442 Instrumental Techniques for Percussion (Sp.Ev.) 1 MUS 46x Private Instruction 1 MUS 491H Chamber Singers 1 MUS 490 Subject Area Specialization¢ 3 Senior Year - Spring Semester (Odd) 13 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 325 Music History IV 2 MUS 473 Advanced Studies in Music Education (Spring) 3 MUS 475 General Music Methods (Spring) 3 MUS 431 Senior Recital/Project NC MUS 46x Private Instruction 1 EDU 440 Classroom Management and Ethics¢ 3

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Eight (8) units of Private Instruction must be on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (Biblical Core). §§MUS 324 Music History III satisfies the G.E. History requirement (under The Political World). ¢Teaching Credential coursework NOTE: The Music Education major satisfies all of the 39 upper division units required for graduation.

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Bachelor of Music in Music Education – Instrumental Emphasis with Teaching Credential Coursework (Prior to Fall 2020)

The following four-year plan combines the BM in Music Education (Instrumental emphasis) with the Teaching Credential Program coursework, allowing students to complete all required coursework for the degree and the Preliminary Single Subject Teaching Credential with the exception of Student Teaching. Students who complete this hybrid program will be eligible to do their Student Teaching in the traditional manner with a Master Teacher or as a full-time paid teacher with an Intern Credential upon graduation. The Preliminary Single Subject Credential is received after completion of Student Teaching, which may be done during the first semester on the job. This four-year plan includes 18 units to be taken over three (3) summers. Please note that General Education requirements (28-43 units) are not included below (see the University Catalog: Undergraduate or an academic advisor). Major requirements in italics. Freshman Year - Fall Semester (Odd) 9 units MUS 012 Class Piano I* 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction** 1 MUS 09x Major Ensemble 1 MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology*** 2 Summer btwn Freshman and Sophomore Years 6 units G.E. coursework 6 Sophomore Year - Fall Semester (Even) 9 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 214 Music Theory III 3 MUS 215 Musicianship Lab III 1 MUS 202 Music in Global Cultures 2 MUS 440 Instrumental Techn. for Woodwinds (Fa. Even) 1 Summer btwn Sophomore and Junior Years 6 units EDU 409 Educational Psychology¢ 3 EDU 407 Technology and Learning¢ 3 Junior Year - Fall Semester (Odd) 15 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 312 Introduction to Conducting 2 MUS 313 Music History I 2 MUS 311 Form and Analysis 2 MUS 408 Jazz Pedagogy (Fall) 2 MUS 441 Instrumental Techniques for Brass (Fall Odd) 1 MUS 46x Private Instruction 1 MUS 472 Orchestration 3 MUS 49x Chamber Music (see Major Requirements) 1 EDU 407 Reading and Writing in the Content Area¢ 3 Summer btwn Junior and Senior Years 6 units G.E. coursework (if needed) 6 Senior Year - Fall Semester (Even) 15 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 §§MUS 324 Music History III 3 MUS 405 Introduction to Music Education 3 MUS 444 Vocal Techniques (Fall Even) 1 MUS 445 Marching Band Techniques 2 1 MUS 46x Private Instruction 1 MUS 476 Instrumental Methods 3 MUS 49x Chamber Music (see Major Requirements) 1 EDU 497 Secondary Methods¢ 3

Freshman Year - Spring Semester (Even) 8 units MUS 022 Class Piano II* (if needed) 1 MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 124 Music Theory II 3 MUS 125 Musicianship Lab II 1 MUS 014 Class Guitar 1 Sophomore Year - Spring Semester (Odd) 10 units MUS 050 Performance Forum 0 MUS 08x Private Instruction 1 MUS 09x Major Ensemble 1 MUS 224 Music Theory IV 3 MUS 225 Musicianship Lab IV 1 MUS 360 Theology, History, and Practice of Worship§ 3 MUS 443 Instrumental Techniques for Strings (Sp. Odd) 1 EDU 411 Theories and Methods of Teaching Diverse Students¢ 3 Junior Year - Spring Semester (Even) 12 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 323 Music History II 3 MUS 345 Orchestral and Band Literature (Sp. Even) 3 MUS 412 Instrumental Conducting 2 MUS 442 Instrumental Techniques for Percussion (Sp.Ev.) 1 MUS 46x Private Instruction 1 MUS 49x Chamber Music (see Major Requirements) 1 MUS 490 Subject Area Specialization¢ 3 Senior Year - Spring Semester (Odd) 10 units MUS 050 Performance Forum 0 MUS 09x Major Ensemble 1 MUS 325 Music History IV 2 MUS 473 Advanced Studies in Music Education (Spring) 3 MUS 475 General Music Methods (Spring) 3 MUS 431 Senior Recital/Project NC MUS 46x Private Instruction 1 EDU 440 Classroom Management and Ethics¢ 3

*Piano instruction is expected every semester until the Piano Proficiency exam has been passed. **Eight (8) units of Private Instruction must be on the same instrument. ***MUS 282 Music Technology satisfies the G.E. Competency Requirement for Technology. §MUS 360 Theology, History, and Practice of Worship satisfies 3 units of the G.E. Christian Studies requirement (Biblical Core). §§MUS 324 Music History III satisfies the G.E. History requirement (under The Political World). ¢Teaching Credential coursework. NOTE: The Music Education major satisfies all of the 39 upper division units required for graduation.

MINOR in MUSIC The Minor in Music provides the student a foundation in music performance through applied study and ensemble participation and broad coursework in music technology, history, and worship studies. Minor in Music (24 units) Performance Forum Requirement (0 units) MUS 050 Performance Forum (4 semesters) 0 units Lower Division Requirements (12 units)

MUS 080-088 Private Instruction 2 total Ensemble Requirements. Complete four (4) units from the following: MUS 067, 068, 090-097, 099 4 total MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 282 Music Technology* 2

Upper Division Requirements (5 units)

MUS 301 Survey of Music History** 3 MUS 460-468 Private Instruction 2 total

Upper Division Electives (7 units)

Complete seven (7) units from the following: MUS 308 History of Jazz 3 MUS 316 Musical Theater Production 1-3 units MUS 332 Psalms, Hymns, and Spiritual Songs 3 MUS 360 Theology, History, and Practice of Worship*** 3 MUS 364 Songwriting and Commercial Production 3 MUS 434 Creative Worship Planning 3

MUS 460-468 Private Instruction 1-2 TOTAL UNITS: 24 (12 upper division units)

*MUS 282 Music Technology satisfies the Technology Competency requirement for G.E. **MUS 301 Survey of Music History satisfies the G.E. History requirement (Political World). ***MUS 360 satisfies 3 units of the G.E. Christian Studies requirement (Biblical and Theological Core).

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MINOR in WORSHIP ARTS and MINISTRY

The Minor in Worship Arts and Ministry is designed to equip future worship leaders with musical, presentational, technical, organization, and pastoral skills essential for the facilitation of worship ministry in the modern evangelical church. Minor in Worship Arts and Ministry (23 units) Applied Music Requirements (6 units) MUS 081 Private Instruction: Voice 1 MUS 461 Private Instruction: Voice 1 MUS 054 The Worship Forum 1 MUS 454 The Worship Forum 1 Complete a two-semester sequence from the following: MUS 082 Private Instruction: Piano 1 MUS 462 Private Instruction: Piano 1 OR (the following two courses) OR MUS 088 Private Instruction: Guitar 1 MUS 468 Private Instruction: Guitar 1 Lower Division Requirements (5 units) MUS 114 Music Theory I 3 MUS 115 Musicianship Lab I 1 MUS 120 Introduction to Music Ministry 1 Upper Division Requirements (9 units) MUS 304 Craft of Ministry I 3 MUS 360 Theology, History, and Practice of Worship* 3 MUS 370 Worship Technology** 3 Christian Studies Requirements (3 units)*** – Choose one (1) of the following courses: CST 350 Biblical Interpretation 3 CST 360 Church History 3 CST 370 The Christian Faith 3 TOTAL UNITS: 23 (15 upper division units)

*MUS 360 satisfies 3 units of the G.E. Christian Studies requirement (Biblical and Theological Core). **MUS 370 satisfies the Technology Competency requirement in G.E. ***CST 350, 360, or 370 satisfies another 3 units of the G.E. Christian Studies requirement.

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MUSIC CONCENTRATIONS

All eight (8) music concentrations consist of twelve (12) upper division units which are unique to the concentration; that is, courses may not count toward a major and a concentration. The majors to which a concentration may be applied are given below each concentration.

Jazz Studies Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry.

• MUS 308 - History of Jazz (3) • MUS 408 - Jazz Pedagogy (2) – Prerequisite: MUS 224 • MUS 491E - Chamber Ensemble: Jazz Combo (3 units total) – Prerequisite: MUS 095 or 096; Concurrent

requisite: Private Instruction • MUS 491F - Chamber Ensemble: Jazz Ensemble (4 units total) – Prerequisite: MUS 067, 096, or 097;

Concurrent: Private Instruction

Keyboard Collaborative Arts Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry.

• MUS 346 - Repertoire for Accompanists (3) • MUS 376 - Performance Styles for Accompanists (2) – Prerequisite: MUS 256 • MUS 427 - Diction for Singers I (1) – Prerequisite: 1 year of private voice study • MUS 428 - Diction for Singers II (1) – Prerequisite: 1 year of private voice study • MUS 444 - Vocal Techniques (1) – Prerequisite: MUS 214 and 215 • MUS 469 - Private Instruction: Accompanying (4 units) – Prerequisite: MUS 089 and declared Music major

or minor Live Music Production (MD) Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry.

• MUS 326 - Commercial Arranging I (2) • MUS 336 - Commercial Arranging II (2) – Prerequisite: MUS 326 • MUS 366 - Live Sound Techniques and Applications (3) • MUS 370 - Worship Technology OR

APT 482 - Pastoral Leadership (3) • MUS 412 - Instrumental Conducting – Prerequisite: MUS 312 OR

MUS 413 - Choral Conducting (2) – Prerequisite: MUS 312; Concurrent requisite: MUS 093 Piano Pedagogy Concentration (12 units) May be applied to the following majors: Piano Performance1, Vocal Performance

• MUS 405 - Introduction to Music Education (3) • MUS 418 - Piano Pedagogy I (2) – Fall Even; taken concurrently with MUS 450 • MUS 438 - Piano Pedagogy II (2) – Spring Odd; taken concurrently with MUS 450 • MUS 450 - Observations and Practicum in Teaching Methods (1) – 2 units required • MUS 475 - General Music Methods (3)

1 Piano Performance majors must take an additional 2-unit upper division music course approved for use as a variance, since MUS 418 is already required for the major.

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MUSIC CONCENTRATIONS (continued)

Songwriting Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry. Core Songwriting Requirement

• MUS 355 - Private Lessons in Songwriting (6 units total) – Prerequisite: MUS 253 Additional Songwriting Requirements Complete six (6) additional units from the following:

• MUS 305 - Survey of Popular Song (3) • MUS 326 - Commercial Arranging I (2) • MUS 347 - Music Production I (3) – Prerequisite: MUS 386 • MUS 355 - Private Lessons in Songwriting (1) – Prerequisite: MUS 253 • MUS 364 - Songwriting and Commercial Production (3) – Prerequisite: MUS 282

Studio Production Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry.

• MUS 347 - Music Production I (3) – Prerequisite: MUS 386 • MUS 357 - Music Production II (3) – Prerequisite: MUS 347 • MUS 386 - Audio Recording and Studio Techniques I (3) • MUS 387 - Audio Recording and Studio Techniques II (3) – Prerequisite: MUS 386

Worship Arts Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance.

• MUS 304 - Craft of Ministry I (3) • MUS 332 - Psalms, Hymns, and Spiritual Songs (2) • MUS 370 - Worship Technology OR

CST 370 - The Christian Faith (3) • MUS 434 - Creative Worship Planning (2) • MUS 454 - The Worship Forum (2 units total) – Prerequisite: MUS 054

Worship Tech Concentration (12 units) May be applied to the following majors: Composition, Instrumental Performance, Piano Performance, Vocal Performance, Music for Worship Arts and Ministry.

• GDM 341 - Video Fundamentals (3) • MUS 347 - Music Production I (3) – Prerequisite: MUS 386 • MUS 366 - Live Sound Techniques and Applications (3) • MUS 396 - Lighting Techniques and Applications (3)

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MUSIC CONCENTRATIONS and the MAJORS

to which they may be applied.

MUSIC MAJORS

BM, C

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Perf

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BM, C

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BM, M

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BM, P

iano

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BM, S

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BM, V

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BA, M

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and

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MU

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CON

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Jazz Studies NO YES YES NO YES NO YES YES

Keyboard Collaborative

Arts NO YES YES NO YES NO YES YES

Live Music Production (MD) NO YES YES NO YES NO YES YES

Piano Pedagogy NO NO NO NO YES2 NO YES NO

Songwriting NO YES YES NO YES NO YES YES

Studio Production NO YES YES NO YES NO YES YES

Worship Arts NO YES YES NO YES NO YES NO

Worship Tech NO YES YES NO YES NO YES YES

1 Music Education majors are not given the option to add a music concentration since they already have an emphasis (Instrumental or Vocal), and the program includes the Integrated Teaching Credential (beginning Fall 2020).

2 Piano Performance majors take MUS 418 Piano Pedagogy I as part of their major requirements. Students wanting to add the Piano Pedagogy Concentration must take an additional 2-unit upper division music course which must be approved as a variance.

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FACILITIES

The study of music at California Baptist University involves the commitment of a distinguished faculty of music performers and scholars, and the dynamic collaboration of some of the finest music students in the nation. Housed in the Joann Hawkins School of Music Building (HMUS), the School of Music enjoys spacious educational facilities and performance venues, as well as state-of-the-art technical support and equipment necessary for complete musical career training. Music books, scores, and CD/DVD holdings are found in the Annie Gabriel Library.

OFFICES and STUDIOS

HMUS 118 School of Music Office (951) 343-4251 HMUS 119 Dr. Joseph Bolin (951) 343-4251 Tyler Plaza 233 Dr. Lance Beaumont (951) 552-8162

HMUS 202 Dr. Angela Brand-Butler (951) 343-4435 Tyler Plaza Mr. Tom Brooks (951) 552-

HMUS 201 Mrs. Jennifer Cruz (951) 343-4253 HMUS 202 Mr. Steven Dahlgren (951) 343-4706 HMUS 218 Dr. Guy Holliday (951) 343-4260 Tyler Plaza 235 Mr. Hector Jimenez (951) 343-4708 HMUS 118-C Mr. Travis Maclay (951) 552-8923 HMUS 220 Dr. Gene Moon (951) 552-8254 HMUS 219 Dr. Gene Peterson (951) 552-8363 HMUS 217 Dr. Glenn Pickett (951) 343-4257 HMUS 209 Dr. Joshua Rodriguez (951) 552-8161 HMUS 223 Dr. Stephen Posegate (951) 343-4258 HMUS 208 Mrs. Brenda Reinebach (951) 343-4709 HMUS 207 Dr. John Reinebach (951) 343-4712 HMUS 222 Mr. Dan St. Marseille (951) 552-8367 Tyler Plaza 236 Dr. David Toledo (951) 552-8993 HMUS 205 Mrs. Noemy Wheeler (951) 343-4713

PRACTICE ROOMS

Practice rooms are on a first-come, first-served basis. They are located on the Helen English Walker Floor (2nd floor, rooms 226-246) of the Hawkins Music Building and are accessed by ID key cards. For security and personal safety, please do not leave doors in the practice wing open. Do not bring food or drinks into the practice rooms, or the Hawkins Music Building in general. Please do not remove the felt dampeners from inside the pianos. Students are not permitted to teach lessons to non-CBU students in the practice rooms.

LOCKERS

Lockers are available for instrumental students only who are participating in one or more School of Music ensembles. Lockers may be checked out for student use in the School of Music Office. The School of Music will provide padlocks. Personally-owned padlocks are not permitted and will be removed. Lockers must be cleared of all materials and padlocks must be returned to the School of Music office by the end of finals week.

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SCHOLARSHIPS and AWARDS

Students receiving a music scholarship are required to make normal academic progress in their academic studies. Normal academic progress is defined as enrolling in and successfully completing the proper sequence of courses listed in the current School of Music Handbook each semester. Students not complying with departmental procedures, or not making satisfactory progress in their declared major will have their scholarship status reviewed by the School of Music faculty. This review can occur at any point during the semester. Music scholarships are awarded on a semester-by-semester basis only. Music Scholarships: The School of Music at CBU offers a number of scholarships for music majors and performers in many of its ensembles. Accompanist scholarships are also available. Auditions for available openings are held throughout the year. For scholarship requirements and/or an audition appointment, please call the School of Music office. Brenda K. Smith Memorial Scholarship: A deserving voice major(s) is selected to receive this award. It was established in memory of Brenda Smith, an outstanding vocal music major. Amount is variable. Applications are available in the Financial Aid office. S. E. Boyd Smith Scholarship: This scholarship is awarded to qualified piano or organ students. Amount is variable. Applications are available in the Financial Aid office. California Singing Churchwomen Scholarship: This scholarship is awarded to a female music student planning to work in church music either vocationally or as an avocation. Applications are available in the Financial Aid office. Awards: The Music Program Award is given annually. The criteria for selection of the recipient are: graduating senior with grade point average of at least 3.7, number of semesters attending CBU, growth and development as a musician and contribution to the Music Program. An award is also given to the Outstanding Music Student who has demonstrated outstanding musical growth and has contributed positively to the program and department.

NAfME COLLEGIATE

The CBU chapter of the National Association for Music Education, formerly known as The Dorian Society, is now called NAfME Collegiate. It is a student organization with a purpose of developing participation in professional activities to help students who are preparing to be Music Educators. Membership is required for all Music Education majors and is open to other interested students. The School of Music subsidizes $20 out of the $35 membership fee for each student. Students are required to pay only $15 for membership in NAfME Collegiate. For information contact Dr. Stephen Posegate, Coordinator of Music Education.

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PRIVATE INSTRUCTION Vocal, Piano, and Instrumental

Private Instruction is required of all music majors and minors every semester in residence. Private Instruction is offered with material and performance of increasing difficulty as the student develops. Service Playing (MUS 230) does NOT fulfill the Private Instruction requirement for the music major or music minor. Prerequisite for Private Instruction-Organ: formal piano training and music reading ability. (Please note that Voice, Piano, and Instrumental Practicum is for non-music majors only.) The School of Music will post Private Instructors’ schedules during Rehearsal Camp. Students must sign up with a Private Instructor by the end of Add/Drop in order to secure a teacher. Any student who has not signed up with a teacher by the end of that period will receive a failing grade in Private Instruction. Lesson Requirements: Punctuality for lessons is required. Students who are tardy will receive only the remainder of their lesson time. Students who habitually miss lessons or are unprepared for lessons will, at the discretion of the teacher, be asked to drop the course or risk a grade of D or F. The instructor will establish other lesson requirements, including repertoire. Incompletes will not be given in Private Instruction except in the case of exceptional illness or extreme circumstances. If an Incomplete (I) is assigned for the semester grade, it is the student’s responsibility to make up the jury within six weeks. Practice Requirements: Private Instruction is designed to encourage the student in a life of self-disciplined practice, which continues after graduation when there is no longer responsibility to a particular academic routine. With this in mind, the following standards are noted: practice hour requirements are directly related to the amount of credit given. A half-hour lesson (one unit of credit) assumes a minimum of one hour of practice every day. A one-hour lesson (two units of credit) assumes a minimum of two hours of practice every day. Absences: If absence from a lesson is anticipated, the student should notify the teacher at least 24 hours in advance. If a student is unavoidably detained and misses a lesson, the student should notify the teacher directly as soon as possible. If prior notice is given, or there are extenuating circumstances, the teacher may make up the lesson at his/her discretion. If no notice is given, the lesson will not be made up. In the case of a lesson missed by a teacher, the lesson will be made up as soon as a mutually acceptable time is available. Purchasing books: It is the responsibility of the Private Instruction student to obtain original scores for lessons. The use of copied music is not permitted except for jury exams (one time “fair use” for nonprofit educational purposes*). Scores may be purchased, checked out from the library, or printed off from CD Sheet Music CD-ROMs (available in the Annie Gabriel library). *Copyright Law of the United States, Title 17, Section 107, October 2007.

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Jury Exams: All music majors and minors are required to appear before a jury board held during the final examination period at the end of each semester. Jury Sheets will be made available during the two weeks before final exams. It is the student’s responsibility to complete a Jury Sheet with the composers and titles of the compositions studied during the semester (and other information as requested) and present multiple copies of this sheet at the time of the student’s appointment. Students are to be responsible for information on the composers, style of pieces and translations of all songs. Instrumental students must also bring to the jury exam photocopies of the music to be performed for each member of the jury panel. The student is responsible for signing up for a jury time on the posted Jury Schedule. The Jury Schedule will be posted within the last two weeks of scheduled classes each semester. Students who are performing a Senior Recital are exempt from juries for the semester in which the recital is given. Grading: The final semester grade in Private Instruction is comprised of the student’s Semester Work and the Jury Performance Average. Percentages (i.e. how these two major grading elements are to be weighted) will be given in the Private Instruction syllabus. The grading standards for the Semester Work in lessons are as follows:

Objective Standards: • Regular lesson assignments prepared • Continuous achievement of minimum requirements as outlined by the teacher • Consistent daily practice • Punctuality at lessons

Subjective Standards: • Musical sensitivity and interpretive abilities • Student attitude and effort • Continuous growth and development of musicianship • Increasing mastery of performance techniques

Student Recital Performance: Performing in one or more Student Recitals per academic year is required all music majors and minors. Failing to perform in one or more Student Recital per year will affect the student’s final semester grade in Private Instruction. See Student Recitals section below. Accompanists: One of the vocal/instrumental student’s first priorities must be to secure an accompanist for his or her weekly lesson time (if desired) and to work with that accompanist to select a mutually agreeable jury time at the end of the semester. As the purpose of a jury is to show the student’s work for the semester, the importance of working with an accompanist on a regular basis rather than asking a pianist to sight-read music at juries cannot be overstated. Each semester, the Applied Music Faculty (those teaching privately) receive a list of School-of-Music-approved Student Accompanists, who are available to accompany music students. They are compensated by the School of Music to adequately prepare and play for at least one scheduled lesson, two additional rehearsals, and one jury exam. Student Accompanists may accompany a maximum of 10 students per semester. If it is not possible for the student to work with an accompanist during the semester, it is still the student’s responsibility to find (and compensate appropriately, if necessary) an accompanist for his or her jury exam.

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STUDENT RECITALS / PERFORMANCE FORUM

Student Recital Participation: All Sophomore, Junior, and Senior music majors are required to perform on their primary instrument in at least one Student Recital during the Performance Forum class (on Friday mornings) per academic year. Music minors are expected to perform during the year when taking Private Instruction, except for the Freshman year. Freshman may, at the discretion of the instructor, perform in a separately-schedule studio recital or a formal Student Recital during Performance Forum (though not required to do so). Vocal, Instrumental, Piano, and Keyboard Accompanying majors are expected to perform each semester (per the Private Instruction syllabus). Worship Arts and Ministry majors will perform in the last Performance Forum class of the spring semester. Students must receive permission from their instructor and are required to submit a Recital Performance Form to the School of Music Office at least 48 hours before the recital date. Voice, Instrumental, and Piano Practicum students (i.e. non-music majors) may be encouraged to participate in Student Recitals at the discretion of the instructor. A list of available Student Recital dates will be posted in the School of Music office and will be periodically updated to include those who are scheduled to perform in those recitals. This list should also serve as a reminder for those who have yet to sign up to perform in a Student Recital. Failure to perform in a Student Recital as required will result in lowering the Private Instruction grade by one letter for the semester in which the requirement went unfulfilled. Formal or semi-formal performance attire is expected when performing in a Student Recital. Student Recital Attendance: All BM music majors, Worship Arts and Ministry majors, and those seeking the Minor in Music are required to enroll in MUS 050 Performance Forum every semester in residence. Semester grades are based on attendance. Weekly sessions will include Student Recitals in which music majors and minors are expected to perform, master classes, music major information sessions, spiritual encouragement and character-building activities led by the Dean. In addition to attending Friday morning sessions, students are expected to attend three (3) evening School of Music-sponsored performances, such as Senior Recitals or concerts given by the Symphony Orchestra, Wind Ensemble, Symphonic Band, Jazz Band, Chamber Orchestra, or Chamber Singers. Appropriate attire is expected when attending a Student Recital or evening performances.

PERFORMANCE LEVELS

During the jury process, the music faculty will evaluate the music major's progress on his/her primary instrument and assign a Performance Level based on specific criteria described in the Performance Level Rubric (available from the student’s instructor) for each instrument or voice. The first Performance Level (L1) and subsequent performance levels are obtained only after the criteria have been met/demonstrated in the jury. There are five Performance Levels (L1-L5) for undergraduates. Performance Level 0 (L0) will be assigned to students who fail to meet the criteria for the first level. Satisfactory and exemplary progress may result in the Performance Level being raised. Unsatisfactory progress may result in the Performance Level remaining the same as the previous semester.

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UPPER DIVISION QUALIFICATIONS

Passing Upper Division Qualifications is required for students majoring in music to continue in the program. The purpose of the Upper Division Qualifications is to provide a point of assessment for students seeking a music degree to ensure that they are effectively progressing through the program, both musically and academically, so that they will be prepared for the demands of Upper Division coursework in their Junior and Senior years.

BENCHMARKS (if all of the following standards are met, students “pass” their Upper Division Qualifications and may continue in their major as planned):

1. Reach Level 2 by end of the Sophomore year. Level 3 for Performance Majors. 2. Pass Technical Skills of Piano Proficiency (10 out of 15 points). 3. 3.0 minimum cumulative GPA in Music Courses.

REMEDIATIONS (a menu of actions that may be taken for students who have not met one or more of the Benchmarks for Upper Division Qualifications):

1. Additional Private Instruction 2. Tutoring arranged by a professor 3. Referral to Student Success Center 4. Changing majors

PROCEDURES: 1. Following spring juries, a list of Sophomores and First-Year Transfer students will be distributed

to the SOM’s Academic Advisory Council (faculty committee) for review. Students who have not yet passed their Upper Division Qualifications will also be included. The list will include the following information: Performance Level, Piano Proficiency, and Music Courses GPA.

2. For students who pass their Upper Division Qualifications, congratulatory emails will be sent from the Dean or Associate Dean of Undergraduate Studies.

3. For students who do not pass the Upper Division Qualifications, committees of three (3) AAC Members will be formed for the purpose of shepherding students during a probationary semester.

4. These “Shepherding Committees” meet/communicate with students to address areas of concern, and then make recommendations for remediation (see above) to the Dean for approval.

5. Upon Dean approval, Shepherding Committees will put remediations in writing in the form of a Contract to be shared with and signed by the students. 6. Students who fail Upper Division Qualifications and have received remediations are given one probationary semester (typically Semester 5), to demonstrate sufficient progress, meeting the conditions of the Contract by the next round of juries. 7. Students who fail to make sufficient progress in their probationary semester will be reevaluated

by the Shepherding Committees, which will make recommendations to the Dean for further actions.

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SENIOR RECITALS

Performance majors (Instrumental, Piano, and Vocal) and Keyboard Accompanying majors must attain Performance Level 5 (L5) by the end of the fall semester of their senior year. Composition and Music Education majors must attain Performance Level 4 (L4) by the end of the fall semester of their Senior year. Reaching the appropriate Performance Level is considered a prerequisite for enrollment in MUS 431, the Senior Recital class. All music majors must be enrolled in MUS 431 and perform a Senior Recital on their primary instrument or voice (or compositions and arrangements for Composition majors) during their senior year only after achieving the appropriate Performance Level and passing all portions of the Piano Proficiency exam (15 points). Students must also be enrolled in Private Instruction in their primary instrument or voice during the semester they intend to perform their Senior Recital in order to facilitate rehearsals, hearings and recitals. Senior Recital Length is determined by concentration. Performance and Keyboard Accompanying majors are expected to give a 60-minute Senior Recital. Music Education majors are expected to give a 30-minute recital. Composition majors are expected to give a 30-minute portfolio performance of original compositions and arrangements. Appropriate Senior Recital repertoire is recommended by the instructor and approved by the instructor of MUS 431. Repertoire must include a variety of musical styles from all historical periods. Typically, jazz, pop and Contemporary Christian pieces or songs are not considered acceptable recital material. Senior Recital Dates: The date for your Senior Recital must be scheduled in conjunction with your private instructor, all participants in your recital, and the School of Music office. Except in the case of extreme emergency, once a date is selected it must be held (unless postponement is recommended by the music faculty following your Pre-Recital Hearing). Senior Recitals may be given during the Fall and Spring semesters only. Fees/DVDs: A recording fee of $100 is required two weeks prior to your recital. This is per recitalist not per recital. The fee includes the use of one camera ($40 per extra camera requested), editing, and a downloadable video file, which will be made available approximate 2 weeks following the recital. This applies to on-campus recitals only; off campus events will require additional funds. There is a $10 fee for each additional DVD. Room 101 will be set up with standard lighting and seating for 85 approximately, unless additional seats are requested. No additional audio equipment will be provided. Rehearsals: All rehearsals that require use of a room in the School of Music building must be scheduled through the School of Music office. Recitalists may request a one-time use of Room 101 for a rehearsal prior to their recital date with 48-hour notice. Requests for one or two additional rehearsals in other rooms may be made with 48-hour notice (subject to availability). Pre-Recital Hearing: Pre-Recital Hearings must be scheduled by the end of the second week of the semester. After consulting with your private instructor and accompanist (if applicable), select three possible dates and times for your hearing and submit them to the instructor of MUS 431. A faculty committee in your concentration will be selected for you and will adjudicate your Pre-Recital Hearing. The Pre-Recital Hearing must take place no later than one month before the Senior Recital date. The entire recital must be fully prepared and memorized (when appropriate) and presented to the music faculty in the Pre-Recital Hearing. Appropriate attire is expected. At the hearing, students must also submit a printed program (see Senior Recital Programs below). The student may be asked to edit, augment, and/or improve upon the program based on the recommendation of the committee. The revised program must be submitted electronically to the School of Music office within 2 days following

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the hearing. Failure to do so may put the student at risk of losing the recital date, necessitating postponement. The faculty committee will provide you with a written and verbal evaluation of your Pre-Recital Hearing performance and will recommend any area(s) that may need special attention prior to your Senior Recital. Immediately following the Pre-Recital Hearing, the committee will confer and will:

1) APPROVE your recital (you may proceed with your recital preparations),

2) POSTPONE your recital until a semester in the future (meaning that they feel you will be ready with more work; in this case, you will need to re-schedule your recital and schedule another Pre-Recital Hearing with the same material), OR

3) DECLINE your recital (meaning that your performance is not recital-ready).

Senior Recital Programs: Students must submit a complete printed program at the Pre-Recital Hearing. Within 2 days following a successful Pre-Recital Hearing, students must submit an electronic version (.doc or .docx) of their recital program to the School of Music office that includes any revisions recommended by the committee. Programs should include composition titles, composers, composers’ dates, arrangers (if applicable), name(s) of the accompanist or other musicians (if applicable), translations and program notes. The School of Music will provide copies of the approved program for the recital. Detailed instructions and procedures may be found in the syllabus for MUS 431 Senior Recital/Project. Senior Recital Performance Attire: Since the purpose of public performance is to give the student practice in proper stage deportment and other artistic aims, dress and conduct are important. Senior recitals require a formal dress for women, and dark suits or tuxedos for men.

JUNIOR RECITALS

Junior Recitals are recommended for Instrumental, Piano, or Vocal Performance majors. Junior Recitals will be organized in conjunction with the student’s Private Instruction teacher. The length of a Junior Recital should be 20-30 minutes of music. Junior Recitals will take place in HMUS 101, either on Friday mornings during the Performance Forum hour, or on one pre-determined evening (with up to four Junior Recitals per evening). For students to be eligible to give a Junior Recital, several conditions must be met: 1. The student’s Private Instruction teacher must recommend and approve the student to give a Junior Recital. 2. The student’s Private Instruction teacher must approve all repertoire to be performed. 3. The student must achieve a minimum of Performance Level 3 by the Fall semester jury exams of the junior year before enrolling in MUS 341. 4. The student must enroll in the class, MUS 341 Junior Recital, in the semester the recital is to be given. (0 units, A-F grades.) 5. Junior Recitalists are not exempt from jury exams. They must perform in a jury exam as the final exam to Private Instruction and for Performance Level assessment, as usual.

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REPERTOIRE for PRIVATE INSTRUCTION The choice of specific pieces is left to the individual instructor and will be based on the student’s major concentration and capability. The materials listed below are merely suggestions of Piano and Vocal solo repertoire that is representative of each level. An Instrumental repertoire list is not given below. Instrumental students should discuss repertoire choices with their instructor. See below.

Piano Repertoire Piano repertoire can be taken from many styles of music, with the majority of it being classical in nature. Classical music will be the only music assessed at the end of the semester jury. Each semester, all Piano Majors must work on a minimum of four pieces, one from each musical period: Baroque/early music, Classic, Romantic, and Twentieth Century/Modern (not including jazz, pop, or Contemporary Christian/Praise music). Music minors and non-majors must work on at least two contrasting pieces each semester. First Year Bach: Two or Three-part Inventions A sonata by Haydn or Mozart Three (3) character pieces from the Romantic school (Schubert, Mendelssohn, Chopin) One (1) contemporary composition (Bartok, Kabalevsky, Prokofiev) All major scales, four octaves All minor scales, three forms, four octaves Other technical studies as needed (Hanon, Czerny, Pishna, etc.) Second Year Bach: French, English Suites A sonata by Mozart or Beethoven Two (2) larger compositions from the Romantic school (Brahms Rhapsodies or Intermezzi, Chopin Études or Preludes) One contemporary composition (Khatchaturian, Persichetti, etc.) All major and minor arpeggios, four octaves Major and minor primary progressions in all keys (I-IV-I-V7-I; i-iv-i-V7-i) Third Year Bach: Well-Tempered Clavier, Books I and II Scarlatti sonatas, Handel keyboard works Large sonata chosen from either Classical, Romantic, or Contemporary periods Two (2) American compositions (Gottschalk, Ives, Cowell, Barber) Late Romantic period composition (Rachmaninoff, Scriabin, Brahms) Impressionist school of composition (Debussy, Ravel) Harmonization Transposition Open Score Reading Sight-Reading Fourth Year Bach: A major work such as a Toccata, Italian Concerto Handel variations or Scarlatti sonatas Late Beethoven or Schubert sonata, or Schumann large work One (1) major composition in the Romantic school (Chopin Ballade or Scherzo, Liszt, or Brahms) One (1) contemporary composition either American or other nationality (Ginastera, Schoenberg, Hindemith, Villa-Lobos, Poulenc) Major and minor scales in thirds, sixths, and tenths Double-third major and minor scales

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Vocal Repertoire

The following expectations are to be used as a guide. The instructor may assign fewer or more songs than indicated below based on the student’s needs, abilities, and goals as well as the length and demands of the specific pieces assigned. Students must use original scores only.

First Year Songs and arias in Italian written before 1800 Songs in English, including folk songs Repertoire books: 26 Italian Songs and Arias, Alfred The Arnold Book of Old Songs, Roger Quilter Collection of Songs–Barber, Schirmer Forty-five Arias by Handel, 3 volumes, Kagen Franz Joseph Haydn, C.F. Peters Italian Art Songs, Alfred Old American Songs, Copland, Boosey & Hawkes Basics of Singing, Schirmer Second Year Songs in German from the 18th and 19th Centuries Arias from oratorios in English Repertoire books: Schubert Songs, International Mozart–Complete Songs, Bärenreiter 85 Songs–R. Schumann, International German Folk Songs–Brahms, 2 volumes, International Gateway to German Lieder, Alfred The Lieder Anthology, Hal Leonard Sacred Songs–Bach, International The Oratorio Anthology (one for each voice type), Hal Leonard Anthology of Sacred Song (one for each voice type), Schirmer Favorite Sacred Classics for Solo Singers, Alfred Fifty Selected Songs by Schubert, Schumann, Brahms, Wolf, and Strauss, Schirmer Third Year Songs in French from late 19th and early 20th Centuries Arias from opera in original languages Repertoire books: 40 French Songs, 2 volumes, International 30 Songs–Faure, International 43 Songs–Debussy, International 12 Songs–Hahn, International The French Song Anthology, Hal Leonard Operatic Anthology, 5 volumes (one for each voice type), Schirmer Prima Donna’s Album, Schirmer Songs by Felix Mendelssohn, Fanny Mendelssohn, Clara Wieck-Schumann

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Vocal Repertoire (continued)

Fourth Year English and American art songs from 20th Century Preparation of Senior recital Optional: a major song cycle in the original language Repertoire books: 114 Songs–Ives, International Old American Songs–Copland, 2 volumes, Boosey & Hawkes 20th Century Art Songs, Schirmer Contemporary Songs in English, Carl Fischer American Aria Anthology, Schirmer Anthology of Art Songs by Black American Composers, compiled by W.C. Patterson, Schirmer Other composers: J. Duke, G. Finzi, M. Head, D. Moore, N. Rorem, R. Vaughan-Williams, P. Warlock, J. Heggie, W. Bolcom, L. Larsen, L. Hoiby, B. Britten, L. Bernstein, Duparc, Granados, de Falla, Ponce, Rodrigo, Roger Quilter, C. Griffes, William Grant Still, W. Bolcom, L. Larsen, L. Hoiby, Mrs. H.H. Amy Beach, Florence Price The student may, under the direction of the instructor, incorporate some musical theatre selections chosen from the following collections, as well as individual Broadway vocal scores: Singer’s Musical Theatre Anthology (many volumes), Hal Leonard Musical Theatre Classics, 6 volumes, Hal Leonard Bernstein on Broadway, Hal Leonard Song Cycles: Songs of Travel, Vaughan Williams Frauenliebe und Leben, Schumann Songs from an Unknown Poet, Ned Rorem Shropshire Lad, Butterworth, Poeme d’un jour, Op. 21, Faure

Instrumental Repertoire

A sample repertoire list is listed on the Performance Level Rubric for each specific instrument. Rubrics are available from your private teacher or the Associate Dean, and are attached as an addendum to the Music Handbook.

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PIANO INSTRUCTION POLICY A. Music majors whose primary instrument is piano: 1. BM Piano Performance majors – Must be enrolled in: MUS 082/462 Private Instruction-Piano, 2 units each semester. 2. All other music majors whose primary instrument is piano – Must be enrolled in: MUS 082/462 Private Instruction-Piano, 1 unit each semester. 3. Keyboard Collaborative Arts Concentration students – Must be enrolled in: MUS 469 Private Instruction-Accompanying for a total of 4 units, usually in the junior and/or senior year. MUS 469 has a prerequisite of MUS 089. Student may use one (1) unit of MUS 089 to variance for MUS 082. The four (4) units of MUS 469 required for the concentration are in addition to the Private Instruction units required in the BM Music Core (8 units), or the Piano Performance Major Requirements (8 units). “Piano primary” students may enroll in Class Piano in addition to Private Instruction, if desired, to facilitate passing the Piano Proficiency requirements. B. Music majors whose primary instrument is other than piano – Must be enrolled in: MUS 012 Class Piano I or MUS 015 Class Piano for Worship Arts I (for WAM majors) every semester until at least 8 Piano Proficiency skills have been passed, and then… MUS 022 Class Piano II or MUS 025 Class Piano for Worship Arts II (for WAM majors) every semester until all remaining Piano Proficiency skills have been passed. Music majors and minors whose primary instrument is other than piano may take Private Instruction-Piano in addition to Class Piano, if so desired. These students will perform in a jury exam at the discretion of the instructor, and the Private Instruction fee will be applied. After all of Piano Proficiency is passed, students may enroll in MUS 082/462 Private Instruction-Piano, if desired, for their own personal growth or for Upper Division Music Elective credit (using MUS 462 or 469). C. Non-music majors – May enroll in: MUS 010 Beginning Piano for Non-Music Majors, MUS 020 Intermediate Piano for Non-Music Majors, or MUS 072 Piano Practicum. ENROLLMENT GUIDELINES MUS 082/462 Private Instruction is for music majors only. Non-music majors who wish to study piano privately may enroll in MUS 072 Piano Practicum, and the Private Instruction fee will be applied. At the time of fall semester registration, all students must enroll in Section A of the appropriate course of piano instruction (lessons). Actual studio instructor assignments will be completed prior to the start of the semester. Students will then be notified to swap to their assigned instructor's course section once assignments have been completed. The Private Instruction fee will be applied. PIANO INSTRUCTORS Specific piano instructors may be assigned to teach music majors, and other instructors may be assigned to teach non-music majors. Teaching assignments are determined by the Dean. Instruction of music majors will be the priority of full-time faculty members. PIANO PROFICIENCY EXAM The first opportunity to take the Piano Proficiency Exam will be offered during Rehearsal Camp. Students may attempt to pass any part of the exam for which they are prepared. A record of the results is kept and is available to students on Blackboard. For students taking Private Instruction, subsequent Piano Proficiency Exams will be given by the instructor at the end of the semester. For students taking Class Piano, the Piano Proficiency Exam will be offered during the Final Exam time in both fall and spring semesters.

JC/GH 6-24-19

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PIANO PROFICIENCY All music majors are required to pass the Piano Proficiency exam, which is an assessment of keyboard skills the student will find invaluable to his/her future as a musician—whether as a teacher, performer, church musician or in some other music-related capacity. The Piano Proficiency exam consists of major and minor scales, major and minor arpeggios, primary progressions, harmonization, transposition, score reading, sight-reading, and a solo performance (not from memory). All music majors are required to be enrolled in piano instruction until the Piano Proficiency exam is passed. (See the Piano Instruction Policy above.) The Piano Proficiency exam is offered during Rehearsal Camp prior to the beginning of the fall semester, and during finals week in both fall and spring semesters. Students may elect to perform the entire exam or selected skills during this time. For students seeking traditional Bachelor of Music degrees, the entire Piano Proficiency exam (15 points) must be passed in order for the student to be eligible for registration in MUS 431 (Senior Recital class) and for graduation. Studio Production majors need only complete 13 skills (see Division VI below) to meet the requirement. The various skills have been given a point value totaling 15 points. Technical Skills (#1-10) will be covered primarily in Class Piano I and Class Piano for Worship Arts I. Functional Skills (#11-15) will primarily be covered in Class Piano II and Class Piano for Worship Arts II. Students are expected to have passed 8 skills before moving on to Class Piano II. This is not intended to indicate priority or a level of importance, as all of the skills indicated below must be mastered. A minimum of 3 points must be passed each semester in order to receive an “A” in the class (in Private Instruction or Class Piano), unless fewer than 3 skills remain to complete Piano Proficiency. Sign-up sheets for the Piano Proficiency exam will be posted at least one week before the exam occurs each semester. Students who are interested in taking the exam in part or in whole must sign up for an exam time. Those who sign up will be given a packet that includes information regarding Piano Proficiency skills including harmonization, transposition, and score reading. The results of each student’s Piano Proficiency exam are kept on file in the School of Music office. Each student will be notified of his/her results every time the exam is taken. It is the student’s responsibility to see that the Piano Proficiency requirements are fulfilled as soon as possible. Additional portions of the exam may be taken during any semester in which the student feels ready. There are six (6) divisions of the Piano Proficiency Requirements based on the student’s major and primary instrument, each with different requirements: Division I: Students seeking a BM degree in Music Education, Performance, or Composition (with Piano as primary instrument). Division II: Students seeking a BM degree in Music Education, Performance, or Composition (with primary instrument other than piano). Division III: Students seeking a BA in Music for Worship Arts and Ministry. Division IV: Students seeking a BM in Commercial Performance (with Piano as primary instrument). Division V: Students seeking a BM in Commercial Performance (with Instrumental or Voice as primary). Division VI: Students seeking a BM in Studio Production. The requirements for each division are given in the following pages. PLEASE NOTE: Worship Arts and Ministry majors must also pass Worship Proficiency which is separate from the Piano Proficiency (Division III) Requirements. The Music Minor and the Worship Arts and Ministry Minor do not require Piano Proficiency.

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Piano Proficiency Requirements – Division I for students seeking a Bachelor of Music degree in Music Education, Performance, or

Composition (with Piano as primary instrument)

Students must demonstrate sufficient mastery of each of the 15 skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 4 octaves, hands together, in eighth notes, at a steady tempo, = 80 or faster. #1. Scales: Major, white keys #2. Scales: Major, black keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 4 octaves, hands together, in eighth notes, at a steady tempo, =80 or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played in blocked chords, I - IV6/4 - I - V6/5 - I progression, same in both hands, and hands together. #9. Chords: Major, white and black keys #10. Chords: Minor, white and black keys II. Functional Skills (1 point each; 5 points total)

#11. Solo Repertoire. a) Play a prepared solo piece for your jury exam, AND b) Play the Star-Spangled Banner, America the Beautiful, or a hymn. All solo repertoire must be selected from the late-intermediate level (Certificate of Merit® Level 7-9, or graded series/anthologies Books 4 and up) and approved by the piano instructor. (See packet for sample repertoire list.) #12. Harmonization. Lead sheet realization, playing chords in the Right Hand (RH) with the melody on top, and Left Hand (LH) playing the bass. (See packet.) #13. Transposition. a) Transpose a single vocal line from a piano/vocal score up or down a Minor 2nd, Major 2nd, Minor 3rd, or Major 3rd from the original key, AND b) Play a transposing instrument part (Bb, Eb, or F) at concert pitch. (See packet.) #14. Score-Reading. a) Play any 3 parts from a four-part open choral score, AND b) Play 3 parts from on open string quartet score, excluding the Viola part. (See packet.) #15. Sight-Reading. Must sight-read an intermediate piano piece (Certificate of Merit® Levels 4-6 or graded series/anthologies Books 2 and 3), with hands together. The piece will have the melody in the RH and broken chords in the LH.

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Piano Proficiency Requirements – Division II for students seeking a Bachelor of Music degree in Music Education, Performance, or

Composition (with Instrumental or Voice as primary instrument)

Students must demonstrate sufficient mastery of each of the 15 skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 2 octaves, hands separate or together, in quarter notes, at a steady tempo, =80 or faster. #1. Scales: Major, white keys #2. Scales: Major, black keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 2 octaves, hands separate or together, in quarter notes, at a steady tempo, =80 or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played with hands together, I - IV6/4 - I - V6/5 - I progression, Right Hand (RH) in blocked chords, Left Hand (LH) playing single bass note (root of each triad). #9. Chords: Major, white keys #10. Chords: Major, black keys II. Functional Skills (1 point each; 5 points total)

#11. Solo Repertoire. a) Play an intermediate piano piece (Certificate of Merit® Levels 3-6, or graded series/anthologies Books 3 and up) AND b) Play the Star-Spangled Banner, America the Beautiful, or a hymn. VOCALISTS: May replace the intermediate piano piece with the piano accompaniment part of a vocal song, e.g. 24 Italian Songs and Arias. Repertoire must be approved by the piano instructor. (See packet for sample repertoire list.) #12. Harmonization. Lead sheet realization, playing chords in the RH with the melody on top, and LH playing the bass. (See packet.) #13. Transposition. a) VOCALISTS: Transpose a single vocal line from a piano/vocal score up or down a Minor 2nd, Major 2nd, Minor 3rd, or Major 3rd from the original key, OR b) INSTRUMENTALISTS: Play a transposing instrument part (Bb, Eb, or F) at concert pitch. (See packet.) #14. Score-Reading. a) VOCALISTS: Play any 2 parts from a four-part open choral score, OR b) INSTRUMENTALISTS: Play 2 parts from on open string quartet score, excluding the Viola part. (See packet.) #15. Sight-Reading. Must sight-read an early-intermediate piano piece (Certificate of Merit® Levels 2-3 or graded series/anthologies Books 1 and 2), with hands together. The piece will have the melody in the RH and broken chords in the LH.

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Piano Proficiency Requirements – Division III for students seeking a Bachelor of Arts degree in Music for Worship Arts and Ministry

Students must demonstrate sufficient mastery of each of the 15 skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 2 octaves, one hand only, in quarter notes, at a steady tempo, =80 or faster. #1. Scales: Major, white keys #2. Scales: Major, black keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 2 octaves, one hand only, in quarter notes, at a steady tempo, =80 or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played with hands together, I - IV6/4 - I - V6/5 - I progression, Right Hand (RH) playing blocked chords, Left Hand (LH) playing single bass note (root of each triad). #9. Chords: Major, white keys #10. Chords: Major, black keys II. Functional Skills (1 point each; 5 points total)

#11. Solo Repertoire. a) Play an intermediate piano piece (Certificate of Merit® Levels 3-6, or graded series/anthologies Books 3 and up) AND b) Play the Star-Spangled Banner, America the Beautiful, or a hymn. Repertoire must be approved by piano instructor. (See packet for sample repertoire list.) #12. Harmonization. Lead sheet realization, playing chords in the Right Hand (RH) with the melody on top, and Left Hand (LH) playing the bass. (See packet.) #13. Transposition. Transpose a single vocal line from a piano/vocal score up or down a Minor 2nd or Major 2nd from the original key (See packet.) #14. Score-Reading. Play 2 parts from a four-part open choral score simultaneously: Soprano+Alto and Tenor+Bass (See packet.) #15. Sight-Reading. Sight-read a lead sheet, playing broken chords in the RH, and the root in the LH. Playing the melody in the RH is optional, but not required.

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Piano Proficiency Requirements – Division IV for students seeking a Bachelor of Music degree in Commercial Performance

(with Piano as primary instrument) Students must demonstrate sufficient mastery for each of the following skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo. Tempo: Quarter note = 80 BPM or faster. #1. Scales: Major, white keys #2. Scales: Major, black Keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo. Tempo: Quarter note = 80 BPM or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played hands together, in one octave, Right Hand (RH) playing the block chords, Left Hand (LH) playing a single bass (root of each chord). #9. Chords: Major triads and 7th chords, all keys (in any given inversion) Harmonic Progressions. Must be played hands together, RH playing the block chords, LH playing a single bass (root of each chord). Students must be able to recognize and play any 4-chord Roman numeral progression in any key, with the closest or nearest inversions/voicing. Students must be able to play ii7-V7-IM7 in any key and will be expected to play 3 different inversion patterns (See Packet and below). #10. Harmonic Progressions: Roman numerals progressions and ii7-V7-IM7 as described above. II. Functional Skills (1 point each; 5 points total) #11. Accompanying Piece. Play piano piece (Chords only) in any of given commercial styles: Rock, Pop, R&B, Country, Gospel, or CCM. Repertoire must be approved by instructor (See Packet). #12. Harmonization. Lead sheet realization playing chords in the Right Hand (RH) with the melody on top, and Left Hand (LH) playing the bass (See Packet). #13. Transposition. Transpose a single piano or vocal line from a vocal score up or down a Minor 2nd or Major 2nd from the original key. (See Packet). #14. Score Reading. Play 2 parts from a score simultaneously: Closed score (SA, AT, or TB) for example (See Packet). #15. Sight-Reading. Sight-read a lead sheet, playing chords in the RH, and the root in the LH. Playing changes with the correct rhythms, and inversions are necessary.

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Piano Proficiency Requirements – Division V for students seeking a Bachelor of Music degree in Commercial Performance

(with Instrumental or Voice as primary instrument)

Students must demonstrate sufficient mastery for each of the following skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo. Tempo: Quarter note = 80 BPM or faster. #1. Scales: Major, white keys #2. Scales: Major, black Keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo. Tempo: Quarter note = 80 BPM or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played hands together, in one octave, Right Hand (RH) playing the block chords, Left Hand (LH) playing a single bass (root of each chord). #9. Chords: Major triads and 7th chords, all keys (in any given inversion) Harmonic Progressions. Must be played hands together, RH playing the block chords, LH playing a single bass (root of each chord). Students must be able to recognize and play any 4-chord Roman numeral progression in any key, with the closest or nearest inversions/voicing. Additionally, students must be able to play ii7-V7-IM7 progressions in any key. #10. Harmonic Progressions: Roman numerals progressions and ii7-V7-IM7 as described above. II. Functional Skills (1 point each; 5 points total) #11. Accompanying Piece. Play piano piece (Chords only) in any of given commercial styles: Rock, Pop, R&B, Country, Gospel, or CCM. Repertoire must be approved by instructor (See Packet). #12. Harmonization. Lead sheet realization playing chords in the Right Hand (RH) with the melody on top, and Left Hand (LH) playing the bass (See Packet). #13. Transposition. Transpose a single piano or vocal line from a vocal score up or down a Minor 2nd or Major 2nd from the original key. (See Packet). #14. Score Reading. Play 2 parts from a score simultaneously: Closed score (SA, AT, or TB) for example (See Packet). #15. Sight-Reading. Sight-read a lead sheet, playing chords in the RH, and the root in the LH. Playing changes with the correct rhythms, and inversions are necessary.

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Piano Proficiency Requirements – Division VI for students seeking a Bachelor of Music degree in Studio Production

Students must demonstrate sufficient mastery for each of the following skills listed below. One point is earned for each Piano Proficiency skill passed. I. Technical Skills (1 point each; 10 points total) Scales. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo, BPM = 80 quarter note, or faster. #1. Scales: Major, white keys #2. Scales: Major, black Keys #3. Scales: Harmonic Minor, white keys #4. Scales: Harmonic Minor, black keys Arpeggios. Must be played ascending and descending, in 2 octaves, hands separately, in quarter notes, at a steady tempo, BPM= 80 quarter note, or faster. #5. Arpeggios: Major, white keys #6. Arpeggios: Major, black keys #7. Arpeggios: Minor, white keys #8. Arpeggios: Minor, black keys Chords. Must be played hands together, in one octave, Right Hand (RH) playing the block chords, Left Hand (LH) playing a single bass (root of each chord). #9. Chords: Major triads and 7th chords, all keys (in any given inversion) Harmonic Progressions. Must be played hands together, Right Hand (RH) playing the block chords, Left Hand (LH) playing a single bass (root of each chord). Students must be able to recognize and play any 4-chord Roman numeral progression in any key, with the closest or nearest inversions/voicing. #10. Roman numeral progressions (3 different progressions). II. Functional Skills (1 point each; 3 points total) #11. Accompanying Piece. Play piano piece in any of given commercial styles: Rock, Pop, Jazz, R&B, Country, Gospel, CCM (Repertoire must be approved by instructor (See Packet). #12. Harmonization. Lead Sheet realization playing chords in the Right Hand (RH) with the melody on top, and Left Hand (LH) playing the bass (See packet). #13. Sight-Reading. Sight-read a lead sheet, playing chords in the RH, and the root in the LH. Playing the changes with the correct rhythms, and inversions as necessary.

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Sample Repertoire for Piano Proficiency (Divisions I, II, and III)

Division I: for Students seeking a Bachelor of Music degree in Music Education, Performance, or Composition (with Piano as primary instrument). The following is a list of late-intermediate level piano repertory examples equivalent to the Certificate of Merit® Syllabus Repertoire Levels 7-9, or graded series/anthologies Books 4 and up. Examples: Piano Literature (Bastien), Piano Literature (Faber and Faber), Piano Literature (Keith Snell), etc. Examples of repertoire include, but are not limited to: 1. Bach: Short Preludes and Fugues; Inventions and Sinfonias; French Suites 2. Clementi, Haydn, Mozart, Kuhlau: Sonatinas (late) and Sonatas (early); Rondos 3. Beethoven: Bagatelles; Sonatas (early) 4. Burgmuller: 18 Characteristic Studies, Op. 109 5. Grieg: Album Leaves, Op. 28; Lyric Pieces, Op. 38 6. Mendelssohn: Songs without Words 7. Chopin: Impromptus; Mazurkas; Preludes; Waltzes; Nocturnes 8. Liszt: Consolations; Liebestraume 9. Schubert: Moment Musicaux, Op. 94 (D.780); Impromptus, Op. 90 (D.899), 142 (D.935); Waltzes. 10. Schumann: Album Leaves, Op. 124; Fantasiestucke, Op. 12; Scenes from Childhood, Op. 15 11. Debussy: Children's Corner; Deux Arabesques; Reverie; Suite Bergamasque; Preludes, Book 1 12. Kabalevsky: Preludes Op. 38; Variations, Op. 40 13. Bartok: Mikrokosmos, vol. 6; Romanian Folk Dances 14. Shostakovich: 24 Preludes, Op. 34; Three Fantastic Dances, Op. 5 Divisions II and III: for Students seeking a Bachelor of Music degree in Music Education, Performance, or Composition (with Instrumental or Voice as primary instrument), AND for Students seeking a Bachelor of Arts degree in Music for Worship Arts and Ministry. The following is a list of intermediate level piano repertory examples equivalent to the Certificate of Merit® Syllabus Repertoire Levels 3-6, or graded series/anthologies Books 3 and up. Examples: Piano Literature (Bastien), Piano Literature (Faber and Faber), Piano Literature (Keith Snell), etc. Examples of repertoire include, but are not limited to: 1. Bach: pieces from the Notebook for Anna Magdalena Bach; Short Preludes 2. Clementi, Kuhlau, Haydn, Mozart: Sonatinas, Dances 3. Beethoven: Bagatelles, Dances, Ecossaises 4. Schumann: Album for the Young, Op. 68 5. Burgmuller: 25 Progressive Pieces, Op. 100 6. Tchaikovsky: Album for the Young, Op. 39 7. Chopin: Mazurkas, Preludes 8. Kabalevsky: Children's Pieces, Op. 27 9. Bartok: For Children (volumes 1 and 2); Mikrokosmos, v. 4 10. Prokofiev: Music for Children, Op. 65

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Sample Repertoire for Piano Proficiency (Divisions IV, V, and VI)

Examples of repertoire include, but are not limited to:

1. Autumn Leaves – Jazz Standard 2. He Won’t Go – Adele 3. Beautiful – Christina Aguilera 4. Every Praise – Hezekiah Walker 5. Shower the People – James Taylor 6. Ordinary People – John Legend 7. Dreaming with a Broken Heart – John Mayer 8. I Can’t Make You Love Me – Bonnie Raitt 9. Hero – Mariah Carey 10. Don’t Know Why – Norah Jones

Inversion Patterns for Piano Proficiency (Division IV)

ii7-V7-iM7 Inversion Patterns for Commercial Performance majors whose primary instrument is Piano (See Harmonic Progressions above in Division IV)

1. ii7 (Root position) – V7 (2nd inversion) – IM7 (Root position) 2. ii7 (1st inversion) – V7 (3rd inversion) – IM7 (1st inversion) 3. ii7 (2nd inversion) – V7 (Root position) – IM7 (2nd inversion) 4. ii7 (3rd inversion) – V7 (1st inversion) – IM7 (3rd inversion)

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WORSHIP ARTS PROFICIENCIES

for the B.A. in Music for Worship Arts and Ministry Worship Piano Proficiency • Students must successfully demonstrate, by memory, a chordal/improvisational realization of a series of one or more moderately complex worship songs (chosen by Program Director) in a variety of keys chosen from: Ab, Eb, Bb, F, C, G, D, A, E, and B major, WHILE providing lead vocal on the piece with presentational integrity (i.e. they must accompany themselves).

Worship Voice Proficiency • Students must confidently perform lead vocal in a worship song with a range of over an octave. Performance must demonstrate confidence, vocal strength and stamina, and must be performed in tune. • Students must sing a cappella all 3-4 parts of a choral or worship anthem as they might in a vocal rehearsal for demonstration purposes. The anthem will be chosen by the Program Director.

Worship Guitar Proficiency • Students must successfully demonstrate, by memory, a chordal realization of a series of one or more moderately complex worship songs (chosen by Program Director) in a variety of keys without capo chosen from: C, G, D, A, E, and B major, WHILE providing lead vocal on the piece with presentational integrity (i.e. they must accompany themselves). Additional Notes on Worship Proficiencies • Worship Proficiency examinations will be available to the student body at least once per semester. • Students must pass Worship Vocal, Worship Piano, and Worship Guitar proficiencies BEFORE their internship experience the summer prior to their senior year. • Worship Arts and Ministry majors must also complete the “Worship Arts version” of the tradition Piano Proficiency requirements.

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STANDARDS of WRITING STYLE and MUSICAL CITATION

The School of Music writing guidelines and standards ensures consistency in all work, across all music curriculum, produced by students for assignments, publications, and performance materials (programs, program notes, etc.). Additionally, these guidelines will also be required for all faculty when producing performance materials and written documents (research projects, essays, articles, theses, etc.) published by the SOM. Performance Materials: all performance materials need to follow the guidelines set forth in Writing About Music: A Style Sheet by D. Kern Holoman (University of California Press, 2014). Written Documents: the two standard style guides for writing about music subjects are: A Manual for Writers of Research Papers, Theses, and Dissertations, 9th ed: Chicago Style for Students and Researchers by Kate L. Turabian (University of Chicago Press, 2018). Music Subjects: • Music History • Worship • Music Theory • Writings for Composition, Conducting (Instrumental/Choral), Performance Publication Manual of the American Psychological Association, 6th ed. (American Psychological Association, 2009). *7th ed released in Oct. 2019, which will be the standard once released Music Subjects: • Science or Social Science-Oriented Subjects • Acoustics • Psychoacoustics • Psychology of Music • Music Education

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ENSEMBLES

For Traditional BM music majors and minors, participation in a Major Ensemble is required each semester for full credit in order to satisfy degree requirements. Additional ensembles may be taken for 0 units with permission. WAM majors and the Commercial Music majors have different ensemble requirements. Please see individual major requirements above. All music majors may be required to participate in up to three academic ensembles. Non-music majors receiving music scholarship award may be required to participate in up to three ensembles. The Collinsworth School of Music offers a variety of vocal and instrumental performance opportunities. Performances include on- and off-campus events in Southern California schools, churches, and other performance venues. Music Majors who are not needed to participate in a second or third academic ensemble may be assigned to participate in a non-academic ensemble (i.e. Lancer Pep Band or a Small Group) without adjustment to their music scholarship. This will be determined on a year-to-year basis. Failure to participate in any of the assigned academic or non-academic ensembles will result in a music scholarship reduction (e.g. up to $2,000 per year for Lancer Pep Band-Winds). In order to preserve the experience and excellence of School of Music performances, students are requested to refrain from posting performance media without written approval from the School of Music.

Academic Ensembles (*denotes Major Ensemble)

*Symphonic Band (MUS 067/490A): This ensemble is open to all students (woodwinds, brass, percussion, string bass, piano, and harp) by audition. Standard repertoire for winds will be rehearsed and performed in a public performance at least once per semester. *Camerata (MUS 068/490B): Camerata is the most advanced, select mixed (SATB) choral ensemble open by audition from all academic disciplines. Repertoire for this ensemble focuses on music composed specifically for advanced level chamber choirs. Additionally, Camerata will join other choirs and Symphony Orchestra to perform extended works composed for large musical forces. Rehearsals seek to promote vocal development, musicianship training, teamwork, artistic expression, and spiritual reflection. Camerata is also a service organization which performs concerts for the California Baptist University community, in the local area, and in outreach and recruitment events. *Magnolia Singers (MUS 091/490C): Magnolia Singers is open by audition to all interested students. The group will rehearse and perform a variety of advanced music for soprano/alto voices. The group will concertize throughout the traditional academic year. *Lancer Chorus (MUS 092/490D): Lancer Chorus is open by audition to all interested students. The group will rehearse and perform a variety of music for tenor/bass voices. The group will concertize throughout the traditional academic year.

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*Rhapsody (MUS 094/490E): Rhapsody is open by audition to all interested students. The group will rehearse and perform a variety of music for soprano/alto voices. The group will concertize throughout the traditional academic year. *Wind Ensemble (MUS 097/490F): A select concert band comprised of the finest woodwind, brass, and percussion (plus double bass, piano, and harp) students at the university, performing both standard and emerging repertoire for winds at a high artistic level. Open to qualified students by audition. Members of the ensemble are expected to demonstrate outstanding skill and musicianship through individual practice with refinement in ensemble rehearsal. *Symphony Orchestra (MUS 099/490H): Symphony Orchestra is open by audition to all qualified students. The group will rehearse and perform the finest examples of orchestral literature, ranging from the 18th century to the present. University Choir and Orchestra (MUS 090/489): Premier large “ministry-focused” ensemble of 150 singers and instrumentalists which performs numerous concerts in the local area and on tours throughout the United States. Repertoire includes gospel music, hymn arrangements, and standard classical sacred anthems. Members of UCO have many performing and recording opportunities throughout the year culminating in a concert tour in May. University Choir and Orchestra is open by audition to all interested students. Worship Collective (MUS 069): A mixed-voice worship-leading choral ensemble open by audition to students from all academic disciplines. Repertoire for this ensemble focuses on music designed for corporate worship leadership. This group regularly leads worship in CBU Chapel and other ministry venues. Jazz Ensemble (MUS 096/491F): Jazz Ensemble provides musicians with opportunities to learn a variety of jazz styles in a "big band" setting, as well as to enhance individual improvisational skills. This course also provides practical experience through rehearsals and performances. It is open to qualified students by audition or instructor's consent. Jazz Combo (MUS 095/491E): Jazz Combo provides musicians with opportunities to study and perform standard, traditional, and contemporary jazz literature for small ensemble, and to develop individual improvisational skills. It is open to qualified students by audition or instructor’s consent. Chamber Ensemble (MUS 095/491A-D): Under the MUS 095 course number, various instrumental chamber ensembles may be formed, such as string quartets, brass and woodwind quintets, guitar ensembles, percussion ensembles, jazz combos, etc. Each Chamber Ensemble will explore the repertoire specific to the genre. MUS 491A-D provide the opportunity to earn upper division credit for experienced students. Chamber Singers (MUS 093/491H): Chamber Singers gives experience in preparation and performance of recognized and new choral works as well as masterworks of Western music written for small choral ensembles.

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Collegium Musicum is California Baptist University’s early music ensemble, specializing in music composed before 1750, including repertoire from the Middle Ages, Renaissance, and Baroque from a historical understanding of performance practice. The course is open to all instrumentalists and singers at CBU who have performing experience. Auditions are required. Email Dr. Angela Brand at [email protected] for more information. Popular Music Ensemble: 50s-70s (MUS 046): Studies of styles and performance of pop music from the 1950s through 1970s in an ensemble setting. Popular Music Ensemble: 80s-Contemporary (MUS 047): Studies of styles and performance of pop music from the 1980s through the present in an ensemble setting. Commercial Music Ensemble (MUS 446): Exploration of musical genres in a small ensemble setting that may change each semester. Possible genres include Funk Ensemble, Jam Band, Salsa Band, Rock, Country, R-n-B, Blues, and Jazz Fusion.

Non-Academic Ensembles Lancer Pep Band (MUS 060-A): This powerful group of musicians provides fun, energetic entertainment while elevating our university spirit and supporting our Men’s and Women’s Basketball teams at home games, Homecoming events, pep rallies, and more. The Lancer Pep Band consists of two subgroups, Winds and Drumline. Students enroll in the appropriate section, Section A for Winds, Section B for Drumline. Lancer Pep Band members receive a dedicated music scholarship and other compensation. Open to all students by audition. The Lancer Pep Band is considered a non-academic ensemble. Drumline (MUS 060-B): The Drumline consists of musicians who play marching percussion instruments (Snare Drums, Tenor Drums, Bass Drums, and Cymbals). This subgroup of the Lancer Pep Band functions separately and as accompaniment to the Pep Band Winds. Drumline members receive a music scholarship in addition to the Pep Band scholarship and other compensation. Open to all students by audition. Drumline, as part of the Lancer Pep Band, is a non-academic ensemble. Small Groups: Vocal ensembles with piano accompaniment or rhythm section, ranging from six to ten members, who perform in local schools, churches, and other venues several times each month. These student-led, faculty-coached, non-academic ensembles are formed to reach a variety of audiences, from public and private schools to leading worship on Sunday mornings in local churches. Not offered for credit.

Music Handbook Revised: 12-29-20 GH

Protect Your Hearing Every Day

Information and Recommendations for Student Musicians

Standard Version

National Association of Schools of Music Performing Arts Medicine Association

This document is not copyrighted. It may be reproduced in whole or in part in the interest of education and institutional development. This resource may be edited to fit the local needs of

departments, schools, or institutions. Any organization or institution may reproduce the document in quantities sufficient for its own use, but not for sale. Notice of credit to NASM and PAMA should

appear on all versions of this resource, both original and as edited for local use.

Protect Your Hearing Every Day: Information and Recommendations for Student Musicians NASM/PAMA: November 2011 IV-2

Protect Your Hearing Every Day

Introduction

In working toward a degree in music, you are joining a profession with a long and honored history. Part of the role of any professional is to remain in the best condition to practice the profession.

For all of you, as aspiring musicians, this involves safeguarding your hearing health. Whatever your plans after graduation – whether they involve playing, teaching, engineering, or simply enjoying music – you owe it to yourself and your fellow musicians to do all you can to protect your hearing.

As you may know, certain behaviors and your exposure to certain sounds can, over time, damage your hearing.

You may be young now, but you’re never too young for the onset of hearing loss. In fact, in most cases, noise-related hearing loss doesn’t develop overnight. (Well, some does, but we’ll address that issue later in this document.) But the majority of noise-induced hearing loss happens gradually.

So the next time you find yourself blasting music through those tiny earbuds of your iPod or turning up the volume on your amp, ask yourself, “Am I going to regret this someday?” You never know; you just might. And as a musician, you cannot afford to risk it.

The bottom line is this: If you’re serious about pursuing a career in music, you need to protect your hearing. The way you hear music, the way you recognize and differentiate pitch, the way you play music; all are directly connected to your hearing. Do yourself a favor: protect it. I promise you won’t regret it.

Disclaimer

The information in this document is generic and advisory in nature. It is not a substitute for professional, medical judgments. It should not be used as a basis for medical treatment. If you are concerned about your hearing or think you may have suffered hearing loss, consult a licensed medical professional.

Purpose of this Resource Document

The purpose of this document is to share with you some information on hearing health and hearing loss and let you know about the precautionary measures that all of us should practice daily.


Music and Noise

This paper addresses what is termed “noise-induced” hearing loss. You may be wondering why we’re referring to music—this beautiful form of art and self-expression—as “noise.”

Here’s why: What we know about hearing health comes from medical research and practice. Both are based in science where “noise” is a general term for sound. Music is simply one kind of sound. Obviously, there are thousands of others. In science-based work, all types of sound, including music, are regularly categorized as different types of noise.

Terminology aside, it’s important to remember this fundamental point: A sound that it too loud, or too loud for too long, is dangerous to hearing health, no matter what kind of sound it is or whether we call it noise, music, or something else.

Music itself is not the issue. Loudness and its duration are the issues. Music plays an important part in hearing health, but hearing health is far larger than music.

All of us, as musicians, are responsible for our art. We need to cultivate a positive relationship between music and our hearing health. Balance, as in so many things, is an important part of this relationship.

Noise-Induced Permanent Hearing Loss

Let’s first turn to what specialists refer to as “noise-induced permanent hearing loss.”

The ear is made up of three sections, the outer, middle, and inner ear. Sounds must pass through all three sections before signals are sent to the brain.

Here’s the simple explanation of how we experience sound:

Sound, in the form of sound waves, enters the outer ear. These waves travel through the bones of the middle ear. When they arrive in the inner ear, they are converted into electrical signals that travel via neural passages to the brain. It is then that you experience “hearing” the sound.

Now, when a loud noise enters the ear, it poses a risk to the ear’s inner workings.

For instance, a very loud sound, an explosion, for example, or a shotgun going off at close range, can actually dislodge the tiny bones in the middle ear, causing conductive hearing loss, which involves a reduction in the sound level experienced by the listener and a reduction in the listener’s ability to hear faint sounds. In many cases, this damage can be repaired with surgery. But loud noises like this are also likely to send excessive sound levels into the inner ear, where permanent hearing damage occurs.

The inner ear, also known as the cochlea, is where most hearing-loss-related ear damage tends to occur. Inside the cochlea are tiny hair cells that are responsible for transmitting sound waves to the brain. When a loud noise enters the inner ear, it can damage the hair cells, thus impairing their ability to send neural impulses to the brain.

The severity of a person’s noise-induced hearing loss depends on the severity of the damage to these hair cells. The extent of the damage to these cells is normally related to the length and frequency of a person’s exposure to loud sounds over long periods of time.


Because noise-induced hearing loss is painless, you may not realize that it’s happening at first. Then suddenly one day you will realize that you’re having more and more trouble hearing high frequency sounds – the ones that are the most high-pitched. If you don’t start to take precautions then, your hearing loss may eventually also affect your ability to perceive both speech sounds and music.

It is very important to understand that these hair cells in your inner ear cannot regenerate. Any damage done to them is permanent. At this time, there is simply no way to repair or undo the damage.

FACT: According to the American Academy of Audiology, approximately 36 million Americans have hearing loss. One in three developed their hearing loss as a result of exposure to noise.

Noise-Induced Temporary Hearing Loss

Now it’s also important to note that not all noise-induced hearing loss is necessarily permanent. Sometimes, after continuous, prolonged exposure to a loud noise, we may experience what’s called “noise-induced temporary hearing loss.”

During temporary hearing loss, known as Temporary Threshold Shift (TTS), hearing ability is reduced. Outside noises may sound fuzzy or muted. Normally, this lasts no more than 16 to 18 hours, at which point your hearing levels will return to normal.

Often during this Temporary Threshold Shift, people will experience tinnitus, a medical condition characterized by a ringing, buzzing, or roaring in the ears. Tinnitus may last only a few minutes, but it can also span several hours, or, in extreme instances, last indefinitely.

Also, if you experience a series of temporary hearing losses, you may be well on the way to permanent damage sometime in the future.

Noise Levels and Risk

Now, how do you know when a noise or sound is too loud—when it’s a threat to your hearing health? Most experts agree that prolonged exposure to any noise or sound over 85 decibels can cause hearing loss. You may have seen decibels abbreviated “dB.” They are the units we use to measure the intensity of a sound.

Two important things to remember:

1. The longer you are exposed to a loud noise, the greater the potential for hearing loss.

2. The closer you are to the source of a loud noise, the greater the risk that you’ll experience some damage to your hearing mechanisms.

At this point, it helps to have some frame of reference. How loud are certain noises?


Consider these common sounds, their corresponding decibel levels, and the recommended maximum exposure times established by the National Institute for Occupational Safety and Health (NIOSH), a branch of the Centers for Disease Control and Prevention (CDC). Sound Intensity (dB) Maximum Recommended Exposure (approx.)*

A Whisper 30 Safe, No maximum

Rainfall (moderate) 50 Safe, No maximum

Conversation (average) 60 Safe, No maximum

Freeway Traffic 70 Safe, No maximum

Alarm Clock 80 Safe, No maximum

85 Potential Damage Threshold

Blender, Blow-dryer 90 2 hours

MP3 Player (full volume), Lawnmower 100 15 minutes

Rock Concerts, Power Tools 110 2 minutes

Jet Plane at Takeoff 120 Unsafe, Immediate risk

Sirens, Jackhammers 130 Unsafe, Immediate risk

Gunshots, Fireworks (close range) 140 Unsafe, Immediate risk

*NIOSH-recommended exposure limits You can listen to sounds under 85 dB for as long as you like. There is no risk involved, well, except for the risk of annoyance. But seriously, for sounds in this lower decibel range, listening to them for hours on end does not pose any real risk to your hearing health.

85 dB is the magic number. Sounds above the 85 dB threshold pose a potential threat to your hearing when you exceed the maximum recommended exposure time.

MP3 players at full volume, lawnmowers, and snowblowers come in at 100 dB. The recommended maximum exposure time for these items is 15 minutes.

Now, before you get too worried and give up mowing the lawn, remember, there are ways to reduce your exposure.

For instance, turn down the volume on your MP3 player. Did you know that normally, MP3 players generate about 85 dB at one-third of their maximum volume, 94 dB at half volume, and 100 dB or more at full volume? Translated into daily exposure time, according to NIOSH standards, 85 dB equals 8 hours, 94 dB equals 1 hour, and 100 dB equals 15 minutes. Do yourself a favor, and be mindful of your volume.

Also, remember to wear a pair of earplugs or earmuffs when you mow the lawn or when you use a snowblower.

When you’re dealing with sounds that produce between 120 and 140 dB, you’re putting yourself at risk for almost immediate damage. At these levels, it is imperative that you utilize protective ear-coverings. Better yet, if it’s appropriate, avoid your exposure to these sounds altogether.

FACT: More than 30 million Americans expose themselves to hazardous sound levels on a regular basis.


Musicians and Noise-Induced Hearing Loss

Nowadays, more and more is being written about the sound levels of certain musical groups. It’s no secret that many rock concerts expose performers and audiences to dangerously high levels of noise. The ringing in your ears after a blaring rock concert can tell you that. But now professional and college music ensembles are under similar scrutiny.

It’s true that musicians are exposed to elevated levels of sound when they rehearse and perform music. But that doesn’t equal automatic risk for hearing loss.

Take for instance a typical practice session on the piano. When taken at close range to the instrument over a limited period of time, a sound level meter fluctuates between a reading of 60 and 70 decibels. That’s similar in intensity to your average conversation (60dB). There will, of course, be moments when the music peaks and this level rises. But these moments are not sustained over several hours. At least not under normal practice conditions.

While the same is true for most instruments, it is important to understand that certain instrumental sections tend to produce higher sound levels. Sometimes these levels relate to the piece of music being performed and to notational requirements (pianissimo, fortissimo); other times, these levels are what naturally resonate from the instrument.

For example, string sections tend to produce decibel levels on the lower end of the spectrum, while brass, percussion, and woodwind sections generally produce decibel levels at the higher end of the spectrum.

What’s important is that you are mindful of the overall volume of your instrument and of those around you. If you’re concerned about volume levels, share your concerns with your instructor.

FACT: Approximately 50% of musicians have experienced some degree of hearing loss.

Mindful Listening

Now, let’s talk about how you can be proactive when it comes to music and hearing loss.

It’s important to think about the impact noise can have on your hearing health when you:

1. Attend concerts;

2. Play your instrument;

3. Adjust the volume of your car stereo;

4. Listen to your radio, CD player, and MP3 player.

Here are some simple ways to test if the music is too loud:

It’s too loud (and too dangerous) when:

1. You have to raise your voice to be heard.

2. You can’t hear someone who’s 3 feet away from you.

3. The speech around you sounds muffled or dull after you leave a noisy area.

4. You experience tinnitus (pain, ringing, buzzing, or roaring in your ears) after you leave a noisy area.


Evaluating Your Risk for Hearing Loss

When evaluating your risk for hearing loss, ask yourself the following questions:

1. How frequently am I exposed to noises and sounds above 85 decibels?

2. What can I do to limit my exposure to such loud noises and sounds?

3. What personal behaviors and practices increase my risk of hearing loss?

4. How can I be proactive in protecting my hearing and the hearing of those around me?

Basic Protection for Musicians

As musicians, it’s vital that you protect your hearing whenever possible.

Here are some simple ways to reduce your risk of hearing loss:

1. When possible, avoid situations that put your hearing health at risk.

2. Refrain from behaviors which could compromise your hearing health and the health of others.

3. If you’re planning to be in a noisy environment for any significant amount of time, try to maintain a reasonable distance from the source of the sound or noise. In other words, there’s no harm in enjoying a fireworks display, so long as you’re far away from the launch point.

4. When attending loud concerts, be mindful of the location of your seats. Try to avoid sitting or standing too close to the stage or to the speakers, and use earplugs.

5. Keep the volume of your music and your listening devices at a safe level.

6. Remember to take breaks during a rehearsal. Your ears will appreciate this quiet time.

7. Use earplugs or other protective devices in noisy environments and when using noisy equipment.

Future Steps

Now that you’ve learned about the basics of hearing health and hearing loss prevention, we encourage you to keep learning. Do your own research. Browse through the links provided at the end of this document. There’s a wealth of information out there, and it’s yours to discover.

Conclusion

We hope this resource document has made you think more carefully about your own hearing health. Just remember that all the knowledge in the world is no match for personal responsibility. We’ve given you the knowledge and the tools;; now it’s your turn. You are responsible for your exposure to all sorts of sounds, including music. Your day-to-day decisions have a great impact on your hearing health, both now and years from now.

Do yourself a favor. Be smart. Protect your precious commodity. Protect your hearing ability.


Resources – Information and Research

Hearing Health Project Partners

National Association of School of Music (NASM) http://nasm.arts-accredit.org/ Performing Arts Medicine Association (PAMA) http://www.artsmed.org/index.html PAMA Bibliography (search tool) http://www.artsmed.org/bibliography.html

General Information on Acoustics

Acoustical Society of America (http://acousticalsociety.org/) Acoustics.com (http://www.acoustics.com) Acoustics for Performance, Rehearsal, and Practice Facilities Available through the NASM Web site (click here to purchase)

Health and Safety Standards Organizations

American National Standards Institute (ANSI) (http://www.ansi.org/) The National Institute for Occupational Safety and Health (NIOSH) (http://www.cdc.gov/niosh/) Occupational Safety and Health Administration (OSHA) (http://www.osha.gov/)

Medical Organizations Focused on Hearing Health

American Academy of Audiology (http://www.audiology.org/Pages/default.aspx) American Academy of Otolaryngology – Head and Neck Surgery (http://www.entnet.org/index.cfm)


American Speech-Language-Hearing Association (ASHA) (http://www.asha.org/) Athletes and the Arts (http://athletesandthearts.com/) House Research Institute – Hearing Health (http://www.hei.org/education/health/health.htm) National Institute on Deafness and Other Communication Disorders – Noise-Induced Hearing Loss (http://www.nidcd.nih.gov/health/hearing/noise.html)

Other Organizations Focused on Hearing Health

Dangerous Decibels (http://www.dangerousdecibels.org) National Hearing Conservation Association (http://www.hearingconservation.org/)

Protect Your Neuromusculoskeletal and Vocal Health Every Day

Information and Recommendations for Student Musicians

Student Guide

National Association of Schools of Music Performing Arts Medicine Association

This document is not copyrighted. It may be reproduced in whole or in part in the interest of education and institutional development. This resource may be edited to fit the local needs of

departments, schools, or institutions. Any organization or institution may reproduce the document in quantities sufficient for its own use, but not for sale. Notice of credit to NASM and PAMA should

appear on all versions of this resource, both original and as edited for local use.

Protect Your Neuromusculoskeletal and Vocal Health Every Day: Information and Recommendations for Student Musicians – NASM/PAMA IV-2

Protect Your Neuromusculoskeletal and Vocal Health Every Day

Introduction

In working toward a degree in music, you are joining a profession with a long and honored history. Part of the role of any professional is to remain in the best condition to practice the profession.

For all of you, as aspiring musicians, this involves safeguarding your neuromusculoskeletal and vocal health. Whatever your plans after graduation – whether they involve playing, teaching, producing, or simply enjoying music – you owe it to yourself and your fellow musicians to do all you can to protect yourself.

The neuromusculoskeletal system refers to the complex system of muscles, bones, tendons, ligaments, and associated nerves and tissues that support our body’s physical structure and enable movement.

In this resource document, the term “neuromusculoskeletal” is used to encompass not only overt physical movements (the pressing of a key, the strumming of a string) and overall body alignment, but also the small internal movements our bodies make, for example to produce breath and modify vocal sounds.

Therefore, vocal health is referred to as a component of neuromusculoskeletal health. When the term “neuromusculoskeletal” is used, vocal health is included. A number of direct references to vocal health are interspersed throughout this guide. Special attention is devoted to issues of vocal health in the sections neuromusculoskeletal issues affecting the voice and vocal protection.

Good health and healthy behaviors are important to all musicians, regardless of instrument or area of specialization.

Vocal health is important, too. As current music students and future music professionals, you not only use your voice to speak, but now or sometime down the road, you may find yourself engaged with the singing voice in your role as a conductor, coach, teacher, recording engineer, researcher, therapist, or other music professional.

Of course, there are certain behaviors, especially those involving excessive physical and vocal stress and strain, which can endanger your neuromusculoskeletal and/or vocal health.

Sometimes our bodies and voices recover from strenuous behaviors rather quickly, but other times the effects linger. Our recovery time is often tied to our level of fitness and ability.

Many of you may be picturing a novice athlete who doesn’t warm up properly, who plays too hard during a game or match, and who then ends up with an injury – maybe a sprained ankle or a pulled muscle.

But, as you know, athletes aren’t the only ones who train and practice in order to reach the pinnacle of performance. Musicians do that, too.


The work of musicians, like that of athletes, is physically demanding. And musicians, just like athletes, need to warm up. They need to utilize proper form. They need to take breaks. They need to avoid “overdoing it.” And they need to take the proper precautions to safeguard their neuromusculoskeletal and vocal health, so that they can continue to play and sing the music they love for years to come.

Some of you may have already been diagnosed with some sort of neuromusculoskeletal or vocal condition or disorder. It may be tied to your genetic makeup. It may be linked to a past injury or infection. Or it may be linked to a particular repeated behavior, your posture, or something else.

The purpose of this resource document is two-fold. First, it’s intended to inform you about some of the most common neuromusculoskeletal and vocal conditions and disorders that affect musicians. And second, its contents can help to empower you to take control of your own neuromusculoskeletal and vocal health. The majority of these conditions are preventable. But you’ve got to be proactive and protective of your health. Avoid putting yourself at risk.

The bottom line is this: If you’re serious about pursuing a career in music, you need to treat your body with respect. You need to demonstrate proper form and technique when playing and singing. And you need to recognize your physical limitations. Sometimes, the most important thing you can do is take a deep breath and take a break.

Disclaimer

The information in this presentation is generic and advisory in nature. It is not a substitute for professional, medical judgments or advice. It should not be used as a basis for medical treatment. If you are concerned about your physical dexterity or your voice, or think you may be experiencing the symptoms of a particular neural, musculoskeletal, or voice disorder, consult a certified or licensed medical or healthcare professional.

Purpose of this Resource Document

The purpose of our presentation is to share with you some information on neuromusculoskeletal and vocal health, conditions, and disorders and to let you know about the precautionary measures that all of us should practice daily.

Music, the Musician, and Neuromusculoskeletal and Vocal Health

So, for most of you, practice is paramount to your success as a musician. It’s likely that the days when you don’t practice are few and far between. It takes a lot of time, dedication, and skill to be a successful musician. The act of practicing our music gradually takes a toll on us, especially when practice involves long hours and infrequent breaks.

We practice alone, we practice with others, we practice for concerts, we practice for juries, and we practice for competitions. In other words, we practice a lot. We practice to be the best we can be. And from time to time, we experience aches and pains.

All of us know that the life of a musician is busy and strenuous.

Decisions about when and how we practice – and for how long – have an effect on our neuromusculoskeletal and vocal health. So, too, does our behavior outside of music classrooms, rehearsal halls, and concert venues.


As musicians, are responsible for our art. We need to cultivate a positive relationship between music and our neuromusculoskeletal and vocal health. Balance, as in so many things, is an important part of this relationship.

The Neuromusculoskeletal System

The neuromusculoskeletal system refers to the complex system of muscles, bones, tendons, ligaments, and associated nerves and tissues that allow us to move and to speak and sing. Also, this system supports our body’s physical structure.

The “neuro” part of the term “neuromusculoskeletal” refers to our nervous system, which coordinates the ways in which our bodies move and operate. The nervous system consists of the brain, the spinal cord, and the hundreds of billions of nerves responsible for transmitting information from the brain to the rest of the body and back to again, in an endless cycle.

Our nervous systems allow us to move, to sense, and to act in both conscious and unconscious ways. We could not listen to, enjoy, sing, or play music without these structures.

Vocal Anatomy

Our vocal system is a part of our larger neuromusculoskeletal system. Our voice is produced by four component systems. These are often referred to as the “generator,” the “vibrator,” the “resonator,” and the “articulator.”

The “generator” is our breath that is provided to us by our lungs. The diaphragm, along with numerous other muscles within our abdomen, ribs, chest, and back, help us to move breath throughout our respiratory system.

The “vibrator” is the larynx, commonly referred to as the “voice box.” Horizontally stretched across the larynx are two folds of mucous membrane. These are called the “vocal folds,” or “vocal cords.” And so, when breath from our lungs passes along our vocal folds, vibrations occur.

The “resonator” is the resonating cavity above the larynx that gives the voice its particular tonal quality. The resonator includes the vocal tract, much of the pharynx, or throat, the oral cavity, and the nasal passages.

The “articulator” includes our tongue, lips, cheeks, teeth, and palate. Together, these parts help us to shape our sounds into recognizable words and vocalizations; they help us to articulate.

These four component parts – the “generator,” the “vibrator,” the “resonator,” and the “articulator” – work together to produce speech, song, and all order of vocalizations.

Disorders of the Neuromusculoskeletal System

Sometimes, within our complex physical bodies, something goes wrong, and we find ourselves victim to a neuromusculoskeletal disorder. The causes and contributing factors vary, but such disorders generally fall into one of the following three categories: 1) disorders with a genetic link; 2) disorders resulting from trauma or injury; and 3) disorders that are related to our behavior.

Some common symptoms of all neuromusculoskeletal disorders include pain, stiffness, aching, throbbing, cramping, and muscular weakness.


Some disorders may be permanent, while others may be temporary.

In some cases, a simple change in behavior or some rest and relaxation can help to eliminate or reduce certain symptoms.

Other times, it’s not so simple, and medical professionals may need to prescribe certain treatments, such as surgery, therapy, or medication.

Contributing Factors

The exact causes of behavior-related neuromusculoskeletal disorders are manifold. However, these causes generally fit into one of two basic categories or factors. They are: 1) musculoskeletal overuse and/or misuse and 2) genetic factors.

1. Overuse/Misuse (and Abuse)

Overuse

The human body, as we all know, has certain physical limits. In arts medicine terminology, “overuse” is defined as a practice or activity in which anatomically normal structures have been used in a so-called “normal” manner, but to a degree that has exceeded their biological limits. Overuse produces physical changes in our muscles, tendons, ligaments, etc., and that’s when we experience symptoms, such as pain and discomfort.

So, how much activity is too much? What exactly constitutes overuse? Well, there’s no simple answer to either of these questions. The amount of excessive activity needed to produce these results varies from person to person. Often, it’s tied to a person’s individual anatomy and physiology.

Musicians who are dealing with changes to their musical routine may find themselves “overdoing it.” In the face of high self-expectations, musicians who are beginning at a new school or who are starting lessons with a new instructor may be more apt to overdo it, to push themselves too hard.

Similarly, musicians who are taking up a new instrument may overdo it, as they work to quickly advance their skills.

Really, any musician who rapidly increases his or her practice time or intensity is likely to overdo it and increase his or her level of risk.

When it comes to overuse, what we need to ask ourselves the following questions: “Is my body well conditioned enough to handle this kind and amount of physical activity? Am I changing my musical routine too drastically or too quickly? Why am I making this change?” These are questions that require honest and individualized answers.

Misuse

“Misuse” is when we use our bodies to perform physical tasks in abnormal ways – and sometimes to excessive degrees. When we misuse certain bodily structures, we put them under stress. This can lead us to experience symptoms such as pain and discomfort.

In music, an example of physical misuse is improper technique. Improper technique can involve poor or “lazy” posture. For instrumentalists, it can involve playing with excessive pressure or


force. It can also involve a physical mismatch between player and instrument. For singers, it can involve singing too loudly or singing out of range.

Remember, good posture and technique are important. They’ll make playing and singing easier, and you’ll be less likely to hurt yourself.

Abuse

Abuse is related to both overuse and misuse. We abuse our own bodies when we perform an activity not only excessively or improperly, but also in a conscious, willful manner, over a sustained period of time. A common example is “playing through the pain.” Football players can be frequent perpetrators, but so are some musicians. In their quest to be the best, they let their own physical well-being take a back seat, and end up hurting themselves.

Playing or singing through the pain is not an acceptable option. If you’re hurting, stop. Tell your instructor that you’re not okay. Your instructor will likely have a protocol in place. This may include asking you to sit on the sidelines and make notes in your music, or you may be excused from class to seek treatment. Ultimately, if you are experiencing chronic pain, consult with a medical professional, and follow the treatment plan they provide. Your health is too important to be playing through the pain.

Abuse can also involve the use of alcohol or other dangerous substances. Don’t smoke or use any drug not prescribed by a medical professional licensed to do so.

2. Genetic Factors

There are also some genetic predispositions that can increase a person’s risk of developing one or more behavior-related disorders.

One of the most common genetic factors in this category is double-jointedness. Medically known as “hypermobility,” people with this condition have joints, ligaments, and tendons with an extended range of motion. Such joint instability can increase a person’s risk of developing various muscle pain syndromes. It can also lead to tendinitis, an inflammation of the tendon. (Tendons, as you may know, are the tough bands of fibrous tissue that connect muscle to bone.)

Individuals with hypermobile joints tend to compensate for this instability by over-tensing their muscles. While this extra muscle tension can help them to better control their movements, it can also increase their risk of damaging or straining a muscle.

People with hypermobility are generally encouraged to monitor and actively reduce the amount of tension that they carry in their muscles in order to reduce the risk of future pain and discomfort.

Specific strengthening exercises may be recommended, or they may employ external methods of joint support, such as small ring splints or tape.

Neuromusculoskeletal Issues Affecting the Body

Below are a number of neuromusculoskeletal complications and disorders that are likely to affect the musician’s body.

Protect Your Neuromusculoskeletal and Vocal Health Every Day:Information and Recommendations for Student Musicians – NASM/PAMA IV-7

1. Muscle Pain

For musicians, muscle pain can be the result of overuse, misuse, poor posture, tension, technical problems, or poor conditioning.

Muscles that are fatigued are less able to contract as strongly and frequently as “normal” muscles. With continued use, fatigued muscles are placed under greater stress, and this can lead to microscopic damage and disruption of the muscle fibers, a condition known as muscle strain.

Muscle contraction is both a physical and a chemical process. When the necessary chemical compounds are in short supply, muscles can no longer operate at optimal efficiency. When muscles contract, they produce lactic acid. When lactic acid builds up in tissues, it minimizes the muscle’s ability to continue efficient contractions.

Some kinds of muscle pain may subside once an activity is stopped, but others will linger.

In the case of muscle strains, the pain may dissipate, but a regimen of rest, ice, and/or anti-inflammatory medications may be necessary in order to reduce swelling and help facilitate a quicker recovery. As always, it’s best to get your advice and treatment plan from a medical professional.

For musicians, muscle pain that stems from performing music is commonly felt in specific body locations. The neck and shoulders; the hands, wrists, and fingers; and the lower back are the most frequently affected areas. Some musicians are more susceptible to certain injuries than others. For example, clarinetists are at greater risk for right thumb pain. Double bass players are more likely to experience pain in the lower back.

So, just remember this, when it comes to muscle pain, give your body a break and rest your weary muscles for as long as it takes. Resuming activity prematurely often exacerbates the problem and leads to more trouble in the long run.

2. Neuropathies

“Neuropathy” is a general medical term that refers to diseases or malfunctions of the nerves. Neuropathies are classified by the types or locations of the nerves they affect.

Focal neuropathies are those focused on one nerve or group of nerves within a particular area of the body. Symptoms usually appear suddenly and can include pain; sensory disturbances, such as numbness, tingling, “pins of needles” sensations, burning, or even itching; and weakness. In the case of bodily extremities, the pain may occur at the site of a nerve compression or entrapment. Nerve compressions, or entrapments, occur when a nerve passes through a narrowed channel bounded by bone, fibrous bands, bulky muscles, or enlarged arteries on its way to or from its ultimate destination – either toward or away from the brain and spinal cord.

In other cases, the pain may be distributed anywhere along the course of the nerve. Individuals with this kind of nerve pain may later on find themselves experiencing muscle weakness and impaired dexterity.

Three of the most common entrapment neuropathies for musicians include: 1) carpal tunnel syndrome, 2) ulnar neuropathy, and 3) thoracic outlet syndrome.

Carpal Tunnel Syndrome


Often associated with people who type for a living, carpal tunnel syndrome occurs when the median nerve, which runs from the forearm into the palm of the hand, becomes pressed or squeezed at the wrist. The carpal tunnel – a narrow, rigid passageway of ligament and bones at the base of the hand – contains the median nerve and several tendons. When irritated or strained, these tendons may swell and narrow the tunnel, compressing the median nerve. The result can be pain, weakness, or numbness in the hand and wrist that radiates up the arm.

Although some experts tie carpal tunnel syndrome to repeated actions, especially those involving the hands and wrists, others cite a genetic predisposition. It is also associated with certain medical conditions, including diabetes, arthritis, and hypothyroidism. It is often very difficult to determine the precise cause of carpal tunnel syndrome.

Whatever the cause, it is a good idea to occasionally rest and to stretch the hands and wrists when performing repetitive tasks or musical exercises. For individuals diagnosed with carpal tunnel syndrome, a doctor may recommend the use of a wrist splint, especially at night.

Ulnar Neuropathy Ulnar neuropathy is a condition in which the ulnar nerve, which runs from the neck along the inside edge of the arm into the hand, becomes inflamed due to compression of the nerve.

Symptoms include tingling, numbness, weakness, and pain, primarily along the elbow, the underside of the forearm, and along the wrist or edge of the hand on the little (pinky) finger side.

Compression of the ulnar nerve is often linked to repetitive wrist or elbow movements. Musicians of bowed instruments are at a heightened risk for developing this condition, because playing a bowed instrument involves sustained elbow flexion.

Treatment for ulnar neuropathy may involve pain medication, the use of splints to restrict motion, and various exercises.

Thoracic Outlet Syndrome Thoracic outlet syndrome refers to a group of disorders that occur when the blood vessels or nerves in the thoracic outlet – the space between the collarbone and first rib – become compressed. It is most often the result of poor or strenuous posture, or of constant muscle tension in the neck and shoulder area. Symptoms include pain in the neck and shoulder areas and numbness in fingers.

Doctors may prescribe a variety of stretches and exercises in order to treat the symptoms of thoracic outlet syndrome.

Proper body alignment and sufficient muscle strength can both help to decrease the risk of thoracic outlet syndrome among musicians.

3. Dystonia

Dystonia involves sustained muscular contractions. These muscular contractions produce unwanted movements or abnormal postures in people. The exact cause of dystonia is unclear.

Like a focal neuropathy, focal dystonia is focused on a particular area of the body, and certain sets of muscles within that area of the body are involved.

Because men are more frequently affected than women, it is possible that genetic or hormonal factors are to blame.


Also, as is the case with carpal tunnel syndrome, repetitive movements, especially those that are painful, seem to be a trigger for dystonia.

In the instrumental musicians, these sustained muscle contractions frequently affect the upper arm. This is especially true for keyboard, string, percussion, and woodwind players. In brass and woodwind players, the embouchure may be affected.

Neuromusculoskeletal Issues Affecting the Voice

There are also a number of neuromusculoskeletal issues that can adversely affect the musician’s voice.

Some common medical conditions affecting the voice are phonatory instability, vocal strain, and vocal fold motion abnormalities.

1. Phonatory Instability

Phonation, as you may know, is the process by which air pressure, generated by the lungs, is converted into audible vibrations. One method of phonation called “voicing” occurs when air from the lungs passes along the elastic vocal folds at the base of the larynx, causing them to vibrate.

Production of a tonal, pleasant voice with smooth changes in loudness and pitch depends upon the symmetrical shape and movement of the vocal folds.

Phonatory instability occurs when there is asymmetrical or irregular motion of the vocal folds that is superimposed on the vocal fold vibration.

Short-term causes of phonatory instability include fatigue, effects of medication, drug use, and anxiety. These problems tend to resolve rapidly if the cause is removed. Fatigue is another common cause of short-term phonatory instability.

Additionally, over-the-counter allergy medications, anti-depressants, and highly caffeinated drinks, which stimulate the nervous system, can often cause vocal tremors, a form of phonatory instability.

Drug use, alcohol use, and smoking all adversely affect our control of vocal folds and should be avoided.

2. Vocal Strain

Another issue for vocal musicians is vocal strain. Overuse of the voice in any capacity – singing or speaking – can produce vocal strain.

Singers must be aware of problems associated with singing at the extremes of vocal range, especially the upper end.

Both duration and intensity of singing are as important as they are for instrumentalists. In other words, avoid overdoing it.

Singers should also avoid attempting repertoire that is beyond their individual stage of vocal maturity and development.

Improperly learning and practicing certain vocal styles is also dangerous.


3. Vocal Fold Abnormalities

Prolonged overuse can, in some cases, lead to the development of nodules on the vocal folds. The nodules appear initially as soft, swollen spots on the vocal folds, but overtime, they transform into callous-like growths. Nodules require specialized and prolonged treatment and rehabilitation and can be of grave consequence to singers.

Basic Protection for All Musicians

As musicians, it’s vital that you protect your neuromusculoskeletal health whenever possible.

Here are some simple steps you can take:

1. When possible, avoid situations that put your neuromusculoskeletal health at risk.

2. Refrain from behaviors that could compromise your neuromusculoskeletal health and the health of others.

3. Warm up before you practice and perform.

4. Take regular breaks from practice and rehearsal. A good rule of thumb is a 5-minute rest every half hour.

5. Limit excessive practice time.

6. Avoid excessive repetition of difficult music, especially if progress is slow.

7. Insomuch as possible, avoid playing and/or singing music that is beyond your physical abilities or outside your natural range.

8. Refrain from sudden increases in practice and playing time.

9. Maintain good posture in life and when you practice and perform music. Be mindful of alignment, balance, and weight distribution.

10. Use external support mechanisms, such as shoulder rests, neck straps, and flute crutches, when necessary.

11. Maintain good “mental hygiene.” Get adequate sleep, good nutrition, and regular exercise.

12. Refrain from recreational drug use, excessive alcohol use, and smoking.

13. Do your best to limit and control stressors. Plan ahead.

14. Give yourself time to relax.

Vocal Protection

Here’s some extra advice for safeguarding your voice:

1. Drink plenty of water, at least 8 glasses a day.

2. Limit your consumption of caffeine and alcohol.


3. Don’t smoke.

4. Be aware that some medications, such as allergy pills, may dry out your vocal tissues. Be aware of side effects and talk to your doctor if you have questions.

5. Avoid dry air environments. Consider using a humidifier.

6. Avoid yelling or raising your voice unnecessarily.

7. Avoid throat clearing and loud coughing.

8. Opt to use vocal amplification systems when appropriate.

9. Rest your voice, especially if you are sick. Your voice and your body need time to recover.

Marching Musicians

Musicians in marching bands and drum corps need to maintain a high level of physical conditioning, strength, and endurance. Their rehearsals and performances are very physical and require very precise movements, all while carrying an instrument.

Marching musicians are at an increased risk for sprained ankles, toe contusions, and knee strains, and the heavy instruments that you carry place great amount of physical stress on the neck, torso, lower back, and legs.

In some climates, high heat, humidity, and extended sun exposure may place added strain on these musicians.

Thorough physical warm-ups, sufficient rest periods, appropriate sun protection, and adequate hydration are essential in promoting the neuromusculoskeletal health of these musicians.

Future Steps

Now that you’ve learned about the basics of neuromusculoskeletal and vocal health, we encourage you to keep learning. Do your own research. Browse through the links provided at the end of this document. There’s a wealth of information out there, and it’s yours to discover.

Conclusion

We hope this resource document has made you think more carefully about your own neuro-musculoskeletal and vocal health. Just remember that all the knowledge in the world is no match for personal responsibility. We’ve given you the knowledge and the tools; now it’s your turn. You are responsible for your behavior in and outside of the music unit. Your day-to-day decisions have a great impact on your neuromusculoskeletal and vocal health, both now and years from now.

Do yourself a favor. Be smart. Protect your body and your voice. Don’t take unnecessary risks. Take care of yourself. You owe it to yourself.


Resources – Information and Research

Neuromusculoskeletal and Vocal Health Project Partners

National Association of School of Music (NASM) http://nasm.arts-accredit.org/ Performing Arts Medicine Association (PAMA) http://www.artsmed.org/index.html PAMA Bibliography (search tool) http://www.artsmed.org/bibliography.html

Medical Organizations Focused on Neuromusculoskeletal and Vocal Health

American Academy of Neurology (http://www.aan.com) American Academy of Orthopaedic Surgeons (http://www.aaos.org) American Academy of Otolaryngology – Head and Neck Surgery (http://www.entnet.org) American Academy of Physical Medicine and Rehabilitation (http://www.aapmr.org) American Association for Hand Surgery (http://www.handsurgery.org) American Laryngological Association (http://www.alahns.org) The American Occupational Therapy Association, Inc. (www.aota.org) American Psychiatric Association (www.psych.org) American Psychological Association (www.apa.org) American Physical Therapy Association (http://www.apta.org) American Society for Surgery of the Hand (www.assh.org)


American Speech-Language-Hearing Association (http://www.asha.org) National Center for Complementary and Alternative Medicine (http://nccam.nih.gov)

Other Resources on Neuromusculoskeletal and Vocal Health Athletes and the Arts (http://athletesandthearts.com) National Association of Teachers of Singing (http://www.nats.org)

Performance Level Rubric - Flute Updated: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed) Level 5 (Perf.)

Tecn

iqu

e

Tone quality is developing, intonation may have inconsistencies, breath support is evident. Attention to proper embouchure, posture, adequate technical facility.

Tone quality, intonation, and breath support showing improvement from previous year. Embouchure and posture are correct, technical facility is good and improving.

Characteristic tone quality, good breath support and intonation with some lapses. Good approach to the instrument, technical facilty is very good and is improving.

Characteristic tone quality, very good breath support and intonation, lapses are quickly corrected. Technical facility is excellent and improving.

Excellent, characteristic tone quality, breath support and intonation are consistent. Superior techincal facility.

Mu

sici

ansh

ip Note and rhythmic accuracy, phrasing, and tempo are a priorty though some inconsistencies are present.

Good note and rhythmic accuracy and phrasing, tempos are appropriate and more consistent.

Very good note and rhythmic accuracy, very good phrasing and tempos.

Excellent note and rhythmic accuracy, long musical phrasing, and more consistent tempos.

Superior note and rhythmic accuracy, long musical phrasing. Consistent tempos.

Per

form

ance

Poise, artistic presentation, expression, communication at level appropriate for a first year student.

Poise, artistic presentation, expression, communication are good. Commun-icates with accompanist.

Poise, artistic presentation, and expression are very good. Communicates with accompanist well.

Poise, artistic presentation, and expression are excellent. Excellent communication with accompanist.

Poise, artistic presentation, and expression are superior. Communication/ playing in sync with accompanist is superior.

Sca

les All majors (one octave) All majors (2 octaves when

possible) and some natural minors.

All majors (2-3 octaves when possible) and natural minors.

All majors, natural, harmonic, and melodic minors.

All majors and minors, whole tone and chromatic scales.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: J. Anderson, Scherzino; E. Pessard, Andalouse; G. Hue, Serenade; J. Donjon, Pan; Mozart, Andante in C; Handel, Sonatas; Bloch, Suite Modale; Gaubert, Madrigal; Gluck, Minuet and Danse of the Blessed Spirits. Handel, Sonatas.

More difficulty and greater amount of music than previous. Sample repertoire list: CPE Bach, Sonata in A minor and Hamburger Sonata; Telemann, Sonata in F Minor, Fantasies; Honnegar, Danse de la Chevre; G. Faure, Fantasy; Chaminade, Concertino; Taffanel, Andante Pastorale et Scherzettino; Mozart, Sonatas; Kennan, Night Soliloquy.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Bach Sonatas in C Major, Eb Major, G Minor, Orchestral Suite; Griffes, Poem; Hue, Fantasy; Godard, Suite De 3 Morceaux; Mozart, Concerti in G, D; Doppler, Hungarian Fantasy; Popp, Fantasie on Rigeletto; Poulenc, Sonata; Gaubert, Nocturne and Allegro; Burton, Sonatina; Taffanel, Andante Pastorale Et Scherzettino.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Bach Sonatas in E Major, A Majo, E Minor; Dutilleux, Sonatine; Copland, Duo; Hue, Fantasy; Lamontaine, Sonata; Genin, Carnival of Venice. Enesco, Cantabile Et Presto; Schubert, Variations, Godard, Suite De 3 Morceaux

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Bach, Sonata in B minor, Unacommpanied Sonata in A minor; Widor, Suite; Franck, Sonata; Sancan, Sonatine; Muczynski, Sonata; Ibert, Concerto; Prokofiev, Sonata; Borne, Carmen Fantasy; Martin, Ballade, Ibert, Concerto, Nielsen, Concerto, Franck, Sonata

Performance Level Rubric - Oboe Revised: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed.) Level 5 (Performance)

Tecn

iqu

e






Mu

sici

ansh

ip

Note and rhythmic accuracy, phrasing, and tempo are a priorty though some inconsistencies are present.





Per

form

ance






Sca

les

All majors (one octave). All majors (2 octaves when possible) and some natural minors.




Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Handel Sonatas; Barrett Oboe Method Etudes.

More difficulty and greater amount of music than previous. Sample repertoire list: Marcello Oboe Concerto; Cimarosa Oboe Concerto; Handel Concerto in g minor; Barrett Oboe Method.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Ferling 48 Studies; Haydn Oboe Concerto; Orchestral excerpts.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Ferling 48 Studies; Schumann 3 Romances; Mozart Oboe Concerto; Orchestral excerpts.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list:Gillet Advanced Etudes; Orchestral excerpts; Mozart Oboe Quartet; Vaughan-Williams Concerto; Goosens Concerto; Hindemith Sonata.

Performance Level Rubric - Clarinet Revised: FA15


Tecn

iqu

e

Tone quality is developing, intonation may have inconsistencies, breath or no breath support is evident. Attention to proper embouchure, posture, adequate technical facility. Very basic level or below basic level present.

Tone quality, intonation, and breath support showing improvement from previous year. Embouchure (stick grip, etc.) and posture is correct, technical facility is good and improving.




Mu

sici

ansh

ip

Note and rhythmic accuracy, phrasing, and tempo are a priorty though some inconsistencies are present. Some knowledge of basic reed making skills both clarinet and bassoon.


Very good note and rhythmic accuracy, very good phrasing and tempos. Better reedmaking skills and adjusting reeds for both clarinet and bassoon.

Excellent note and rhythmic accuracy, long musical phrasing, and more consistent tempos. Expert reed making or adjusting, has taken a reed making class by now.


Per

form

ance


Poise, artistic presentation, expression, communication are good. Learning to work with an accompianist for juries.



Poise, artistic presentation, and expression are superior. Communication/playing in sync with accompanist is superior.

Sca

les

All majors (one octave) All majors (2 octaves when possible) and some natural minors.



All majors and minors, and whole tone.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: For Clarinet: Rose 32 studies, and the Voxman Contest Solo Selections.

More difficulty and greater amount of music than previous. Sample repertoire list: For Clarinet: Mozart Concerto Von Weber Concertino.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: continue working on all previous etudes and concert pieces to perfect for juries or performances. Sample repertoire also to include Saint-Saëns, Concerto for Clarinet.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: For clarinet, 1 movement of the Mozart concerto, Von Weber Concerto.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: For Clarinet: Finzi Bagatelles or Concerto.

Performance Level Rubric - Bassoon Revised: FA15


Tecn

iqu

e

Tone quality is developing, intonation may have inconsistencies, breath or no breath support is evident. Attention to proper embouchure, posture, adequate technical facility. Very basic level or below basic level present.





Mu

sici

ansh

ip

Note and rhythmic accuracy, phrasing, and tempo are a priorty though some inconsistencies are present. Some knowledge of basic reed making skills both clarinet and bassoon.


Very good note and rhythmic accuracy, very good phrasing and tempos. Better reedmaking skills and adjusting reeds for both clarinet and bassoon.

Excellent note and rhythmic accuracy, long musical phrasing, and more consistent tempos. Expert reed making or adjusting, has taken a reed making class by now.


Per

form

ance


Poise, artistic presentation, expression, communication are good. Learning to work with an accompianist for juries.




Sca





All majors and minors, and whole tone.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: For Bassoon: Method for Bassoon by Julius Weissenborn. Solos for the Bassoon Player.

More difficulty and greater amount of music than previous. Sample repertoire list: For Bassoon: Concert Piece for Bassoon, Burril Philips

Mid-level difficulty and more repertoire is being added. Sample repertoire list: continue working on all previous etudes and concert pieces to perfect for juries or performances. Sample repertoire also to include Saint-Saëns, Concerto for Bassoon.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: For Bassoon: Mozart Concerto

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: For Bassoon: Andante and Rondo (Von Weber) or the Concerto by Von Weber.

Performance Level Rubric - Saxophones Revised: FA15

1


Tech

niqu

e

Developing a representative tone with some inconsistencies. Hold steady pitch (A@440Hz) in most common octave. Overtone sliding regimen introduced. Mouthpiece, reed and ligature overview. Vibrato introduced.

Improving tone with more consistency. Hold steady pitch throughout most common register. Overtone matching.Employ quality and professional mouthpiece, reed and ligature.Vibrato in strict tempo at various meter subdivisions. Discussions of varying approaches for concert and jazz ensembles.

Improving tone with more consistency. Hold steady pitch throughout most common register. Overtone matching and Voicing flexibility (5ths and more). Employ quality and professional mouthpiece, reed and ligature. Vibrato in strict tempo at various meter subdivisions. Discussions of varying approaches for concert and jazz ensembles.

Consistent and representative tone for concert band and/or jazz ensemble. Hold steady pitch (A=440Hz) throughout entire range of instrument. All dynamic markings (piano-forte). Advanced concepts in tonal shading and inflection.Development of personal sound.

Consistent and representative tone for concert band and/or jazz ensemble. Hold steady pitch (A=440Hz) throughout entire range of instrument. All dynamic markings (piano-forte). Advanced concepts in tonal shading and inflection. Development of personal sound.

Mus

ician

ship

Note and rhythmic accuracy, phrasing, and tempo are a priorty though some inconsistencies are present. Tone and air support is becoming consistent and strong.

Good note and rhythmic accuracy and phrasing, tempos are appropriate and more consistent. Melodic lines are delivered more lyrically than first year.

Tempos and rhythmic accuracy should be attained, melodic saliency is delivered through steady air and a command of vibrato and lyrical phrasing across technical lines.

Shows a command of rhythm and articulation in difficult passages and large octave leaps. Understanding of style and inflection across the broad range of classical styles and jazz /commercial styles should be attained and easily delivered on command.

Superior note and rhythmic accuracy, professional phrasing and interpretation of musical passages, and an obvious understanding of the context in which a piece is played, and adherence to idiomatic musical styles while showing small innovations and personal interpretations.

Perfo

rman

ce

Poise, artistic presentation, expression, communication at level appropriate for a first year student. Correct hand positions and breathing.

Poise, artistic presentation, expression, communication are good. Attempts to communicate with accompanist, especially on entrances, cutoffs, and tempo changes.

Poise, artistic presentation, and expression are very good. Communicates with accompanist well, especially in musical phrasing and dynamics, and demonstrates a deep understanding of the accompanist's music.

The ability to communicate intentions with the rhythm section in a jazz combo, being able to confidently perform both classical and jazz styles with an accompanist or band, and an understanding of harmony in chord changes and inflections in tone.

Poise, artistic presentation, and expression are superior. Communication/playing in sync with accompanist is intuitive and seems completely natural. Improvising has graduated beyond regurgitation and true improvising happens regularly. Stylistic inflections and articulation are mastered.

Scal

es

All 12 major and relative minor scales by memory; two octaves where possible. All 12 major and minor triads (straight and broken). Two octaves where possible. Chromatic scale; two octaves by memory.

Chromatic scale – full range of instrument. All 12 major scales in modes. Full range of instrument. All 12 major and minor triads (straight and broken). Full range of instrument.

12 minor scales (harmonic, melodic, natural); full range. 12 major scales, diatonic 7th patterns

All 12 jazz melodic minor scales in modes. Full range of instrument. Diatonic 7th patterns in all 12 melodic minor scales. Full range of instrument.

Symmetrical scales: diminished and wholetone; full range. Diminished and augmented triads. Diminished seventh chords; full range.

Repe

rtoi

re

Appropriate difficulty for a first year student. Sample repertoire list: Bach Sonatas; Handel Sonatas; Solos for the Alto Saxophone by Larry Teal; 48 Famous Studies by Ferling.

More difficulty and greater amount of music than previous. Sample repertoire list: 48 Famous Studies continued; The Scaramouche by Darius Milhaud; Three Romances by Shumann/ Hemke; Chanson et Passepied by Rueff.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: 48 Famous Studies; Tableaux De Provence; Sonata for Alto Saxophone by Paul Creston; Omnibook by Charlie Parker; Solo Transcriptions by Joshua Redman.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Tableaux De Provence; Sonata for Alto Saxophone by Paul Creston; Sonatina for Soprano Saxophone by Melvin Solomon.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Improvisation No. 1 by Ryo Noda; Picnic on the Marne; Caprice en forme de valse; Concerto for Alto Saxophone (Glasunov); Concertino da Camera by Ibert; Sonata No. 1 for Alto Sax and Piano by Yusef Lateef.

Performance Level Rubric - Trumpet Revised: FA15


Tech

niq

ue






Mu

sici

ansh






Per

form

ance


Poise, artistic presentation, expression, communication are good. Attempts to communicate with accompanist.

Poise, artistic presentation, and expression are very good. Communicates with accompanist.



Sca





All majors and minors, whole tone (2) and modes.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Etudes 1-20 from 40 Progressive Etudes by Sigmund Hering, Premier Solo de Concours by Rene Maniet, Andante and Allegro by Robert Clerisse

More difficulty and more repertoire than first year. Sample repertoire list: Air Gai by G.P. Berlioz, L'Allegro by Paul Koepke, Hyacinthe by H.A. Vander Cook, Etudes 21-32 from 40 Progressive etudes by Hering, selected etudes from The Complete Concone Vocalizes, by G. Concone

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Magnolia by H.A. VanderCook, Italian Suite edited by Bernard Fitzgerald, Concertino by L. Ostransky, selected etudes from The Complete Concone by G. Concone, 32 Etudes by Hering, Bel Canto Studies by J. Korak

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Concerto in Eb by Neruda, Petite Piece Concertante by G. Balay, My Regards by E. Llewellyn, selected etudes from 36 Transendental Etudes by T. Charlier, Orchestral Etudes by V. Brandt

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Concerto in Eb by Haydn, Sonata for Trumpet by Hindemith, Sonata for Trumpet by Eric Ewazen, Concerto in Eb by J.N. Hummel, Sonata for Trumpet by K. Kennan, The Bride of the Waves by H.L. Clarke

Performance Level Rubric - French Horn Revised: FA15


Tech

niq

ue

Tone quality is developing, intonation may have inconsistencies, starting to learn how to breathe and support. Knows all the fingerings for the double horn, or learning new fingerings if coming from a single horn.

Tone quality, intonation, breath support showing improvement from previous year. Can play 2-3 octave range especially with long tone excersizes as taught in private instruction.



Excellent, characteristic tone quality, breath support and intonation are consistent. Superior techincal facility. Good facility on the instrument.

Mu

sici

ansh

ip






Per

form

ance Poise, artistic presentation,

expression, communication at level appropriate for a first year student. Might even be first time playing with a piano.

Poise, artistic presentation, expression, learning to communicate with an accompianist.




Sca

les All major scales (one octave) All majors (2 octaves when

possible) All majors (2-3 octaves when possible) and learning some minor scales.


All majors and minors, whole tone (2 octaves).

Rep

erto

ire

Appropriate difficulty for a first year student. Kopprasch Book 1 and the 335 Selected Melodious Progressive and Technical Studies for the French Horn Solos: Easy slow movements of Mozart Horn Concertos. Some students may work out of easier rep including Practical Studies for French Horn, Book 1 or 2; or Rubanks Elementary Method for French Horn.

More difficulty and greater amount of music than previous. Sample repertoire list: Kopprasch Book 2, and more difficult etudes from the 335 Selected Melodious Progressive and Technical Studies for the French Horn. Learning more of the Mozart Horn concerto movements.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Continued studies with 335 Selected Melodious Progressive and Technical Studies for the French Horn; Solos: Mozart Horn Concertos; Legato Etudes for French Horn by John Shoemaker.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: All Mozart Horn Concertos; Hymn Tunes by Paul Basler; Melodious Etudes for Trombone Books 1 and 2 for low range studies.

Has mastered most of the major works for horn. Sample repertoire list: All Mozart Horn Concertos; Haydn Horn Concertos 1 and 2; Morceau De Concert by Camille Saint Saens; 1st mvt. Strauss 1, working thru the 335 Selected Studies Melodious Etude Book for French Horn and Book II of the Melodious Etudes; Study of major excerpts from the Thompson Edition Orchestral Audition; 34 Studies for Horn by James Chambers Book 1,2. Repertroire.

Performance Level Rubric - Trombone/Euphonium Revised: FA15


Tech

niq

ue






Mu

sici

ansh

ip






Per

form


expression, communication at level appropriate for a first year student.





Sca

les

All majors (one octave) All majors (2 octaves when possible) and some natural minors.


All majors, natural, harmonic, and melodic minors. Be able to play the Modal scale related to printed changes.


Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Methods: Michael Davis, 20 Minute Warm-Up Routine; Larry Clark, Protocol: A Guide to the Collegiate Audition Process; Bordogni/Raph, Melodious Etudes for Performance; Voxman/Rubank, Advanced Method for Trombone Vol. 1 & 2. Solos: J. Ed. Barat, Andante and Allegro; Rimsky Korsakov, Concerto for Trombone; Galliard, Sonata(s); Marcello, Sonata(s); Bordogni, Vocalise with Piano Accompaniment.

More difficulty and greater amount of music than previous. Sample repertoire list: Gillis, 70 Progressive studies for the Modern Bass Trombone, or Trombone with "F" attachment. Solos: F. David, Concertino for Trombone; Guilmant, Morceau Symphonique; Saint-Seans, Cavatine; Bordogni, Vocalises for Trombone with Piano Accompaniment; Lebedev, Concerto No. 1.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Introduction to Modal, Whole Tone, and Pentatonic scales thru Jazz studies with Stewart Undem; V. Blazhevich, Clef Studies and Concert Duets; Bordogni/ Mulcahy, Complete vocalises for Trombone. Solos: Launy Grondahl, Concerto for Trombone and Piano or Orchestra; Author Prior, Blue Bells of Scotland; Bozza, Ballade; Larsson, Concertino for Trombone; Rimsky Korsakov, Concerto for Trombone.

Can perform enough challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Blazhevich, 26 Sequences for Trombone. Solos: Paul Hindimeth, Sonata for Trombone; Eric Ewazen, Pastorale for Trombone, Bass Trombone, and Piano; Thom Ritter George, Concerto for Bass Trombone; Gordon Cherry, Complete Low Brass Orchestral Collection.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Marstellar, Advanced Slide Technique. Solos: Casterede, Sonatine; Ewazen, Sonata; Defaye, Deux Danses; Gregson, Concerto for Trombone; Gordon Cherry, Complete Low Brass Orchestral Collection.

Performance Level Rubric - Tuba Revised: FA15


Tech

niq

ue Tone quality is developing,

intonation may have inconsistencies, breath support is evident. Attention to proper embouchure (stick grip for perc.), posture, adequate technical facility.





Mu

sici

ansh






Per

form







Sca


possible) and some natural minors.All majors (2-3 octaves when possible) and natural minors.

All majors, natural, harmonic, and melodic minors. Some dorian and mixolydian modes.

All majors and minors, whole tone (2) and modes (dorian, phrygian, lydian, mixolydian, and locrian).

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Bach/Bell - Air and Bouree; Lebedev, Concerto; Marcello, Sonata No. 1 and Sonata No. 5; Nelhybel, Suite; Frackenpohl, A., Concertino. Etudes: Blazhevich, 70 Studies Bordogni, 43 Bel Canto Studies; Gower/Voxman, Rubank Advanced Method Vol. 1 & 2 Michael Davis; 20 Minute Warm-up.

More difficulty and greater amount of music than previous. Sample repertoire list: Haddad, Suite; Galliard, Sonata No. 6; Hartley, Sonata; Jacob, Tuba Suite; Marcello/Little, Sonata No. 5; Vaughan Williams, Six Studies in English Folk Song. Etudes: Kopprasch, 60 Selected Studies; Arban, Complete Method; continue with Bel Canto and Blazevich. Orchestral Excerpts: Wagner, Meistersinger; Prokofiev, Symphony No.5; Mahler Symphony No 1; Tchaikowsky, 1812 Overture, Symphony No. 4, Capriccio Italien.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Haddad, Suite; Bernstein, L., Waltz for Mippy III; Capuzzi, Andante and Rondo; Curnow, J., Fantasia for Tuba and Concert Band; Hindemith, Sonate Stevens; Halsey, Sonatina; Wilder - Sonata; Etudes: Rochut, Melodious Etudes Book II; Kuehn, 60 Musical Studies Orchestral Excerpts: Wagner, Walkure; Berlioz, Hungarian March, Symphonie Fantastique; Holst, Planets; Brahms, Symphony No. 2.

Can perform enough challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Barat, Introduction and Dance; Broughton, Sonata; George, Thom Ritter, Sonata; Gregson, Concerto; Mahler/Perantoni, Songs of a Wayfarer; Vaughn Williams, Concerto. Etudes: Blazhevich, 70 Studies Vol. II. Orchestral Excerpts: Mussorgsky/Ravel, Pictures at an Exhibition; Mahler, Symphony No. 5; Stravinsky, Petrouchka; Strauss, Ein Heldenlleben; Bruckner, Sympnony No. 4; Gordon Cherry, Complete Low Brass Orchestral Collection.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Bozza, Concertino; Jocobsen, J., Tuba Buffo; Koch, Erland von, Tubania; Plog, A., Three Miniatures; Roikjer, K., Capriccio; Williams, John, Concerto. Etudes: Bobo, Bach for the Tuba; Snedecor, Low Etudes; Vernon, Singing Approach to the Trombone and other Brass. Orchestral Excerpts: Berlioz, Romeo and Juliet; Benvenuto Cellini, corsair; Fruckner - Symphonies No. 7 & 8; Wagner, Prelude to Act III of Lohengrin; Gordon Cherry, Complete Low Brass Orchestral Collection.

Performance Level Rubric - Violin Revised: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed.) Level 5 (Perf.)

Tech

niq

ue

Tone quality is developing, intonation may have inconsistencies, posture, adequate technical facility.

Tone quality, intonation and in general showing improvement from previous year. and posture is correct, technical facility is good and improving.

Characteristic tone quality, and intonation with some lapses. Good approach to the instrument, technical facilty is very good and is improving.

Beautiful tone, variety of colors in the sound. Intonation and articulations are clear.

Excellent, characteristic tone quality and intonation are consistent. Superior techincal facility.

Mu

sici

ansh

ip




Excellent note and Rhythmic accurancy, Phrasing and Expression are present while playing.


Per

form

ance


Poise, artistic presentation, expression, communication are good. Communicates with accompanist.



Poise, artistic presentation, and expression are superior. Communication/playing in syncronization with accompanist is superior.

Sca

les

Several major scales (number of octaves dependant on shifting ability).

All majors (2 octaves when possible) and some natural minors.

All majors (2-3 octaves when possible) and natural minors, melodic and harmonic.

All majors, natural, harmonic, and melodic minors. Beginning double stops.

All majors and minors. In 3 Octaves, Thirds, Sixths, Octaves.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Vivaldi, Violin Concerto in A minor; any Reding Violin Concerto; Bach, Gavotte in D major; Pachebel, Canon; Bocherini, Minuet; any Seitz Violin Concerto; any Beriot Violin Concerto; Massenet, Meditation from Thais.

More difficulty and greater amount of music than previous. Sample repertoire list: Handel, Sonata in D; Bartok, DUOS; Telemann, Fantasias; Dvorak, Romantic Pieces; Sarasate, Playera; Elgar, Salute d'Amore.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Dvorak, Rumanian Dances; Dvorak, Sonatina; Dvorak, Romance; Kreisler, Prelude and Allegro; Fiocco, Allegro; Kreisler, Liebesleid; Accolay, Violin Concerto.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Bach, Violin Concerto in A minor; Bach, Violin Concerto in E major; any movement from Bach's Violin solo Some short movements from Partitas or Sonatas; Bach, Double Violin Concerto; Vivaldi, Double Violin Concerto; Vivaldi, Concerto for 4 violins; Viotti, Violin concerto No. 23; Beethoven, Romance in F; Mozart, Violin Concerto No. 3; Mozart, (no cadenza) Violin Concerto No.4 (no cadenza);Lalo,Spanish Symphony; Beethoven, Sonatas Nos. 5, 7, some Mozart, Sonatas; Tchaikovsky, Serenade Melacolique; Grieg, Sonata; Shubert, Sonatas; Mendelshon Violin cocnerto,Vivaldi, Four Seasons. Etc. (Concertos can be performed partial in the recital, example: one movement)

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Any Mozart Concerto,Sarasate, Aires Bohemios; Sarasate Zapateado; Debusy Sonata;Some mozart Sonatas; Brahms, Scherzo; Brahms Sonatas; Bach Partitas and sonatas for violin solo, Bach, Chaconne from Partita II it self; Bruch violin concerto; Concerto Saint-Saëns, Introduction and Allegro; Saint-Saëns, Violin Concerto; Tchaikovsky, Violin Concerto; Beethoven, Violin Concerto; Sibelius, Violin Concerto; Brahms, Violin Concerto; Beethoven, Sonata No. 9; César Frank, Sonata; Mozart, Violin Concerto No. 5; any Paganini Caprice; Chamber works performed as 1st violin.

Performance Level Rubric - Viola Revised: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed.) Level 5 (Performance)Te

chni

que

Proper relaxed posture - position of instrument, bowhold, left hand set up - is evident. Working on being relaxed with correct posture. Beginning intonation accuracy. Basic shifting to 2nd and 3rd positions. Working on a consistent tone quality.

Proper relaxed posture is able to be maintained throughout pieces. Intonation accuracy more consistent with knowledge of ringing tones. Shifting through 5th position. Working on developing a wider range of tone qualities and use of whole bow.

Proper relaxed posture is able to be maintained throughout pieces. Intonation accuracy very consistent. Shifting through positions above 5th. Working on developing a wider range of tone qualities. Vibrato is used most of the time. Beginning development of more advanced bow techniques i.e. spiccato and sautille, etc.

Proper relaxed posture is able to be maintained throughout pieces. Intonation accuracy very consistent. Shifting through positions above 5th. Working on developing a wider range of tone qualities. Vibrato is used consistently. Continued development of more advanced bow techniques.

Proper relaxed posture is able to be maintained throughout pieces. Intonation accuracy very consistent. Shifting comfortably around the entire instrument. Shows a wide range of tone qualities and color. Vibrato is used consistently and to enhance expression. Consistent use of advanced bow techniques.

Mus

ician

ship Note and rhythmic accuracy, attention to

phrase endings and basic dynamics.Good note and rhythmic accuracy and phrasing, tempos are appropriate and more consistent. Some development of performance practice awareness.

Very good note and rhythmic accuracy and phrasing, tempos are appropriate and consistent. Performance practice awareness.

Excellent note and rhythmic accuracy, long musical phrasing, and well chosen consistent tempos. Performance practice awareness.

Superior note and rhythmic accuracy, long musical phrasing. Consistent well chosen tempos. Use of varying tone colors, vibrato used expressively.

Perfo

rman

ce Poise, artistic presentation, expression, communication at level appropriate for a first year student.

Poise, artistic presentation, expression, communication are good. Communicates with accompanist and shows an awareness of collabor-ation when necessary (i.e. in Sonatas)




Scal

es Several major scales (number of octaves dependant on shifting ability).

Most major scales in 3 octaves with 3 octave arpeggios.

All major 3 octave scales and most 3 octave melodic minor scales, with related 3 octave arpeggios.

All major and melodic minor 3 octave scales and related arpeggios. Beginning double stops (3rds, 6ths, octaves).

All major and melodic minor 3 octave scales and related arpeggios. Most double stops (3rds, 6ths, octaves).

Repe

rtoi

re

Appropriate difficulty for a first year student. One self-selected piece and one substantial movement from a standard concerto with applicable cadenza, a duo work or a concert piece. Sample repertoire list: Concerto by Telemann, JC Bach, Vivaldi or similar.

More difficulty and greater amount of music than previous. 1st semester: One piece from the standard viola repertoire and one substantial movement from a standard concerto or concert piece with applicable cadenzas. 2nd semester: Two movements from a solo sonata or suite of Bach, one substantial movement from a standard concerto with applicable cadenzas or a concert piece and one movement of a work for viola and piano. Sample repertoire list: Bach Cello Suite No.1, accompanied Gamba Sonata or Telemann Fantasias; Concerto by Handel, Hoffmeister, Stamitz or similar; Glazunov Elegy or similar; Marais Five Provencal Dances or La Folia.

Mid-level difficulty and more repertoire is being added. Three contrasting movements from different works or three contrasting works. Sample repertoire list: Bach Cello Suites No.2 or 3, accompanied Gamba Sonata or similar; Haydn Divertimento, Hummel Fantasy or similar; Bruch Romance, short pieces by Rebecca Clarke, Glinka Sonata, Vaughan Williams Suite (Group 1) or similar; Bloch Meditation & Processional or Suite Hebraique or similar.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Two contrasting movements from a solo sonata or suite of Bach (no repeats) and a complete concerto or concert piece with cadenzas. 30-minute senior recital should consist of contrasting works representing different periods. It is strongly recommended that all unaccompanied works, concerto and concert pieces be memorized, unless written after 1950. Sample repertoire list: Bach Cello Suites No.4,5,6 or Unaccompanied Violin Sonata or Partita; Mozart Sinfonia Concertante; Schumann Marchenbilder or Adagio & Allegro Op.70, Rebecca Clarke Sonata, Vaughan Williams Suite (Groups 2 & 3), Brahms Sonatensatz, Hungarian Dances or similar work, Mendelssohn Sonata, Vieuxtemps Elegie or similar work; Works by Hindemith or Milhaud or similar.

Approriate amount and difficulty to perform a 60-minute senior recital. Recital repertoire should consist of contrasting works in their entirety representing different periods. Ideally one commercially published mored work WRITTEN after 1950 should be included. It is strongly recommended that all unaccompanied works, concerto and concert pieces be memorized, unless written after 1950. Sample repertoire list: Any unaccompanied Bach Cello Suite or Violin Sonata or Partita performed by memory OR Reger Three Solo Suites Op.131d.; Sonatas by Brahms, Vieuxtemps, Schubert, Hummel, Shostakovich, Hindemith or Bloch or similar; Concerto by Bartok, Walton, Hindemith or other 20th century composer; show pieces by Paganini, Zimablist, Enescu, Prokofiev or similar.

Performance Level Rubric - Cello Revised: FA15


Tecn

iqu

e

Tone quality is developing, intonation may have inconsistencies, attention to usage of bow speed and pressure for a good tone quality. Attention to proper instrument and bow hold

Tone quality, intonation, and bow strokes showing improvement from previous year. Technical facility is good and improving. Ability to play in the 1st 4 positions with agility. Introduction of vibrato technique.

Characteristic tone quality as a result of good bow usage, more difficult bow techniques introduced. Good approach to the instrument, technical facilty is very good and is improving. Thumb position and tenor clef are introduced.

Characteristic tone quality, ability to play in all positions. Technical facility is excellent and improving.

Excellent, characteristic tone quality are consistent. Superior techincal facility.

Mu

sici

ansh






Per

form

ance






Sca

les All majors (two octaves) All majors (3 octaves) Introductin of 4 octave scales

in all keys.All majors and parallel melodic minors. 4 octave arpeggios

All majors and parallel minors slurred 8 to a bow.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Dotzauer Etude Books 1 and 2, Collier, Franklin, ed.- Cellist's Favorite Contest Album, Goltermann - Concerto #4 in G Major

More difficulty and greater amount of music than previous. Sample repertoire list: Sebastian Lee - Method for Cello, Dotzauer 113 Studies, Deri, Otto, ed.- Solos for the Cello Player

Mid-level difficulty and more repertoire is being added. Sample repertoire list: David Popper - High School of Cello Playing, Popper Gavotte in D, Saint-Saens - The Swan and Allegro Appasionato

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: JC Bach Concerto in c, Beethoven Sonatas #1 and 2, Bach Solo Suite #1, Rachmaninoff Vocalise

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Brahms - the 2 sonatas, Beethoven - all 5 sonatas, Saint-Saens Concerto in a minor, Haydn C Mjor Concerto, Popper Hungarian Rhapsody

Performance Level Rubric - String Bass Revised: FA15


Tech

niq

ue

Proper posture. Introduction and specific attention to bow usage for tone quality. Intro to thumb positions.

Proper posture to be maintained throughout performances.Improve tone quality and intonation accuracy, in conjunction with proper bow usage. Intro to vibrato.Improvement of thumb positions.

Proper posture to be maintained throughout performances. Improve tone quality and intonation accuracy. Maintenance of proper bow usage, vibrato and thumb positions.Beginning development of more advanced bow techniques such as spiccato and sautille, etc.

Proper posture to be maintained throughout performances. Intonation accuracy very consistent. Working on developing a wider range of tone qualities. Vibrato is used consistently. Thumb positions finalized. Continued development of more advanced bow techniques such as spiccato, richochet and sautille, etc.

Proper posture to be maintained throughout performances with excellent and consistent intonation and vibrato.Superior level performance techniques.

Mu

sici

ansh

ip Note and rhythmic accuracy, attention to phrase endings and basic dynamics.Minor inconsistencies are expected.

Good note and rhythmic accuracy and phrasing, tempos are appropriate and more consistent. Some development of performance practice awareness.

Very good note and rhythmic accuracy and phrasing, tempos are appropriate and consistent. Performance practice awareness.

Excellent note and rhythmic accuracy, long musical phrasing, and well chosen consistent tempos. Performance practice at polished level.

Superior note and rhythmic accuracy, long musical phrasing. Consistent well chosen tempos. Use of varying tone colors, vibrato used expressively. Performance practice at superior level.

Per

form

ance



Poise, artistic presentation, and expression are very good. Communicates well with accompanist.

Poise, artistic presentation, and expression are excellent. Communicates flows with ease between performer and accompanist.

Poise, artistic presentation, and expression are superior. Communication is open and honest with accompanist. Performance fully in sync and at superior level.

Sca

les

All majors (two octaves) All majors (2 - 3 octaves, dependent on key.)Introduction of natural minor scales.Introduction of arpeggios.

Introduction of 4 octave scales in some keys.All natural minor scales2 octave arpeggios

All majors and melodic and natural minors (minimum of 3 octaves dependent on key.)3 - 4 octave arpeggios, dependent on key.

All majors and melodic and natural minors (minimum of 3 octaves dependent on key.)3 - 4 octave arpeggios, dependent on key.

Rep

erto

ire

Appropriate difficulty for a first year student. Repertoire may include:Bach Gavotte; Sonatas by Marcello or de Fesch from the Carl Fischer Collection; Introduction to the Simandl Etudes.

More difficulty and greater amount of music than previous level. Repertoire may include:Sonatas by Vivaldi; choice of Bach Suite as provided by professor; Elephant from Carnival of the Animals; Handel; Pergolesi.

Higher level of difficulty and more freedom of music choices. Repertoire may include:Sonatas by Eccles and Hindemith; Rachmaninoff Vocalise; Proto, Sonata 1963; Bach Suites and Partitas.

Performance level provides ability to perform a challenging repertoire exhibited in a 30-minute senior recital. Repertoire may include: Concertos by any of the following: Koussevitzky, Dragonetti, Dittersdorf, Bottesini, Proto, or Vanhal; Bottesini - Terntella or Elegy.

Performance level provides ability to perform a challenging repertoire exhibited in a 60-minute senior recital. Repertoire may include: Concertos by any of the following: Koussevitzky, Dragonetti, Dittersdorf, Bottesini, Proto, or Vanhal; Bottesini - Terntella or Elegy; Koussevitzky recital pieces; Dragonetti waltzes.

Performance Level Rubric - Harp Revised: FA15


Tech

niq

ue

Tone quality is developing, pressing, releasing and closing of fingers for a warm tone are evident. Attention to proper posture and technical facility.

Tone quality and attention to articulation is showing improvement from previous year. Technical facility is good and improving.

Tone quality and articulation is good. Technical facilty is very good and is improving.

Very good tone quality and articulation with good musical interpretation of the works presented. Technical facility is excellent and improving.

Excellent tone quality with a clear musical interpretation of the works presented. Superior techinical facility.

Mu

sici

ansh

ip Note and rhythmic accuracy, phrasing, and tempo are a priority though some inconsistencies are present.





Per

form

ance


Poise, artistic presentation, expression, communication are good.

Poise, artistic presentation, and expression are very good.

Poise, artistic presentation, and expression are excellent.

Poise, artistic presentation, and expression are superior.

Sca

les All major (two octave) All major and natural minors

(3 octaves)All major, natural minor and harmonic minor (3 octaves)

All major, natural, harmonic, and melodic minor.

All major, minor and modes.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Concerto in B-flat Major by Handel, Suite of 8 Dances by Salzedo, La Source by Zabel or Hasselmans, Contemplation by Renie, Guitare by Hasselmans, Theme and Variations by Haydn/Salzedo.

More difficulty and greater amount of music than previous year. Sample repertoire list: Fantaisie by Grandjany, Impromptu Caprice by Pierne, Pavane et Bransles by Francisque, Etude de Concert by Godefroid or Tournier, Concerto for Flute and Harp by Mozart.

Mid-level difficulty and some contemporary works. Sample repertoire list: Absidioles by Andres, Divertissements by Caplet, Sarabanda e Toccata by Rota, Shadows and Quarks by Weinzweig, Five Preludes by Salzedo, Le Jardin Mouile by de la Presle, Introduction and Variations (Norma) by Parish Alvars.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Prelude and Toccata by Handel/Grandjany, Siciliana by Respighi/Grandjany, Fantaisie by Saint-Saens, The Harmonious Blacksmith by Handel/Salzedo, Sonata in C Minor by Pescetti/Salzedo.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Feerie or Vers La Source dans la Bois by Tournier, La Danse des Sylphes by Godefroid, Sonata by Hindemith, Tailleferre, Flagello or Houdy, Une Chatelaine or Impromptu by Faure, Variations in an Ancient Style by Salzedo.

Performance Level Rubric - Percussion (Battery) Revised: FA15


Tech

niqu

e

Attention to proper stick grip, evenness of hands, and posture; adequate technical facility. Matched Grip

Stick grip, evenness of hands, and posture are correct; technical facility is good and improving. Matched Grip

Good approach to the instrument(s), stick grip, evenness of hands, technical facility are very good and improving. Matched Grip, Traditional Grip

Stick grip, evenness of hands, posture, technical facility are excellent. Matched Grip, Traditional Grip, French Grip

Stick grip, evenness of hands, posture, technical facility are excellent. Superior technical facility. Matched Grip, Traditional Grip, French Grip

Mus

ician

ship Note and rhythmic accuracy,

phrasing, and tempo are a priority though some inconsistencies are present.





Perfo

rman






Rudi

men

ts Adequate demonstration of 10 rudiments.

Accurate demonstration of 20 rudiments.

Accurate demonstration of 40 rudiments.

Accurate demonstration of all 40 rudiments at specified tempi and learning hybrid rudiments.

Superior demonstration of all 40 rudiments and hybrid rudiments at specified tempi.

Repe

rtoi

re

Appropriate difficulty for a first year student. Solo piece from Level 1 Battery Repertoire List. Example: Savage Rudimental Workshop (Savage) Etudes 1 -5. Method Books: Stick Control (Stone); Elementary Studies (Peters); Fundamental Studies (Whaley).

More difficulty and greater amount of music than previous. Solo piece from Level 2 Battery Repertoire List. Example: Savage Rudimental Workshop (Savage) Etudes 6-17. Method Books: All-American Drummer (Wicolxen); Intermediate Studies (Peters); Rudimental Cookbook: Easy (Freytag).

Mid-level difficulty and more repertoire is being added. Solo piece from Level 3 Battery Repertoire List. Example: Savage Rudimental Workshop (Savage) Etudes 18-32, The Genie (Savage). Method Books: Portraits in Rhythm (Cirone); Advanced Studies (Peters); Rudinmental Cookbook: Medium (Freytag).

Can perform enough, challenging repertoire to give a 30-minute senior recital. Solo mulit-percussion piece from Level 4 Battery Repertoire List. Example: Savage Rudimental Workshop (Savage) Etudes 33-40, Coast to Coast (Savage). Method Books: 12 Studies (Delecluse); Standard Method (Podemski); Redimental Cookbook: Advanced (Freytag).

Approriate amount and difficulty to perform a 60-minute senior recital. Solo mulit-percussion piece from Level 5 Battery Repertoire List. Example: Jerusalem 1099 (Jones), Blends (LeVan), The Storm (Mikula). Nethod Books: 12 Studies (Delecluse); Standard Method (Podemski); Rudimental Cookbook: Ext. Advanced (Freytag); Orchestral Repertoire (Carroll).

Performance Level Rubric - Percussion (Drum Set) Revised: FA15


Tech

niqu

e Attention to proper stick grip and evenness between hands, posture, adequate technical facility.

Stick grip, evenness of hands, and posture are correct; technical facility is good and improving.

Good approach to the instrument(s), stick grip, evenness of hands, technical facility are very good and improving.

Stick grip, evenness of hands, posture, technical facility are excellent.

Stick grip, evenness of hands, posture, technical facility are excellent. Superior technical facility.

Mus

ician







Perfo

rman

ce

Poise, artistic presentation, expression, communication at level appropriate for a first year student. Be able to sight-reading rock grooves and fills.

Poise, artistic presentation, expression, communication are good. Communicates well with other musicians, within the ensemble. Be able to sight-read funk grooves and easy jazz rhythms. Begin jazz comping.

Poise, artistic presentation, and expression are very good. Communicates well with other musicians, within the ensemble. Be able to sight-read latin grooves. Jazz comping should be strong.

Poise, artistic presentation, and expression are excellent. Excellent communication with other musicians, within the ensemble. Introduce Musical conversation AKA: “Call and Response.”

Poise, artistic presentation, and expression are superior. Communication/playing in sync with other is superior. Master a Musical conversation AKA: “Call and Response.”

Styl

es

Competent demonstration of one style, including getting in and out of fills.

Competent demonstration of two contrasting style, including getting in and out of fills.

Competent demonstration of three contrasting styles, including getting in and out of fills, ensemble figures.

Competent demonstration of four contrasting styles, including getting in and out of fills, ensemble figures, and solos.

Superior demonstration of five contrasting styles, including getting in and out of fills, ensemble figures, and solos.

Repe

rtoi

re

Appropriate difficulty for a first year student. Perforn from Level 1 Drum Set Repertoire List. Example: Independence for the Beginner (Flores) Etudes A - D, Essential Styles (Houghton) 14, 17, 22. Method Books: Drumset Grooves (Goddard); Drumset Fills (Goddard); World Grooves (Goddard); Rick Trabnscription (1).

More difficulty and greater amount of music than previous. Perforn from Level 2 Drum Set Repertoire List. Example: Independence for the Beginner (Flores) Etudes E - J, Essential Styles (Houghton) 23, 10, 7, 8. Method Books: Syncopation #1 (Reed); Advanced Techniques (Chapin); Rock Transcriptions (3)

Mid-level difficulty and more repertoire is being added. Perforn from Level 3 Drum Set Repertoire List. Example: Independence for the Beginner V 2 (Flores) Etudes Any, Essential Styles V 2 (Houghton) 1, 5, 15. Method Books: Rhyuthmic Motives (Goddard); Jazz Drummer's Workbook (Morgan); Rock Transcriptions (5).

Can perform enough, challenging repertoire to give a 30-minute senior recital. Perforn from Level 4 Drum Set Repertoire List. Example: Groove Essentials (Igoe) Global Tour 1, 2, 3. Method Books: The Art of Bop Drumming (Riley); Solo Construction; Jazz Transcription (2).

Approriate amount and difficulty to perform a 60-minute senior recital. Perforn from Level 5 Drum Set Repertoire List. Example: Big Phat Band Play-Along Series (Goodwin) any, Groove Essentials (Igoe) Global Tour 5-8. Method Books: Evolution of Jazz Drumming (Gottlieb); Beyond Bop Drumming (Riley); Jazz Transciption (5).

Performance Level Rubric - Percussion (Mallets) Revised: FA15


Tech

niqu

e

Attention to stick grip and evenness of hands, posture, adequate technical facility. Two Mallets

Stick grip, evenness of hands, and posture are correct; technical facility is good and improving. Two and Three Mallets

Good approach to the instrument(s), stick grip, evenness of hands, technical facilty are very good and improving. Two, Three, and Four Mallets

Stick grip, evenness of hands, posture, technical facility are excellent. Two, Three, and Four Mallets

Stick grip, evenness of hands, posture, technical facility are excellent. Superior techincal facility. Two, Three, and Four Mallets

Mus

ician







Perfo

rman

ce


Poise, artistic presentation, expression, communication are good. Communicates with accompanist and/or other percussionists.

Poise, artistic presentation, and expression are very good. Communicates with accompanist and/or other percussionists well.

Poise, artistic presentation, and expression are excellent. Excellent communication with accompanist and/or other percussionists.

Poise, artistic presentation, and expression are superior. Communication/playing in sync with accompanist and/or other percussionists is superior.

Scal

es

All majors (2 octaves) All majors (through range of the instrument) and some natural minors.

All majors (through range of the instrument) and natural minors.



Repe

rtoi

re

Appropriate difficulty for a first year student. Perform from Level 1 of Mallet Repertoire List. Example: Primary Handbook for Mallets (Whaley) All. Method Books: Fundamental Studies (Whaley); Fundamental Method 1 (Peters).

More difficulty and greater amount of music than previous. Perform from Level 2 of Mallet Repertoire List. Example: Musical Studies for the Intermediate Mallet Player (Whaley) Readings 1 -28. Method Books: Musical Studies (Whaley); Fundamental Method 1 (Peters).

Mid-level difficulty and more repertoire is being added. Perform from Level 3 of Mallet Repertoire List. Example: Chromatic Fox Trot (Green), Musical Studies for the Intermediate Mallet Player (Whaley) Readings 41-48. Method Books: Modern School (Goldenburg); Fundamental Method 2 (Peters); Instruction Course (Green).

Can perform enough, challenging repertoire to give a 30-minute senior recital. Perform from Level 4 of Mallet Repertoire List. Example: Triplets (Green), The Ragtim Robin (Green), Etude 1955 (Hatch), Tambourin Chinois (Kriesler). Method Books: Mothod of Movement (Stevens); Fundamental Method 2 (Peters); Instruction Course (Green).

Approriate amount and difficulty to perform a 60-minute senior recital. Perform from Level 5 of Mallet Repertoire List. Example: Furioso and Valse in D Minor (Hatch) Capriccio Marimbata (Hatch), Cello Suite No. 1 in G Major (Bach). Method Books: Method of Movement (Stevens); Art and Language of Jazz (Metzger); Orchestral Repertoire (Carroll).

Performance Level Rubric - Percussion (Timpani) Revised: FA15


Tech

niqu

e

Intonation may have inconsistencies. Attention to proper stick grip and evenness between hands, posture, adequate technical facility. Matched Grip

Intonation is improved from previous year. Stick grip and evenness between hands, posture is correct, technical facility is good and improving. Matched Grip, Introduce French Grip

Good intonation. Good approach to the instrument, technical facilty is very good and is improving. French Grip

Characteristic tone quality, very good breath support and intonation, lapses are quickly corrected. Technical facility is excellent and improving. French Grip

Excellent, characteristic tone quality, breath support and intonation are consistent. Superior techincal facility. Able to change pitches on mulitple drums. French Grip

Mus

ician


phrasing, tempo and dynamics are a priority though some inconsistencies are present.

Good note and rhythmic accuracy and phrasing, tempos are appropriate and more consistent. Dynamic contrast is evident.

Very good note and rhythmic accuracy, very good phrasing and tempos. Solid command of dynamic changes. Timpani Maintenance

Excellent note and rhythmic accuracy, long musical phrasing, and more consistent tempos. Timpani Maintenance and Know how to change heads.

Superior note and rhythmic accuracy, long musical phrasing. Consistent tempos. Maintain timpani for the School of Music.

Perfo

rman






Tuni

ng

Able to match pitch. Tune 2 drums from one matching pitch.

Tune all drums from reference pitch. Handle mid-performance pitch change.

Handle multiple mid-performance pitch changes with finesse .

Superior ability to tune and handle multiple mid-performance pitch changes. Be able to tune by from listening to the horns.

Repe

rtoi

re

Appropriate difficulty for a first year student. Performing from Level 1 Timpani Repertoire List. Sample piece: Fundamental Method for Timpani (Peters) Etudes 1-5, 43-46. Method Books: Exercises, Etdues, Solos (Carroll); Fundamental Method (Peters); Pedal to the Kettle (Gay).

More difficulty and greater amount of music than previous. Performing from Level 2 Timpani Repertoire List. Sample pieces: Fundamental Method for Timpani (Peters) Etudes 6-16, 47-52. Method Books: Exercises, Etdues, Solos (Carroll); Intermediate Studies (Peters); Musical Studies (Whaley).

Mid-level difficulty and more repertoire is being added. Performing from Level 3 Timpani Repertoire List. Sample pieces: Fundamental Method for Timpani (Peters) Etudes 16-42, 53-63; Chorale (Carroll). Method Books: Modern Method (Goodman); Primary Handbook (Whaley).

Can perform enough, challenging repertoire to give a 30-minute senior recital. Performing from Level 4 Timpani Repertoire List. Sample pieces: Ballad for the Dance (Goodman), Sonata for Timpani (Beck). Method Books: Modern Method (Goodman); Solo Timpanist (Firth); Classical Symphonies (Goldenburg); Romantic Symphonies (Goldenburg).

Approriate amount and difficulty to perform a 60-minute senior recital. Performing from Level 5 Timpani Repertoire List. Sample pieces: Da Coyote Gets Da Boid (Cohen), 3 Episodes for Timpani (Beck). Method Books: Working Timpanist's Survival (Tafoya); Neyond Audition Screen (Tafoya); Orchestral Repertoire (Carroll).

Performance Level Rubric - Piano Revised: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed.) Level 5 (Perf.)

Tech

niq

ue

Tone quality is developing, finger technique may have inconsistencies, strenghth is evident. Attention to proper posture, adequate technical facility.

Tone quality and technique showing improvement from previous year. Some lapses may occurm but facility is good and improving.

Characteristic tone quality, good technique with some lapses. Good approach to the instrument, technical facilty is very good and is improving.

Characteristic tone quality and finger dexterity is present; lapses are quickly corrected. Technical facility is excellent and improving.

Excellent, characteristic tone quality and pedal technique . Superior technical facility.

Mu

sici

ansh

ip






Per

form

ance

Poise, artistic presentation, expression, communication at level appropriate for a first year student. Beginning to play from memory (at least one selection)

Poise, artistic presentation, expression, communication are good. Playing form memory (at least two pieces) with no more than 2 major corrections

Poise, artistic presentation, and expression are very good. Communicates with accompanist. Three pieces from memory with no more than one correction per piece.

Poise, artistic presentation, and expression are excellent. Excellent memory, all three pieces, good recovery on any small corrections.

Poise, artistic presentation, and expression are superior. Excellent memory, all pieces, good recovery on any small corrections.

Sca

les

All majors (one octave) quarter notes, MM: 100 bpm.

All majors (2 octaves) and some natural minors. All Major/minor chords and/or arpeggios in inversions

All Majors (4 octaves)s and argeggios in sixteenth notes, hands together, MM: 72 bpm.

All majors, natural, harmonic, and melodic minorsand argeggios in sixteenth notes, hands together, MM: 72 bpm.

All majors and minors in 3rds and 6ths and argeggios in sixteenth notes, hands together, MM: 92 bpm.

Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Schumann Album for the Young , Kabalevsky Children's Pieces , Bach Little Preludes and The Anna Magdalena Notebook, Chopin Preludes in e, c, or b , Handel Telemann or Rameau dance movements, Burgemüller Progressive Studies.

More difficulty and greater amount of music than previous. Sample repertoire list: Bartók Ten Easy Piano Pieces , Debussy Girl with the flaxen hair , Clementi Sonatinas, Bach Two Part Inventions, Chopin Prelude in C , Mendellssohn Songs without Words,Early Scarlatti Sonatas, CPE Bach Solgeggio.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Early Haydn and Mozart Sonatas, Beethoven Op. 14 and 79 , Chopin Nocturnes, Brahms Intermezzi, Bach Three Part Inventions and Suite movements , Chopin Prelude/Raindrop , Bartók Mikrokosmos IV and V, Schumann Papillons and Carnival.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Bartók Dance Suite and Mikrokosmos VI , Hindemith Piano Sonata 2 , Bach Italian Concerto, Beethoven Opus 10, Chopin Ballades, Rachmaninoff Preludes, Bach WTC , Debussy Pour Le piano.

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list:Hindemith Sonatas 1 and 3 , Later Beethoven, Chopin Sonatas and Etudes, Liszt Etudes and Years of Pilgrimage , Bach Partitas and Toccatas, Brahms Sonatas, Chopin complete Preludes, Lieberman Gargoyles.

Performance Level Rubric - Organ Revised: FA15


Tech

niq

ue Technical facility appropriate

for a first year student. Basic understanding of manuals, stops, and pedals of the organ.

Technique is developing. Intermediate understanding of manuals, stops, and pedals.

Technique is advancing. Advanced understanding of manuals, stops, and pedals.

Technique and understanding of the organ appropriate to give a 30-minute recital.

Technique and understanding of the organ appropriate to give a 60-minute recital.

Mu

sici

ansh






Per

form







Sca

les All majors (one octave) and

Arpeggios, including Pedals.All majors (2 octaves when possible) and some natural minors.




Rep

erto

ire

Appropriate difficulty for a first year student. Sample repertoire list: Bach: Chorale preludes from Orgelbüchlein, Eight Little Preludes and Fugues; Pachelbel: Toccatas and Chorale Preludes; Jacques Lemmons: FanfareFranz Joseph Haydn: Pieces for Flute Clocks; Norman Dello Joio: Little Organ Suite; Daniel Pinkham: Toccata from Revelations.

More difficulty and greater amount of music than previous. Sample repertoire list: Bach: Toccata and Fugue in D minor, Fugue in G minor, Fantasie and Fugue in C minor; D’Aquin: Noels;Chorale Preludes:Buxtehude, Bach (Schübler); Cesar Franck: Cantabile; Johannes Brahms: Chorale Preludes;Messiaen: “Prayer” from Ascension Suite.

Mid-level difficulty and more repertoire is being added. Sample repertoire list: Bach, Trio Sonatas; Bach Preludes and Fugues (B minor, F minor, G major); Chorale Preludes: Bach (Great 18), Helmut Walcha, Max Reger;Mendelssohn Organ SonatasFranck: Prelude, Fugue, and Variation, Piece Heroique; Vierne: 24 Pieces in Free Style.

Can perform enough, challenging repertoire to give a 30-minute senior recital. Sample repertoire list: Bach Chorale Preludes (Catechism Chorales)Bach Toccata, Adagio and Fugue; Mozart: Fantasie in F (K. 594 and 608); Franck: Choral in A minor; Hindemith Sonatas I, II, III

Approriate amount and difficulty to perform a 60-minute senior recital. Sample repertoire list: Bach Passacaglia and Fugue;Bach: Toccata in F; Widor: Selected Movements from Organ Symphonies; Alain: Litanies; Couperin: Messe pour les Paroisses and Messe pour les Convents; Franck: Choral in E Major.

Performance Level Rubric – Guitar Revised: FA15

Level 1 Level 2 Level 3 Level 4 (Music Ed.) Level 5 (Performance)Te

chni

que

Demostrates good right and left hand positions for playing. Proper sitting for ease of performance. Basic free stroke arpeggio techniques. Developing alternating (i,m) rest stroke technique.

Good tone quality with some use of dynamics. Developing left hand strength with signs of finger independence.

Good approach to the instrument, technical facilty is a good level for the repertoire. Continued growth and confidence in overall techneque is demonstrated.

Continued growth and confidence in overall techneque is demonstrated. Consistant technique and tone. Arpeggio and scale passages performed with confidence.

Consistant technique and tone. Arpeggio and scale passages performed with confidence. Demonstrates the technical facility necessary for the more demanding repertoire at this level.

Mus

ician


phrasing, and tempo are a priorty though some inconsistencies are present.

Good note and rhythmic accuracy with phrasing. Tempos are appropriate and more consistent.


Excellent note and rhythmic accuracy, long musical phrasing, and consistent tempos.

Near flawless note and rhythmic accuracy, superior musical phrasing. Totally consistent tempos.

Perfo

rman






Scal

es a

nd A

rpeg

gios

First position C, G, D, and A Major (scales, and exercises 1 and 2), from Aaron Shearer's Scale Pattern Studies for Guitar. Completed No.'s 1 - 10 Arpeggio excercises Opus 1 by Mauro Giuliani.

All first position Major (scales, and exercises 1 and 2), from Aaron Shearer's Scale Pattern Studies for Guitar. Completed No.'s 1 - 30 Arpeggio excercises Opus 1 by Mauro Giuliani.

All first position Major and Melodic minor(scales, and exercises 1 and 2), from Aaron Shearer's Scale Pattern Studies for Guitar. Extended scales C, G, D, and A from Diatonic Major and Minor Scales by Andres Segovia. Continuing arpeggio excercises Opus 1 by Mauro Giuliani.

All first position Harmonic minor(scales, and exercises 1 and 2), from Aaron Shearer's Scale Pattern Studies for Guitar. Extended scales C, G, D, and A, plus A min., E min., B min., F# min. from Diatonic Major and Minor Scales by Andres Segovia. Etude #1 by H. Villa-Lobos.

Continue through Diatonic Major and Minor Scales by Andres Segovia. Etudes #1 and #2 by H. Villa-Lobos.

Repe

rtoi

re

First and second position pieces, such as Greensleeves, F. Carulli Etudes, and others found in Solo Guitar Playing by Frederick Noad.

More thickly textured Renaisance pieces such as Pavans by Luis Milan, and Mauro Giuliani's Op. 51.

Etudes Op. 60 matteo carcassi, Etudes Simple Vol. 1 by Leo Brouwer, 20 Studies by Fernando Sor Lagrima, Adelita by Francisco Tarrega. Bourree in E min. By J.S. Bach.

Preludes and Etudes by H. Villa-Lobos. Suite Castellana by F. Moreno-Torroaba. Movements from a Suite by J. S. Bach. Recuedos de la Alhambra by F. Tarrega

Repertoire is bigger. Complete Suite by J. S. Bach. Theme and Variations Op. 9 by Fernando Sor. Fandanguillo by Joaquin Turina. Leyenda by I. Albeniz.

ADJUDICATION STANDARDS FOR VOICE LEVELS The following standards should be demonstrated by the student in the jury performance in order to be promoted to each level. For all students, all material listed on the jury sheet should be memorized. One-unit students will be judged on one song of their choice from their repertoire list. Two-unit students will be judged on one song of their choice and one song of the panel’s choice from their repertoire list. The instructor should prepare students for all aspects of a successful jury performance and all requirements. The great variation available in repertoire selection will make the following standards applicable in their varying degrees to both performance and education majors. As students progress through the levels, all skills for all lower levels should be present.

L1 All students begin at L1 regardless of entry level skill or experience. Promotion to higher levels occurs as they reach the standards for each level.

L2 Deportment: proper appearance and composure in the jury room Technique: proper singing stance and posture, properly coordinated breathing Diction: clear, precise English diction Musicianship: songs performed with accurate pitch, rhythm, and tempo Expression: observation of dynamic markings and mood of the song Suggested Repertoire: Folk song (English and foreign language); musical theater; Italian, Spanish, German or French art song;

sacred song (English, Latin or other languages)

L3 Deportment: confident appearance, proper entrance and exit from the jury room, composure and preparation apparent Technique: solid vocal core, resonant tone, appropriate range for voice type, ability to sustain breath through a phrase Diction: excellent diction in one language other than English (usually Italian, may also be Latin, Spanish, French or German) Musicianship: Ability to perform moderately long melismas, and to observe moderately difficult rhythms, tempo changes,

dynamic expression, and modulations with ease. Expression: Sustained notes performed expressively with consistent healthy vibrato, emotional content expressed vocally,

physical movement appropriate to the text and music, absence of distracting physical habits or non-expressive movement.

Suggested Repertoire: Oratorio aria; pre-1800 Italian aria; Italian, Spanish, German or French art song; musical theater; sacred song

L4 Deportment: professional behavior at all times, thorough knowledge of repertoire background, content, and context. Technique: good projection, strong abdominal action and support, clear resonant tone through all dynamic levels Diction: excellent diction in a second language other than English Musicianship: Ability to sing difficult melodic and rhythmic repertoire Expression: clear and precise emotional expression directly related to the text, meaningful physical movement and expression. Suggested Repertoire: German lieder, Modern French art song, Spanish art song, Italian song, sacred song (Latin, English or

other languages) American art song, Opera aria

L5 Deportment: professional competence and artistic commitment evident during entire appearance Technique: Facility and strength through entire vocal range, vocal agility, mature vocal core Diction: excellent diction in a third language other than English Musicianship: Ability to maintain cohesive and focused musical expression through a group or set of songs Expression: ability to create significant dramatic impact through vocal and physical expression Suggested Repertoire: German lieder, French Art Song, American Art Song, Opera Aria, Song Cycle