Music
Handbook Revised October, 2019
Resources for Students and Faculty
TABLE OF CONTENTS
Overview of the Music Handbook ...... 1 Mission Statement ...... 1 Accreditation ...... 1 Goals ...... 1 Kansas State Department of Education Music Standards ...... 2 Degree Programs in Music ...... 4 Music Faculty & Staff ...... 5
General Information Accompanists ...... 6 Advising ...... 7 Applied Music ...... 7 Auditorium ...... 7 Calendar ...... 7 Classrooms ...... 7 Computers ...... 7 Concert Etiquette ...... 7 Copyright Infringement ...... 8 Curriculum ...... 8 Declaring a Major ...... 8 Declaring a Minor ...... 8 Ensembles ...... 8 Concert Chorale ...... 8 Symphonic Band ...... 8 Orchestra ...... 8 Women’s Ensemble ...... 9 Men’s Choir ...... 9 Chamber Ensembles ...... 9 Faculty Office Hours ...... 9 Fees ...... 9 Health and Safety ...... 9 Instrument Loan and Rental ...... 10 Keys ...... 10 Library ...... 10 Lockers ...... 10 Participation Awards ...... 10 Practice Rooms ...... 11 Purchasing Music ...... 11 Scheduling of Lessons ...... 11
Academic Policies and Procedures Application & Admission to the Department ...... 11 Complaint Policy ...... 12 Concert Attendance ...... 13 Credit/Time Requirements ...... 13 Grading Policies ...... 15 Junior and Senior Recitals ...... 15 Senior Recital - Composition Emphasis ...... 15 Jury Examinations ...... 15 Jury Evaluation ...... 16
i Jury Evaluation – Composition Emphasis ...... 16 Piano Proficiency Examination ...... 16 Practice Logs ...... 16 Programs ...... 16 Portfolios ...... 16 Recital Performance ...... 17 Students with Disabilities ...... 17
Forms, Documents, and Worksheets Application for Acceptance to the Music Department as a Major ...... 19 Freshman Interview/Jury Sheet ...... 20 Sophomore Barrier Jury Sheet ...... 22 Jury Repertoire Sheet ...... 24 Jury Evaluation Form ...... 25 Composition Jury Repertoire Sheet ...... 26 Composition Sophomore Barrier Jury Sheet ...... 27 Composition Jury Evaluation Form ...... 29 Concert Attendance Form ...... 30 Noon Recital Attendance Form ...... 31 Noon Recital Performance Form ...... 31 Piano Proficiency Examination ...... 32 Curriculum Worksheets Bachelor of Arts in Music ...... 33 Bachelor of Arts in Music/Emphasis in Composition ...... 36 Bachelor of Music Education ...... 39 Music Minor ...... 43 Suggested Courses of Study – 4 year suggested sequence Bachelor of Arts in Music ...... 44 Bachelor of Arts in Music/Emphasis in Composition ...... 45 Bachelor of Music Education ...... 46 Petition for Acceptance to a MAJOR Program ...... 47 Petition for Acceptance to a MINOR Program ...... 48 Current Student Ensemble Participation Award Agreement ...... 49 Protect Your Hearing Every Day ...... 50 Protect Your Neuromusculoskeletal and Vocal Health Every Day ...... 56
Faculty Resources ...... 65
Repertoire lists Brass/Percussion ...... 67 Piano ...... 76 Organ ...... 77 Strings ...... 77 Guitar ...... 78 Vocal ...... 79 Woodwinds ...... 80
ii OVERVIEW OF THE MUSIC DEPARTMENT HANDBOOK
The Handbook contains important information for students regarding the policies and curricula of the music department. Students should use the Handbook as a resource for planning for the major and accessing information regarding departmental policies and procedures.
MISSION STATEMENT
The mission of the Benedictine College Music Department complements the mission of the college as presented in the catalog, and is accepted by the music faculty and all constituents of Benedictine College:
The Benedictine College Music Department strives to present opportunities for students that meet the artistic, creative, and scholarly demands of those who intend to pursue teaching, performance or other careers in music. The Department enhances the cultural activities of the college and serves the student body with offerings in applied music and with vocal and instrumental ensembles.
ACCREDITATION Benedictine College is accredited as a degree-granting institution of higher education by: North Central Association of Colleges and Schools; National Association of Schools of Music; and the National Council for Accreditation of Teacher Education.
GOALS
1. The Music Department aims to provide for students in the liberal arts degree programs (Bachelor of Arts degree with a major in Music, Bachelor of Arts with a major in Music with Emphasis in Music Composition,) educational opportunities, performance experiences, and expectation of standards on a national level to prepare them for entrance into study on the graduate level and/or preparation for a professional career in music. 2. The Music Department aims to provide professional training for those students desiring to teach PreK-12 general music through the Bachelor of Music Education degree program. 3. The Music Department aims to successfully meet standards required by the appropriate accrediting agencies: National Association of Schools of Music (NASM), Kansas State Department of Education (KSDE), Council for the Accreditation of Educator Preparation, (CAEP). 4. The Music Department aims to provide to all students the opportunity to perform in ensembles, participate in music courses and applied music, and to attend musical events for their cultural development. 5. The Music Department aims to provide an atmosphere that fosters scholarship and independent research to reflect the character of Benedictine College as America's Discovery College.
1 KANSAS STATE DEPARTMENT OF EDUCATION MUSIC STANDARDS
In addition to the goals, objectives, and competencies set for all teacher education students at Benedictine College, the Department of Music adheres to the following educational objectives that are specific to music education students and are issued by the Kansas State Department of Education. The Benedictine College Music Department and the Department of Education present programs for PreK-12 instrumental, vocal and general music. KSDE Standards for PreK-12 General Music are as follows:
Standard # 1 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in pedagogy (planning, delivering instruction, and assessment) for vocal, instrumental, and general music. Content Knowledge 1.1 The teacher understands repertoire and pedagogy appropriate for various developmental stages. 1.2 The teacher knows representative works of the past and present from the solo, small, and large ensemble literature. 1.3 The teacher utilizes a variety of pedagogies appropriate to teaching singing, performing, listening, moving, creating, and reading/writing. Professional Skills 1.4 The teacher performs alone with musical understanding and technical proficiency sufficient to interpret and model representative works of the past and present. 1.5 The teacher performs alone and in small and large ensembles (vocal and instrumental). 1.6 The teacher demonstrates the ability to access musical and literary resources for vocal and/or instrumental music. 1.7 The teacher develops pedagogy appropriate for various developmental stages, and models/implements musical skills, such as singing, performing, listening, moving, creating, and reading/writing. 1.8 The teacher demonstrates singing effective for instructional purposes. 1.9 The teacher demonstrates functional knowledge of various instruments and musical technologies.
Standard # 2 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in creating, arranging, and improvising. Content Knowledge 2.1 The teacher knows the characteristics, ranges and traditional usages of various musical sound sources to make the discipline accessible and meaningful for learners to assure mastery of content. Professional Skills 2.2 The teacher improvises melodies and accompaniments that are stylistically appropriate over various harmonic progressions for modeling and teaching improvisation. 2.3 The teacher performs written accompaniments on the music keyboard or chord instrument and transposes accompaniments to developmentally appropriate keys and ranges. 2.4 The teacher creates music appropriate for various developmental stages. 2.5 The teacher transcribes or arranges selected music for voices and instruments other than those for which the pieces were written in ways that preserve or enhance musical expression.
Standard # 3 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in reading and writing music. Content Knowledge 3.1 The teacher understands the aural and notational skills required for creating and recreating music for instruction. Professional Skills
2 3.2 The teacher conducts from a variety of scores, reading multiple staves, transpositions, clefs, and contemporary notation. 3.3 The teacher performs music notation at sight vocally and instrumentally. 3.4 The teacher notates music from aural sources. 3.5 The teacher can develop and use criteria for evaluating selecting materials for reading and writing musical compositions. 3.6 The teacher selects, maintains, and integrates technology to facilitate music reading and writing.
Standard # 4 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in listening to, analyzing, describing, and performing music. Content Knowledge 4.1 The teacher knows technical and symbolic vocabulary of music. 4.2 The teacher understands the organization of sound in musical forms. 4.3 The teacher understands the common elements of music and their interaction through aural and visual analysis. Professional Skills 4.4 The teacher identifies, through visual and aural analysis, composers and music representing diverse styles, periods, cultures, genres, and techniques of musical organization. 4.5 The teacher describes and models relevant performance practices, techniques, and compositional devices. 4.6 The teacher demonstrates effective strategies for developing students’ growth through a variety of active musical experiences.
Standard # 5 - The teacher of PK-12 music (Instrumental, Vocal, General) has skills in selecting, analyzing, interpreting, presenting, and evaluating music and music performance within the context of music education. Content Knowledge 5.1 The teacher understands criteria for evaluating the quality and effectiveness of teaching materials (i.e. compositions, arrangements, improvisations) and performances. Professional Skills 5.2 The teacher evaluates a varied repertoire of music through planning, engaged instruction, performance, and assessment. 5.3 The teacher demonstrates effective strategies for student exploration of the music of various historical periods and cultures as appropriate for various developmental stages. 5.4 The teacher facilitates student self-evaluation of music and musical performances. 5.5 The teacher develops, plans and implements music classroom instruction and performance at all developmental levels (i.e. inclusive, solo, chamber, auditioned).
Standard # 6 - The teacher of PK-12 music (Instrumental, Vocal, General) can assess musical knowledge and skills. Content Knowledge 6.1 The teacher understands and uses multiple methods of assessment to measure student growth, monitor student progress, and inform both student and teacher decisions. Professional Skills 6.2 The teacher selects, designs, and applies music assessment strategies that evaluate the program to ensure students’ learning, skill, and artistic development.
Standard # 7 - The teacher of PK-12 music (Instrumental, Vocal, General) demonstrates professional responsibility and reflective practice. Content Knowledge 7.1 The teacher understands cognitive, affective, and psychomotor aspects of music education to meet the needs of each learner. 7.2 The teacher is aware of the impact of a program within a community. 7.3 The teacher understands appropriate professional, ethical, administrative (financial, management, organizational, and operational) aspects of an overall music program.
3 Professional Skills 7.4 The teacher articulates a philosophy of music education. 7.5 The teacher provides musical experiences that enhance students’ intellectual, personal, emotional, social and career development. 7.6 The teacher articulates the unique musical contributions of cultural diversity. 7.7 The teacher manages the classroom and instructional time effectively through appropriately structured learning activities, efficient transitions and pacing, balanced presentations of music education materials, and music for performance. 7.8 The teacher operates and maintains musical instruments and equipment. 7.9 Teachers seek leadership roles and collaborative opportunities to ensure learner growth and to advance the profession. 7.10 The teacher demonstrates abilities in knowledge of technology and its pedagogical application within the classroom to deepen the students’ understanding of musical content.
DEGREE PROGRAMS IN MUSIC
Bachelor of Arts in Music: A degree designed for those students wishing to enrich their lives with the study of music. Those students desiring a professional career should pursue this degree program and consider further studies in graduate school.
Bachelor of Arts in Music with Emphasis in Music Composition: A degree designed for those students seeking a career as a composer or continuing graduate studies in composition.
Bachelor of Music Education: A degree designed for those students wishing to teach Pre-K-12 music. This program is approved by the Kansas State Department of Education (KSDE), Council for the Accreditation of Educator Preparation, (CAEP), and the National Association of Schools of Music (NASM).
Music Minor: A program of study for those persons majoring in a discipline other than music who wish to acquire a basic background in music.
4 MUSIC FACULTY AND STAFF
Name & Office Number Extension & E-mail
Dr. John Paul Department Chair 7598 Professor Theory, History [email protected] BFH 308
Dr. Christopher Greco Theory, Orchestration, 7599 Professor Woodwinds [email protected] BFH 323 Composition
Mr. Ted Hanman Bands, Brass, Music Ed, 7996 Assistant Professor Percussion [email protected] JPIISC Rehearsal Room Instrumental Conducting
Mr. Tim Tharaldson Choral Ensembles, Voice, 7597 Assistant Professor Choral Conducting [email protected] BFH 318
Dr. Brian Casey Orchestra Conductor [email protected] Adjunct
Dr. Mackenzie Phillips Voice, Class Voice 7449 Adjunct Opera Workshop [email protected] BFH 205
Dr. Lara West Organ 7353 Adjunct World Music Literature [email protected] BFH 202 Music Appreciation
Mrs. Laura Goehner-Moreno Piano 7347 Adjunct Staff Accompanist [email protected] BFH 301
Mrs. Judy Koster Strings 7347 Adjunct [email protected] BFH 301
Ms. Michelle Rautmann Piano 7347 Adjunct [email protected] BFH 301
Mr. Jason Riley Guitar 7353 Adjunct [email protected] BFH 202
Ms. Alyssa Toepfer Voice 7449 Adjunct [email protected] BFH 205
Mrs. Lois Niemann Administrative Assistant 7477 BFH 309 [email protected]
5
GENERAL INFORMATION
ACCOMPANISTS Students have the opportunity to serve as accompanists within the department. Please see the Chair if you would like to serve. We are fortunate to retain the services of an outstanding professional accompanist, Ms. Laura Goehner- Moreno. Here are the guidelines for you to follow to use her services:
♫♫♫♫♫♫♫ Laura Goehner-Moreno ♫♫♫♫♫♫♫
Benedictine College
Staff Accompanist/Piano Collaborator
Voice ~ Woodwinds ~ Brass ~ Strings ~ Percussion ~Guidelines~ Please call or e-mail to schedule an appointment at least 3 weeks before a performance. Remember to include all your available days and times when you first email me.
Deliver the music to my bulletin board. If the music is in the public domain, print out the music yourself and post it to my bulletin board in Fink, room #205. I should receive the music near the time you first contact me, about 3 weeks before we practice.
Print guidelines: music must be single-sided, very black notes (not gray), white paper (not beige), no cut-off notes and include title. Remember to write your name on the first page so that I know whose music it is.
Contact info:
E-mail: [email protected]
Hone phone: 913-370-9413
Cell phone (for urgent needs): 650-704-6917, text is fine
Accompanying hours vary and are arranged on an individual basis. I am on campus Mondays - Thursdays. Practices are in the afternoon, ending by 3:15pm.
6 ADVISING You will be assigned an advisor for your first year of study. The advisor may or may not be a music faculty member. If you intend to pursue a music major please inform the registrar’s office so that an appropriate advisor may be assigned. Please see your advisor frequently concerning academic issues. Your advisor is your best resource. The advisor may offer advice concerning available resources to aid you in other areas of your college experience.
APPLIED MUSIC Applied music is at the heart of your music study. Your teacher will set goals for you to reach in regard to technique and literature. You are expected to regard your applied study as a priority. In a normal semester you should receive approximately 14 lessons (dependent upon breaks in the schedule). You will be expected to practice a minimum of five hours for 1 credit or 10 hours for 2 credits weekly. As a major in music, you will be required to perform a senior recital during your last formal semester.
AUDITORIUM All recitals, unless otherwise noted on the music calendar, will be held in O’Malley-McAllister Auditorium in the Student Union. This includes Noon recitals, Junior and Senior recitals and any other special performances. Organ recitals and other special events may be scheduled in the Abbey church. You must reserve additional auditorium time through the music department administrative assistant. The auditorium is used for activities by the entire campus so please plan ahead to reserve the venue.
CALENDAR You will be emailed a Music Department calendar at the beginning of the year. You should make an attempt to attend as many events as possible. Concert Attendance (MUSC-ATT1-6) requires six noon recitals and eight major events. For college calendars visit www.benedictine.edu.
CLASSROOMS All music classrooms are located on the second and third floors of Bishop Fink Hall and St. John Paul II Student Center Rehearsal Room.
COMPUTERS Several computers are located in rooms 315 and 310 of Bishop Fink Hall that provide a variety of software in theoretical exercises and composition.
CONCERT ETIQUETTE Please dress appropriately for participation in a recital or concert. Your appearance gives the audience a first impression of the performance experience.
Ensemble directors are explicit on the uniform dress for their events. In an ensemble, avoid anything that makes you “stand out” from the other participants.
Recitalists: If the audience applauds your entrance you must acknowledge them graciously. Following your performance bow and then acknowledge your accompanist and other performers.
Audience: Concerts require intense listening by the audience. Any distraction to either the performer or the audience is not acceptable. PLEASE no talking, excessive movement, paper shuffling, candy wrappers, or any other distractive practices are allowed. Always arrive early but if you arrive after the program has started, do not look for a seat until the next applause has begun. Please turn off all electronic devices. Food or drink is never permitted in a concert venue. Give your attention to the performer. Applaud when the performer arrives on stage. Do not applaud between movements of a multi-movement work. Applause is the only appropriate response to a performance. PLEASE no yelling, cheering or whistling. Absolutely no flash photography is allowed during a recital or concert. Never leave in the midst of a selection. If you must exit, do so at the next applause. While children are encouraged to attend recitals, a distracting child should be removed IMMEDIATELY to preserve a positive experience for the performer and for the audience.
7 COPYRIGHT INFRINGEMENT Xeroxing more than 10% of a work for educational purposes is strictly forbidden by law. Soloists cannot legally supply Xerox copies for their accompanists unless the music is in the public domain. Please plan ahead to have the originals available. Please review the law online at: http://www.copyright.gov/.
CURRICULUM All students should be familiar with the requirements for each degree as they are outlined in the worksheets for their respective degrees. As stated before, constant communication with your advisor is crucial to your success in obtaining a degree from Benedictine College (see Curriculum Worksheets on pp. 33-43). There is a four-year suggested sequence of courses for the music majors located in the documents section of this handbook (pp. 44-46) Adjustments may be required dependent upon course availability but you should plan a similar course of study for your music major.
DECLARING A MAJOR Students accepted into the music program should complete a Petition for Acceptance to a MAJOR Program (see p. 47) This can be done after formal acceptance to the department following the sophomore barrier. The Chair of the Music Department must sign this petition. A copy is kept in the Music Department and the official copy must go to the Registrar’s Office.
DECLARING A MINOR Students wishing to declare a music minor should complete a Petition for Acceptance to a MINOR Program (see p. 48). This can be done upon completion of MUSC 1000. The Chair of the Music Department must sign this petition. A copy is kept in the Music Department and the official copy must go to the Registrar’s Office.
ENSEMBLES All music majors seeking a Bachelor of Arts in Music degree, or a Bachelor of Arts degree with emphasis in Composition, must take 8 credits of a major ensemble. A major ensemble is defined as Concert Chorale, Women’s Ensemble, Men’s Choir, Symphonic Band, or Orchestra. Ensemble requirements for music education majors are as follows: instrumental majors must complete 7 semesters band, 3 semesters choir; vocal majors must complete 7 semesters choir, 3 semesters band; string majors must complete 7 semesters orchestra, 3 semesters total, band and choir combined. Music education majors must also take 2 credits of a chamber ensemble as described below. Benedictine College offers the following ensembles:
CONCERT CHORALE A chorus of approximately 70 voices, the Concert Chorale performs a variety of choral music from the sacred and secular repertoire. The choir performs two concerts each semester and meets from 2:25- 3:15 P.M. on Tuesdays and Thursdays in the Rehearsal Room of St. John Paul II Student Union. Mr. Timothy Tharaldson, Director
SYMPHONIC BAND A concert ensemble performing standard band repertoire, open to all students with prior experience. They perform two major concerts each semester. The class meets from 4:05-5:00 P.M. on Tuesdays and Thursdays in the Rehearsal Room of St John Paul II Student Union. Mr. Ted Hanman, Director
ORCHESTRA The BC/Atchison Community Orchestra is open to all string players and selected players. The group meets on Thursdays from 7:30 – 9:30 P.M. in the Rehearsal Room of St. John Paul II Student Union, and performs one major event each semester. Dr. Brian Casey, Conductor.
8 WOMEN’S ENSEMBLE An ensemble that performs standard SSA literature and is open to all female students. The group meets on Tuesdays and Thursdays from 1:00-1:50 P.M. in the rehearsal room of St. John Paul II Student Union. Mr. Timothy Tharaldson, director.
MEN’S CHOIR Men’s Choir performs standard TTBB literature and is open to all male students. The group meets on Monday and Wednesday, 4:00-4:50 P.M. in Bishop Fink Hall 307. Mr. Timothy Tharaldson, director.
CHAMBER ENSEMBLES • Chamber Singers is an audition group of around twenty-four SATB singers. Extensive time commitment and travel required. Mr. Timothy Tharaldson, director • Jazz Band performs standard jazz and big band charts. This ensemble is by permission only. Mr. Ted Hanman, director. • BC Brass Ensemble open to all brass players and performs each semester in concert. Mr. Ted Hanman, director. • BC Drumline: This audition ensemble performs at home football games, occasional basketball games and college events. Mr. Ted Hanman, director. • Voice, Woodwind, brass, percussion and string chamber ensembles are developed as needed. See the appropriate instructor if you are interested in participating. • Opera Workshop: Performs scenes during the spring semester.
FACULTY OFFICE HOURS All music faculty members will have their office hours and schedules posted outside their office doors. Students should consult these postings and contact the faculty for appointments during these posted times.
FEES Music majors receive 8 semesters applied lessons (7 for BME) of the major instrument plus an optional 1 credit per semester for an additional instrument without charge. Any additional applied study will result in an appropriate fee per credit hour. Music minors will receive 2 semesters (1 credit each) of their major instrument without charge. Additional applied study will incur the applied lesson fee. Anyone who enrolls in any applied lessons, class voice, class guitar or composition class, will be assessed a one-time Music Technology fee per semester. Students in choral groups, class voice and applied music (except percussion, piano, organ, guitar) are assessed a fee for the use of the staff accompanist. Applied music study by non- majors or non-minors will be assessed the applied lesson fee. Choral groups are assessed a class materials fee.
HEALTH AND SAFETY For information pertaining to protecting your hearing health, vocal health and musculoskeletal health, refer to the documents section of this handbook: Protect Your Hearing Every Day (p. 50) and Protect Your Neuromusculoskeletal and Vocal Health Every Day (p. 56) provided by National Association of Schools of Music and Performing Arts Medicine Association (1) Hearing Health Instructors must advise students in high -risk situations, particularly wind and percussion ensembles, of the risks for hearing loss and provide preventative measures, such as earplugs for potentially dangerous situations. Students in the MUSC 3200 Pk-12 Music Methods Course are also advised of the policies for prevention and education of their students in practicums, as well. Faculty members are also instructed to monitor situations across campus in which students may be exposed to excessive levels of noise and report to the Music Chair. Students engaging in amplified sound situations within the department are also introduced to the potentials of hearing loss at sustained high levels (2) Vocal Health Information on maintaining general vocal health is included in the applied music syllabus. MUSC 2200 - Vocal Communication and Technique includes pedagogical aspects that address laryngeal health and function, as well as the general vocal health issues similar to those outlined in the
9 applied syllabus. Students are introduced to general vocal health issues in the choral ensembles in regard to dangerous methods of singing that can potentially harm the voice. (3) Musculoskeletal Health Students in applied music and ensembles are instructed on the benefits of correct breathing, posture and muscular use to prevent injury. Correct conducting techniques in regard to and musculoskeletal health are presented in MUSC 3201- Introduction to Conducting, MUSC 4200 - Instrumental Conducting, and MUSC 4201 - Choral Conducting. Students are urged to develop safe practice habits and to know the limitations of the body in regard to issues for the particular instruments. Pianists are particularly vulnerable to carpal tunnel syndrome or other muscular/skeletal issues. Applied piano teachers identify preventative measures in their syllabi. Students are referred, when necessary, to appropriate medical professionals. (4) Safety Many procedures have been initiated to assure the safety of students on campus. Enhanced lighting for nighttime has increased the sense of safety of students and staff on campus. Accessible rules and procedures for emergency preparedness have provided clarity to all constituents in various emergency situations. Students are also given information on multiple health issues including mental health and counseling procedures. The institution is required to submit for public viewing by the Clery Act an annual security report and fire safety report for every calendar year. The report is available in pdf form online at: https://www.benedictine.edu/about/facilities/security/index
The report addresses many issues in regard to security including campus law enforcement policies, disciplinary procedures and crime prevention and reporting. The buildings and campus are monitored by security officers and the hours are posted.
INSTRUMENT LOAN AND RENTAL The Music Department does not have instruments available for rental. Please see the appropriate applied instructor for inquiries concerning instrument availability. Students should be responsible to own their instruments with the exception of large brass, string or percussion instruments such as the Sousaphone, string bass, drums, etc. that support the ensembles.
KEYS Keys may be checked out for the practice rooms in Bishop Fink, band room, woodwind, brass, and percussion rooms. Each key requires a $10 deposit, refundable when the key is returned. Keys for practice rooms in Bishop Fink may be checked out in the music office, Bishop Fink Hall 309. Mr. Hanman will check out keys for the band room.
LIBRARY Records, scores and CD’s are located in room 315 of Bishop Fink Hall. This room houses 1200 choral titles, over 2000 scores, and 6000 records and has study space for students. Students are not allowed to remove any recordings from the Music Library. The main library houses all other books and reference materials. The music library maintains several listening stations for records and compact discs.
LOCKERS There are a limited number of lockers available for books and instruments. Lockers are located in the third- floor hallways by the practice rooms in Bishop Fink Hall. You may provide your own padlock.
PARTICIPATION AWARDS Students, prior to matriculation, may audition for a participation award in one of the large ensembles. Students must remain in the assigned ensemble to receive a participation award on an on-going basis. The participation awards for incoming students are considered as part of the entire financial package for students. Therefore, current students may not apply for participation awards. If you are receiving a participation award you must sign a contract every semester, which must be returned to the music office. Please refer to the Current Student Ensemble Participation Award Agreement (p. 49) in the documents section of this handbook.
10 PRACTICE ROOMS Students are assigned practice rooms at the beginning of the semester. You will be sharing this room with several students so it is important to develop a schedule for the room. Practice rooms are located on 2nd and 3rd floors of Bishop Fink Hall. We ask that no food or drink, other than water be taken into the practice rooms. We are fortunate to be an “All-Steinway School” and we ask you to be good stewards of these fine instruments. Please do not open windows in the practice rooms or place anything on the pianos that could harm them.
PURCHASING MUSIC There are many resources online for purchasing music. Please ask your applied teacher for the appropriate companies or sites. Music majors need to begin purchasing music, recommended by their applied teachers, in order to build their private libraries. Students are assessed fees in several ensembles to cover the cost of music purchases. PLEASE adhere to copyright laws.
SCHEDULING OF LESSONS You should provide your applied teacher with a copy of your schedule approximately 2 weeks prior to the beginning of the term. The teacher will determine your lesson time based upon your mutual availability.
ACADEMIC POLICIES AND PROCEDURES
APPLICATION AND ADMISSION TO THE DEPARTMENT All students desiring to be music majors must successfully complete the procedure for acceptance by the department. The first screening procedure occurs in the freshman year after the successful completion of Fundamentals of Music (MUSC 1000).
Step One: February 15th of each year: All freshmen desiring to major in music must fill out an application as part of the requirements for acceptance into the Music Program as a major (see Application for Acceptance to the Music Department as a Major, p. 19). Step Two: During the last two weeks of school a 15 minute interview and jury will be administered (see Freshman Interview/Jury Sheet p. 20). Students will prepare music representing contrasting styles in a 10 minute performance for the jury (The student may prepare more but the faculty will hear a performance of no more than 10 minutes.). Decisions on literature and memorization are at the discretion of the instructor. This jury will substitute for the regular end-of-the-semester jury. The student will be asked to identify reasons for wanting to be accepted into the department. Students will be asked to bring their practice logs. All music faculty will be present and will contribute to the discussion regarding the student’s progress in applied music, ensembles and coursework. Following the interview/jury the Music Faculty will discuss the student and make one of the following decisions: • Entrance into the program with no reservations • Entrance into the program with reservations • Probationary entrance into the program • Denial of entrance into the program Students denied entrance into the program will be asked to make an appointment with the Chair to discuss other options for a major in a different area. Results of the discussion will be submitted on the Freshman Jury/Interview form to be placed in the student’s file. The music department will send a copy of the form stating the results of the interview/jury. All forms should be typed using the computer. An electronic copy of the form will be emailed to each student. Rationale: This process should provide early identification of problems in all areas as well as raising the bar for progress in applied music and academic courses.
11 Step Three: Every semester students will be evaluated in the regular jury until the Sophomore Barrier (The exception to this is the first semester freshman vocal students who are enrolled in class voice. They will not present a jury that semester).
At the end of the sophomore year, those students will present a 15 minute jury with the student preparing music representing contrasting styles in a 10 minute performance for the jury. (Student may prepare more but faculty will only hear a 10 minute performance.) Decisions on literature and memorization are at the discretion of the instructor. Scales and sight reading will be required during the Sophomore jury/interview (see Sophomore Barrier Jury Sheet p. 22). A short discussion will be held following the performance so that all faculty are aware the progress of the student. The music faculty will submit (collectively) a form with the information for the student’s file. A letter to the student will follow identifying strengths, weaknesses and the determination of the status of the student: Continuation in the Music Program with no reservations. Continuation in the Music Program with reservations. Probationary continuation in the Music Program. Denial of continuation in the Music Program.
This procedure is designed to provide constant monitoring of music majors throughout their college careers. Early detection of inability to proceed as a music major will be beneficial to help students investigate other avenues. The jury experience for all other students will remain the same as outlined on p. 15 in the section “Jury Examinations”.
COMPLAINT POLICY (from the Benedictine College Student Handbook, 2018-19, p. 66-68) or online at: https://www.benedictine.edu/student-life/complaints 1. Complaint and Grievance Policy Benedictine College is committed to treating all students fairly and respectfully. The College’s policies that apply to students are published annually in the Benedictine College Catalog and in the Benedictine College Student Handbook. These publications are available on-line on the Benedictine College website.
In an instance of perceived violation of a College policy, a student may file a complaint. This policy provides two avenues for pursuing a complaint: an Informal Resolution Procedure and a Formal Resolution Procedure. Students may utilize either or both procedures.
This policy is intended as an avenue of redress when a student has a general complaint against the College or an administrator of the College that is not clearly encompassed by another College policy. If a student has a complaint dealing with conduct explicitly covered by another policy, such as sexual harassment, the explicity policy (in the example, the Sexual Misconduct Policy and Procedures) will apply.
Informal Resolution Procedure The student arranges a meeting with the person involved with the complaint and/or with the direct supervisor of the person involved.
For example, a student who perceives that he or she has been graded unfairly on an assignment should meet with the faculty member who assigned the grade. In this example, the meeting with the faculty member may be followed up with a meeting with the department chair or the original meeting might be with the department chair.
Another example would be a complaint to the Student Life Office involving a Resident Director. The student would meet with Resident Director or the Director of Residence Life and attempt to resolve the issue in this way. If the informal process does not resolve the complaint, the student may utilize the formal complaint procedure.
Formal Resolution Procedure A formal complaint is in writing and sets forth a statement of the issue, the College policy or procedures violated, and the specific remedy sought.
12 The complaint is normally submitted using an online form found on the Benedictine College website on the Student Complaints page. The complaint can also be submitted on paper to the Office of Assessment & Institutional Research (Library 210) and it will be forwarded to the appropriate office if you are not aware of where to submit it. Many areas already have specific ways to handle complaints that closely parallel the steps specified below. In cases such as these, a formal complaint will be directed to the appropriate person and the previously approved appeal process will be followed.
LEVEL 1 Normally, the person to whom the complaint has been submitted (the investigator), conducts, within seven (7) business days of receiving the complaint, a formal conference with the student, permitting her or him to provide any necessary relevant information. The investigator confers with the other person or persons involved and conducts an additional investigation as he or she deems necessary.
Normally, a written recommendation is sent within seven (7) business days of the first formal conference. The recommendation is sent to the student and the other person or persons who are directly involved. The written recommendation states the background information, the rationale for the recommendation, and the recommended action, if any. Copies of the original complaint and the written recommendation are kept for a minimum of five years.
LEVEL 2 If any of the parties involved in the complaint do not feel it is adequately resolved in Level 1, they may submit a written appeal within fourteen (14) business days of receipt of the Level 1 recommendation to the direct supervisor of the person who wrote the recommendation. The written appeal must specify the conditions that s/he believes were not adequately or appropriately taken into consideration in Level 1.
Normally, the supervisor holds a hearing within fourteen (14) business days of receipt of the appeal or complaint and a written recommendation is sent to the student and others within fourteen (14) business days of such hearing. In cases of appeals to Level 2, copies of the original complaint and the Level 1 and Level 2 written recommendations are kept for a minimum of five years.
LEVEL 3 Except in the case of a complaint against the President, where the Board of Directors has final authority, written appeals of the Level 2 recommendation must be submitted to the President within fourteen (14) business days. The written appeal must specify the conditions that s/he believes were not adequately or appropriately taken into consideration in Level 2. The President makes the final decision. Normally, the President's written decision is sent to the student and other parties within fourteen (14) business days of receiving the Level 3 appeal. In cases of appeals to Level 3, copies of the original complaint, the previous written recommendations, and the final decision are kept for a minimum of five years.
To access the Benedictine College Student Handbook go to: https://www.benedictine.edu/Assets/uploads/files/student-life/benedictine-college-student-handbook.pdf
CONCERT ATTENDANCE Please review carefully the concert attendance policy: Students must attend 14 events to receive credit (P) for the class. Attendance at six noon recitals is required. The Noon Recital Attendance Form is distributed at the beginning of each recital and must be signed and turned in to the attending faculty member at the conclusion of the recital (see Noon Recital Attendance Form, p. 31). Eight of the 14 events are to be major events on or off-campus. For all 8 major events, students must complete an electronic form with a short review of the performance, and, for off-campus performances, must submit a program. The electronic form will be emailed to you at the beginning of the semester. Forms and programs must be submitted to the music office within 1 week after the event. No handwritten forms will be accepted (see Concert Attendance Form, p. 30)
CREDIT/TIME REQUIREMENT Credit Hour formulas and policies 1. Formulas a. Benedictine College (1) The basic formula identifies that one semester credit hour (50 minute class) requires two hours outside of class. (2) Citation and location
13 Credit Hour Definition Benedictine College uses the “Carnegie Unit” as a guide when defining a credit hour for undergraduate classes. A semester credit hour represents a minimum of one fifty-minute class period a week for the semester. In addition, the student is expected to spend an average of two hours outside of class for each “hour” in class. (pg. 4 in 2018-2019 Benedictine College Catalog) b. Music Unit Benedictine College Music Department Credit hour compliance guidelines for (1) Applied Music: MUSC 1005, 4997, 2001-4002, all applied lessons (2) Ensembles: MUSC 1300-4301, 1302-4303, 1304-4305, 1306-4307, 1308-4309, 1320-4321, 1322-4323, 1324-4325, 1330-4331, 1332-4333, 1334-4335, 1336-4337, 1338-4339, 1350- 4350, (3) Music Education and Conducting: MUSC 1200, 1201, 1202, 2200, 3200, 3201, 4200, 4201 (4) Music History: MUSC 1100, 1101, 1102, 4100, 4101 (5) Music Theory: MUSC 1001, 1001, 1002, 2000, 3000, 3003, 3004, 3005, 4003 We define the following for the average student for these courses:
Activity Assigned readings (4) At least 1 hour per class meeting (5) 2 hours per textbook chapter
Writing (3) (4) At least 5 hours per semester
Problem sets (5) 1-2 hours per assignment
Technology-aided learning (5) 1 hour per week
Oral presentation preparation (3) 5 hours (5) 2.5 hours per presentation
Service Learning or Civic Engagement Lab, Studio, or (music) practice (1) 5 hours per week per credit (2) 2 hours per week time Research (4) at least 8 hours per project
Individual projects
Group projects
Practicum/clinicals (3) 50 hours observation
Study/review (3) (4) (5) at least 5 hours each exam
# of credit # of minutes in-class # of required minutes outside of hours meeting each week class per semester Required time for a semester course 1 50 minutes 1680 minutes
2 100 minutes 3360 minutes
3 150 minutes 5040 minutes
4 200 minutes 6720 minutes
5 250 minutes 8400 minutes
14 GRADING POLICIES Following the freshman year all new music majors shall be evaluated by the music faculty for continuance as a music major. Any student receiving lower than a “C-” in any music course shall be placed on departmental probation for one semester. After one semester the student shall be reviewed for acceptance or dismissal within the department. In addition, a student may be placed on probation in the applied area at the discretion of the applied teacher and with the consensus of the entire music faculty. For all music majors and minors, no grade less than a “C-” in any music course will be accepted for graduation.
JUNIOR AND SENIOR RECITALS Presentation of a senior recital is compulsory for music majors in the BA and BME programs. Options for the composition emphasis are listed below. Junior recitals are optional and presented as preparation for the senior recital and at the discretion of the applied teacher. Junior recitals will be joint recitals. Only music majors are eligible to present junior and senior recitals. The department chair and the applied teacher will schedule the recital and decide who will share the event. Students presenting senior recitals will perform only on the major instrument. Secondary instruments may not be included on the senior recital since the recital should be representative of the cumulative work in a particular applied area. A student must successfully pass a jury prior to 30 days before the recital date or the recital will be postponed. Students are responsible for scheduling the recital jury. One faculty member should be involved in addition to the applied teacher. All junior and senior recitals will be scheduled at 4:00 P.M. on Fridays during the academic year when possible.
SENIOR RECITAL – COMPOSITION EMPHASIS The Senior Composition Recital requirement for this degree can be met in any of the four following ways: a. A recital of original work with the option of a lecture/recital format. b. A recital consisting of two-thirds original composition and one-third performance on the primary instrument/voice. c. Five composition premiere performances on major concerts or recitals during the sophomore through senior years of study documented by score, program, and recording. d. One composition for orchestra or concert band and three composition premiere performances documented by score, program, and recording.
JURY EXAMINATIONS All music majors enrolled in applied music must perform a jury examination at the end of each semester. The applied teacher shall approve a piece to be presented to the entire music faculty. Memorization is at the discretion of the applied teacher. Jury Repertoire Sheets (see p.24) should list pieces, exercises studied and performances accomplished during the semester. Performances pertain to the material studied in the applied lessons. All music majors must complete a jury repertoire sheet which should be included in their portfolios. Music majors will be responsible for any literature listed on the Jury Repertoire Sheet. While the entire music faculty will hear each student and assign a grade, the final grade will remain the responsibility of the applied instructor.
All students in applied music (non-majors and minors) will perform on a noon recital in lieu of a jury. The department will schedule a special noon recital(s) for non-majors and minors at the end of the semester, which will fulfill the jury requirement. A student may also fulfill the jury requirement by performing on a regular noon recital with the following condition: In the fall semester, the recital performance must be after November 1, and in the spring semester, the recital performance must be after April 1. In this case, the student will not have to perform again on the non-major/minor recital at the end of the semester. A student may perform a jury waiver at an earlier date only at the discretion and permission of the applied teacher.
A junior/senior who presents a recital or major performance may not be required to present a jury at the end of the same semester. This decision is left to the discretion of the applied teacher.
All students (majors, non-majors, minors) must submit an electronic copy of the jury repertoire sheet to the department administrative assistant prior to the time of their jury or jury waiver performance. The Jury Repertoire Sheet (p. 24) is used for all jury performances except the Freshman/Interview Jury, and the Sophomore Barrier Jury (both of which have a separate repertoire sheet).
15 JURY EVALUATION All jury performances will be evaluated using a jury evaluation form. Scores will be averaged from all music faculty present and comments will be compiled on one form, which will be sent electronically to each student for inclusion in their portfolios. A copy will also be placed in the student’s personal file in the music department (see Jury Evaluation Form, pg. 25).
JURY EVALUATION FOR COMPOSITION EMPHASIS Freshman pursuing a degree with emphasis in music composition will follow the procedure for Freshman Admittance to the Department as outlined on p. 11, steps 1 and 2. Composition emphasis majors will begin the course of study for composition in the sophomore year. Student compositions will be performed on the Composition Student Recital offered during each academic year. Their composition will be evaluated by each faculty member using the Composition Jury Evaluation Form (p. 29). Each semester, students will need to complete a Composition Jury Repertoire Sheet (p. 26), which they will submit electronically to the music office.
Following the Freshman Jury interview, students in the BA in Music with Emphasis in Music Composition, will not be required to participate in the juries until the Sophomore Barrier Jury time at the end of the second semester of the sophomore year. This will determine the status as a major in music. They will need to complete the Composition Sophomore Barrier Sheet (p. 27). At that time, a short discussion will be held so that all faculty are aware of the progress of the student. The music faculty will submit (collectively) a form with the information for the student’s file. A letter to the student will follow identifying strengths, weaknesses and the determination of the status of the student: Continuation in the Music Program with no reservations. Continuation in the Music Program with reservations. Probationary continuation in the Music Program. Denial of continuation in the Music Program.
PIANO PROFICIENCY EXAMINATION All music majors must pass the Piano Proficiency Examination (p. 32) prior to graduation. Music education students must pass the examination by the semester prior to student teaching. Students should schedule the piano proficiency examination with Ms. Michelle Rautmann, Adjunct Instructor, piano.
PRACTICE LOGS All students in applied lessons must submit a weekly practice log to their applied instructor. (Practice logs will be developed and distributed by each individual instructor.) Students enrolled in 1 hour of credit must document 5 hours (minimum) a week of practice. Students enrolled in 2 credits must document 10 hours (minimum) a week of practice. The Music Department Faculty adopted the following policy: No student shall receive an “A” in applied music if the practice logs are not submitted or if the student is deficient in the requisite number of practice hours.
PROGRAMS All students performing junior or senior recitals must have the program information to the administrative assistant no less than ten days prior to the event. Birth and death dates of the composers are mandatory. The applied instructor must approve of the recital program and any notes before acceptance by the administrative assistant. Students performing in noon recitals must fill out the Noon Recital Performance Form (p. 31) and turn in by noon the day before the recital. Students will not be allowed to perform if the form is not turned in on time.
PORTFOLIOS Benedictine College Music Department will require the collection of artifacts for portfolio assessment for music majors. All students from the beginning of their tenure at Benedictine College would begin gathering hardcopy information. The portfolios can be creative and contain information of interest to the students but must contain the following: 1. Copies of programs in which the student has participated (solos, ensembles)
16 2. List of concerts attended (this would be merely a summary list from the concert attendance forms) 3. Jury repertoire sheets from all semesters 4. Freshman Jury/Interview summary sheet 5. Sophomore Barrier Jury Sheet 6. Examples of works of pride in music courses (examinations, assignments, papers, compositions, etc.) 7. Copy of the application to the department (Feb. of freshman year) including the statement of intent to become a music major. 8. Jury evaluation summary sheets (post-juries) 9. Junior/Senior Recital programs 10. Piano Proficiency evaluation form 11. Practice logs 12. Optional section – anything they do outside of the major – awards, internships, auditions, etc. Be creative.
Students should bring portfolios to the jury at the end of the semester for review by the faculty. All majors who are not required to perform a jury must submit their portfolio, to the Department Chair, for examination by the first scheduled day of finals. Final review of the portfolio will be included in the P/F for the senior comprehensive (MUSC SRCOMP).
RECITAL PERFORMANCE Students must complete a Noon Recital Performance Form (p. 31) for inclusion on the program for noon recitals. This form requires the signatures of the applied instructor, the accompanist (if applicable) and the student performer. It is the responsibility of the student to obtain all necessary signatures and submit the form to the music office by noon of the day before the recital. Information pertaining to the selection must be written clearly and accurately. Each studio teacher has a policy for the number of performances on student recitals per semester.
STUDENTS WITH DISABILITIES Benedictine College complies with federal law requiring reasonable accommodations for individuals with documented disabilities that may affect their performance in a class or otherwise affect the individual’s ability to enjoy the programs and services offered by the College. If a student requests accommodations please contact Coordinator of Disability Services, in the Student Success Center located in Guadalupe Hall, at 913- 360-7517.
17
FORMS
DOCUMENTS
CURRICULUM WORKSHEETS
REPERTOIRE LISTS
18
Application for acceptance to the Music Department as a major
You must pass MUSC 1000 prior to submitting this application. Application Due Date: February 15th. Please click the shaded area to enter your information, then tab to next field.
Name: Campus address: Phone: Email address: Check Desired Degree Program: Bachelor of Music Education Bachelor of Arts Bachelor of Arts with Emphasis in Music Composition Instrument: Number of semesters of completed applied music: Applied Instructor:
Essay: Please write an essay of no less than 250 words explaining your desire and intent to be accepted into the Music program as a major.
19
FRESHMAN INTERVIEW/JURY SHEET Recommendation for Entrance into the Music Department as a Major
______Semester, 20 ___
NAME ______APPLIED TEACHER ______DEGREE SOUGHT: BA _____ BME _____ MAJOR EMPHASIS: ______PRIMARY INSTRUMENT ______ON/OFF CAMPUS SOLO PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition) (Please do not list participation in large ensembles)
COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied,accompaniments
REPERTOIRE FOR JURY Selections (2 or more) should include contrasting styles of music to equal at least 10 minutes.
20
Freshman Interview/Jury, page 2
COMMENTS
Date of Decision: ______
RECOMMENDATION: _____Entrance into the program with no reservations _____Entrance into the program with reservations _____Probationary entrance into the program. _____Denial of entrance into the program.
21
SOPHOMORE BARRIER JURY SHEET Recommendation for Continuation of Study ______Semester, 20 ___
NAME ______APPLIED TEACHER ______DEGREE PROGRAM: BA ____ BME _____ MAJOR EMPHASIS: ______PRIMARY INSTRUMENT______ON/OFF CAMPUS APPLIED MUSIC PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition) (Please do not list participation in large ensembles)
COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied, accompaniments
REPERTOIRE FOR JURY Selections (2 or more) should include contrasting styles of music to equal at least 10 minutes.
22
Sophomore Barrier, page 2 COMMENTS
Date of Decision: ______
RECOMMENDATION: ______Continuation in the Music Program with no reservations. ______Continuation in the Music Program with reservations. ______Probationary continuation in the Music Program. ______Denial of continuation in the Music Program.
23
JURY REPERTOIRE SHEET
Semester, 20___
NAME APPLIED TEACHER MAJOR INSTRUMENT MUSIC MAJORS: Is this your primary instrument? Number of semesters studied Freshman Sophomore Junior Senior
ON/OFF CAMPUS SOLO PERFORMANCES THIS SEMESTER (Please list where performed, date and name of composition) (Please do not list participation in large ensembles)
COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Technique (scales, arpeggios, etudes, vocalises) & other repertoire studied, accompaniments.
REPERTOIRE FOR JURY
24 BENEDICTINE COLLEGE MUSIC DEPARTMENT JURY EVALUATION FORM
____End of Semester Jury ____FreshmanJury/Interview ____Sophomore Barrier Jury
____Jr. Recital Jury ____Jr. Recital ____Sr. Recital Jury ____Sr. Recital
Student Name: ______Date of Recital/Jury: ______Instrument: ______Primary Instrument Yes No Juror: ______Degree Program: BA BME Minor ExCurr
Unacceptable Acceptable Distinguished The student does not meet the basic criteria The student meets the basic criteria and is The student exceeds the basic criteria to for the standard indicated. (0-.99) considered proficient. be considered proficient. (2.0-3.0) (1-1.99) 0 .1 .2 .3 . 4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Preparedness 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Technical Proficiency 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Appropriate Literature 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Musicality 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Stage Presence 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Overall Evaluation 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
AVERAGE:
PRACTICE LOG : ____ SATISFACTORY ____ UNSATISFACTORY ____ NA (Not applicable)
25
COMPOSITION - JURY REPERTOIRE SHEET ______Semester, 20 ___
NAME ______APPLIED TEACHER ______Degree Sought: BA in Music with Emphasis in Music Composition Primary Instrument______
On/Off Campus Performances this Semester (Please list where performed, date and name of composition)
COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER
Composition • Texts:
• Scores/Analysis:
• Compositions: 1} 2}
• Composition Assignments:
26
COMPOSITION - SOPHOMORE BARRIER JURY SHEET
Recommendation for Continuation of Study ______Semester, 20____
NAME ______APPLIED TEACHER ______Degree Sought: BA in Music with Emphasis in Music Composition Primary Instrument______
On/Off Campus Performances this Semester (Please list where performed, date and name of composition)
COMPLETE LIST OF MATERIAL STUDIED THIS SEMESTER Composition • Texts:
• Scores/Analysis:
• Compositions: 1} 2}
• Composition Assignments:
27 Sophomore/Composition Barrier, page 2
COMMENTS
RECOMMENDATION:
______Continuation in the Music Program with no reservations. ______Continuation in the Music Program with reservations. ______Probationary continuation in the Music Program. ______Denial of continuation in the Music Program.
28 BENEDICTINE COLLEGE MUSIC DEPARTMENT COMPOSITION JURY EVALUATION FORM – Bachelor of Arts in Music with Emphasis in Music Composition Student Name: ______Date of Performance: ______Music Faculty Member witness: ______
Unacceptable Acceptable Distinguished The student does not meet the basic criteria The student meets the basic criteria and is The student exceeds the basic criteria to for the standard indicated. (0-.99) considered proficient. be considered proficient. (2.0-3.0) (1-1.99) 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
Music Faculty: Check all that apply. Give numeric overall evaluation as per the rubric.
Composition Completed For composition, the goal here is to indicate that the work was completed; a finished composition intact. Each year a primary goal is finished works, either smaller or larger (2nd or third year) forms.
Composition Performed For composition, the goal here is that a work is performed. Another primary goal is that works are performed, either acoustically, acoust/electronics, or in the case of larger works or works for unavailable instruments, midi performance.
Composition Small Inst Form (1-2) Indicates here if the work performed was small instr form (1-2). You should see a few of these in the first year of comp studies. (Over the three years of lessons, one should see categories checked from both small and larger scale compositions.)
Composition Med-Lar Inst Form (3-12+) One indicates here if the work performed was med-large (3-12+). You should see these as comp studies progress in to year 2 and 3.
Technical Proficiency This is technical proficiency of the composition: number of instruments used, variety of compositional structural practices (tonal works, non-tonal works, combination of other chord/scalar materials), standard and non-standard forms, contrapuntal / homophonic sophistication, imitation/canon/fugue, harmonic languages used, skill of instrumental use with instrumental combinations in a variety of presentations.
Overall Evaluation 0 .1 .2 .3 .4 .5 .6 .7 .8 .9 1.0 1.1 1.2 1.3 1.4 1.5 1.6 1.7 1.8 1.9 2.0 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 3.0
29 CONCERT ATTENDANCE MUSC-ATT1-6
Requirements: 14 concerts including 6 noon recitals, 8 major events: Ensemble Concerts; Faculty, Junior, Senior Recitals; Professional concerts on or off campus.
For the 8 major events: use this form to write a short critical review of the concert that reflects your reaction to the music and performance. This form will be sent to you electronically at the beginning of the semester. Complete and return this form, electronically, to the Music Office, within a week following the event. You should include this review in your portfolio. Handwritten forms will not be accepted. No reviews will be accepted if they are not submitted within a week of the event.
NAME:
CONCERT NAME:
DATE:
30 NOON RECITAL ATTENDANCE FORM
NAME______
DATE______
CONCERT ATTENDED______
This form must be turned at the conclusion of the event to receive credit for Concert Attendance – MUSC-ATT 1-6
****************
NOON RECITAL PERFORMANCE FORM (Please print clearly)
Recital Date ______Student Name______Instrument/Voice Type ______Composition and Movement ______Composer ______Accompanist______Length in Minutes______Student’s Signature______Instructor’s Signature______Accompanist’s Signature ______Jury Waiver (NonMajors Only) YES NO
*ALL APPROPRIATE SIGNATURES ARE REQUIRED BEFORE SUBMITTING FORM TO THE MUSIC OFFICE
FORM DUE BY NOON ON THE DAY BEFORE THE RECITAL
31 BENEDICTINE COLLEGE MUSIC DEPARTMENT PIANO PROFICIENCY EXAMINATION
Student Name: ______Degree Program: BA BME BA with Emphasis in Music Composition Date of Examination:______Examiner:______
Music Faculty: Circle the number that reflects your evaluation of the specific concept. Unacceptable Acceptable Distinguished The student does not meet the basic The student meets the basic criteria The student exceeds the basic criteria criteria for the standard indicated. and is considered proficient. to be considered proficient. (0-.99) (1-1.99) (2.0-3.0)
0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
1) Play all major and 3 forms of the minor scales throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
2) Play the five-finger scale plus the major, minor, diminished, and augmented triads on each tonic. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
3) Play the I, IV6/4, I, V7, I throughout the circle of fifths. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
4) Harmonize the following melody using primary and secondary triads. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
5) Harmonize the following melody using primary and secondary triads with a stylistically appropriate accompaniment pattern. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
6) Transpose the following piece either a half step up of down. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
7) Sightread a four-part hymn or Bach chorale. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
8) Improvise a melody over the given chord structure. 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
Overall Evaluation: 0 .25 .5 .75 1.0 1.25 1.5 1.75 2.0 2.25 2.5 2.75 3.0
PASS FAIL
32 NAME______MAJOR: Bachelor of Arts in Music Revised September 18, 2018
General Education Requirements - Core
NUMBER COURSE REQUIRED COMPLETED GRADE ENGL 1010 English Composition or 3 ______ENGL 1000 English Composition ______Foreign Language 4 ______Foreign Language 4 ______PHIL 1750 Principles of Nature 3 ______THEO 1100 Introduction to Theology 3 ______GNST 1000 BC Experience 1 ______EXSC 1115 Wellness for Life 1 ______Health (EXSC Activity course) 1 ______TOTAL 20
General Education - Foundations: (a course may satisfy one requirement) Aesthetic experience (6 credit hours) (This foundation is achieved through the following courses) ______World Music Literature MUSC 1101 3 ______3 ______Total 6
Faith (6 credit hours) Any two courses from the approved list. ______3 ______3 ______Total 6
Historical Inquiry (6 credit hours) ______Music History I MUSC 4100 3 ______Music History II MUSC 4101 3 ______or any course from the approved list ______Total 6
Mathematical Reasoning (3 credit hours) (Any course from the approved list.) ______3 ______
Person and Community in the Contemporary World (3 credit hours) Any course from the approved list.
______3 ______
Philosophical Inquiry (6 credit hours) Any two courses from the approved list.
______3 ______3 ______Total 6
Understanding the Natural World (7 credit hours) ( One course must include a lab, and must be taken in two different disciplines.)
______Acoustics (with lab) PHYS 1200 (Suggestion) 4 ______3 ______Total 7
General Education-Skills and Perspectives: (a course may satisfy three requirements)
Global Perspective (1 course) Any course from approved list. ______World Music Literature MUSC 1101 (suggested) 3 ______
_Oral Communication (1 course) Any course from the approved list.
______3 ______
Scientific Method (1 course) (This requirement is fulfilled by PHYS 1200 as listed earlier, or any course from approved list)
______Acoustics PHYS 1200 OR ______
Visual Communication (1 course) Any course from the approved list. ______Introduction to Conducting MUSC 3201 (suggested) 1 ______
Western Perspective (1 course) (any course from approved list) ______
Written Communication (2 courses) ______Music History I MUSC 4100 (suggested) 3 ______3 ______Total 6
Total General Education 76
Music Requirements-Basic Musicianship and Performance Basic Musicianship MUSC 1000 Fundamentals of Music 2 ______MUSC 1001 Music Theory and Aural Skills I 3 ______MUSC 1002 Music Theory and Aural Skills II 3 ______MUSC 1003 Functional Keyboard I 1 ______MUSC 1004 Functional Keyboard II 1 ______MUSC 1101 World Music Literature 3 ______MUSC 2000 Music Theory and Aural Skills III 3 ______MUSC 3000 Music Theory and Aural Skills IV 3 ______MUSC 3201 Introduction to Conducting 1 ______MUSC 4100 Music History & Literature I 3 ______MUSC 4101 Music History & Literature II 3 ______PIAPROF Piano Proficiency P ______MUSC 4997 Senior Recital 1 ______SRCOMP Senior Comprehensive Cr ______
Applied Music/Performance Major Instrument (8 semesters) ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______
34 ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______
Major Ensemble (8 semesters) ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______
MUSC-ATT1 Concert Attendance P ______MUSC-ATT2 Concert Attendance P ______MUSC-ATT3 Concert Attendance P ______MUSC-ATT4 Concert Attendance P ______MUSC-ATT5 Concert Attendance P ______MUSC-ATT6 Concert Attendance P ______
Music Electives - 6 credits of upper division music courses 6 ______
Total Departmental Credits 49
PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION. (MUST INCLUDE 40 HRS UPPER DIVISION CREDITS) ______TOTAL CREDITS 128
35 NAME______MAJOR: Bachelor of Arts in Music with Emphasis in Music Composition – Revised September 18, 2018
General Education Requirements - Core NUMBER COURSE REQUIRED COMPLETED GRADE ENGL 1010 English Composition or 3 ______ENGL 1000 English Composition w/Review ______Foreign Language 1** 4 ______Foreign Language 2** 4 ______(**Students are required to have competency through second semester of same language) PHIL 1750 Principles of Nature 3 ______THEO 1100 Introduction to Theology 3 ______GNST 1000 BC Experience 1 ______EXSC 1115 Wellness for Life 1 ______Health (EXSCActivity course) 1 ______TOTAL 20
General Education - Foundations: (a course may satisfy one requirement)
Aesthetic experience (6 credit hours) (This foundation is achieved through the following courses) ______World Music Literature MUSC 1101 3 ______Seminar in Composition MUSC 3004 3 ______or any course from the approved list. ______Total 6
Faith (6 credit hours) Any two courses from the approved list. ______3 ______3 ______Total 6
Historical Inquiry (6 credit hours) ______Music History I MUSC 4100 3 ______Music History II MUSC 4101 3 ______or any course from the approved list ______Total 6
Mathematical Reasoning (3 credit hours) (Any course from the approved list.)
______3 ______
Person and Community in the Contemporary World (3 credit hours) Any course from the approved list. ______3 ______
Philosophical Inquiry (6 credit hours) Any two courses from the approved list. ______3 ______3 ______Total 6
Understanding the Natural World (7 credit hours) ( One course must include a lab, and must be taken in two different disciplines.) ______Acoustics (with lab) PHYS 1200 (Suggestion) 4 ______3 ______Total 7
36 General Education-Skills and Perspectives: (a course may satisfy three requirements)
Global Perspective (1 course) ______MUSC 1101 World Music Literature (suggested) 3 ______
Oral Communication (1 course) Any course from the approved list.
______3 ______
Scientific Method (1 course) (This requirement is fulfilled by PHYS 1200 as listed earlier, or any course from approved list) ______Acoustics PHYS 1200 (suggested) ______3-4
Visual Communication (1 course) ______MUSC 3201 Introduction to Conducting (suggested) 1 ______
Western Perspective (1 course) (any course from approved list)
______3 ______
Written Communication (2 courses) ______Music History I MUSC 4100 (suggested) 3 ______3 ______
Total 6
Total General Education 76
Music Requirements – Basic Musicianship and Performance Basic Musicianship: MUSC 1000 Fundamentals of Music 2 ______MUSC 1001 Music Theory and Aural Skills I 3 ______MUSC 1002 Music Theory and Aural Skills II 3 ______MUSC 1003 Functional Keyboard I 1 ______MUSC 1004 Functional Keyboard II 1 ______MUSC 1101 World Music Literature 3 ______MUSC 2000 Music Theory and Aural Skills III 3 ______MUSC 3000 Music Theory and Aural Skills IV 3 ______MUSC 3201 Introduction to Conducting 1 ______MUSC 4100 Music History & Literature I 3 ______MUSC 4101 Music History & Literature II 3 ______PIAPROF Piano Proficiency P ______MUSC 4997 Senior Recital 1 ______SRCOMP Senior Comprehensive Cr ______
Applied Music/Performance: Major Instrument (4 semesters) ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______Major Instrument 1 ______Major Ensemble (8 semesters) ______Major Ensemble 1 ______
37 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______Major Ensemble 1 ______
MUSC-ATT1 Concert Attendance P ______MUSC-ATT2 Concert Attendance P ______MUSC-ATT3 Concert Attendance P ______MUSC-ATT4 Concert Attendance P ______MUSC-ATT5 Concert Attendance P ______MUSC-ATT6 Concert Attendance P ______
Composition Emphasis: MUSC 3003 Orchestration/Arranging 2 ______MUSC 3004 Seminar in Composition 3 ______MUSC 3005 Counterpoint 2 ______MUSC 2001 Music Composition 2 ______MUSC 2002 Music Composition 2 ______MUSC 3001 Music Composition 2 ______MUSC 3002 Music Composition 2 ______MUSC 4001 Music Composition 2 ______MUSC 4002 Music Composition 2 ______
Total Departmental Credits 58
PLUS ELECTIVES TO EQUAL 128 CREDITS REQUIRED FOR GRADUATION. (MUST INCLUDE 40 HRS UPPER DIVISION CREDITS) ______
TOTAL CREDITS 128
38 NAME______MAJOR: BACHELOR OF MUSIC EDUCATION (Revised September 18, 2018)
General Education Requirements Core Classes
NUMBER COURSE REQUIRED COMPLETED GRADE
ENGL 1010 English Composition or 3 ______ENGL 1000 English Composition w/Review PHIL 1750 Principles of Nature 3 ______THEO 1100 Introduction to Theology 3 ______GNST 1000 BC Experience 1 ______EXSC 1115 Wellness for Life 1 ______Approved EXSC Fitness Activity Course 1 ______TOTAL 12
General Education - Foundations: (a course may satisfy one requirement)
Aesthetic experience (6 credit hours) (This foundation is achieved through the following courses)
______World Music Literature MUSC 1101 3 ______Music History and Literature II MUSC 4101 3 ______Total 6
Faith (6 credit hours) Any two courses from the approved list. ______3 ______3 ______Total 6
Historical Inquiry (6 credit hours) (MUSC 4100 fulfills half the requirement) ______World Civilization HIST 1100 or HIST 1101 (required) 3 ______Music History and Literature I MUSC 4100 3 ______Total 6
Mathematical Reasoning (3 credit hours) MATH 2110 Statistics (required) 4 ______
Person and Community in the Contemporary World (3 credit hours) This foundation is achieved through the following required course: ______General Psychology PSYC 1000 (required) 3 ______Total 3
Philosophical Inquiry (6 credit hours) Any two courses from the approved list. ______Philosophy of Education EDUC 4451 3 ______3 ______Total 6
Understanding the Natural World (7 credit hours) ( One course must include a lab, and must be taken in two different disciplines.) ______Acoustics (with lab) PHYS 1200 (Suggestion) 4 ______World Regional Geography SOCI 2300 3 ______Total 7
39 General Education -Skills and Perspectives: (a course may satisfy three requirements)
Global Perspective (1 course required) ______HIST 1100 or HIST 1101 World Civilization (Satisfies both Global and Western Perspective) 3 ______
Oral Communication (1 course)
______Vocal Communication & Technique MUSC 2200 2 ______
Scientific Method (1 course) (This requirement is fulfilled by PHYS 1200 as listed earlier, or any course from approved list) ______Acoustics PHYS 1200 OR ______
Visual Communication (1 course) Any course from the following list. ______Psycho Ed Development EDUC 2220 or 3 ______Introduction to Conducting MUSC 3201 1 ______
Western Perspective (1 course required) ______HIST 1100 or HIST 1101 World Civilization (Satisfies both Global and Western Perspective) 3 ______
Written Communications (2 courses) ______Music History and Literature I MUSC 4100 3 ______Student Teaching Seminar EDUC 4470 1 ______Total 4
(Note: Music Ed. Majors must take one of the following courses in their General Ed. Requirements to meet Education Dept. requirements for Secondary Education: SOCI-2300, SOCI-1000, SOCI-2350)
Total General Education 69
Professional Education Requirements
EDUC 2200 Introduction to Education 2 ______EDUC 2201 Intro to Education Field Experience 1 ______EDUC 2220 Psychoeducational Development 3 ______EDUC 2222 Psychology of Individual with Exceptionalities 3 ______EDUC 3357 General Secondary Methods and Media 3 ______(Must enroll in MUSC-3200 concurrently. Music Ed: do not enroll in EDUC-3358.) EDUC 3312 School as Community 3 ______EDUC 3313 Community Research & Field Experience 1 ______EDUC 3332 Teaching Reading in the Content Area 2 ______(Co-req EDUC 3332F) EDUC 3332F Field Experience for Reading in the Content Area 0 Effective Instructional Technology – online certificate completion ______EDUC 4451 Philosophy of Education 3 ______(The following courses are part of the student teaching semester. You will automatically be enrolled) EDUC 4455 Differentiated Instruction 3 ______EDUC 4462 Classroom Management 2 ______EDUC 4470 Student Teaching Seminar 1 ______EDUC 4492 Supervised Student Teaching-Elementary 5 ______EDUC 4496 Supervised Student Teaching-Secondary 5 ______
40 EDUC DIVPROF Diversity Competencies CR ______EDUC TECHPROF Technology Proficiency CR ______EDUC CNTX Content Area Exam (Licensure Requirement) CR ______EDUC COMP Senior Comprehensive – Final Educ. Portfolio CR ______
Total Professional Education 37
Music Requirements-Basic Musicianship and Performance Basic Musicianship: MUSC 1000 Fundamentals of Music 2 ______MUSC 1001 Music Theory and Aural Skills I 3 ______MUSC 1002 Music Theory and Aural Skills II 3 ______MUSC 1003 Functional Keyboard I 1 ______MUSC 1004 Functional Keyboard II 1 ______MUSC 1005 Class Voice 2 ______MUSC 1101 World Music Literature 3 ______MUSC 2000 Music Theory and Aural Skills III 3 ______MUSC 3000 Music Theory and Aural Skills IV 3 ______MUSC 3201 Introduction to Conducting 1 ______MUSC 4100 Music History & Literature I 3 ______MUSC 4101 Music History & Literature II 3 ______MUSC PIAPROF Piano Proficiency P ______MUSC 4997 Senior Recital 1 ______MUSC COMP Senior Comprehensive (EDUC-CNTX) Cr ______
Applied Music/Performance ______Major Instrument 2 ______Major Instrument 2 ______Major Instrument 2 ______Major Instrument 2 ______Major Instrument 2 ______Major Instrument 2 ______Major Instrument 2 ______
Major Ensemble (7 semesters) ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______Major Ensemble (Major area) 1 ______
MUSC-ATT1 Concert Attendance P ______MUSC-ATT2 Concert Attendance P ______MUSC-ATT3 Concert Attendance P ______MUSC-ATT4 Concert Attendance P ______MUSC-ATT5 Concert Attendance P ______MUSC-ATT6 Concert Attendance P ______
Music Education Requirements MUSC 3003 Orchestration/Arranging 2 ______MUSC 1350 Opera Workshop 1 ______MUSC 1200 Stringed Instruments 2 ______MUSC 1201 Woodwind Instruments 2 ______
41 MUSC 1202 Brass & Percussion Instruments 2 ______MUSC 2200 Vocal Communication & Technique 2 ______MUSC 3200 Music Methods PK-12 (Corequisite: EDUC 3357) 3 ______MUSC 4200 Instrumental Conducting 1 ______MUSC 4201 Choral Conducting 1 ______Secondary Ensemble (3 semesters) ______Secondary Ensemble 1 ______Secondary Ensemble 1 ______Secondary Ensemble 1 ______Chamber Ensemble 1 ______Chamber Ensemble 1 ______
Total Music Department Credits 71
42 MUSIC MINOR REQUIREMENTS
NAME:______
Minor Declaration Form on file: Yes______No______Date______
Number Course Required Hrs. Completed Grade
MUSC 1000 Fundamentals of Music 2 ______MUSC 1001 Music Theory and Aural Skills I 3 ______MUSC 1003 Functional Keyboard I 1 ______MUSC 1101 World Music Literature 3 ______Major Instrument 1 ______Major Instrument 1 ______Major Ensemble 1 ______Major Ensemble 1 ______CONATT I Concert Attendance Cr ______CONATT II Concert Attendance Cr ______
PLUS 9 CREDIT HOURS OF ANY ADDITIONAL MUSIC COURSES (may use ensembles & applied lessons)
______
Total 9 __ Total Departmental Credits 22
NOTE: Transfer students pursuing a music minor must take a minimum of 40% of the coursework required for the minor at Benedictine College.
43 SUGGESTED COURSES OF STUDY 4 year Suggested Sequence - Bachelor of Arts degree in Music
Freshman Year MUSC-1000, Fund. Music & Aural Skills 2 MUSC-1001, Music Theory/Aural Skills I 3 MUSC-1003, Functional Keyboard I 1 MUSC-1004, Functional Keyboard II 1 THEO-1100, Introduction to Theology 3 Foreign Language 4 ENGL-1010, English Composition 3 MUSC-1101, World Music Literature 3 Foreign Language 4 Applied Music 1 EXSC-1115, Wellness for Life 1 Ensemble 1 Applied Music 1 MUSC-ATT 2, Concert Attendance P Ensemble 1 Music electives 4 GSNT-1000, BC Experience 1 MUSC-ATT 1, Concert Attendance P Music elective 1 __ __ 18 17
Sophomore Year MUSC-1002, Music Theory/Aural Skills II 3 MUSC-2000, Music Theory/Aural Skills III 3 Approved EXSC Fitness Activity course 1 Oral Communication 3 Applied Music 1 Understanding the Natural World 4 Ensemble 1 Aesthetic Experience 3 MUSC-ATT 3, Concert Attendance P Applied Music 1 PHIL-1750, Principles of Nature 3 Ensemble 1 Electives 6 MUSC-ATT 4, Concert Attendance P __ __ 15 15
Junior Year MUSC-3000, Music Theory/Aural Skills IV 3 MUSC-4100, History of Music I 3 Philosophical Inquiry 3 Quantitative Analysis 3 Upper Division Music Electives 3 Applied Music 1 Faith 3 MUSC-PIAPROF, Piano Proficiency cr Applied Music 1 Ensemble 1 Ensemble 1 MUSC-ATT 6, Concert Attendance P MUSC-ATT 5, Concert Attendance P Music electives 1 Upper Division Music Elective 3 Western Perspectives 3 Electives 3 __ __ 17 15
Senior Year MUSC-3201, Introduction to Conducting 1 Person & Community 3 MUSC-4101, History of Music II 3 Philosophical Inquiry 3 Upper Division Electives 5 Understanding the Natural World 3 Ensemble 1 Applied Music 1 Faith 3 Ensemble 1 Applied Music 1 MUSC-4997, Senior Recital 1 Written Communication 3 MUSC-SRCOMP, Senior Comprehensive cr Upper Division Music Electives 3 __ __ 17 15
44 4 year Suggested Sequence - Bachelor of Arts in Music/Emphasis in Composition
Freshman Year MUSC-1000, Fund. of Music/Aural Skills 2 MUSC-1001, Music Theory & Aural Skills I 3 MUSC-1003, Functional Keyboard I 1 MUSC-1004, Functional Keyboard II 1 THEO-1100, Introduction to Theology 3 Foreign Language 4 ENGL-1010, English Composition 3 MUSC-1101, World Music Literature 3 Foreign Language 4 Applied Music 1 EXSC-1115, Wellness for Life 1 Ensemble 1 Applied Music 1 MUSC-ATT 2 Concert Attendance P Ensemble 1 Elective 3 GNST-1000, BC Experience 1 MUSC-ATT 1 Concert Attendance P __ __ 17 16
Sophomore Year MUSC-2001, Music Composition 2 MUSC-2000 Music Thy & Aural Skills III 3 MUSC-1002, Music Theory/Aural Skills II 3 MUSC-2002, Music Composition 2 Approved EXSC Fitness Activity Course 1 Oral Communication 3 Applied Music 1 Understanding the Natural World 3 Ensemble 1 Electives 3 MUSC-ATT 3 Concert Attendance P Applied Music 1 PHIL-1750, Principles of Nature 3 Ensemble 1 Elective 6 MUSC-ATT 4 Concert Attendance P __ __ 17 16
Junior Year MUSC-3000, Music Theory & Aural Skills 3 MUSC-3002, Music Composition 2 MUSC-3001, Music Composition 2 MUSC-3201, Introduction to Conducting 1 Philosophical Inquiry 3 MUSC-4100, History of Music I 3 Quantitative Analysis 3 Faith 3 MUSC-PIAPROF, Piano Proficiency P Ensemble 1 Ensemble 1 MUSC-ATT 5 Concert Attendance P MUSC-ATT 6 Concert Attendance P Upper Division Elective 3 MUSC-3005, Counterpoint 2 Written Communication 3 ______17 16
Senior Year MUSC-4001, Music Composition 2 Person and Community 3 MUSC-3003, Orchestration/Arranging 2 MUSC-4002, Music Composition 2 MUSC-4101, History of Music II 3 Philosophical Inquiry 3 Ensemble 1 Understanding the Natural World 4 Faith 3 Ensemble 1 Elective 2 MUSC-4997, Senior Recital 1 MUSC-3004, Seminar in Composition 3 MUSC-SRCOMP, Senior Comprehensive Cr __ __ 16 14
45 4 year Suggested Sequence - Bachelor of Music Education degree Freshman Year MUSC-1000 Fund of Music & Aural Skills 2 MUSC-1001, Music Theory & Aural Skills I 3 MUSC-1003, Functional Keyboard I 1 MUSC-1004, Functional Keyboard II 1 THEO-1100, Introduction to Theology 3 MUSC-1101, World Music Literature 3 Applied Music 2 MUSC-1201, Woodwind Methods 2 MUSC-1005, Class Voice 2 MUSC-1350, OperaWorkshop 1 Ensemble 1 Ensemble 1 MUSC-ATT 1 Concert Attendance P MUSC-ATT 2 Concert Attendance P GNST-1000, BC Experience 1 HIST-1100 or HIST-1101, World Civ 3 EDUC-2200, Introduction to Education 2 MATH-2110, Applied Statistics 4 EDUC-2201, Introduction to Ed Field Exp 1 Applied Music 2 ENGL-1010, English Composition 3 __ 18 20 Sophomore Year MUSC-1002, Music Theory & Aural Skills II 3 MUSC-2000, Music Thy & Aural Skills III 3 PYSC-1000, General Psychology 3 MUSC-2200,Vocal Communication/Tech 2 Faith 3 Understanding the Natural World 4 Applied Music 2 EDUC-2222, Psych of Indiv With Excep 3 Ensemble 1 Applied Music 2 MUSC-ATT 3 Concert Attendance P Ensemble 1 EXSC-1115, Wellness for Life 1 MUSC-ATT 4 Concert Attendance P EDUC-2220, Psych Ed Development 3 Chamber Ensemble 1 SOCI-2300, World Regional Geography 3 MUSC-1200, Stringed Instruments 2 _ Secondary Ensemble __1 __ 19 19 Junior Year Approved EXSC Fitness Activity Course 1 MUSC-3003, Orchestration/Arr 2 MUSC-3201, Introduction to Conducting 1 MUSC-4100, History of Music I 3 MUSC-1202, Brass & Percussion 2 Applied Music 2 EDUC-3312, School as Community 3 MUSC-4200, Instrumental Conducting 1 EDUC-3313, School as Comm/Field Ex 1 Secondary Ensemble 1 MUSC-3000, Music Theory & Analysis IV 3 EDUC-4451, Philosophy of Education 3 PHIL-1750, Principles of Nature 3 EDUC-3332, Teach Reading/Content Area 2 Co-Req EDUC 3332F – Field Experience 0 Faith 3 MUSC-PIAPROF, Piano Proficiency P Applied Music 2 Ensemble 1 Ensemble 1 MUSC-ATT 6, Concert Attendance P MUSC-ATT 5, Concert Attendance P MUSC-3997, Junior Recital (optional) Philosophical Inquiry 3 __ 20 18 Senior Year MUSC-4101, History of Music II 3 EDUC-4455, Differentiated Instruction 3 MUSC-3200, K–12 Music Methods 3 EDUC-4462, Classroom Management 2 EDUC-3357, General Sec Meth & Media 3 EDUC-4470, Student Teaching Seminar 1 (Music Ed majors do not take EDUC-3358) EDUC-4492, Supervised Stud Teach/Elem 5 Applied Music 2 EDUC-4496, Supervised Stud Teaching/Sec 5 Ensemble 1 EDUC-CNTX, Content Area Exam cr MUSC-4997, Senior Recital 1 EDUC-COMP, Senior Comprehensive cr Chamber Ensemble 1 (Satisfies MUSC-SRCOMP) MUSC-4201, Choral Conducting 1 EDUC-TECHPROF, Tech Proficiency cr Secondary Ensemble 1 EDUC-DIVPROF , Diversity Competencies cr 16 16
46
MAJOR
Petition for Acceptance to a MAJOR Program
Name of student making application: ______(Please Print) BC ID #
Catalog Year(s): ______Anticipated Degree Date: ______
I have already declared a major in: I want to KEEP / DROP it (circle one)
To the Student: Take this form to the Chair of the Department to which you are petitioning for a major along with a current copy of your transcript.
To be completed by the Chair of the Department to which the student is petitioning, in consultation with the student:
Department to which student is petitioning for acceptance as a major: ______
Intended Degree: B.A. B.S. B.S.N B.M.E. Art Education
Intended Major: ______
Area of Specialization or Concentration (if applicable): ______(Note: This must be an approved area of specialization as given in your Catalog.)
I accept this student into this department. ______Signature of Department Chairperson Date
To the Registrar: Please assign ______as the student’s major advisor. For the student’s senior year, the department chairperson will often be the advisor.
Signature of student: ______Date: ______
To the Department Chair: Please make a copy of this form and retain it in the student’s file.
To the student: Return this form to the Office of Academic Records and Registration, 113 St. Benedict Hall, to be officially registered in your major.
For Office Use Only:
Program:______Minors:
Catalog: ______Expected Completion Date:
Honors Program? ______Majors Linked?______Minors Linked? ______
Processed Date: ______Initials:
Updated: July 6, 2018
47
Petition for Acceptance to a MINOR Program
Name of student: (Please Print) BC ID #
Catalog: ______Anticipated Degree Date: ______
Major: ______2nd Major: ______(If a double Major, indicate both)
Advisor: ______2nd Advisor: ______(If double Major, indicate both)
To the Student: Take this form to the Chair of the Department to which you are petitioning for a minor along with a current copy of your transcript. (You may print a copy of your current and past courses from Colleague.)
To be completed by the Chair of the Department to which the student is petitioning, in consultation with the student:
Department to which student is petitioning for acceptance as a minor: ______
The name of the minor for which the student is applying for: ______
I accept this student as a minor in this department. ______Signature of Department Chairperson Date
Signature of Student: ______Date:______
To the Department Chair: You are encouraged to make a copy of this form and retain it in your file.
To the student: Return this form to the Office of Academic Records and Registration, 113 St. Benedict Hall, to be officially registered in your minor.
For Office Use Only:
Program:______Majors:
Catalog: ______Expected Completion Date:
Honors Program? ______Majors Linked?______Minors Linked? ______
Processed Date: Initials:
Updated: 5 July 2018
48
Current Benedictine College Students You are currently receiving an award for participating in an ensemble. This agreement must be completed each semester and returned either electronically, or as a hard copy to: Mrs. Lois Niemann ([email protected]) in Bishop Fink Hall 309.
ENSEMBLE PARTICIPATION AWARD AGREEMENT
Student Musician: Click or tap here to enter text. Student ID# Click or tap here to enter text. Benedictine email address: Click or tap here to enter text.
INSTRUMENT/VOICE TYPE: Click or tap here to enter text. NAME OF ASSIGNED ENSEMBLE Click or tap here to enter text. Course Number for next semester of participation: Click or tap here to enter text.
SIGNATURE: Student Musician: Click or tap here to enter text. Date: Click or tap here to enter text.
Award explanations/conditions: 1) Student must enroll in the assigned ensemble to receive an award in every semester while at Benedictine College. 2) Student will be allowed one (1) semester of non-participation in assigned ensemble for one of the following reasons: a. Study abroad semester b. A major course (a required course within your major) conflicts with the ensemble c. Student teaching semester 3) More than one semester of non-participation (for any reason) will result in the removal of the scholarship from the students’ financial aid package. 4) If the award has been removed the student may petition for reinstatement after one semester of additional participation. 5) Student must return this document to the Music Department after preregistration and before December 1st (for consideration for spring semester award) and April 15th (for consideration for fall semester award). It is the responsibility of the student to ensure that all deadlines are met. 6) The Music Department reserves the right to remove a student’s scholarship for failure to comply with the terms of this agreement. The Music Department will notify the Financial Aid Office of any/all Music Department scholarship additions/removals.
If you are unable to participate in the upcoming semester, please indicate reason below: ☐ Study abroad semester ☐ Required major course conflict. Please list course: Click or tap here to enter text. ☐ Student teaching semester
49 Protect Your Hearing Every Day 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.
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, producing, 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 our presentation.) As I was saying, 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 Okay, first a quick 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 hearing or think you may have suffered hearing loss, consult a licensed medical professional. We can help you in so far as we can refer you to the health center on campus. The health center staff will take it from there.
Purpose of this Presentation The purpose of our presentation 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 Throughout our presentation we’ll be referring to “noise-induced” hearing loss. You may be wondering why we’re referring to music—this beautiful form of art and self-expression—as “noise.”
50 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 sending signals 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’ll 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.
51 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.
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 “little ‘d,’ big ‘B.’” 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).
A whisper is 30 dB. There’s no risk involved at this level of sound intensity. Your average conversation is around 60dB. Again, there’s no risk.
An alarm clock is 80 dB. No real risk, but it would certainly be annoying if you listened to it for very long.
85 dB is the magic number. Sounds above the 85 dB threshold pose a potential threat to your hearing.
Blenders, food processers, blow-dryers, and the subway come in at 90 dB. The recommended maximum exposure time for 90 dB sounds is around 2 hours.
MP3 players at full volume, lawnmowers, and snowblowers come in at 100 dB. The recommended maximum exposure time for these items is 15 minutes.
52 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.
Here are some other figures for you: Rock concerts, certain sporting events, and power tools come in at 110 dB. At full volume, the recommended maximum exposure time is 2 minutes. (Again, remember there are precautions you can take!)
Jet planes at take-off – 120 dB Sirens, race cars, and jackhammers – 130 dB Gun shots and fireworks at close range – 140 dB
When you’re dealing with sounds like these, those 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.
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 receiving attention.
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.
53 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 that 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 we’ve shared with you some of the basics of hearing health and hearing loss prevention, we encourage you to keep learning. Do your own research. There’s a wealth of information out there, and it’s yours to discover.
Conclusion We hope our presentation 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.
54 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/)
55 Protect Your Neuromusculoskeletal and Vocal Health Every Day
Information and Recommendations for Student Musicians
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
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.
56 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.
57 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)
58 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.
59 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.
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.
60 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.
61 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.
62 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.
63 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)
64 FACULTY RESOURCES Blackboard is an important resource containing vital information. You should have been issued credentials upon hiring for Blackboard. In Blackboard go to “Faculty Forum.” This site contains the following information that you will need: General Information Includes academic calendars and general education miscellaneous information. Academic Forms Any forms regarding change of enrollment, grades, substitutions, audits, etc. Colleague Guide Entering grades, granting permission to enroll, attendance, etc.
Please note that all grades must be issued at midterm and final for all classes. The Registrar will issue deadlines. It is imperative that you adhere to these.
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66 REPERTOIRE LISTS Studies These repertoire lists represent the competency Andrew Clark16 Etudes:Suite 1,Etude 3 (Mitre levels that a Music Major should be able to Music/Emerson) demonstrate in their applied studies. These lists Concone Study No.25 (Op.9 No.29). Concone have been compiled by the respective music Studies for Horn in F,arr.Ashworth (Emerson) faculty, and are only a recommended list, not a Kopprasch 60 Selected Studies for French required list of repertoire. 1000=Freshmen level, Horn,Book 1:No.13 (Carl Fischer 02790/MDS) 2000=Sophomore, 3000=Junior, 4000=Senior. Peter Lawrance Restless:from Featuring Melody(&brass edition:Brass Wind) BRASS AND PERCUSSION Maxime-Alphonse 200 New Studies for Horn,Book 3:No.6 in C or No.16 in B This list represents a recommendation of Brass and b(Leduc/UMP) Percussion literature to be studied at progressive Lowell E.ShawJust Desserts – Frippery Style:No.1 levels. It is not intended to be a required (The Hornist’s Nest/Emerson) repertoire list for graduation. Many pieces have been chosen from the Associated Board of the TRUMPET Royal Schools of Music required lists and students Banchieri Canzona 5. The Baroque are encouraged to apply for international Trumpet,arr.Miller (Bb/D edition:Faber) accreditation through ABRSM exams given Bruckner Ave Maria,arr.Mortimer (Bb/C externally. edition:Editions Marc Reift/MusT) Handel Ev’ry Valley Shall Be Exalted (from Messiah). Three Handel Arias,arr.Street (Studio 1000 LEVEL Music) FRENCH HORN Mozart Andante (from Piano Concerto No.21). Brahms Scherzo and Trio (from Serenade No.1 in The James Watson Collection,Vol.2,arr.Bennett D,Op.11). Time Pieces for Horn,Vol.2,arr.Harris (Unlimited Music/ Maecenas) and Skirrow (ABRSM Publishing) L.Otto Trumpet Concerto in Eb:3rd Danzi Concerto in Eb:2nd movt,Romanze movt,Rondo:Allegro grazioso (Bb/Eb edition:Brass (Heinrichshofen N 6217/Peters) Wind) Handel I See a Huntsman (from Julius Caesar). No. Purcell Sonata for Trumpet:1st and 3rd movts 5 from Solos for the Horn Player, ed. Jones (Bb/C edition:IMC 2089/MDS) (Schirmer/Music Sales) Anon. Mexican Hat Dance or La Cucaracha. No.2 Mozart Horn Concerto No.1 in D,K.412/514:1st or No.3 from Play Latin for Trumpet,arr.Gout and or2nd movt,Allegro or Rondo:Allegro (D/F Farley (Faber) edition:Bärenreiter BA 5314a) Clare Grundman Conversation for Cornet Mozart Horn Concerto No.2 in E b,K.417:2nd (Boosey & Hawkes/MDS) movt,Andante (Eb/F edition:Bärenreiter BA 5311a) Jim Parker Soldier,Soldier or Ground Force. The Rosetti Horn Concerto in D minor:2nd Music of Jim Parker for Trumpet (Brass Wind) movt,Romanze (with cadenza)(Simrock 3061/MDS) Studies Saint-Saëns Morceau de Concert,Op.94:Allegro Arban14 Studies for Cornet:No.5 in C (Boosey & moderato to fig.3 (Durand/UMP) Hawkes/MDS) BozzaEn Irlande (Leduc/UMP) Concone 25 Lessons,Op.10:No.19. Concone The Dunhill Allegro vivo and Slow Minuet:No.2 and Complete Solfeggi,trans.Korak (Balquhidder No.5 from Cornucopia,Op.95 (Boosey & Music—Carl Fischer/ MDS) Hawkes/MDS) John Miller Stealthy Living or Morning:No.11 or No.13 from Progressive Brass Studies (Faber) HindemithHorn Sonata (1939):2nd movt,Ruhig Ernest Piper The Well-Tempered Player:No.2 in C bewegt (Schott ED 3642/MDS) minor (Winwood Music) KodályIntermezzo from Háry János. Absolutely Allen Vizzutti Irish Reel:No.6 from 20 Dances for Horn,arr.Bissill (Brass Wind) Trumpet (De Haske) Ridout Concertino for Horn:1st movt (Emerson) Malcolm Weale Challenging Brass:No.15 in C Guy WoolfendenSpanish Dance or Lotus minor or No.16 in G minor (&edition:Winwood Waltz:from Horn Dances(Brass Wind) Music)
67 TROMBONE EUPHONIUM J.S.BachAnglaise (from French Suite No.3). Bach Elgar Serenade,arr.Wilson (&edition:Winwood for Trombone,arr.Mowat (?or &editions:Brass Music) Wind) B. Marcello Sonata No.1 in F:1st and 2nd movts, GalliardSonata No.1 in A minor:1st and 2nd Largo and Allegro, or 1st and 4th movts, Largo and movts,Cantabile and Spiritoso e Staccato A Tempo Presto (Allegro) Moderato (Peters H 752a) (?edition arr.Ostrander:IMC 1978/MDS or&edition Mendelssohn Theme from Symphony No.5 arr.Mortimer:Editions Marc Reift/MusT) (Reformation). First Solos for the Trombone or Purcell Suite,arr.Sturzenegger for Euphonium:1st Baritone Player,trans.Smith and 2nd movts,Rondeau and Rigaudon (?edition:Schirmer/Music Sales) (&edition:Editions Marc Reift/MusT) Pergolesi Aria (from La Serva Padrona). No.7 Saint-Saëns The Swan (from The Carnival ofthe from Second Book of Trombone Animals),arr. Mead (?/&edition:Studio Music) Solos,arr.Goodwin and Pearson (?/& edition:Faber) Wagner Sigmund’s Love Song (from The Purcell When I am Laid in Earth (from Dido and Valkyrie) or Walter’s Prize Song (from The Aeneas). The Baroque Trombone,arr.Wills (Faber) Mastersingers). Wagner Three Rimsky-Korsakov Trombone Concerto:2nd Operatic Arias, arr.Wright (?/&edition:Brand movt,Andante cantabile(?/&edition:Brass Wind) Publications/Smith) Keith Amos Dragon Dance:No.1 from Dragon Ernest Young Euphonium Sonata:2nd Dance(?/&edition:CMA Publications 282) movt,Intermezzo (?/&edition:Brand Eileen Clews Scherzando:No.4 from Four Pieces Publications/Smith) for Trombone (Paterson/Music Sales) Keith Amos Dragon Dance:No.1 from Dragon JacobTrombone Sonata:1st movt,Adagio Dancefor Euphonium:(?/&edition:CMA (Emerson) Publications 282) Christopher Mowat Bone Idyll. Slide Show for John Golland Peace (?/&edition:Hallamshire Trombone,arr.Mowat (?or &editions:Brass Wind) Music) Christopher NortonJust that Minute:No.12 from Peter Lawrance Andante and Badinage: Nos 5 and Microjazz for Trombone (Boosey & 6 from Badinage(?or &editions:Brass Wind) Hawkes/MDS) Robert Sanders Square-Dance (&edition: Stainer Ridout Concertino for Trombone:1st movt, Lento &Bell) (Emerson) Keith Amos Miniature No. 9, Alla Greque, or No. 12, Moderate March: from 12 Miniatures for Solo Studies Euphonium(?/& edition:CMA Publications 155) Keith Amos 12 Miniatures for Solo Euphonium or Nigel Clarke Pandora: from Featuring Rhythm(?or Trombone: No. 7, Alla Viennoise, or No. 9, Alla &editions:Brass Wind) Grecque (?/& edition:CMA Publications 155) Derek Bourgeois Bone Studies ofContention,Op.112:No.13,Allegretto Dubois 14 Studies for Trombone:No.11 or No.12 grazioso(?or &editions:Brass Wind) (?edition:Leduc/UMP) Derek Bourgeois Splinters Gaetke 60 Studies for Trombone:No.21 or No.25 ofBone,Op.130:No.24,Allegretto(?or (?edition:IMC 1456/MDS) (restricted availability) &editions:Brass Wind) Alwyn GreenEuphonium Eurhythmics:Study Nigel Clarke Pandora:from Featuring Rhythm– 9 No.5,P.30 (?or &editions:Warwick Music) Graded Studies for Trombone (?or Mark Nightingale The Suntan Samba:No.9 from &editions:Brass Wind) Tipping the Scales(?or &editions:Warwick Music) John Edney L’Espagnole:No.26 from Up Front Reinhardt Selection of Concone Studies for Melodic Studies for Trombone, Book 2(?or Trombone:No.9 or No.10 (?edition:Elkan- &editions:Brass Wind) Vogel/UMP) Christopher Mowat Unlocking the Tenor Clef:No.17,Allegro (Brass Wind) TUBA Jérôme Naulais Études Variées de Virtuosité et de Arthur Frackenpohl Concertino for Tuba:2nd and Technique,Vol.2 – 23 Études:No.21,Promenade 3rd movts,Lento and Allegro (Robert King/UMP) (Billaudot/UMP) Hindemith Sonata (1955):2nd movt,Allegro assai (Schott ED 4636/MDS) JacobTuba Suite:No.2 or No.4,Hornpipe or Bourrée (Boosey & Hawkes/MDS)
68 TUBA(CONT.) Graded Music for Tuned Percussion, Book 3 Vivaldi Allegro,arr.Swanson (with repeat) (Belwin (ABRSMPublishing) Mills/Maecenas) Keith Amos Compositae (?/&edition:CMA Publications 041) 2000 LEVEL Jean-Michel Defaye Suite Marine:1st and 4th FRENCH HORN movts,L’Otarie and L’Éléphant de Mer BorodinIntermezzo:No.1 from Five Pieces from (Leduc/UMP) Little Suite(Israel Brass Woodwind Walter HartleySuite for UnaccompaniedTuba:any Publications/MusT) three movts (Elkan-Vogel/UMP) Glazunov Rêverie,Op.24 (Belaieff343/MDS) Bryan Kelly Tarantelle:No.4 from Dordogne GounodSix Pièces mélodiques Dances(?/&edition:Emerson) originales,Vol.2:No.4 (Billaudot/UMP) Jim Parker Ground Force. The Music ofJim Parker Mozart Horn Concerto No.3 in Eb,K.447:1st or 3rd for EbBass/Tuba (?or &editions:Brass Wind) movt,eitherAllegro (Eb/F edition:Bärenreiter BA William ReltonThe Trouble with the Tuba is 5312a) ...(Eb&edition:Kirklees Music) Mozart Horn Concerto No.4 in Eb,K.495:3rd Alan Richardson In the Lowlands:complete (Music movt,Rondo:Allegro vivace (Eb/F Sales) edition:Bärenreiter BA 5313a) Burnet Tuthill Fantasia for Tuba,Op.57 (Ensemble NielsenCanto Serioso (Skandinavisk Publications/Music Sales) Musikforlag/Music Sales) Rosetti Horn Concerto in D minor:3rd movt,Rondo Studies (Simrock 3061/MDS) Blazhevich70 Studies for B bTuba,Vol.1:No.11 or Franz Strauss Nocturno,Op.7 (Universal No.14 (Robert King/UMP) 1368/MDS) Derek Bourgeois Happy:from Per Tuba ad Bartoš Rondo:from Adagio Elegiaco e Astra(?or &editions:Brass Wind) Rondo(Schott COR 5/MDS) Alwyn GreenTuba Eurhythmics:Study No.5,P.30 BozzaChant Lointain (Leduc/UMP) (?) orP.29 (&)(?or &tuba editions:Warwick Music) Gordon Carr Idyll:No.2 from A Day in the Kopprasch 60 Selected Studies for BbTuba:No.26 Country(Broadbent & Dunn) (Robert King/UMP) Arnold Cooke Rondo in Bb(Schott ED 10231/MDS) PERCUSSION Jean-Michel Damase Pavane Variée (Lemoine/UMP) MALLETTS HindemithHorn Sonata (1939):1st movt,Mässig J. S. BachInvention No. 10 in G, BWV781 bewegt (Schott ED 3642/MDS) Handel Allegro, from Sonata in F, Op. 1 No. 12* Bertold Hummel Sonatine for Horn,Op.75a:3rd JoplinMaple Leaf Rag* movt,Finale:Presto (Schott COR 7/MDS) MendelssohnSong without Words, Op. 102 No. 3 Guy WoolfendenSword Dance:from Horn Johann Strauss Radetsky March, Op. 228 Dances(Brass Wind) TelemannVivace, from Fantasia No. 5 in F (1st
Dozen) Studies TIMPANI J.S.BachCello Suite No.5:7th movt,Gigue. Bach Unsquare Dance Six Suites for Horn Solo,arr.Orval (Editions Marc Square Dance Reift/MusT) Diversions Kopprasch 60 Selected Studies for French Scherzoid Horn,Book 1:No.33 (Carl Fischer CFO 2790/MDS) SNARE DRUM Peter Lawrance Hornpipe orLa Chase:from Malvern March Featuring Melody(&brass edition:Brass Wind) Con anima Maxime-Alphonse 200 New Studies for Fanfare and Dance Horn,Book 3:No.23 in E bor No.32 in Waltz Variations C(Leduc/UMP) Midsummer Dream de Pré 20 Études pour le Cor grave:No.1 orNo.5 Con forza (Billaudot/UMP) Graded Music for Snare Drum, Book Lowell E.ShawJust Desserts – Frippery Style:No.6 3(ABRSMPublishing) (The Hornist’s Nest/Emerson) Graded Music for Timpani, Book
3(ABRSMPublishing)
69 TRUMPET Berlioz Recitative and Prayer (from Grande Elgar Idylle. No.18 from Second Book of Trumpet Symphonie Funèbre et Triomphale,Op.15) Solos arr. Wallace and Miller (?/&edition:Brass Wind) Hummel The Noble Savage (Indian Rondo). Gluck Che farò senza Euridice (from Orfeo ed No.14 (Faber) Euridice). The Baroque Trombone arr. Wills Fantini Sonata detta del Niccolini. The Baroque (Faber) Trumpet,arr.Miller (Bb/D edition:Faber) B.Marcello Sonata in G,arr.Brown:1st and 2nd Keller Sonata No.2 for Trumpet: complete. No.3 movts Andante and Allegro (IMC2203/MDS) from Baroque Music for Trumpet ed. Wastall L. Mozart Serenade for Trombone,arr.Clack:1st (Boosey & Hawkes/ MDS) movt,Allegro(B/&edition:Winwood Music) Laue Trumpet Concerto:1st and 2nd Rimsky-Korsakov Trombone Concerto:1st movts,Allegro and Adagio (Brass Wind) movt,Allegro vivace (?/&edition:Brass Wind) Purcell Sound the Trumpet (from The Duke Jacques Castérède Sonatine for Trombone:2nd ofGloucester’s Birthday Ode),arr.Wiggins movt,Andante sostenuto (Leduc/UMP) (Fentone/De Haske) James Curnow Fantasy for Trombone Zubiaurre Audition Piece for Trumpet or Cornet (?/&edition:Winwood Music) (Brass Wind) Edward Gregson Divertimento for Trombone:2nd Copland Laurie’s Song (from The Tender Land). and 3rd movts,Canzona and Scherzino Copland 2000 for Trumpet (Boosey & (?/&edition:Studio Music) Hawkes/MDS:piano accomp. published separately) Jim Parker Dances with Bears. Jazzed Up Too for Gershwin Prelude No.1 or No.2. Gershwin Three Trombone,arr.Parker (?or&editions:Brass Wind) Preludes,arr.Kearns (Stainer & Bell) Robert Ramskill Ballad. From Vivaldi to Fats Edward Gregson Danse Macabre:from Cameos for Waller for Trombone (?or &editions:Brass Wind) Trumpet (Brass Wind) Ronald Hanmer Arioso and Caprice for Flugelhorn Studies (Brand Publications/Smith) Denis ApIvor 24 Exercises:No.1 (Allegro vivace) Dominic Muldowney Two Tone Tattoo. Unbeaten (?or &editions:Warwick Music) Tracks – Trumpet,ed.Miller (Faber) Derek Bourgeois Bone of Shostakovich Prelude 18. Russian Roulette for Contention,Op.112:No.14,Moderato ritmico (?or Trumpet,arr.Archibald (Brass Wind) &editions:Brass Wind) Derek Bourgeois Fantasy Pieces for tenor Studies trombone:No.4,Moderato cantabile(?or Arban14 Studies for Cornet: No.6 in F (Boosey & &editions:Brass Wind) Hawkes/MDS) Christopher Mowat Unlocking the Tenor Derek Bourgeois Fantasy Pieces for Clef:No.29 or No.30 (Brass Wind) trumpet:No.1,Allegro vivace,orNo.2,Andante e Jérôme Naulais Études Variées de Virtuosité et de pesante(Brass Wind) Technique,Vol.2 – 23 Études:No.22,Latin Funk Herbert Clarke Characteristic Studies for the (Billaudot/UMP) Cornet:No.22 in G minor (Carl Fischer Jérôme Naulais Trombone Plaisir,Vol.3 – 18 02281/MDS) Études:No.5,Medium Fast Swing (Billaudot/UMP) John Miller Seventh Heaven or Alpine Waltz:No.21 or No.22 from Progressive Brass EUPHONIUM Studies (Faber) Elgar Idylle,Op.4 No.1,trans.Wilson Ernest Piper The Well-Tempered Player:No.20 in (?/&edition:Winwood Music) A minor (Winwood Music) Elgar Salut d’Amour,Op.12,trans.Childs. Monti’s Allen Vizzutti Flamenco:No.4 from 20 Dances for Czardas,ed.Wilson(&edition:Winwood Music) Trumpet (De Haske) Handel Prelude and Fugue,arr.Sturzenegger for Malcolm Weale Challenging Brass:No.22 in B Euphonium (&edition:Editions Marc Reift/MusT) minor (&edition:Winwood Music) Michael HopkinsonConcerto for Tuba (Concerto Euphonique): 1st movt, Allegro moderato TROMBONE (Bb&edition:Kirklees Music) J. S. BachPrelude in Ab(from 48 Preludes and Mozart Concerto in 2 Fugues, Book 1). Bach for Trombone, arr. Mowat Movements,K.412,arr.Lethbridge for Euphonium (?or &editions: Brass Wind) or Baritone (?/&edition:Brand Publications/ Smith)
70 EUPHONIUM(CONT.) Studies Ernest YoungEuphonium Suite: 1st and2nd movts, Blazhevich70 Studies for BbTuba,Vol.1:No.15 or Allegro Giocoso and Romanza: Lento, or 2nd and No.20 (Robert King/UMP) 3rd movts, Derek Bourgeois Fantasy Pieces for Romanza:Lento andScherzando (?/&edition:Brand tuba:No.1,Allegro moderato,or No.4,Commodo Publications/Smith) (Brass Wind) James CurnowRhapsody for Euphonium Alwyn GreenTuba Eurhythmics:Study No.11,P.37 (?/&edition:Winwood Music) (?) orP.35 (&)(?or &tuba editions:Warwick Music) Joseph Horovitz Euphonium Concerto:2nd Kopprasch 60 Selected Studies for BbTuba:No.11 movt,Lento (&edition:Novello/Music Sales) (Robert King/UMP) Rodney NewtonBaritone Aria (?/&edition:Editions Weissenborn,arr.Leslie Lake 12 Studies for Bass Marc Reift/MusT) Trombone or Tuba:No.4 (NeuschelMusic/Studio Philip Sparke Aubade (&edition:Studio Music) Music) David Uber Danza Espagnola (?/&edition:Virgo) Vaughan Williams Concerto for Tuba: 2nd movt, Romanza (separate &euphonium part, and piano PERCUSSION score with ?part: OUP) MALLETTS Studies J. S. BachBourrée anglaise, from Flute Sonata in Dubois 14 Studies for Trombone:No.13 Aminor, BWV1013 (?edition:Leduc/UMP) Handel Allegro, from Sonata in E, Op. 1 No. 15 Gaetke 60 Studies for Trombone:Nos 52 and 53 JoplinThe FavouriteandRagtime Two Step (?edition:IMC 1456/MDS) (restricted availability) Kreisler Liebesfreud* Alwyn GreenEuphonium Eurhythmics:Study Johann Strauss Thunder and Lightning Polka, Op. No.11,P.36 (?or &editions:Warwick Music) 324 Mark Nightingale Barking Mad:No.8 from Vivaldi Presto, from Concerto in Aminor, Op. 3 Tipping the Scales(?or &editions:Warwick Music) No. 6* Reinhardt Selection of Concone Studies for TIMPANI Trombone:No.12 (?edition:Elkan Vogel/UMP) Tchaikovsky Plus Conflict in Verona TUBA Impulse Anon. Hornpipe. No.14 from First Solos for the Soliloquy Tuba Player,arr.Wekselblatt (Schirmer/Music SNARE DRUM Sales) Contemporary Patterns HindemithSonata (1955):1st movt, Allegro pesante Scherzo Caprice (Schott ED 4636/MDS) Light Infantry JacobTuba Suite: No.8,Galop (with cadenza) Allegro giocoso (lower 8ve optional) (Boosey & Hawkes/MDS) Prelude and Scherzo Senaillé Introduction and Allegro Graded Music for Snare Drum, Book spiritoso,arr.Catelinet (?/&edition:Peters H 853) 4(ABRSMPublishing) TelemannAdagio and Allegro (from Trumpet Graded Music for Timpani, Book Concerto in D),arr.Friedman (Southern Music 4(ABRSMPublishing) Co/Valentine Music) Graded Music for Tuned Percussion, Book Eugène Bozza Thème Varié (Leduc/UMP) 4(ABRSMPublishing) Jean-Michel Defaye Suite Marine:2nd and 3rd movts, Le Cachelot and Le Requin (Leduc/UMP) Merle HoggSonatina: complete (Ensemble 3000 LEVEL Publications/Music Sales) FRENCH HORN Joseph Horovitz Tuba Concerto:2nd movt, Beethoven Horn Sonata in F,Op.17:2nd and 3rd Andante (?/Eb&edition:Studio Music) movts,Poco adagio,quasi andante and Simon Proctor Ulloco or Oca:from Tuber Rondo:Allegretto moderato (Boosey & Music(?or &editions: Brass Wind) Hawkes/MDS) Vaughan Williams Concerto for Tuba: 2nd movt, Danzi Concerto in Eb:3rd movt,Rondo:Allegro Romanza (OUP) (Heinrichshofen N 6217/Peters) Alec Wilder Sonata (No.1) for Tuba and Piano: any HaydnHorn Concerto No.1 in D,Hob.VIId/3:1st three movts (Richmond/Emerson) (now out of movt,Allegro (D/F edition:Boosey & print) Hawkes/MDS)
71 FRENCH HORN (CONT.) movts, Andante and Allegro(Bb/Eb Mozart Horn Concerto No.2 in Eb,K.417:1st or 3rd edition:Universal HMP 223/MDS) movt,Allegro or Rondo:Allegro (Eb/F Hindemith Sonata for Trumpet:1st movt. Mit Kraft edition:Bärenreiter BA 5311a) (Schott ED 3643/MDS) Mozart Rondo in Eb,K.371 (Eb/F W.Lloyd Webber Suite in F:2nd,3rd and 4th edition:Bärenreiter BA 5329a) movts,Allegro vigoroso,Larghetto e mesto and Hermann NeulingBagatelle (Pro Musica Allegro vivace (Stainer & Bell) 196/Emerson) J.K.J.Neruda Trumpet Concerto in Eb:1st and2nd Ferdinand Ries Horn Sonata in F,Op.34:3rd movts,Allegro andLargo (with cadenzas),or 2nd movt,Rondo:Allegro (Schott COR 3/MDS) and3rd movts, Largo andVivace (with cadenzas) Rosetti Horn Concerto in Eb: 1st or 3rd movt, (Bb/Eb edition:Brass Wind) Allegro moderato or Allegretto non troppo (Eb/F Tchaikovsky Ballet Suite (from The edition:IMC 1977/ MDS) Nutcracker,Op.71). Russian Roulette for Trumpet Richard Strauss Horn Concerto No. 1 in Eb, Op. arr. Archibald (Brass Wind) 11: 1st and2nd movts, Allegro and Andante, or 3rd Büsser Andante et Scherzo,Op.44 (Bb/C movt, Rondo: Allegro (Universal 1039/MDS) edition:Leduc/UMP) Malcolm ArnoldFantasy for Horn,Op.88 (Faber) Copland Fanfare for the Common Man. Copland Julia GomelskayaBagatelle (1996) (Guildhall 2000 for Trumpet (Boosey &Hawkes/MDS:piano School ofMusic & Drama/Faber) accomp.published separately) Hindemith Horn Concerto (1949):1st and 2nd Robert Eaves Rhapsody for Eb Soprano Cornet movts,Moderately fast and Very fast (Schott ED (Brand Publications/Smith) 4024/MDS) Petr Eben Fantasia Vespertina (Schott TR3/MDS) HindemithHorn Sonata (1939):3rd movt,Lebhaft Martinu˚ Sonatine for Trumpet(Bb/C edition: (Schott ED 3642/MDS) Leduc/UMP) Poulenc Élégie (Chester/Music Sales) Michael Short Eccentrico and Cantilena or Anthony Randall Nocturne and Scherzo Cantilena and Giga:Nos 3 and4,orNos 4 and5 from (Broadbent & Dunn:pieces published separately) Five Inventionsfor solo trumpet (Studio Music) Gilbert Vinter Hunter’s Moon (Boosey & Denis Wright Concerto for Bb Cornet:1st Hawkes/MDS) movt,Allegro (with cadenza) (Studio Music) J.S.BachCello Suite No.1:5th and 6th Studies movts,Minuetto I and II. Bach Six Suites for Horn Arban14 Studies for Cornet:No.2 in E (Boosey & Solo,arr.Orval (Editions Marc Reift/MusT) Hawkes/MDS) Derek Bourgeois Fantasy Pieces for Derek Bourgeois Fantasy Pieces for horn:No.2,Andante espressivo,or No.3,Scherzando trumpet:No.4,Slow waltz,orNo.5,Allegro e grottesco (in the written keys) (Brass Wind) vivace(Brass Wind) Studies Herbert Clarke Characteristic Studies for the Andrew Clark16 Etudes:Suite 2,Etude 5 (Mitre Cornet:No.9 in E or No.19 in A (Carl Fischer Music/Emerson) 02281/MDS) Alison Davies Le Basquish:No.4 from Four John Miller Mr Logic:No.30 from Progressive Studies(Broadbent & Dunn) Brass Studies (Faber) Maxime-Alphonse 200 New Studies for Ernest Piper The Well-Tempered Player:No.6 in D Horn,Book 3:No.40 in F minor(Leduc/UMP) minor (Winwood Music) de Pré 20 Études pour le Cor grave:No.9 orNo.10 Allen Vizzutti Polka:No.20 from 20 Dances for (Billaudot/UMP) Trumpet (De Haske) Verne Reynolds 48 Etudes for French Horn:No.5 (Schirmer/Music Sales) TROMBONE Lowell E.ShawJust Desserts – Frippery Style:No.9 Galliard Sonata No.5 in D minor:complete (Peters (The Hornist’s Nest/Emerson) H 752e) Guilmant Concert Piece (Morceau TRUMPET Symphonique),Op.88(?/&edition:Brass Wind) Handel Sonata No.3 (Op.1 No.12):1st and2nd Mahler Trombone Solo from Symphony No.3,1st movts,Adagio and Allegro,or 3rd and4th movts, movt (?/&edition:Brass Wind) Largo and Allegro (IMC 2493/MDS) B.Marcello Sonata in F,trans.Ostrander:complete Haydn Trumpet Concerto in Eb,Hob.VIIe/1:1st (IMC 1978/MDS) and2nd movts,Allegro andAndante,or2nd and3rd Florentin Morel Pièce in F minor (Billaudot/UMP)
72 TROMBONE (CONT.) Arthur Butterworth Partita for Pergolesi Sinfonia,arr.Bucher and Balli:complete Euphonium,Op.89:complete (?/&edition:Comus (Editions Marc Reift/MusT) Edition) Saint-Saëns Cavatine,Op.144 (?/&edition:Brass Walter HartleySonata Euphonica (1979):complete Wind) (?/&edition:Tenuto Publications/UMP) Jacques Castérède Sonatine for Trombone:1st Joseph Horovitz Euphonium Concerto:1st or 3rd movt,Allegro vivo (Leduc/UMP) movt,Moderato or Con moto Hindemith Sonata for Trombone (1941): 3rd and (&edition:Novello/Music Sales) 4th movts, Swashbuckler’s Song: Allegro pesante Monti Czardas,trans.Wilson (&edition:Winwood and Allegro moderato maestoso (Schott ED Music) 3673/MDS) Philip Sparke Fantasy (&edition:Brand Jan Koetsier Sonatina for Trombone,Op.58 Publications/Smith) No.1:2nd and 3rd movts,Andante mesto and Molto Philip Sparke Rhapsody for BbBaritone vivace (Editions Marc Reift/MusT) (&edition:Studio Music) Lars-Erik Larsson Concertino for Studies Trombone,Op.45 No.7:2nd and 3rd movts, Aria: Marcel Bitsch15 Rhythmical Studies for Andante sostenuto and Finale:Allegro giocoso Trombone:No.3 or No.7 (?edition:Leduc/UMP) (Gehrmans Musikförlag) Alwyn GreenEuphonium Eurhythmics:Study Serocki Sonatina for Trombone:2nd and 3rd No.12,P.37 (?or &editions:Warwick Music) movts, Andante molto sostenuto and Allegro Mark Nightingale The Flat Finisher and You Made vivace (Moeck 5302) It!:Nos 11 and12 from Tipping the Scales(?or Šulek Sonata ‘Vox Gabrieli’for Trombone &editions:Warwick Music) (Editions Marc Reift/MusT) Reinhardt Selection of Concone Studies for Studies Trombone:No.14 (?edition:Elkan-Vogel/UMP) Denis ApIvor 24 Exercises:No.2 (Moderato) or No.6 (Allegro con bravura) (?or TUBA &editions:Warwick Music) Brahms Hungarian Dance No.5. Classics for Tuba, Derek Bourgeois Fantasy Pieces for tenor arr. Woods and Death (?/Eb & edition: Studio trombone:No.2,Andante cantabile,or No.3,Allegro Music) molto (?or &editions: Brass Wind) Capuzzi Andante and Rondo, arr. Catelinet Jérôme Naulais Études Variées de Virtuosité et de (?/&edition:Peters H 1474) Technique,Vol.3 – 18 Études:No.13,Ragtime Edward Gregson Tuba Concerto:1st and2nd movts, (Billaudot/UMP) Allegro deciso and Lento e mesto (Novello/Music Jérôme Naulais Trombone Plaisir,Vol.3 – 18 Sales) Études:No.3,Rock,or No.4,Valse Jazz Bernhard Heiden Concerto for Tuba:1st and 2nd (Billaudot/UMP) movts, Allegro risoluto andAndante,or 2nd and 3rd movts, Andante and Vivace (Peer Southern/Music EUPHONIUM Sales) J.S.BachCello Suite No.1:5th,6th and 7th Lebedjew Konzert: complete (Hofmeister/Music movts,Menuetto 1 and 2,and Gigue. Bach Cello Sales:special order) Suites,arr.Lafosse for Alan Ridout Concertino for Tuba:complete Trombone (Leduc/UMP) (edition largely in tenor (Emerson) clef:may be rewritten in? or&) Malcolm Arnold Fantasy for Tuba (solo),Op.102 Bizet Flower Song (from Carmen). Softly,As I (Faber) Leave You,ed.Wilson (&edition:Winwood Music) Harold East Sonatina for Tuba:1st and 2nd movts Elgar Romance,Op.62,trans.Wilson (Ricordi/UMP) (&edition:Winwood Music) Joseph Horovitz Tuba Concerto:1st movt,Allegro B.MarcelloSonata No.1 in F:complete (?edition (?/E arr.Ostrander:IMC 1978/MDS or &edition b&edition:Studio Music) arr.Mortimer:Editions Marc Reift/MusT) Vincent Persichetti Serenade No.12 for Solo Weber Rondo Giocoso (from Bassoon Concerto in Tuba,Op.88:complete (Elkan-Vogel/UMP) F),arr.Siebert (&edition:Studio Music) Simon Proctor Ysano:from Tuber Music(?or Ernest YoungEuphonium Sonata: 1st and 3rd &editions:Brass Wind) movts, Pentalude and Scherzando (?/&edition: Leonard SalzedoSonata,Op.93:complete Brand Publications/ Smith) (Chester/Music Sales)
73 TUBA (CONT.) Peter Maxwell Davies Sea Eagle for solo horn Vaughan Williams Concerto for Tuba:1st and 2nd (Chester/Music Sales) movts,Allegro moderato and Romanza (OUP) Anthony Halstead Suite for solo horn: complete Studies (Emerson) Blazhevich70 Studies for BbTuba,Vol.1:No.27 or Iain Hamilton Sonata Notturna: complete (Schott No.32 (Robert King/UMP) ED 10971/M.D.S.) Derek Bourgeois Fantasy Pieces for J. Haydn Concerto no.2 in D, Hob.VIId/4: tuba:No.5,Allegro moderato e pesante,or complete (F/D horn edn print on demand: Boosey No.6,Allegro moderato (Brass Wind) & Hawkes/M.D.S.) Alwyn GreenTuba Eurhythmics:Study No.12,P.38 Hindemith Concerto (1949): complete (Schott ED (?) orP.36 (&)(?or &tuba editions:Warwick Music) 4024/M.D.S.) Kopprasch 60 Selected Studies for BbTuba:No.60a G. Jacob Concerto: complete (Stainer & Bell) or b (Robert King/UMP) Koechlin Monodie for solo horn, Op.218 bis Weissenborn,arr.Leslie Lake 12 Studies for Bass (Billaudot/U.M.P.) Trombone or Tuba:No.12 (Neuschel Music/Studio John McCabe Any of the 3 pieces from ‘The Music) Goddess Trilogy’: Castle of Arianrhod, Floraison, Shapeshifter (published separately: Novello/Music PERCUSSION Sales: special order) MALLETTS Mozart Concerto no.2 in Eb, K.417: complete J. S. BachGigue, from Violin Partita No. 2 in D (F/Ebhorn edn: Bärenreiter BA 5311a) minor, BWV1004 Concerto no.4 in Eb, K.495: complete (F/Ebhorn Bizet Danse Bohème, from ‘Carmen’ edn: Bärenreiter BA 5313a) George BotsfordBlack and White Rag* Thea Musgrave Music for Horn and Piano: Kreisler Schön Rosmarin complete (Chester/Music Sales: special order) Monti Czardas Schumann Adagio and Allegro in Ab, Op.70 Mozart Alla Turca, from Sonata in A, K. 331* (Schirmer/Music Sales: special order) Johann and Josef Strauss Pizzicato Polka Humphrey Searle Aubade, Op.28 (Schott ED Vivaldi Allegro, from Concerto in Aminor, Op. 3 10500/M.D.S.) No. 6 Seiber Notturno (Schott ED 10336/M.D.S.) TIMPANI R. Strauss Concerto no.2 in Eb: complete (Ebhorn Bacchanale edn: Boosey & Hawkes/M.D.S.) Modern Times Julia Usher The Old Man of the Sea (Primavera) Burlesque Weber Concertino in E minor, Op.45: complete Waltz Variations (F/E horn edn: Editions Marc Reift 2082/MusT or SNARE DRUM E horn edn: Breikopf & Härtel 2509or Ebhorn edn: Sicilienne International 2337/M.D.S.) Overture to Accents A Bar from Mars TRUMPET Scheherazadia Peter Maxwell Davies Sonata for trumpet in D Graded Music for Snare Drum, Book (1955): complete (D trumpet edn: Schott ED 4(ABRSMPublishing) 11067/M.D.S.) Graded Music for Timpani, Book Enescu Légende (C trumpet edn: Enoch/U.M.P.) 4(ABRSMPublishing) Edward Gregson Trumpet Concerto (1983): Graded Music for Tuned Percussion, Book 4 complete (Novello/Music Sales) (ABRSMPublishing) Anthony Halstead Suite for solo trumpet: complete (Emerson) Hans Werner Henze Sonatina for solo trumpet 4000 LEVEL (1974): complete (Schott TR 19/M.D.S.) FRENCH HORN Gilles Herbillon Sonatine for trumpet: complete Malcolm Arnold Concerto no.2, Op.58: complete (Bb/C trumpet edn: Billaudot/U.M.P.) (F/Ebhorn edn: Paterson/Music Sales) J.W. Hertel Trumpet Concerto no.1 in Eb: Derek Bourgeois Fantasy Pieces for solo horn: complete (McNaughtan/MusT) no.9, Con fuoco (in the written key)(Brass Wind) Hummel Trumpet Concerto in E: complete Y. Bowen Sonata in Eb, Op.101: complete (Bb/C/E trumpet edn: Universal 25030c/M.D.S.) (Emerson) Jolivet Concertino for trumpet: complete (C trumpet edn: Durand/U.M.P.)
74 TRUMPET (CONT.) Frank Martin Ballade (1940) (Universal L. Mozart Trumpet Concerto in D: complete (D 32359/M.D.S.) trumpet only)(D trumpet edn: Kunzelmann GM Tomasi Trombone Concerto: complete 809/Peters) (Leduc/U.M.P.) Michael Nyman Flugelhorn and Piano Simon Wills Concerto for trombone: complete (Chester/Music Sales) (Studio Music) Raymond Premru Trumpet Concerto (1983): complete (Tezak 1019/MusT) EUPHONIUM Philip Sparke Concerto for trumpet or cornet Jean-Michel Defaye 2 Danses: complete (bass (1993): complete (Studio Music) trombone edn: Leduc/U.M.P.) Eino Tamberg Trumpet Concerto, Op.42: complete Elgar Romance, Op.62, arr. Wilson (bass/treble (Bb/C trumpet edn: Editions Marc Reift clef edn: Winwood Music) 6012/MusT) Studio Music) Tartini Concerto in D: complete (D trumpet John Golland Rhapsody no.2 for baritone (‘Don only)(D trumpet part: Brass Wind) Quixote’), Op.89 (treble clef edn: Kirklees Music) Tomasi Trumpet Concerto in C: complete (C Guilmant Morceau Symphonique, Op.88 trumpet edn: Leduc/U.M.P.) (bass/treble clef edn: Editions Marc Reift Triptyque: complete (B b/C trumpet edn: 2013/MusT) Leduc/U.M.P.) Derek Bourgeois Euphonium Concerto, Op.120: Allen Vizzutti Andante (for trumpet) andCapriccio 1st and2nd movts, or2nd and3rd movts (treble clef (for piccolo trumpet)(Bella Musica/Studio Music) edn: Brass Wind) (now out of print) Bozza Allegro et Finale (bass trombone/tuba edn: Leduc/U.M.P.) TROMBONE Martin Ellerby Euphonium Concerto: any J.S. Bach Cello Suite no.2, BWV 1008: 1st and3rd threemovts (bass/treble clef edn: Studio Music) movts, PréludeandCourante. John Golland Euphonium Concerto (no.1), Op.64: Bach Cello Suites, arr. Lafosse complete (bass/treble clef edn: Chester/Music (Leduc/U.M.P.) or arr. Barbez for bass trombone Sales: special order) (Leduc/U.M.P.) Euphonium Concerto no.2, Op.77: complete Derek Bourgeois Trombone Concerto, Op.114: (bass/treble clef edn: Studio Music) complete (Brand Publications/Smith) Paul Mealor Baritone Concerto: complete (treble Fantasy Pieces for solo trombone: no.8, Allegro clef edn: Con Moto Publications/Mostyn Music) moderatoandno.9,Adagio cantabile(tenor or bass Ponchielli Concerto for euphonium: complete trombone edns: Brass Wind) (bass/treble clef edn: Editions Marc Reift Roger Boutry Capriccio (Leduc/U.M.P.) 243/MusT) Bozza New Orleans for bass trombone John Reeman Sonata for euphonium: complete (Leduc/U.M.P.) (bass/treble clef edn: Studio Music) Thème Variée for bass trombone (Leduc/U.M.P.) Philip Sparke Euphonium Concerto: complete Büsser Étude de Concert, Op.79 (Leduc/U.M.P.) (bass/treble clef edn: Studio Music) Stephen Dodgson Concerto for bass trombone: 3rd Philip Wilby Concerto for euphonium: complete and4th movts (Studio Music) (bass/treble clef edn: Winwood Music) Françaix Concerto for trombone (1983): complete (Schott ED 7253/M.D.S.) TUBA Edward Gregson Trombone Concerto: complete Malcolm Arnold Fantasy for solo tuba, Op.102 (Novello/Music Sales) (Faber) Walter Hartley Sonata Brève for solo bass Derek Bourgeois Fantasy Pieces for solo tuba: trombone: complete (Theodore Presser no.8, Moderato pesanteandno.9, Allegro 2423/U.M.P.) vivace(Brass Wind) Hindemith Trombone Sonata (1941): complete P.M. Dubois Piccolo Suite for tuba: complete (Schott ED 3673/M.D.S.) (Leduc/U.M.P.) Elgar Howarth Concerto for trombone: complete Harold East Sonatina for tuba: complete (Chester/Music Sales: special order) (Ricordi/U.M.P.) G. Jacob Trombone Concerto: complete (Stainer & Jennifer Glass Sonatina for tuba: complete Bell) (Emerson) Alain Margoni Après une Lecture de Goldini for Prelude, Waltz and Finale for solo tuba: complete bass trombone (Leduc/U.M.P.) (Emerson)
75 TUBA (CONT.) SNARE DRUM Edward Gregson Tuba Concerto: complete Askell Masson Prime (Iceland Music/Southern (Novello/Music Sales) Percussion) Bernhard Heiden Concerto for tuba (1976): Geryt Mortensen March-Cadenza (Southern complete (Peer Southern/Music Sales) Percussion) Hindemith Sonata for tuba (1955): complete MULTIPLE PERCUSSION (Schott ED 4636/M.D.S.) Morton Feldman King of Denmark (Peters EP Jan Koetsier Sonatina for tuba, Op.57: complete 6963) (Editions Marc Reift 239/MusT) Dave Hollinden Cold Pressed (Southern Claude Pascal Sonate en 6 minutes 30 for tuba: Percussion) complete (Durand/U.M.P.) Poul Ruders Cha cha cha (Hansen/Music Sales) Pierre Petit Fantaisie for tuba (Leduc/U.M.P.) Leonard Salzedo Sonata for tuba, Op.93: complete PIANO (Chester/Music Sales) 1000 LEVEL PIANO Roger Steptoe Concerto for tuba: complete (Stainer Chopin: Preludes, Mazurkas & Bell) Bach: Two-Part Inventions David Uber Sonata for tuba: complete (Edition Debussy: Reverie, Arabesques Musicus 964/MusT) Kuhlau: Sonatinas Derek Bourgeois Tuba Concerto, Op.38: any Schumann: Album for the Young, threemovts (Brass Wind) Kinderszenen Jennifer Glass Prelude, Waltz and Finale for solo Mozart: Sonata in C Major, K.545 tuba: complete (Emerson) Beethoven: Sonata No.1 in F Minor John Golland Tuba Concerto, Op.46: complete MacDowell: Woodland Sketches (bass/treble clef edn: Con Moto Clementi: Sonatinas Publications/Mostyn Music) Alain Margoni Après une Lecture de Goldini for 2000 LEVEL PIANO tuba (Leduc/U.M.P.) Bach: Prelude and Fugue in C (WTC) Rodney Newton Capriccio for tuba (bass/treble Beethoven: Early Sonatas edn: Winwood Music) Scarlatti: Sonatas Philip Sparke Concertino for tuba: complete (treble Mozart: Sonata in F clef edn: Studio Music)Tuba: FRSM Debussy: Children’s Corner Christopher Wiggins Soliloquy X for solo tuba, Prokofieff: Visions Fugitives Op.94 no.10 (Studio Music) Chopin: Nocturnes Vaughan Williams Tuba Concerto in F minor: Mendelssohn: Songs Without Words complete (O.U.P.) Toch: The Juggler Gershwin: Three Preludes PERCUSSION MALLETTS 3000 LEVEL PIANO Minoru Miki Time for marimba (Ongaku No Tomo Bach: Well-tempered Clavier Sha Corp./Southern Percussion) Beethoven: Sonata, Opus 13 Ney Rosauro Bem Vido for vibraphone (Pro Chopin: Etudes Percussão/Southern Percussion) Haydn: Sonata No. 38 in F Major Marimba Concerto: 1st, 2nd and4th movts Mozart: Fantasy in D Minor (Southern Percussion) Schumann: Kreisleriana Paul Smadbeck Rhythm Song for one or more Debussy: Preludes (Books I and II) marimbas (Southern Percussion) Mendelssohn: Rondo Capriccioso, Op. 14 Toshimitsu Tanaka 2 Movements for marimba: Bartok: Mikrokosmos, Vol. I-VI complete (Ongaku No Tomo Sha Corp./Southern Liszt: Liebestraums Percussion) TIMPANI 4000 LEVEL PIANO John Beck 3 Movements for 5 timpani: complete Bach: Partitas, French Suites, English (Meredith Music/Southern Percussion) Suites Elliot Carter March: no.8 from ‘8 Pieces for 4 Beethoven: Sonata (Waldstein) Timpani’ (Schirmer/Music Sales) Chopin: Ballades Graham Whettam Suite for timpani: any Ginastera: Danzas Argentinas threemovts (Meriden Music/Southern Percussion) Debussy: L’isle joyeuse
76 Griffes: The White Peacock 3000 LEVEL VIOLIN Mozart: Fantasy in C Minor Legende - Wieniawski Grieg: Sonata, Op. 7 Hejre Kati - Hubay Concerto, E minor - Mendelssohn ORGAN Handel - Six Sonatas, Violin and Piano 1000 LEVEL ORGAN Grieg - Sonata, G minor - Violin and Piano Bach: Eight Little Preludes and Fugues, Kreutzer etudes BWV 553-560 Sevcik scales, shifting, bowing and double stops Frescobaldi: Canzonas Couperin: Messe pour les Paroisses 4000 LEVEL VIOLIN S. Wesley: Twelve Short Pieces, Six Chaconne - Vitali Introductory Movements Concerto, D minor - Wieniawski Introduction and Rondo Capriccioso - Saint-Saens 2000 LEVEL ORGAN Havanaise - Saint-Saens Bach: Orgelbuchlein Concerto, G minor - Bruch Messiaen: Le Banquet celeste Rode etudes Lubeck: Preludes and Fugues Carl Flesch scale studies Mendelssohn: Preludes and Fugues VIOLA 3000 LEVEL ORGAN 1000 LEVEL VIOLA Bach: Prelude and Fugue in A Minor, Sonata, D Major - Schubert BWV 543 Concerto, G Major - Telemann De Grigny: Premier Livre d’orgue Wohlfahrt etudes - transcribed Titelouze: Hymnes de l’Eglise… Sevcik exercises - transcribed Mendelssohn: Six Sonatas 2000 LEVEL VIOLA 4000 LEVEL ORGAN Solo viola, Mozart Sinfonie Concertante Bach: Toccata and Fugue in D Minor, Sonata, A minor - Vivaldi BWV 565 Hoffmeister Concerto Buxtehude: Chorale Variations, Preludes and Handel Sonatas Fugues Kayser etudes - transcribed Franck: Chorales Sevcik exercises - transcribed Vierne : 24 Pieces en Style Libre Alain: Litanies 3000 LEVEL VIOLA Hopak - Musorgsky STRINGS Concerto, B minor - Handel (Casadesus) VIOLIN Concerto, C minor - J. C. Bach 1000 LEVEL VIOLIN Marcello Sonatas Sonatina, G Major - Dvorak Kreutzer etudes - transcribed Concerto, A minor - Vivaldi Sevcik exercises - transcribed Concerto, G minor - Vivaldi Scene de Ballet - deBeriot 4000 LEVEL VIOLA Wohlfahrt etudes Andante & Hungarian Rondo - Weber Sevcik exercies in scales; shifting; bowing and Concertpiece - Enesco double stops Unaccompanied Cello Suites - Bach Kol Nidrei - Bruch 2000 LEVEL VIOLIN Beethoven Sonatas Schubert, Sonatina, D Major Suite Hebraique - Bloch Nardini - Concerto, E minor Kreutzer etudes Concerto, A minor - deBeriot Paginini - Raby - 24 Caprices Two Romances (F Major, G Major) - Beethoven Selected orchestral studies Romance (Concerto, D minor) - Wieniawski CELLO Mazas etudes 1000 LEVEL CELLO Sevcik scales, shifting, bowing and double stops Concerto, C minor - J. Chr. Bach Chanson Triste - Tschaikowsky
77 The Swan - Saint-Saens 4000 LEVEL STRING BASS Aria - Purcell Concerto for bass, Domenico Dragonetti Sonata, F Major – Handel Sonata in G minor, Henry Eccles Dotzauer etudes Prayer, Ernest Bloch (arr. Proto) 2000 LEVEL CELLO Etudes: 57 Studies, vol I., Emmanuel Storch – Sonata, C Major - Breval Josef Hrabě Sonata, d minor - Corelli Sonata, G minor - Handel Adagio and Allegro - Marcello GUITAR Apres un Reve - Faure 1000 LEVEL GUITAR Dotzauer etudes Medieval/Renaissance—Greensleeves (Anon.), My Lord Willoughby’s Welcome Home (Dowland, 3000 LEVEL CELLO J.), Lesson for Two Lutes (Anon.) Six Sonatas - Vivaldi Baroque—Minuet, Jesu Joy of Man’s Desiring Sonata, C Major - Romburg (Bach, J.S.) Waltz - Prokofieff Classic/Romantic—Andante in G, Andante in Am Vocalise - Rachmaninoff (Carulli, F), Etudes ((2) Carcassi, F. and Concerto, A minor - Saint-Saens Guiliani, M. Dotzauer etudes Contemporary— Etudes ((2) Villa-Lobos, H.) or Prelude ((1) Ponce, M.), Etude ((1) Brower, L.) 4000 LEVEL CELLO Ensemble: Participation in Guitar ensemble. One Sonata, G minor - Eccles multi-movement guitar duo. Concerto - Dvorak Written Paper (Required): Suite Francaise - Bazelaire (1) one page single-spaced paper discussing key Solo cello, Brahms Double Concerto guitarist or appropriate subject. Solo Cello, Beethoven Triple Concerto Technical Requirements: Raymond Stuhl - thumb position etudes Scales— M.M. 1/4=112 #1 Major, Melodic and Harmonic minor. Played with quarter notes, one 8va, STRING BASS ascending & descending, and using i,m in 1000 LEVEL STRING BASS all keys. Sonata no. 5, Antonio Vivaldi Chords—15 basic 1st position chords. E,A,D,G,C, Sonatina, Ludwig van Beethoven (arr. F, Em, Am, Dm, E7, A7, D7, G7, C7, B7 Zimmerman) Reading— To play a short simple melody in 4/4 La Frescobalda, Girolamo Frescobaldi (arr. time in the key of C major and accompaniment Charles Hoag) using above voicing. Etudes: 30 Etudes, Franz Simandl Required Studies—Specified warm-ups and studies (Guiliani, Carcassi, Sor, etc.). 2000 LEVEL STRING BASS Adagio cantabile, Op. 65, Giuseppe Tartini (arr. 2000 LEVEL GUITAR Drew) Medieval/Renaissance—Six Lute Pieces of the Sicilienne, Op. 78, Gabriel Fauré (arr. Zimerman) Renaissance (Chilisotti, O. ed.), Pavanes ((2) Sonata in E minor, Bernhard Romberg (arr. Milan, L.) Sankey) Baroque— Bouree in Em or Prelude in Dm (Bach, Etudes: 30 Etudes, Franz Simandl J.S. ), Suite, free choice ((1) deVisee, R.) Selections from 86 Studies, vol I., Josef Hrabě Classic/Romantic—Canarios (Sanz, G.) Etudes ((2) Sor, F.) Bagatelles ((2) Guiliani, M.) Preludes 3000 LEVEL STRING BASS (2) (Tarrega, F.) Concerto for bass, Antonio Capuzzi Vocalise, Sergei Rachmaninoff (arr. Contemporary— Etudes ((2) Villa-Lobos, H. or Zimmmerman) Brower, L.) Preludes ((2), Villa-Lobos) Bourrée from Cello Suite no. 3, J. S. Bach (arr. Ensemble: Participation in Guitar ensemble. Zimmerman) Instrumental duo or ensemble (not with other Etudes: 57 Studies, vol I., Emmanuel Storch - guitar). Josef Hrabě Written Paper (Required) (1) one page single-spaced paper discussing key
78 guitarist or appropriate subject. Contemporary—Valse Venezolano ((2) Lauro, A.), Technical Requirements: Leyenda (Albeniz, I.) or Folias Scales— M.M. 1/4=52 (Takemitsu, T.) or Vortex for Prepared Guitar #2 Major, Melodic and Harmonic minor. (Yates, S.) 2000 LEVEL GUITAR (CONT.) Ensemble: Participation in Guitar ensemble. Free Played with triplet 1/8th notes, One 8va, choice: Solo Concerto ascending & descending, and using i,m in Written Paper (Required) all keys. (1) one page single-spaced paper discussing key Chords—Major, Minor and Dominant 7th Bar guitarist or appropriate subject. chords with roots on the 6th and 5th strings in all Technical Requirements: keys. Scales— M.M. 1/4=96 Reading— To play a short simple melody in 4/4 Major, Melodic and Harmonic minor, time in the key of D,F,G and A major Chromatic and Diminished. and accompaniment using above voicing. Played with triplet 1/8th notes, two 8va’s Required Studies— Specified warm-ups and (three where possible), ascending and studies (Guiliani, Carcassi, Sor, etc.). descending, using im , ma, and ia in all keys. 3000 LEVEL GUITAR Chords—Triad inversions for Maj, Dom.7, Aug., Medieval/Renaissance—Free Choice ((1) Min, 1/2Dim. and Diminished in all keys. Dowland, J.) Reading— To play a short simple melody in a Baroque—Variations on Guardame las Vacas (de major and minor key equal in difficulty to this Narvaez, L.) or Capriccio in D minor (Weiss, level repertoire S.L.) Required Studies—Specified warm-ups and studies Classic/Romantic—Adelita/Mazurka (Tarrega, F.) (Guiliani, Carcassi, Sor,) and Sonata Op. 15 (Guiliani, M. or Sonata in C or A (Diabelli, A.) VOCAL Contemporary-Sunburst, Lullaby (York, A.) or Valse (Ponce, M.), Sonatina (Torroba, F.) Ensemble: Participation in Guitar ensemble. Free Sophomores should learn 6 songs per semester, choice: With vocalist. that might include: Written Paper (Required) (1) one page single-spaced paper discussing key English (examples: Quilter, Copland, Britten, M. guitarist or appropriate subject. Head, Finzi, S. Foster, Burleigh, A. Beach, Ives, J. Technical Requirements: Duke, T. Chanler, S. Barber, P. Bowles, L. Scales— M.M. 1/4=66 Bernstein, N. Rorem, L. Hoiby, D. Argento, Major, Melodic and Harmonic minor, Purcell, Campion, Dowland, Vaughan-Williams, Chromatic. Played with triplet 1/8th and Quilter, Ireland, Butterworth, Warlock, etc) 1/16th notes, two 8va’s, ascending & descending, using im , ma, and ia in all Italian (26 or 24 Italian Songs and Arias, easy keys. Mozart, Bellini songs, Donaudy, Gluck, Handel, Chords—Three 4-note voicings for Maj7, Dom.7, etc) Min7, 1/2Dim. and diminished in all keys. Reading— To play a short simple melody in a German lieder (Schubert, Schumann, Brahms, major and minor key equal in difficulty to this Wolf, Strauss, Haydn, Mozart songs and easy arias, level repertoire. etc.) Required Studies—Specified warm-ups and studies (Guiliani) The literature might include other languages if the student has previous experience in that language. 4000 LEVEL GUITAR These examples are a minimum and the final Medieval/Renaissance—Fantasia (Mudarra, A.), determination will be made by the Applied Voice Free choice. teacher. Baroque—Lute Suite or Prelude, Fugue and Allegro ( Bach, J.S.) Classic/Romantic—Capriccio Arabe or Requerdos de Alahambra (Tarrega, F) and Sonata or Variations on a theme by Mozart (Sor, F.)
79 WOODWINDS SAXOPHONE Ferling -48 Famous Studies Freshman / Sophomore (1000-2000 Level) Klose -25 Daily Exercises (culminating in the Sophomore Barrier Exam) Mule –Etudes Variees In the applied private woodwind lesson the student Salvianni -Exercises in All Practical Keys will study the principles of tone production, air Voxman –Selected Studies support, embouchure formation, technical facility, musical phrasing, intonation, articulation, vibrato Each semester the student’s performance jury and (and senza vibrato), rhythmic subdivision, and required solo performances on the Student Recital sight-reading. Emphasis will be given to technical Series will include pieces such as the following facility development through the practice of major, examples of literature for their instrument: minor and chromatic scales, thirds, arpeggios (each accomplished in varied articulations, and through FLUTE the full range of the instrument), and the study of Bach, J.S. -Sonatas (6) representative etudes and literature. As the student Bozza -Image advances from freshman to the sophomore year of Debussy -Syrinx study there will be a continued emphasis on Dutilleux -Sonatine fundamental principles, but with the inclusion of Faure -Fantaisie, Op. 79 progressively more difficult literature/etudes and a Handel -Sonata in C Major greater expectation in the area of mature Mozart -Concerto in G Major musicianship and personal discipline. Telemann -12 Fantasies
Musical etudes will be studied from the following OBOE example etude collections: Albinoni -Concerto, Op. 9 Barlow -The Winter’s Passed FLUTE Cimarosa -Concerto in C Anderson -24 Studies, Op. 33 Handel -Concerto No. 1 in B-Flat Berbiguier -18 Exercises Hindemith -Sonate Cavally -Progressive Studies Marcello -Concerto Gariboldi -15 Etudes Nielsen -Fantasiestucke, Op. 2 Moyse –De la Sonorite Telemann -Sonata in A minor Wagner -Foundation to Flute Playing CLARINET OBOE Arnold -Sonatina Andraud -Practical & Progressive Oboe Method Bernstein -Sonata Andraud -Vade-Mecum of the Oboist Bozza -Aria Barrett –Complete Oboe Method Finzi -Five Bagatelles Ferling -48 Famous Studies Heiden -Sonatina Gillet -Etudes Jeanjean -Arabesques Prestini -Collection of Studies for Oboe Mozart -Concerto Saint-Saens -Sonata CLARINET Von Weber -Concertino Baermann -Complete Method for Clarinet, Op. 63 Cavallini -30 Caprices BASSOON Jeanjean -18 Etudes Dunhill -Lyric Suite, Op. 96 Klose -Complete Method for Clarinet Dutilleux -Sarabande et Cortege Rose -32 Etudes Elgar -Romance, Op. 62 Galliard -Six Sonatas BASSOON Ibert -Arabesque Giampieri -16 Daily Studies for Perfection Jacob -Four Sketches for Bassoon Kovar -24 Daily Exercises Mozart -Concerto Milde -25 Studies in All Keys, Op. 24 Weissenborn -Practical Method for the Bassoon
80 SAXOPHONE CLARINET Absil -Sonata, Op. 115 Caravan -Preliminary Exercises & Etudes in Bozza -Aria Contemporary Techniques Debussy -Rhapsodie Jeanjean -16 Etudes Modernes D’Indy -Chorale Varie Jettl -The Accomplished Clarinetist, Book 1-3 Eccles-Rascher -Sonata Kroepsch-416 Progressive Daily Studies, Book 1-4 Francaix-Cinq Danses Exotiques Stark-Arpeggio Studies, Op. 39 Heiden-Sonata Uhl-48 Studies, Vol. 1-2 Hindemith -Sonata Tcherepnine -Sonatine Sportive BASSOON Ward -An Abstract Jancourt -26 Melodic Studies Kolbinger/Rinderspacher -Test Pieces for ______Orchestral Auditions Junior / Senior (3000-4000 Level) (culminating Orefici -Melodic Studies in the Senior Solo Recital) Ozi -42 Caprices At this level of study a greater emphasis will be Slama -66 Studies for Bassoon given to preparing students for public performances of literature leading to the Senior SAXOPHONE Recital on their major instrument. (The inclusion of DeLibero -Contemporary Saxophone Studies a shared junior recital is a possibility at the Frascotti/Ronkin -The Orchestral Saxophonist, Vol. discretion of the instructor.) In this upper level of 1-2 applied study the successful woodwind student will Karg-Elert -25 Caprices and Sonata continue to progress with the study of more Lacour -8 Brilliant Etudes difficult literature, and they will expand their Londeix -Les Gammes ability to perform works that are representative of a Mule -53 Etudes, Book 1-2 variety of styles. Their will be a greater expectation Rascher -158 Exercises of the student for growth of mature musicianship and personal discipline, and the emphasis of Examples of solo literature studied at this upper studies will be on standard solo literature of the level would include the following pieces, and are major instrument. The continued development of possible selections for the student’s Senior Recital technical facility and etude studies will remain an (or literature of comparable difficulty and essential aspect of the student’s practice regime, substance). (400 Level) benefiting the student’s evolution toward a more secure and effective approach to technical FLUTE challenges and performance solutions. Bach -Sonatas (6) Bloch -Suite Modale Examples of musical etudes at this level of study Griffes -Poem for Flute and Orchestra are as follows: Martin -Ballade Mozart -Concerto in D Major FLUTE Muczynski –Sonata Op. 14 Altes -26 Selected Studies Poulenc -Sonata Anderson -24 Studies, Op. 30 Prokofiev -Sonata in D Boehm -24 Caprices Reinecke -Sonata Demerrseman -50 Melodic Studies Varese -Density 21.5 Jeanjean -Etudes Modernes Karg-Elert -30 Caprices Op. 107 OBOE Albinoni -Concerti OBOE Bach J.S. -Sonata in D minor Bozza -18 Etudes Britten -Six Metamorphoses Brod -Etudes Head –Three Pieces Lacour -24 Etudes Atonales Hindemith-Sonate Rothwell -Difficult Passages Vol. 1-3 Mozart -Concerto in C Major Salviani -Etudes, Vol. 1-4 Piston -Suite Sellner –Etudes Poulenc -Sonata Vaughan Williams -Concerto
81 CLARINET Brahms -Sonata in F minor Copland -Concerto Finzi -Concerto Hindemith -Sonata Lutoslawski -Dance Preludes Mozart -Quintet Poulenc -Sonata Schumann -Fantasy Pieces Op. 73 Stravinsky -Three Pieces Weber -Grand Duo Concertant
BASSOON Arnold -Fantasy Bach, J.C. -Six Suites Bozza -Fantasie Etler -Sonata Hindemith -Sonata Hummel -Concerto Jacob -Concerto; Partita Mozart -Concerto Weber –Fantasy and Hungarian Rondo
SAXOPHONE Bach-Mule -Sonata No. 6 Bassett -Music for Saxophone & Piano Bonneau -Caprice en forme de valse Creston -Sonata Glazunov -Concerto Hartley -Petite Suite Ibert -Concertino da Camera Maurice -Tableaux de Provence Milhaud -Scaramouche Villa Lobos -Fantasia
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