Mcgill UNIVERSITY Schulich School of Music GRADUATE EXAMINATION RECITALS for Students Registering in Programs Commencing Sept

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McGill UNIVERSITY Schulich School of Music GRADUATE EXAMINATION RECITALS For Students Registering in Programs Commencing Sept. 2011

It is the responsibility of the student to submit the attached application form to the Graduate Studies Office (Room A726A/B) no later than three months before the recital date (five months for recital dates in September or October). The program will then be submitted to the Department of Performance Graduate Sub-Committee for approval. It is also the responsibility of the student to book the recital date in the Concerts and Publicity Office (Room C208) before submitting the application. Students electing to do a 30-minute recital or a chamber music recital should note that date for these recitals have been reserved by the Area. These are the only dates on which these recitals will be scheduled.

PLEASE NOTE THAT THERE WILL BE A $100 LATE FEE FOR APPLICATIONS RECEIVED AFTER THE THREE MONTH DEADLINE (FIVE MONTHS FOR RECITALS IN SEPTEMBER OR OCTOBER).

The M.Mus., GDPP, D.Mus. Recital Application Form accompanied with 1 copy of a complete TYPED program using standard program format (see example provided) and the appropriate signatures must be submitted before the deadline. Incomplete programs will not be accepted.

All M. Mus. and GDPP students (including voice, opera and conducting) must submit program notes for all their recitals/opera roles, including recording and inter-disciplinary project options as relevant to the project. In the case of Vocal Recital Examinations, students are required to submit song texts (see attached document).

Changes to an approved recital program should be submitted to the Graduate Studies Office at least one month before the recital and the request should come directly from the teacher explaining the reasons for the last minute change.

Attached documents:

Guidelines for program notes (all instruments and voice) and song texts (voice only) for recitals Approved List of Examiners for Graduate Recitals Recital Application Sample program Deadlines for Program Information Document Deadlines for Production Information Document Cancellation/Postponement Policy Document

OFFICE OF GRADUATE STUDIES

GUIDELINES FOR PROGRAM NOTES Effective September 2004 (revised September 2007)

GUIDELINES FOR PROGRAM NOTES FOR ALL M.MUS. AND GDPP PERFORMANCE STUDENTS

Program notes should in a succinct, graceful, and engaging prose address the following factors for each composition that will be performed:

(a) discussion of the significance of the work in question; (b) basic facts of composition, composer’s biography, and the work’s reception history; (c) historical and cultural information that places the work or its performance into a larger context; (d) important compositional features.

There are many ways to structure a note and the layout will depend on the individual work. Provide information which stimulates interest and facilitates a rewarding listening experience, while leaving it to the listener to make up their own mind. Be concise and to the point. Avoid trite commentaries, irrelevant or superficial observations, and unsupported subjective opinions. When providing analytical information, bear in mind that bar by bar analyses do not always make for interesting reading. Also readers will unlikely share your knowledge of technical terms. Give information which will pique your readers’ interest, including insightful or provocative quotations by the composer or significant critical commentator, polemical statements about the work (e.g., adverse criticism which has not been born out by posterity) or significant biographical information which could be said to have had a significant impact on the work. Use wit and 1 metaphor to make your writing engaging.

Other helpful suggestions: 1. Relate facts about the composer and composition as an interesting narrative. Professional guidelines typically suggest that the discussion should move from when and where into broader issues of how and why. 2. It is often useful to refer to works written at the same time or comparable works either by the composer or another composer. 3. Begin with an initial statement or section which captures something of the overall significance of the work in a way that invites your readers to read more. 4. Compositional features should include, as relevant to the specific work, description of the layout of the work and program, significant ideas or movements and analytical observations which will deepen understanding of work’s expression and performance.

Length:

The note for each work should be tied to the length of the work and reflect standards in the professional concert context. In a 60 minute program where all the works are more or less of equal weight, a minimum target would be two paragraphs per piece with a maximum of four pages in length. Notes should be type-written, using 12 point font, and standard margins.

Submission:

Two weeks before the first recital, the student must submit 1 copy of their program notes to the Graduate Studies Office, Room A726B or by email to [email protected].

Grading:

The program notes will be evaluated on a Pass/Fail basis. If a student receives more than 1 failing grade, they will be asked to redo the notes.

1 Adapted from Sydney Conservatorium of Music, “Guidelines for Program Notes,” http://www.music.usyd.edu.au/docs

GUIDELINES FOR SONG TEXTS (VOICE STUDENTS ONLY)

It is important that M. Mus. Vocal Performance graduates who are about to enter the profession be fully capable of creating the written materials that are normally printed in recital programs. For this reason, the Voice Area Committee requires every student presenting a Vocal Recital, as part of the requirements for the M. Mus. Degree, to prepare song texts in the original language with English and French translation. It is intended that this document will be printed and distributed at the recital.

When presenting texts to the public, it is particularly important that the information be completely accurate and that the document is attractively designed and printed. A good poetic translation of the texts is advised. These can often be found in appropriate reference books available in the Marvin Duchow Library or through inter-library loan, at various sites on the Internet, or in many cases, in the accompanying booklet provided with professional CD's and recordings. The Concerts and Publicity Office will help by designing, printing and distributing the final version to the audience, provided that the material is received in an acceptable format and according to the schedule listed below.

PROCEDURE:

a) In consultation with his or her teacher, the student collects the vocal texts (original language plus French & English), enters all this material in a word processor file and assembles a first draft.

b) Once the draft is written, it is reviewed by the student’s vocal teacher who will edit the texts and suggest changes. The student may be required to rewrite part, or all of the document, if in the teacher’s opinion, it is not adequate. Subsequent drafts may be necessary to ensure that the document meets the requirements for accuracy, correctness and style.

c) Song texts must be photocopy ready in a small font size (suggested size: 9), in French and English. Song texts will not be formatted by the Concerts and Publicity Office, only sent for photocopying as is. Concerts and Publicity will arrange for the vocal texts to be printed and will distribute the document at the recital.

d) In the event that a document is not submitted or submitted late, the grade for the recital will be withheld until the document has been received.

Song Texts

 Must be submitted by e-mail as a word document attachment to [email protected] at the same time as Program Information o Must appear in French, English and original language o Must be written in 9 point font size o Must appear in correctly aligned columns. Absolutely no formatting of song texts will be done by the C&P Office o Must be approved by the office of C&P

Absolutely no formatting of song texts will be done by the Concerts and Publicity Office.

APPROVED LIST OF EXAMINERS FOR GRADUATE RECITALS

The examining panel for all Graduate recitals consists of three members, one of whom is the student’s teacher, except in the event that the student has two teachers: in this instance, the panel will consist of four members. The other panel members are selected from the list of examiners for the student’s area (i.e., horn from the horn list, voice from the voice list, etc.). In some areas, panels have additional constraints:

Chamber Music examination The panel must include one Area Chair (or delegate) and one other member as appropriate to the student’s recital program. In the event that two or more members of an ensemble are being graded in the same recital, the panel will consist of each student’s teacher, plus the Area Chair (or delegate) if required. Collaborative Piano examination The panel must include a member of the piano, collaborative piano, string, wind, brass, and Chamber Music Recital percussion and/or voice lists as appropriate for the student’s recital program, one of whom involving a pianist would typically be the Collaborative Piano Coordinator unless he is the teacher or there are other circumstances to be considered. Master’s Conducting examination The panel for the rehearsal and the performance must include one examiner from those listed for Orchestral and Wind Band Conducting and one examiner from those listed for wind instruments (for wind band conducting) or orchestral instruments (for orchestral conducting). Doctoral Conducting examination The rehearsal must be judged by 2 conductors and one member from the instrumental list as appropriate to the repertoire and ensemble. The performance will be judged by the same 2 conductors and one external member. D.Mus. Recital The panel must include one member selected from the list below and one external examiner. Interdisciplinary Projects Involving The panel must consist of the teacher and two other members selected from the list of a Performance examiners. One of the latter may be substituted with an expert from another field as relevant to the specific proposal (e.g., composer, theatre, etc.). When the project is a research study, the final grade will be assigned in the same manner as a special project, fifty percent by the performance teacher, fifty percent by the research supervisor. Opera Roles The panel must include the Director of Opera Studies and one member from the Voice area listed below. Orchestral Repertoire examination One of the three panel members must be the Area Chair.

Recording Project The exam panel must consist of the student's teacher and two other members from the list of recommended panel members for the student's instrument and program. Voice Area examination The panel must include one voice teacher in addition to the student’s teacher. Quick Study examination For the Vocal/Opera Quick Study the panel must include the candidate's Voice Teacher, the Vocal Repertoire Coach, and one other representative from the Vocal Area or one other member chosen from the list of approved examiners for Voice. For the Collaborative Piano Quick Study the panel must include the candidate's piano teacher, the Collaborative Piano Coordinator or delegate, and another member from the approved list of examiners for voice, string, wind, brass, or percussion as appropriate to the students’ specific repertoire.

The student and teacher must choose four names from the Approved List of Examiners for Graduate Recitals (below) and list them on the examination application form. If the student has a particular reason why he or she does not want a particular examiner on the panel, this should be made known to the Graduate Coordinator when the application is handed in.

Teachers should note that priority in selecting examiners for graduate recitals will be given to salaried staff for budgetary reasons. External examiners are for Doctoral examinations only.

Should any of members of the examination panel wish to have music for the examination; the student will be asked to provide the necessary copies. For further details concerning recital examinations, please consult the Handbook for Graduate Students in Music

STRINGS Violin Andrée Azar, Lambert Chen, Elizabeth Dolin, Mark Fewer (on leave Winter 2014), Matt Haimovitz (on leave Winter 2014), Denise Lupien, Marcelle Mallette, Douglas McNabney, Alexander Read, Richard Roberts, André J. Roy, Axel Strauss, Andrew Wan, Yukari Cousineau (external) Lawrence Kayelah (external), Anne Robert (external), Claude Richard (external), Marcel Saint-Cyr (external), Olivier Thouin (external)

Viola Andrée Azar, Lambert Chen, Elizabeth Dolin, Mark Fewer (on leave Winter 2014), Matt Haimovitz (on leave Winter 2014), Frédéric Lambert, Denise Lupien, Marcelle Mallette, Annabelle Marcotte, Douglas McNabney, Alexander Read, Richard Roberts, André J. Roy, Axel Strauss, Andrew Wan, Yukari Cousineau (external), Jean Fortin (external), Lawrence Kayelah (external), Jutta Puchhammer (external), Marcel Saint-Cyr (external).

Cello Lambert Chen, Elizabeth Dolin, Yegor Dyachkov, Mark Fewer (on leave Winter 2014), Matt Haimovitz (on leave Winter 2014), Denise Lupien, Brian Manker, Douglas McNabney, Richard Roberts, André J. Roy, Axel Strauss, Andrew Wan, Anna Burden (external), Guy Fouquet (external), Johanne Perron (external), Gary Russell (external), Marcel Saint-Cyr (external), Carole Sirois (external).

Double Bass Eric Chappell, Mark Fewer (on leave Winter 2014), Matt Haimovitz (on leave Winter 2014), Denise Lupien, Douglas McNabney, Richard Roberts, Brian Robinson, Andre J. Roy, Axel Strauss, Ali Yazdanfar, Pierre Pépin (external), Scott Feltham (external), Joel Quarrington (external), Gary Russell (external), Marcel Saint- Cyr (external)

HARP Denis Bluteau, Olga Gross, Danielle Habel, Aiyun Huang (on leave Winter 2014), Caroline Lizotte, Douglas McNabney, André Roy, Cindy Shuter, Jennifer Swartz.

GUITAR Garry Antonio, Tim Dobby, Mike Gauthier, René Rusch, Michel Bélair (external), Marc Deschenes (external), Alcides Lanza (external), Peter McCutcheon (l’Université de Montreal), Bruno Perron (external), André Roy (external), Jean Vallières (Le Conservatoire du Québec).

PERCUSSION Denys Bouliane, Guillaume Bourgogne, Brian Cherney, Sean Ferguson, Chris Harman, Aiyun Huang (on leave Winter 2014), Melissa Hui, Alcides Lanza, Philippe Leroux, , Jean Lesage, Fabrice Marandola, Shawn Mativetsky, Christoph Neidhöfer, John Rea, Andreï Malashenko, (external) Mario Boivin (external) , Louis Charbonneau (external) , Russell Hartenberger (external) , Philip Hornsey (external), Julien Grégoire (external), Catherine Meunier (external), Robert Leroux (external), Jean-Guy Plante (external), Lorraine Vaillancourt (external).

WOODWINDS Flute Carolyn Christie, Heather Howes, Timothy Hutchins, Abe Kestenberg, Jacqueline Leclair, Cindy Shuter, Denis Bluteau (external), Virginia Spicer (external).

Oboe Theodore Baskin, , Normand Forget, Abe Kestenberg, Jacqueline Leclair, Alexa Zirbel, Diane Lacelle (external), Margaret Morse (external) Kirsten Zander (external), Mélanie Harel (external), Lise Beauchamp (external), Marjorie Tremblay (external).

Saxophone Simon Aldrich, Peter Freeman, Abe Kestenberg, Pat Vetter (external).

Clarinet Simon Aldrich, Robert Crowley, Alain Desgagné, Michael Dumouchel, Abe Kestenberg, André Moisan (external)

Bassoon Theodore Baskin, Normand Forget, Matthieu Harel, Abe Kestenberg , Jacqueline Leclair, Stéphane Lévèsque, Martin Mangrum

BRASS Trumpet Stéphane Beaulac, Alain Cazes, James Box, Russell De Vuyst, Andrew Dunn, Sasha Johnson, David Martin, Paul Merkelo, Dennis Miller (on leave), Robert Gibson (external), Jean-Luc Gagnon (external).

French Horn Alain Cazes, Denys Derome, Russell De Vuyst, Andrew Dunn, Jean Gaudreault, Dennis Miller (on leave), John Zirbel, Louis-Philippe Marsolais (external).

Trombone James Box, Pierre Beaudy, Alain Cazes, Trevor Dix, Andrew Dunn, Jean Gaudreault, Austin Howle, Sasha Johnson, David Martin, Dennis Miller (on leave), Vivian Lee (external).

Tuba Pierre Beaudy, James Box, Alain Cazes, Trevor Dix, Andrew Dunn, Jean Gaudreault, Austin Howle, Sasha Johnson, David Martin, Dennis Miller, Vivian Lee (external), Yan Sallafranque (external).

PIANO Tom Beghin, Elizabeth Dolin (Chamber Music), Mark Fewer (Chamber Music) – on leave Winter 2014, John Grew, Matt Haimovitz (Chamber Music) – on leave Winter 2014, Patrick Hansen, Kyoko Hashimoto, Hank Knox (on leave), Sara Laimon, Jean Marchand, Douglas McNabney (Chamber Music), Marina Mdivani, Michael McMahon, Ilya Poletaev, André Roy (Chamber Music), Thomas Williams (Chamber Music), Luba Zuk, Henri Brassard (external), Marc Durand (external), Pierre Jasmin (external), André Laplante (external), Stephane Lemelin (external), Tom Plaunt (external), Marcel Saint-Cyr (external - Chamber Music), Jean Saulnier (external), Dang Thai Son (external), Raoul Sosa (external), Paul Stewart (external), Andrew Tunis (external), Ireneus Zuk (external).

COLLABORATIVE PIANO Michael McMahon, Esther Gonthier (piano accompaniment).

VOICE Stefano Algieri, Denys Bouliane, Julie Cumming, Esther Gonthier, Patrick Hansen, Alexis Hauser, Steven Huebner, Valerie Kinslow, Roe-Min Kok, Joanne Kolomyjec, Aline Kutan, Michael McMahon, Christoph Neidhöfer, Annamaria Popescu, Winston Purdy, Thérèse Sevadjian, Eleanor Stubley, Sanford Sylvan, Lloyd Whitesell, Boris Brott (external), Karina Gauvin (external), Christopher Jackson (external, Early Music), Chantal Lambert (external), Rosemarie Landry (external), Gaetan Laperrière (external), Gabrielle Lavigne (external), Suzie LeBlanc (external, Early Music), Joseph Rouleau (external), Catherine Sevigny (external), Richard Turp (external), Robin Wheeler (external).

JAZZ Greg Amireault (guitar), Kenny Bibace (guitar), Remi Bolduc (saxophone), Greg Clayton (guitar), Jocelyn Couture (trumpet), Kevin Dean (trumpet), Ron DiLauro (trumpet), Chester Doxas (saxophone), Jimmy Doxas (drums), Mike Gauthier (guitar), David Grott (trombone), Fraser Hollins (bass), Jan Jarczyk (trombone and piano), Christine Jensen (saxophone), Carlos Jimenez (guitar), Jeff Johnston (piano), Donny Kennedy (saxophone), Dave Laing (drums), Michel Lambert (drums), Ranee Lee (voice), Frank Lozano (saxophone) Bill Maher (trumpet), Chris McCann (drums), Allan McLean (saxophone), Joel Miller (saxophone), Josh Rager (piano), Min Rager (Piano), John Roney (piano), Joe Sullivan (trumpet – on leave Winter 2014), Jean- Nicholas Trottier (trombone), Alec Walkington (bass), André White (piano and drums), Mohammed Abdul- Al Khabyyr (trombone – external), Michel Donato (bass- external), Aron Doyle (trumpet – external), Richard Irwin (drums – external), Andre Leroux (saxophone - external), Mike Rudd (guitar – external), Jeff Simons (voice- external).

ORCHESTRAL AND WIND BAND CONDUCTING Denys Bouliane,Guillaume Bourgogne, Alain Cazes, Alexis Hauser, François Ouimet, Winston Purdy, Peter Schubert, Eleanor Stubley, Raffi Armenian (external), Boris Brott (external), Iwan Edwards (external), Robert Gibson (external), Robert Ingari (external), Marika Kuzma (external), Bernard Labadie (external), Louis Lavigueur (external), Wayne Riddell (external), Jean-FrançoisRivest (external), Alain Trudel (external), Jean-Marie Zeitouni (external).

EARLY MUSIC Tom Beghin, Sylvain Bergeron, Mélisande Corriveau, Julie Cumming, Hans-Ola Ericsson, John Grew, Claire Guimond, Matthew Jennejohn, Valerie Kinslow, Douglas Kirk, Hank Knox (on leave), Mattieu Lussier, Betsy MacMillan, Matthias Maute, Natalie Michaud, Susie Napper, Hélène Plouffe, William Porter, Peter Schubert, Mark Simons, Alexander Weimann, Lena Weman-Ericsson, Marcel Saint-Cyr (external), Luc Beauséjour (external), Olivier Brault (external), Francis Colpron (external), Chloe Meyers (external), Chantal Rémillard (external), Robin Wheeler (external).

HARPSICHORD Tom Beghin, Hans-Ola Ericsson, John Grew, Claire Guimond, Valerie Kinslow, Hank Knox (on leave), Betsy MacMillan, Natalie Michaud, Ilya Poletaev, William Porter, Rachelle Taylor, Alex Weimann, Lena Weman- Ericsson, Luc Beauséjour (external), Réjean Poirier (external), Yves Préfontaine (external), Chantal Rémillard (external).

ORGAN Hans-Ola Ericsson, John Grew, Hank Knox (on leave), William Porter, Luc Beauséjour (external), Jacques Boucher (external), Mireille Lagacé (external), Jonathan Oldengarm (external), Yves Préfontaine (external), Patrick Wedd (external).

SCHULICH SCHOOL OF MUSIC - GRADUATE STUDIES OFFICE M. MUS., GDPP & D. MUS. EXAM RECITAL APPLICATION **********

Name: Student No.:

Degree and program option: Performance Hall:

Tel. No.: E-mail address:

Recital Date: /_ /__ Recital Start Time: (or Recording dd mm yy Date) Instrument/Voice: Teacher:

Check appropriate box:

Masters: Doctoral: � Recital Project 1 MUPG 600 (9 credits) � D.Mus. Solo Recital 1 MUPG 760 (12 credits) � Recital Project 2 MUPG 601 (9 credits) � D.Mus. Solo Recital 2 MUPG 767 (12 credits) � Recital Project 3 MUPG 602 (6 credits) � Recital Project 4 MUPG 603 (3 credits) Graduate Diploma: � Recital Project 5 MUPG 604 (6 credits) � Performance Project 2 MUPG 642 (6 credits) � Recording Project MUPG 605(3 credits) � Performance Project 3 MUPG 643 (6 credits) � Interdisciplinary Project 1 MUPG 606 (3 credits) � Performance Project 4 MUPG 644 (9 credits) � Interdisciplinary Project 1 MUPG 606 (3 credits) � Performance Project 5 MUPG 645 (12 credits) � Quick Study MUPG 614 (3 credits)

� Opera Coach Project MUPG 653 (9 credits) Jazz: � Opera Coach Performance MUPG 654 (6 credits) � Perf. /Comp. Recital Project MUPG 651 (9 credits) � Jazz Ensemble Recital Project MUPG 652 (9 credits) � Special Project in Church Music MUPG 676 (9 credits)

Have you taken this recital before  Yes  No Date: FILL IN PART 1, 2, OR 3, Depending on the Nature of your Project. . Please attach 1 copy of complete TYPED program using the format below. Recital programs should be complete and error free. Jazz programs should include a short description of works in progress (i.e. thematic construction, techniques being explored/developed, etc) of each piece. Incomplete applications will not be accepted. Include: Title, opus number, key, movements, composer and dates, duration of piece, duration of program/role (Indicate intermission where applicable). A list of all other performers involved in program, if applicable, should be included (name and instrument). If there are special technology requirements, please include the details in the program. PART 1: RECITAL PROJECTS (MUPG 600 – 04; 651-54; 642-45; 760-67) ********** Recommended panel (in addition to teacher):

alternate:

Teacher’s signature Date Student’s signature Date

Date of recital Time of recital

Master’s Recital (Chamber Music)

Name of student piano Class of (insert name of teacher)

Hermit Songs, Op. 29 Samuel Barber At St. Patrick’s Purgatory (1910-1981) Church Bell at Night The Crucifixion Sea-Snatch The Monk and His Cat The Desire for Hermitage

(Insert name of performer), soprano

[Insert total timing of piece]

Sonata for piano and cello in F major, Op. 99 Johannes Brahms Allegro vivace (1833-1897) Adagio affettuoso Allegro passionato Allegro molto

(Insert name of performer), cello

[Insert total timing of piece]

Intermission

Piano Quartet in E flat, Op. 87 Antonin Dvorak Allegro con fuoco (1841-1904) Lento Allegro moderato, grazioso Finale: Allegro, ma non troppo

(Insert name of performer), violin (Insert name of performer), viola (Insert name of performer), cello

[Insert total timing of piece]

[Insert total timing of program excluding intermission]

PART 2: RECORDING PROJECT (MUPG 605) **********

Please attach 1 copy of complete TYPED program using the format below. Recital programs should be complete and error free. Incomplete applications will not be accepted. Include: Title, opus number, key, movements, composer and dates, duration of piece, duration of program. In the context of a solo instrumental or vocal program, some chamber music may be included. A list of all other performers involved in the program, if applicable, should be included (name and instrument). If there are special technology requirements, please include the details in the program. In the space below, submit one TYPED paragraph outlining your reasons for selecting the repertoire (cut and paste).

RATIONALE for REPERTOIRE CHOICES:

Sound Engineer: Signature of Sound Engineer:

Location of Recording: Scheduled Dates of Post-Production:

Recommended panel (in addition to teacher):

alternate:

Teacher’s signature Date Student’s signature Date

For office use only

Graduate Performance Sub-Committee Date

Date of Recording Sessions: Location of Recording Sessions :

Recording Project (Orchestral Instrument)

Name of student viola Class of (insert name of teacher)

Hermit Songs, Op. 29 Samuel Barber At St. Patrick’s Purgatory (1910-1981) Church Bell at Night The Crucifixion Sea-Snatch The Monk and His Cat The Desire for Hermitage

(Insert name of performer), soprano

[Insert total timing of piece]

Sonata for piano and cello in F major, Op. 99 Johannes Brahms Allegro vivace (1833-1897) Adagio affettuoso Allegro passionato Allegro molto

(Insert name of performer), cello

[Insert total timing of piece]

Piano Quartet in E flat, Op. 87 Antonin Dvorak Allegro con fuoco (1841-1904) Lento Allegro moderato, grazioso Finale: Allegro, ma non troppo

(Insert name of performer), violin (Insert name of performer), viola (Insert name of performer), cello

[Insert total timing of piece]

[Insert total timing of program]

PART 3: INTERDISCIPLINARY PROJECTS (MUPG 606-07), SPECIAL PROJECT IN CHURCH MUSIC (MUPG 676)

Please attach a 1 page TYPED description of your project that details the collaborators involved, the specific role of each of the collaborators, the specific objectives of the project and the means or methods by which the project will be completed (e.g., performance, presentation, publication, etc.) For example, in the case of a composer-performer or performer-dancer collaboration, the project proposal should detail the specific parameters of the composition or interpretative process and the way(s) in which the participants will collaborate (i.e., exploring particular techniques through which different extended techniques will be notated, developing particular gestures through which the musical language will evolve, the relationship between a performer's gestures and the bodily gestures of a dancer, the choreographic implications of a dramatic scene, etc.). In the case of a research study, the proposal should detail the goals and objectives of the study and the particular tasks that will be completed by the performer, and the importance of those tasks to the study as a whole. Where a performance is involved please also attach a copy of the program as detailed in part 1 of this form. Recital programs should be complete and error free. Incomplete applications will not be accepted. Include: Title, opus number, key, movements, composer and dates, duration of piece, duration of program. If there are special technology requirements, please include the details in the program.

**********

Name of Other Participant: Signature:

Recommended panel (in addition to teacher):

alternate:

Teacher’s signature Date Student’s signature Date

Research Supervisor’s signature (if appropriate) Date

For office use only

Graduate Performance Sub-Committee Date

Graduate Research Sub-Committee Date

Concert Policies and Deadlines

DEADLINES

All the following items have very clear deadlines. Any and all requests submitted after those deadlines will not be approved. Therefore, please make sure that we will know what your production requirements are at the very latest four (4) weeks before your concert. Even better, you can let us know about your requirements at the time of booking.

PRODUCTION

Booking a Date

 Johanne Froncioni (8993) is responsible for booking Concert Halls. Her office is located in room C-208 in the Strathcona Music Building.

Production Requirements

 Your production requirement forms must be received by Serge Filiatrault no later than four (4) weeks before your event. Please send them by e-mail to [email protected]. This is valuable for all chamber music concerts, class concerts and recitals.

Live Sound Requests

 Must be attached to your production requirement forms and must follow the same deadlines.

Recording of Concerts

 Recitals can be recorded free of charge by using the one-touch recording system. Otherwise there will be a service charge according to the following price list (these prices are for a maximum of musicians on stage at any given time): o For up to 5 musicians: 50$ o For up to 15 musicians: 75$  All recording requests (free or not) must be made on the appropriate form available from the Production Office (C-208) and returned no later than 2 weeks before the event.

PROGRAMS

Program Information

 We must receive your program at the latest four weeks before your concert. The program must be sent to Marie Pothier ([email protected]) and include o The name of the composers, with their dates of birth and death o The complete title of each piece, with the movements, opus number and key o The name and instrument of the performers and the exact piece they present o The place of the intermission o The degree program and the name of your professor

Song Texts

CANCELLATION POLICY FOR ALL GRADUATE RECITALS

Approved at Faculty Council, May 15, 2003.

All requests for graduate recital cancellations, postponements, or changes after the recital date has been confirmed must be submitted in person and in writing to the Graduate Studies Office for approval by the Director of Graduate Studies, the Chair of the Performance Department and the student’s Area Chair, in consultation with the Director of Concerts and Publicity, at least two months prior to the concert date. The written document must explain the reasons for the request, and must be accompanied by a signed note of support from the student's teacher. Any requests submitted less than two months before the date of the recital will be charged a $100 processing fee, unless an appropriate medical note signed by a doctor and indicating the dates during which the student cannot perform is submitted.

03/08/12 hd