Music Department

Instructional Programs 2017-2018 Self-Study Three-Year Program Review Template

Music Department

Fine Arts Division

Statement of Collaboration

The program faculty listed below collaborated in an open and forthright dialogue to prepare this Self Study. Statements included herein accurately reflect the conclusions and opinions by consensus of the program faculty involved in the self-study.

Participants in the Self-Study

Bruce Babad Aram Barsamian Nicola Bertoni Markus Burger Mario Gonzalez Dr. Joseph Jewell Arian Khaefi Dr. Monica Lee Jim Linahon Dr. David Lopez Dr. Anthony Mazzaferro Dr. Bruce Miller Dr. Katharin Rundus Michael Scott Jamie Shew Jeremy Siskind Chad Willis Dr. Gregory Woll

Form Revision by Program Review Committee – Approved September 14, 2017 Page 1 of 52

Authorization After the document is complete, it must be signed by the Principal Author, the Department Coordinator, and the Dean prior to submission to the Program Review Committee.

Anthony Mazzaferro Printed name of Principal Author Signature Title Date

Anthony Mazzaferro Printed name of Department Coordinator Signature Title Date

John Tebay Printed name of Dean Signature Title Date

Form Revision by Program Review Committee – Approved September 14, 2017 Page 2 of 52 1.0 Mission and Goals

The College’s Mission, Vision, Core Values and Goals drive all college activities. The Program Review committee would like to understand the connection of your program to the College’s Mission, Vision, Core Values and Goals. Summarize how your program supports each area.

Mission: The Music Department faculty at Fullerton College considers the first two years of college to be the most important. It is during that time that students establish work habits, values, and attitudes that continue for a lifetime. To aid in the positive development of the whole person, it is the mission of the Fullerton College Music Faculty and curriculum to pursue the following goals:

Vision: The Music Department utilizes a wide variety and diversity of music, both in performance and in General Education classes, in order to reach all students in our program.

Core Values: Community: To offer a comprehensive musical education curriculum that provides knowledge and understanding of all musical forms and styles. Students should be able to recognize the importance of music to their society and enable them to have a more informed worldview. Students will participate in community events and performances that promote social awareness of the importance of music and art in society. This goal coincides with college goal of improving student learning and achievement and the college goal of strengthening connections with the community.

Diversity: To recognize music as a multi-cultural and multi-national art, which through its performance, fosters a respect for the diversity of all peoples, beliefs, and expressions. This goal coincides with the college goal of r educing the achievement gap by providing a multicultural approach to learning, which will increase interest and understanding of various cultures found in society.

Equity: The Music Department is committed to being fair and impartial in dealing with all students, both personally and academically. All of our General Education classes are “point-based” in grading, so any bias towards, or against, a student is eliminated.

Excellence: The Music Department continues to have high standards of Excellence and has achieved a local and national reputation for the arts and our commitment to the art of music.

Growth: The curriculum of the Music Department is sequenced in order to allow students to continue to develop their skill sets prior to transfer.

Inclusivity: The Music Department is continuing to find new ways to broaden our curricular offerings in order to reach a wider segment of the student population at Fullerton College.

Innovation: The Music Department is constantly re-evaluating the technology available for the teaching and learning of music.

Integrity: The Music Department sets the highest standards for our faculty in dealing with student, faculty, and staff.

Partnership: The Music Department continues to have ongoing relationships with Music Industry leaders throughout Southern California.

Respect: The Music Department is committed to treating everyone with dignity and respect. Form Revision by Program Review Committee – Approved September 14, 2017 Page 3 of 52

Responsibility: The Music Department is committed to training students to be responsible members of the Music Community and to accept responsibility for their actions.

College Goals: Goal # 1: Student Success The Music Department remains committed to improving student success through a variety of methods. Allowing students to utilize “open book-open note” options for General Education classes, Study Guides for each unit of study, and increasing the number of music tutors have all helped students become more successful in our classes. Faculty meet regularly with students throughout the semester in order to assess their progress in a class and to encourage them in their studies.

Goal# 2: Achievement Gap To recognize music as a multi-cultural and multi-national art, which through its performance, fosters a respect for the diversity of all peoples, beliefs, and expressions. This goal coincides with the college goal of reducing the achievement gap by providing a multicultural approach to learning, which will increase interest and understanding of various cultures found in society supports this goal.

Goal# 3: Connections with the Community To offer a comprehensive musical education curriculum that provides knowledge and understanding of all musical forms and styles. Students should be able to recognize the importance of music to their society and enable them to have a more informed worldview. Students will participate in community events and performances that promote social awareness of the importance of music and art in society. This goal coincides with college goal of improving student learning and achievement and the college goal of strengthening connections with the community directly addresses this College Goal.

2.0 Program Data & Trends Analysis 2.1 Key Performance Indicators (KPI) For each KPI listed below, analyze and report your findings and describe what they mean. (Attach 5-year longitudinal data from Office of Institutional Research and Planning (OIRP) to Appendix.)

KPI Findings Enrollment 2012-2013: 9,558 annually 2013-2014: 9,056 annually 2014-2015: 8,537 annually 2015-2016: 8,511 annually 2016-2017: 8,694 annually

9% drop over last five years

This represents a 9% drop in enrollment over the five-year period. This can be attributed to the a deliberate slowdown in summer offerings due to budget cuts and a smaller reduction to the fall and spring offerings, which do not show this 9% decline. We are on the upswing from 2012 until now as we recover from budget cuts and are adding more sections. Based on enrollment Music is still the third largest program on campus, following Form Revision by Program Review Committee – Approved September 14, 2017 Page 4 of 52 English and Math.

Total FTES 2012-2013: 1,091 annually 2013-2014: 992 annually 2014-2015: 847 annually 2015-2016: 876 annually 2016-2017: 809 annually

19% drop over last five years

The largest reason for this drop is the Music Department’s loss of arranged hours. We no longer receive apportionment for lab hours associated with music listening music practice and most ensemble activities. This has had a crippling effect upon the FTES production in Music. The revamping of the repeatability of courses has also dramatically and negatively impacted FTES. Despite these setbacks, Music remains the fourth healthiest department on campus based upon FTES, following English, Math, and Art. Sections 2009-2010: 313 annually 2010-2011: 293 annually 2011-2012: 282 annually 2012-2013: 301 annually 2013-2014: 341 annually

9% increase over last five years

The largest part of this increase occurred in the past two years as the State budget has become more robust, and the new Music courses created in response to new state guidelines on course repeatability take effect. During the middle of this period, the greatest cuts were to our summer schedule.

FTEF 2012-2013: 103% annually 2013-2014: 105% annually 2014-2015: 108% annually 2015-2016: 93% annually 2016-2017: 84% annually

19% decline over last five years

During the period 2012-2015, we had very high fill rates, because we were offering far fewer sections but accepting many more students into those sections. This is attributed to State budget cuts. In 2015-2016, we offered 40 more sections, but they did not fill as well. In recovering from budget cuts, we are striving to establish the optimum number of sections to maintain optimum fill rate as part of the Music enrollment management planning.

Fill Rate 2012-2013: 103% annually Form Revision by Program Review Committee – Approved September 14, 2017 Page 5 of 52 2013-2014: 105% annually 2014-2015: 108% annually 2015-2016: 93% annually 2016-2017: 84% annually

19% decline over last five years

14% decline over last five years

This 14% decline is due to loss of apportionment tied to new state guidelines on arranged hours and new state guidelines on course repeatability. Despite this decline, Music remains a profitable program, as the target break-even point is 525. Retention MUSIC DEPT. FC campus-wide State-wide

2012-2013: 86% annually 82.26% 84.71% 2013-2014: 88% annually 82.03% 84.81% 2014-2015: 89% annually 83.32% 85.17% 2015-2016: 88% annually 83.96% 86.46% 2016-2017: 87% annually 82.51% 86.35%

Retention has remained consistent throughout this period. During this five-year period, Fullerton College, overall, displays lower retention rates that the State averages. However, the Music Department’s retention rates exceed the State averages during every year. We attribute this to excellent and consistent teaching and the engaging teaching styles of the Music Department faculty.

Success MUSIC DEPT. FC campus-wide State-wide

2012-2013: 73% annually 67.26% 68.65% 2013-2014: 74% annually 67.77% 68.97% 2014-2015: 75% annually 69.45% 69.43% 2015-2016: 71% annually 68.37% 70.57% 2016-2017: 72% annually 66.33% 70.26%

Student success has remained consistent throughout this period. Again, as Fullerton College, overall, performs at or below the State average Form Revision by Program Review Committee – Approved September 14, 2017 Page 6 of 52 figures, the Music Department’s success rates match or exceed the State averages during every year. Again, we attribute this to excellent and consistent teaching the Music Department faculty and their concern for student success. These high figures are in spite of how rigorous instruction is in the Music Theory and Applied Music programs.

General KPI Analysis:

The Music Department remains one of the strongest departments on the Fullerton College campus when measured by enrollment, FTES generation, and FTES/WSCH. The Department’s retention and success rates exceed campus and state averages. The principal influences on these numbers were: (1) state and college cuts to the extended day budgets, (2) new state guidelines on arranged hours and (3) new state guidelines on course repeatability.

To study the impact on specific programs within the Music Department (General Education, Applied Music, Choral Studies, Guitar Studies, Instrumental Studies, Jazz Studies, Music Technology, Music Theory, Piano Studies, and Vocal Studies), one must drill down into enrollment trends. Under Section 2.6, enrollment trends among some of those programs are described and analyzed.

2.2 Peer Institution Comparison Complete the table below. College/Program: Fullerton Bakersfield College of the Cypress Santa Barbara Music College Canyons

Enrollment Fall 2016 4091 1353 687 1425 1513 Retention: F11 90.93% F11 85.69% F11 90.58% F11 82.69% F11 90.66% F12 88.62% F12 83.43% F12 89.37% F12 94.36% F12 91.50% F13 87.54% F13 89.21% F13 87.05% F13 85.05% F13 92.60% Success: F11 76.92% F11 69.19% F11 75.90% F11 73.30% F11 75.95% F12 72.58% F12 66.64% F12 80.79% F12 71.99% F12 76.21% F13 73.72% F13 71.62% F13 75.55% F13 76.49% F13 78.59% Degrees Awarded: AN1112 1 AN1112 0 AN1112 10 AN1112 4 AN1112 5 AN1213 6 AN1213 3 AN1213 3 AN1213 2 AN1213 1 AN1314 12 AN1314 5 AN1314 5 AN1314 0 AN1314 3 Certificates Awarded: AN1112 13 AN1213 7 AN1314 8 Transfers: I NSTITUTIONS WITH ‘COMPARABLE’ MUSIC PROGRAMS

The following schools represent a sample of Community Colleges with active and comparable Music Programs.

College/Program: Fullerton Citrus College Pasadena City Riverside Mount San Form Revision by Program Review Committee – Approved September 14, 2017 Page 7 of 52 MUSIC College College Community Antonio College College 2910 Enrollment Fall 2016 4091 1710 2804 2129

Retention: F11 90.93% F11 95.47% F11 87.62% F11 96.29% F11 88.69% F12 88.62% F12 97.14% F12 89.74% F12 91.96% F12 88.68% F13 87.54% F13 93.16% F13 88.87% F13 92.16% F13 90.07% Success: F11 76.92% F11 74.67% F11 76.00% F11 87.01% F11 72.45% F12 72.58% F12 75.85% F12 79.20% F12 80.56% F12 71.84% F13 73.72% F13 77.60% F13 77.18% F13 76.70% F13 72.20% Degrees Awarded: AN1112 1 AN1112 9 AN1112 0 AN1112 0 AN1112 3 AN1213 6 AN1213 10 AN1213 0 AN1213 7 AN1213 5 AN1314 12 AN1314 11 AN1314 7 AN1314 5 AN1314 2 Certificates Awarded: AN1112 13 AN1213 7 AN1314 8 Transfers:

How does your program compare with peer institutions? Provide a narrative of your comparison. (Peer institutions are colleges or programs identified by the Office of Institutional Research and Planning (OIRP)).

The most obvious comparison is our enrollment. The Fullerton College Music Department is more than twice as large as a selection of peer institutions identified by OIRP as “comparable”. Because we do not feel that this approved list is actually comparable, we also compared our data to that of other Community Colleges that enjoy a reputation as having a healthy and vibrant music department. Here we see our enrollment to be 40% greater than our closest “competitor”. So, one thing that the data tells us is that Fullerton College remains a thriving program, attracting many more students that the comparison peer institutions.

There are many factors to consider in comparatively interpreting this data. In looking at the Peer Institutions, we rank first in retention in 2011, but third in retention in 2013. However, compare the enrollment. For example, Santa Barbara has a higher retention rate in 2013, but fewer than half the students. Therefore, the number of students remaining in our classes is far higher than in an of the peer institutions.

Our success rates are slightly lower than most of the Peer Institutions. This can be attributed to the rigors of our theory and applied programs. The success of these programs is borne out by the excellent placement of our transfers to four-year institutions. With the rigor of our program, our success rates are more than acceptable.

The final analysis with the Peer Institutions is in the number of degrees awarded. Other than Bakersfield, the number of all other degrees has decreased. At Fullerton, the number of degrees awarded has increased dramatically, attributable in part to a new AA-T degree in Music and increased faculty emphasis on degree and certificate completion.

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2.3 Achievement Gap Indicate achievement gap for each of the groups listed below. (Attach to Appendix the Success and Retention by Ethnicity Data as identified by the Office of Institutional Research and Planning.)

Group % Retention % Success Males 87% 74% Females 87% 71% Asian-American 89% 78% African-American 81% 48% Filipino 86% 74% Hispanic 87% 72% Native American 92% 81% Other Non-White 100% 94% Pacific Islander 85% 63% White 88% 75% Unknown 71% 52% Range (Max-Min) 71% to 100% 48% to 94%

Analysis: The Music Department’s success rates compare favorably with the campus figures. Our success with White students (75%) is higher than the campus figure (71.14%). Our success with Hispanic students (72%) is much higher than the campus figure (63.63%). Our deficiency lies in the success of African-American students. Our figure of 48% is lower than the campus figure of 54.50%. This is of concern to the Faculty and discussions are ongoing to find new ways to more fully engage African-American students, especially in the general education offerings within the Music Department.

2.4 Program Effectiveness Since your previous Program Review Self-Study, what significant changes have occurred that impact the effectiveness of your program?

A most daunting development has been new State guidelines on course repeatability and new State restrictions on arranged hours within the Music Department.

2.5 Describe any laws, regulations, trends, policies, procedures or other influences that have an impact on the effectiveness of your program. Please include any other data (internal or external) that may be relevant to student achievement, learning, and trends within your Basic Skills, CTE, or Transfer Education programs.

As mentioned in 2.4, the most significant challenges to the Music Department are the new state guidelines on course repeatability and arranged hours, which led to tremendous work and changes to Music curriculum, limits

Form Revision by Program Review Committee – Approved September 14, 2017 Page 9 of 52 on course enrollment eligibility and the loss of a large percentage of FTES generation. The newest challenge comes from new state interpretation of Carnegie Unit guidelines.

The Affordable Care Act has caused the District to limit adult hourly workers to no more than 26 hours per week. It has also limited how adjunct faculty may work for the Music Department, especially in the summer season, when District guidelines now specify that an adjunct faculty member may only teach for no more than 13 hours per week. Not being able to hire adjunct faculty for professional expert work has reduced the department’s ability to use the experts already familiar with our college and programs.

2.6 Provide any other data that is relevant to your self-study.

2.6.1 General Program Description 2.6.1.1 Curriculum 2.6.1.2 Degrees and Certificates 2.6.1.3 Faculty and Staff 2.6.1.4 Performance Program 2.6.1.5 Facilities 2.6.1.6 Equipment 2.6.2 Specific Program Descriptions 2.6.2.1 General Education 2.6.2.2 Applied Music 2.6.2.3 Choral Studies 2.6.2.4 Guitar Studies 2.6.2.5 Instrumental Studies 2.6.2.6 Jazz Studies 2.6.2.7 Music Technology 2.6.2.8 Music Theory 2.6.2.9 Piano Studies 2.6.2.10 Vocal Studies 2.6.2.11 Vocal Jazz Studies 2.6.3 Special Programs 2.6.3.1 Music Festivals 2.6.3.2 Guest Artists 2.6.3.3 Berklee College Transfer Agreement 2.6.4 Industry Analysis and Related Higher Education Topics in Music 2.6.5 Faculty Engagement and Collaboration 2.6.7 Faculty Advisement and Education Plans

2.6.1.1 Curriculum

The curriculum of the Music Department experienced tremendous changes since the last program review. In fall 2012, when the six-year curriculum review was underway, the Music Department was informed by the Campus Curriculum Committee that a new state mandate eliminated course repeatability for all courses, except a small number of special case exceptions. The Department was given one month to (1) eliminate course repeatedly from all music curriculum, (2) perform research to see if any courses could meet the exception criterion, (3) convert courses with repeatability into four sequential skills based classes, (4) organize class families to limit enrollment in those skills based classes, and (5) enter into CurricUNET all of the new courses and justifications to win campus, district and state approval. Form Revision by Program Review Committee – Approved September 14, 2017 Page 10 of 52 The faculty responded with tremendous research, energy, and imagination. Using the model of California State University Music Departments lower division curriculum and a formal letter of support from CSU faculty from multiple campus, The Fullerton College Music Department was granted permission to retain course repeatability for MUS 200 Applied Music and all performance groups classes.

As a result of that extensive work and with tremendous support from the FC Curriculum Committee, the entire Music curricula won state approval.

Because of the sheer number of new courses and the difficulty in finding sequential numbers to represent sequential learning, the Music Department decided to create a new prefix to address the skills based classes, MUSA (Music Applied), and the general education, music theory, music recording, and performance groups remain under the original prefix, MUS.

Most of the MUS courses and all of the MUSA courses follow the new state guidelines by being categorized into Music class families. Enrollments are restricted to four courses in each family, including W’s and F’s. The exemptions to the Music family categorizations and limits are Music theory courses and Music performance groups, because they match lower division music major courses at the CSU music programs.

There are 54 courses listed in the MUS prefix and 62 courses listed under the MUSA prefix with the grand total of 116 courses offered in Music at Fullerton College. One of the most positive results of the new curriculum work was to bring the department’s offerings into better alignment with the CSU lower division courses in Music.

Simultaneous to the course repeatability challenge was a new narrower State interpretation of Arranged Hours, which caused the Music Department to make additional curriculum changes, removing arranged hours when that work was described as homework (specifically music listening and practice time in the Music facilities at the college. The resulting drop In FTES generation is reflected in the KPI charts of this self-study. The listening requirements for music classes are now addressed through on-line music listening as homework assignments. The unsupervised practice time hours required of music students is recorded and distributed to the teachers for evaluation and grade record-keeping and is, therefore, considered homework but no longer counts for apportionment.

A new development challenging Music curriculum is a new state interpretation of Carnegie Units as a maximum calculator rather than minimum calculator. The state is insisting very rigid compliance about student contact hours versus credit earned. All across the country, university music students enroll in many required one unit classes, designed to be one unit classes to allow them to keep unit totals within campus restrictions. Our current units for hours’ system is consistent with the CSU system but not with this new state interpretation.

2.6.1.2 Degrees and Certificates

The Music Department offers the following degrees and certificates: Associate of Arts in Music Associate of Arts- Transfer in Music Associate of Arts- Commercial Music degree Music Recording and Production Certificate Piano Teaching

All degree and certificates have been recently updated except the Commercial Music degree. It was the Department decision to see first what the CSU campuses were changing with their Commercial Music degrees. The Music faculty are disappointed that CSU progress on the commercial music degrees is, in their estimation, far behind the pace of the private music universities in developing a new commercial music track and curriculum. The topic of the new commercial music degree needs to be addressed by the faculty in the coming months, and a task force to conduct the research and make proposals needs to be formed.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 11 of 52 2.6.1.3 Faculty and Staff

In fall 2017, there were 18 full time faculty members, 35 adjunct faculty, and three classified staff assigned to the Music Department. The Department requests the restoration of a 50% Administrative Assistant I, eliminated by budget cuts in 2003. That person would provide support to the administrative support functions of a very active department, including the management of the private lessons, practice rooms, student hours record-keeping, and the extensive music library of sheet music and scores.

In spring 2014 the Music Department is excited to be hiring two full time faculty members (Choral/Vocal, and Instrumental/Woodwinds). These two hires are the first full time Music hires since the fall of 2005.

2.6.1.4 Performance Program

Key to the training of a music major is the requirement that all majors perform each semester in both an ensemble and a large performance group. Students audition for one of 16 music ensembles and 10 large performance groups. Each group performs in the Campus Theatre, Wilshire Auditorium, or Recital Hall each semester. Additionally, many groups perform by invitation off campus, compete in music festivals, and support Fullerton College campus events.

Considering fall and spring enrollments only over the last four years, the enrollments appear as Fall Sp 2010 Fall Sp 2011 Fall Sp 2012 Fall Sp 2013 Fall Spr Fall 2009 2010 2011 2012 2013 2014 2014 na 451 580 576 494 509 461 467 482 464 443

The declining trend in performance group enrollments over the last five years can be explained in part by the loss of Community Band enrollments. During budget cut discussions of 2009-10-11, the Music faculty decided to eliminate the Community Band as a college class, since most of the participants were community members and not music majors. The Community Band is now an independent organization. There is also a decline in new instrumental students enrolled at the college, leading to declines in some performance group enrollments. Attracting more instrumental performers is the current challenge in this area.

During the last five years, the Pep Band became an official performance group sponsored by the Music Department. The Pep Band performs during home football and home basketball games.

The Fullerton College classical choirs and jazz choirs are invited to college choral festivals locally and throughout the state.

The advanced choral and instrumental ensembles of Fullerton College have received prestigious invitations to be featured performers at regional and national choral and instrumental conferences and conventions: Jazz Education Network (JEN) California Alliance for Jazz (CAJ) CALJAS Friends of Jazz Southern California School Band and Orchestra Association (SCSBOA) Southern California Vocal Association (SCVA) Music Educators National Convention (MENC) American Choral Directors Association (ACDA) National Collegiate Choral Organization (NCCO)

Some of these invitations have place Fullerton College Ensembles among the top collegiate music ensembles in the world. These performance opportunities result in greater awareness among high school directors, who in turn advise their students to come to Fullerton College.

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Ensembles and soloist have entered music competitions and placed first, second or third: Monterey Jazz Festival – Fullerton College J Train – 1st Place Spittal International Choral Competition, Austria – Fullerton College Chamber Singers – 1st Place Gorizia International Choral Festival, Italy – Fullerton College Concert Choir – 1st Place Eisteddfod International Choral Festival, Wales – Fullerton College Concert Choir – 1st Place Whittier Solo Vocal Competition – F.C. students have received 1st place 2009- present . National Association for teachers of Singing (NATS) – F.C. students have placed Ist in the top 3, 2005-present

All Fullerton College instrumental and choral ensembles perform on and off campus for concerts, events and civic organizations. This maintains campus and county awareness of the Fullerton College music program, keeping the college in the forefront of options for collegiate music study.

2.6.1.5 Facilities

Constructed in 1968, the Music Building (1100) suffers from a number of significant limitations: (1) There is one section of the second floor of the building that is not disabled accessible. (2) There are no public restrooms on the first floor of the building. (3) There is no sound baffling between any of the classrooms. (4) There are no dedicated spaces for sectional rehearsals. (5) The Recording Studio is undersized for class purposes and does not meet a contemporary recording studio standard. (6) The Practice Rooms suffer from poor sound baffling and are too few in number of accommodate the number of music majors in the program and the number of private lessons. (7) The Recital Hall lacks proper acoustics, lighting and audio support, and the seating capacity is too small for department needs. (8) The building lacks adequate storage cabinetry for the extensive equipment inventory and not enough student lockers, particularly for large musical instruments. (9) The age of the Music Building and its materials prevent modernization and modifications.

The Music Department does appreciate the replacement of the seats in the Recital Hall in 2014 with good condition used seating. A current project is the replacement of the 50-year-old lighting system with a LED lighting system that will reduce electrical consumption and allow easier faculty usage of the lighting controls.

Constructed in 1935 and remodeled in 1983, Wilshire Auditorium suffers from the following deficiencies:

(1) It has no disabled access to restrooms nor the stage. (2) It is equipped with an antiquated and failing dimming system for stage lighting. (3) The facility lacks dressing rooms and performer restrooms. (4) The stage extension from 1983 created a larger stage area for performance, but creates audience vertical sightlines problems. (5) Access to the antiquated front of house lighting position is challenging, and the lighting angles are not up to performance space standards. (6) Designed initially as a junior high auditorium, the acoustics limit performance group usage of the auditorium.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 13 of 52 The Music Department does appreciate the replacement of the seats in the auditorium in 2014 with good- condition used seating.

Constructed in 1967, the Theatre building, includes three other performance spaces: The Campus Theatre (shared performance space), Bronwyn Dodson Theatre (used exclusively by Theatre Arts), and Studio Two (1310). The Campus Theatre was designed for theatre and dance productions, and, as a result, concert usage is problematical.

The Music Department would benefit greatly from the construction of a new performing arts complex that would include a new Music Building, a new Recital Hall, a Concert Hall, a recording studio, sound stage, and classrooms and 2 lecture halls.

2.6.1.6 Equipment

One of the great treasures of the Music Department is its extensive inventory of musical instruments for student use. Many students cannot afford expensive personal instruments and are loaned instruments out of the inventory. There is a strong need for a musical instrument replacement plan. Each music classroom, each music performance space, and each practice room is outfitted with a piano. The piano collection consists of electronic keyboards, upright pianos, studio grand pianos, and concert grand pianos. Regular maintenance and repair of the piano collection is a major expense to the department. The most prized pianos include two Bosendorfer grand pianos, a Huebner grand piano, and the Steinway Concert Grand in the Campus Theatre.

The Music Department equipment inventory also includes a choral shell and risers, and a large number of music stands and orchestra chairs.

The Music Technology program depends upon an extensive inventory of computers, mixing boards, microphones, speakers, synthesizers, keyboards, and auxiliary equipment.

With the exception of Piano tuning and repair, all other equipment inventories are maintained and repaired by individual faculty members and our Laboratory Technician.

2.6.2 Specific program descriptions

2.6.2.1 General Education Program

The General Education program consists of MUS 102 Music Fundamentals, MUS 116 Music Appreciation, MUS 113 History of Jazz, and MUS 119 History of Rock Music. Students also earn general education credits for introductory applied music classes, but for this self study evaluation, we will focus only those classes listed above.

Over the last five years, enrollments have been affected by budget cuts, since the Music faculty chose to protect Music major classes and performance groups and reduced general education offerings. Not including the summer offerings, the following chart provides a five-year overview of Music general education enrollments:

Fall Sp 2010 Fall Sp 2011 Fall Sp 2012 Fall Sp 2013 Fall Spr Fall 2009 2010 2011 2012 2013 2014 2014 na 1507 1803 1288 1537 1313 1445 1492 1484 1708 1676

In the last two years, as extended day budgets are being increased, Music general education enrollment totals are returning to pre-budget cut levels.

Among General Education music professors there is growing concern about the under-preparedness of general education students, their general apathy, and their poor commitment to homework preparation. General education students are required to attend live performances of concerts on campus, and they are required to submit concert

Form Revision by Program Review Committee – Approved September 14, 2017 Page 14 of 52 reports. The large class size was designed to balance smaller enrollments in music major classes, but that large size reduces faculty/student involvement, the rigor of course requirements, and the ability of the under-prepared student to engage in college level work.

2.6.2.2 Applied Music

One of the strongest incentives for students to become Music majors at Fullerton College is the opportunity to audition for private lessons from one of our outstanding instructors. Students who successfully audition enroll in MUSA 200 Applied Music and one of four music lab classes. The students are divided between Voice, Piano, Guitar, and Instrumental sections of MUSA 200 and meet each week to perform and receive evaluations from their lead instructor. Additionally, students receive private lessons and coaching sessions from a collaborative artist each week.

The Applied Music program is only offered in the spring and fall semesters, and a study to total Applied Music enrollments over the last five years follows:

F 2009 S 2010 F 2010 S 2011 F 2011 S 2012 F 2012 S 2013 F 2013 S 2014 F 2014 Piano na 11 13 13 12 13 12 9 12 8 8 Guitar na 32 39 34 36 26 54 36 30 23 17 Instrum na 38 48 49 42 46 36 40 29 32 21 Voice na 30 32 34 33 32 30 38 34 33 36 Totals na 111 132 130 123 117 120 123 105 96 82

Of concern, to the applied music faculty, is a recent declining trend in the number of students auditioning for the instrumental program and for the guitar, bass, and percussion programs. No connection between budget cuts and enrollment trends exists, because the Music faculty protected the Applied Music program from any cuts during the last five years. The Applied Music program and related specific disciplines would benefit from increased recruitment activity and promotional outreach.

As of Fall 2017, due to increased recruitment activities, the Instrumental Music program is back to it’s full capacity of 40 students. Another concern is the lack of practice rooms available for the growing tend in Applied Music. Practice hours are one of the biggest determining factors in a student preparing for a successful transfer. A new building with more practice rooms would be essential and the success of our students depends on it.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 15 of 52 2.6.2.3 Choral Studies

The Fullerton College Choral Studies Program consists of over 200 students singing in one of five ensembles: Concert Choir (80 students), Chamber Singers (30 students), Men’s Chorale (20) and Women’s Chorale (40) and the newly formed Fullerton Choral Union (20 students and 30 community members). The majority of California Community Colleges are struggling to maintain a choral program, while Fullerton College remains the largest and most comprehensive choral program in the State. 60 out of the 200 singers are voice/music majors. The choral program continues to produce successful vocal performance/music education transfer students. The choral program is strong in instruction, performance excellence, and effective recruitment as seen by the number of skilled singers coming to Fullerton College.

Faculty members assigned to the Choral Program are Professor Nicola Bertoni, who was hired in 2015, and Dr. Arian Khaefi, who started in Fall 2017.

The advanced choirs (Concert Choir, Chamber Singers) receive numerous invitations and opportunities to perform for conventions, festivals and competitions both locally and regionally. All five choirs have opportunities to perform for on-campus concerts, off-campus festivals, campus events and civic performances. As recognized leaders, both within the state of California and across United States, the Fullerton College Choral Studies Program is pedestaled as a model choral program consistently performing at an exemplary level and in league with comparable programs at 4-year public research institutions and conservatories. Fullerton College Choirs have performed in China, Wales, Italy, Austria, and most recently Charleston, S.C., and Dallas, Texas. Our advanced ensembles, Concert Choir and Chamber Singers, have on multiple occasions been selected by a nation committee to perform at conferences with the American Choral Directors Association (ACDA) and the California All-State Music Education Conference (CASMEC). Participating ensembles are selected from a national pool based on competitive criteria, and performances yield national recognition.

Although the Fullerton College Choral Studies Program has a strong reputation throughout the state, the nation and Europe, neither Fullerton College or NOCCCD have ever funded travel for the choirs, leaving the fiscal responsibility on the shoulders of students to fund touring and conference participation. The program would benefit from grant funding that would subsidize a portion of these associated costs, thus removing financial barriers from deserving students of varying socio-economic backgrounds who would otherwise be unable to participate.

The Fullerton College Choral Department has a history of strong, successful recruitment, and has been aggressive, consistent and effective. Nonetheless, the challenge of maintaining our high seat count is an ever present one, especially considering Fullerton College’s close proximity to competing 2 and 4-year institutions. To these ends, recruitment activities include curating an annual High School Choral Festival, which routinely draws 15-20 regional high schools to our campus for a day of high choral performances, professional adjudication, and an opportunity to hear our own excellent choral ensembles perform. Our Choral Studies Faculty, Professors Bertoni and Khaefi, are also frequently in high schools actively working with secondary education music teachers, building connections with their students, and drawing students to Fullerton College. Both faculty members are also actively engaged in creative scholarship and professional activity both regionally and nationally. Professor Khaefi will conduct the Maryland All-State Honor Choir in March of 2018, furthering the reputation of Fullerton College across the nation. Funds for printed materials, digital and paper advertising services would help supplement our recruitment efforts.

The Fullerton College Choral Studies Program is actively working to expand its offerings to both the professional community and to those seeking undergraduate education and transfer to 4-year institutions. To this end, we are developing a summer choral academy that will serve to further recruit high school students through intensive seminar, workshops, and concerts with our faculty. We are also exploring possibilities of bridge programs with high schools interested in offering their students high-level ensemble experiences with the benefit of receiving collegiate course credit.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 16 of 52 The program will begin undertaking high profile masterwork compositions which will require the contracting of instrumental players in addition to our own. These large-scale performances will be highly attractive to those considering attending Fullerton College. Typically, an orchestra can cost upwards 15-20 thousand dollars for such a performance. Any additional funds would help toward this effort.

In Spring 2018, the program will gain a choir – the Fullerton Choral Union. This choir will serve to draw a large body of participants from our alumni population as well as the general community. Building strong ties with our alumni will be of vital importance as we enrich the connective fibers binding the musical community that passes through our doors. Stronger community ties will yield deeper support for our programs and concerts in the future.

In Fall 2019, the Fullerton College Choral Studies Program will launch a 2-year certificate degree in choral conducting, aimed at creating opportunities for community practitioners an opportunity to develop their conducting skills while benefiting from general and private study with members of our music faculty. The conducting certificate will broaden the program with the addition of private and group conducting courses, lab ensembles (these will be training ensembles for the student-conductors), and choral literature courses.

Facilities used by the Fullerton College Choral Studies Program continue to hinder our progress and development. The current building lacks a functional concert hall for choral music performance on campus. The on- campus hall currently available for use by the choirs has severely limited stage space, inadequate access, sub-par acoustics, and is not ADA compliant. For these reasons, the choirs must frequently pay to perform in venues off- campus. The choral class/rehearsal room does not have enough chairs or functional floor space to properly accommodate the size of the choirs, and is also not ADA compliant. The room configuration is neither physically or acoustically conducive to a choral rehearsal, and the quality of our choirs is ultimately hindered as a result. Additionally, it is sometimes challenging to recruit students to our program when they see such poor working conditions, especially when comparing our facilities to those of surrounding community colleges. The Fullerton College Choral Studies Program is in desperate need of a new Music building, new Recital Hall, choral/vocal studies Practice Room, and a new Concert Hall. A program of this caliber – one that is frequently regarded as a gold standard within the state and nation, would develop and thrive immensely with the spatial accommodations necessary to allow it to be so.

2.6.2.4 Guitar Studies

The Guitar Department at Fullerton College is a thriving operation within the music department, serving students from diverse backgrounds and employing a faculty that would be the envy of most universities. The Fullerton College Guitar Department exists to serve the needs of two major groups of students, applied music majors and non-majors. The goals of the Department, as they pertain to these two groups are as follows:

For the music major, the Department wishes to demonstrate that the pursuit of professional guitar playing is an admirable and dignified endeavor. The Department wishes to provide the student with the skills necessary to transfer to a university, to assume a position in the working musical community and to foster intellectual curiosity which will provide a firm foundation for future growth.

For the non-major, the goal of the Department is to provide students from the Community at large with sound basic training in music fundamentals and guitar technique. It is the goal of the department to foster good will by making the classes enjoyable, stressing music of the students choosing with traditional guitar pedagogy. We wish for non-major guitar students to enjoy the study of guitar for many years and to prepare them to be good performers for their own enjoyment or for public performance.

The strengths of our department include our variety of course offerings, multiple ensemble opportunities for our guitar majors, our reputation with successful transfer students, and our talented faculty. While most city colleges may only offer an introductory course for guitar, at Fullerton we offer beginning, intermediate, and

Form Revision by Program Review Committee – Approved September 14, 2017 Page 17 of 52 advanced courses in Classical and Jazz guitar studies. Our guitar major students can audition for performance opportunities in 3 jazz combos, 2 big bands, the vocal jazz group, and the guitar ensemble. The success of our former students after transferring is perhaps our greatest strength. We have received high praise from CSUN, CSUF, CSULB, and USC in regards to excellent students we have sent to them.

Weaknesses of our program relate primarily to facilities. There is a lack of available practice rooms for our students to practice in small groups. The sound proofing between rooms causes difficulties in teaching classes. The classical guitar class is scheduled next door to a brass and woodwinds class that is loud enough to be distracting while students are trying to perform on a much quieter instrument. The recital hall is old, out of date and falling apart. In looking to recruit students it will only help to have a new modern recital hall that they can be excited about an opportunity to perform in.

Opportunities for our department include having an annual faculty recital and inviting guest artists to visit our campus to both give masterclasses and perform. We have done both in the past to much success and will continue into the future. Challenges for our department include continuing to reach out to the local high schools and spreading the word about our excellent guitar studies program at Fullerton College.

2.6.2.5 Instrumental Studies

No other Community College in California has such a wide array of instrumental music courses or ensembles available to students. Individual lessons with our accomplished Applied Faculty is comparable to the first two years of University study.

The curriculum in Instrumental Studies is divided into four skills development families: Strings Studies (4 courses), Woodwind Studies (5 courses), Brass Studies (5 courses), and Percussion Studies (6 courses). Additionally, students audition for private lessons and enroll in MUSA 200 Applied Music and one of four music labs, attending weekly class meetings of instrumental applied students, receive private lessons, and receive private coaching sessions with a collaborative artist. Instrumental students are required to perform in the Symphonic Winds or the Orchestra and at least one ensemble.

The Instrumental Music faculty includes full time instructors Dr. Tony Mazzaferro, Dr. David Lopez, Chad Willis, and Greg Woll. The retirement of Dr. Tony Mazzaferro will result in the loss of one full time faculty member in instrumental music and need to be replaced.

Due to the smaller number of students electing to take music as an elective in high school, the number of students continuing in music is a constant challenge for the department. Faculty recruiting of students is an ongoing concern. The instrumental program has suffered from the vacancy of the Fine Arts Marketing Representative remaining open until this winter.

The growth of the department (see data) has allowed for the addition of full time instructors Dr. David Lopez (Woodwinds) and Chad Willis (Brass).

The Instrumental program is in need of additional Full-Time Faculty members in the area of Percussion and Strings. These areas continue to be areas of potential improvement for the department. The addition of these faculty members would allow us to continue our recruiting efforts and provide consistent high levels of instruction. The college orchestra is conducted by an adjunct faculty member.

The ongoing replacement of large and/or expensive instruments in the FC inventory is necessary to maintain a quality ensemble experience for the students who attend Fullerton College. The

Form Revision by Program Review Committee – Approved September 14, 2017 Page 18 of 52 instrumental program would benefit from the addition of a 100% 10-month Laboratory Assistant with responsibilities to maintain this extensive equipment inventory. Maintenance, repair, and replacement are of critical importance, and the instrumental music program would greatly benefit from a consistently funded equipment replacement plan on campus.

The lack of direct coordination between the Recording program and the Instrumental program is an ongoing concern. Students should have the opportunity to hear a professional-level recording of their efforts in Concerts, Recitals, Juries, and at the weekly music department “Concert Hour.” The tension between the Music Technology Coordinator and the rest of the Music faculty makes this collaboration problematical.

A continuing concern is the lack of consistent attention to an extensive library of musical scores and compositions, kept in approximately 50 file cabinets spread across two rooms. The instrumental library is divided between Concert Band, Brass, Jazz, Woodwind, Strings, and Orchestral. The Music Department would benefit from the restoration of an Administrative Assistant I, eliminated during the budget cuts of 2003. In addition to general administrative support to the Music Department, this person would help to organize and maintain the Instrumental Libraries.

Upgrading the Instrumental rehearsal room (1110) with new acoustic treatment should also be a priority. An entirely new Music Building would bring us into closer alignment with current college Music facilities standards.

An ongoing Instrumental Music Scholarship fund must be established in order to offer, at the very least, tuition for selected students who perform in ensembles at Fullerton College. This will facilitate better educational experience for the recipients and all music students while creating an environment for successful transfer.

The growth of the Woodwind and Brass programs has also increased the need for more rehearsal and practice rooms especially for sectional rehearsals.

Many of our instrumental students successfully transfer to CSU Fullerton, CSU Northridge, CSU Long Beach, UCLA, Chapman University, and USC.

2.6.2.6 Jazz Studies

Fullerton College has been widely recognized for its Jazz Studies program. A highly trained, professional and supportive faculty, both full-time and adjunct, provide instruction in Jazz History, Jazz Improvisation, Jazz Piano, Jazz Guitar, and Vocal Jazz and serve as leaders of two Jazz Bands, three Jazz combos, and two vocal jazz ensembles. All of our jazz faculty members are professional artists who currently record and perform throughout the year. The Music Department has been able to attract excellent instructors who have received their training at well-respected university jazz programs from around the country and through the refining fire of live performance.

The Coordinator of Jazz Studies is saxophonist Bruce Babad, who directs one jazz band and one combo. Professor Chad Willis directs another jazz band. Guitar Studies professor Mike Scott conducts one combo and one ensemble. Faculty involved in jazz studies include Matt Johnson (percussion), Gary Wicks (Bass) Greg Woll (Trombone), and Eric Delfante (saxophone) and Jeremy Siskind, (Piano).

Fullerton College jazz students are regularly supported with scholarships and encouraged by the non-profit organization, “Friends of Jazz”. Each year, the Friends of Jazz give our outstanding jazz students scholarships to aid in their continued development. The relationship with F.O.J. is maintained by active volunteerism by the College’s jazz faculty for several F.O.J events throughout the year. Form Revision by Program Review Committee – Approved September 14, 2017 Page 19 of 52

Recruiting the next generation of jazz musicians remains a significant priority of the Jazz Studies Program. Thanks to our Dean of Fine Arts, the Fullerton College Jazz Faculty has had many opportunities in outreach and recruitment. This has included a DVD of the Jazz Cadre (adjunct and fulltime instructors in interviews and performance). In addition, the Cadre has presented workshops and performed at several high school jazz festivals to an excited and engaged audience.

The annual Fullerton College Jazz Festival has impacted hundreds of high school students by providing workshops where prospective students can interact with our faculty and enjoy performances by our eight different jazz ensembles.

Since the last self-study The Los Angeles Jazz Institute has selected the Fullerton College Jazz Band to present works by various composers at their annual international jazz festival held near LAX each spring. The Jazz Band has also performed at the Monterey Invitational Jazz Festival since the last self-study.

The jazz program, with all of its strengths, is severely under staffed. Staffing needs include: jazz instruction on piano, trumpet, and trombone. Presently, the saxophone, guitar, bass and drums offer adequate integration within classical and jazz disciplines. Another pressing need is for an additional large ensemble director.

A lack of integration with the recording program and electronic media exists. All of the jazz ensembles must go off campus to record themselves.

Music facilities require a total makeover or a new replacement building and improvements to Wilshire Auditorium. The following principles should be integrated into new building design: (1) each practice room should have a computer with a speaker system and piano. (2) The recital hall should be a warm, inviting place for public performances. (3) The Band Room should have a motorized screen and projector, new sound system, new ceiling, sound baffles and better storage closets. (4) Wilshire Auditorium needs to be performance ready and include new bathrooms. (5) The 1100 building should reflect the artistic creativity of the staff and students. Each classroom should have an adequate audio visual system and a professional level grand piano to accommodate the discerning ears of the modern musician and staff.

The Jazz Studies program would benefit from consistent funding for music literature storage and upkeep and the addition of a 50% administrative assistant position. There needs to be funding for student workers to file, organize sheet music and create (using notation software) replacement parts in our music library.

2.6.2.7 Music Technology

The commercial music program and the recording certificate program at Fullerton College promotes the inquiry of cutting edge knowledge and intellectual curiosity, personal growth and a life-long appreciation for the power of learning. We supply students with the most current music production tools to achieve their goals in music and media creation while maintaining current academic values and standards. We are the fastest growing segment within the music department and have tripled enrollment since the program was taken over by program coordinator Markus Burger. We need to be able to offer more classes and guarantee seat counts not to exceed 15 students in intermediate and advanced classes to guarantee student safety and hands on experience with personalized feedback and instruction.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 20 of 52 New classes we envision (and have partially developed) include interdisciplinary classes like Record Label Management (together with Journalism, Video, TV, Radio and Graphic Communication), World Music Ensemble, Pop and Rock Ensembles as well as Scoring & Commercial Composition (using current production tools). We have developed classes in Audio for Postproduction, Games and VR and AR programs to support the initiative for a strong workforce program. Students need to be introduced to the workflow of a modern music and media company and learn the workflow and tools used by any Music, Media and Performance outlet. GE classes like Music Appreciation have been developed by our team with a special focus on 20th century music and composers and genres that find extended use in Music for movies and games. Pathways into the industry as well as SDSU and CSU Dominguez Hills and Northridge have been developed by Markus Burger.

We currently have about 350 students we serve of which 20 students annually graduate with a certificate and either transfer to surrounding universities or find employment. We have outperformed most of the other programs similar to ours. I have surveyed Riverside Community College, Cerritos and Citrus College and we still are leading in overall enrollment, retention rates and completion rates. If we increase the number of beginning and intermediated online courses while making room for more advanced classes face to face on campus, we can increase the amount of students we serve to about 500.

With rules tightening on private higher Education and the loan structure that goes along with these types of Educational facilities, we will recruit more low income and middle-class students and provide them with affordable real-world Education (that translates into job opportunities for our students that do not result in the burden of high student loans). If we send all of our music majors to the technology classes, our program is expected to grow by another 200 % over the next 2 years. The threat to the program is, that students are not provided the correct information and the necessity to learn music technology. Currently the majority of music classes focuses on teaching 17th century music with 16th century tools. We have modernized our entire teaching delivery method and created a state of the art 25 station music technology lab that carries the major DAWs in current use as well as Native Instruments collection of virtual instruments and sample libraries. Students would do even better with more access to open lab times. Another problematic topic is a modern approach to keyboard education for contemporary musicians and nontraditional musicians. We have upgraded our lab with new keyboards to allow for Keyboard education within the framework of Commercial music but have not been granted the FTE to teach commercial keyboard classes. The current keyboard education offered by the Piano department does not address the needs of commercial music students. Our resources primarily founded through VTEA / Carl Perkins funds where spend in the most efficient ways possible. We were extreme good steward of the funds and we were able to create a 25-station lab with the funding provided as well as update the entire recording studio and building a hard ware analog synthesizer lab for all Electronic Synthesis classes. We need to have an annual budget of about 30 K to pay for site licenses, repairs, replacement of broken equipment and updates and upgrades to stay current on all tools needed in the industry. Currently there is no upkeep plan in place.

Short-term Goals (two-year cycle) Based on the above data and analyses, identify 2 or more concrete goals, measurable outcomes, and activities that you would anticipate resulting in improvements to the program in the next 2-year cycle.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 21 of 52 Goal 1: Improve overall keyboard and musicianship skills of our students as well as the ability to program hardware synthesizer. Measurable Outcome: Students will have the skills to input simple triad based song structures into a DAW as well as play simple improvised melodies based on pentatonic, major and minor scales.

Plan: Replace the simple 25 key MIDI controllers with sophisticated synthesizer stations like the Korg Kronos that allow us to teach keyboard skills in the context of the digital environment. Creativity classes like jazz improvisation and commercial piano can be taught in the context of an actual work environment for a music producer and arranger. Even though 10 stations were equipped with Kronos stations no appropriate class has been assigned or run in the program.

If 5 more stations were to be purchased, 15 students could be educated in the context of DAWs at the same time by an instructor qualified with commercial and modern music production knowledge.

None of the traditional piano classes currently offered address the needs of keyboard skills in the context of modern music production.

Goal 2 Integrate traditionally taught musicianship classes that are in a non-technology environment into a more holistic approach where technology is used to catalyze student creativity, knowledge retention and applicability. Measurable Outcome: Students will learn that all composers and music producers from Handel to Frank Zappa continuously strove to use the latest technology available to them and understand how technology does not replace the serious study effort required to become a better composer and musician. Plan: Lesson plans and media are created for cloud storage teaching students to apply the knowledge in their music production environment. Any instructor, after a training period can use table devices like an Ipad to enhance their lectures by presenting them in a multi-media context.

Goal 3: Markus Burger and John Tomlinson will develop better online teaching course materials that better fit the needs of our current certificate students and provide students with detailed instructional videos that shows in detail processes on their own screen, which makes it easier to see their own graphic user interface rather than seeing it on a large screen (which makes it difficult for some students to see). It will also allow students to review skill based topics from their own mobile devices.

5.2 Long-term Goals (six-year cycle) 5.2.1 Based on the above data and analyses, identify 2 or more concrete goals, measurable outcomes, and activities that you would anticipate resulting in improvements to the program in the next six years.

Goal 1 All music major students should take at least 3 music technology and / or Music Business classes in order to be adequately prepared for transfer. Students should be introduced to the art of recording (themselves) and using DAWs to create their own music in a broadcast quality and Students need to be exposed to current tools to either transfer to a 4-year program or to do any relevant work in the music field.

Measurable Outcome; All students leaving the College with either a certificate or a transfer degree are familiar with a basic understanding on how music today is created and distributed.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 22 of 52 Students will have developed a portfolio of relevant work that can be showcased on Soundcloud or other cloud based portfolio sites.

Plan: Students are informed about the labor market outside of a College or University and what professional fields they can engage in and what technical knowledge is expected of them when they start a career in the music industry. All students then will see the need to further their knowledge and hence leave the program with a portfolio of musical pieces that represents their qualities as a performer, composer or producer. Students that are interested should be encouraged to enroll an internship program so they get introduced to future employment options from the start.

Goal 2 Online and Hybrid education is supported and financed. Measurable Outcome: Student portfolios of online students will be compared with on campus students to evaluate if there are measurable differences in retained knowledge and developed skill set if it comes to music production classes. Plan: Release time and financial support to develop learning tutorials specific to the student needs of Fullerton College must be provided.

What specific aspects of these goals can be accomplished without additional financial resources?

Currency of teaching tools cannot be maintained without financial support and an annual budget. Every two years the lifecycle of operating systems or other advances require us to update the current system. An annual maintenance budget would replace the need for large grant amounts every two to four years. Only an increase in FTE dedicated to our program can create enough class space for all of our students interested in Commercial Music and the production tools necessary to be successful.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 23 of 52 Requests for Resources For any specific aspect of a goal listed in 5.0 that would require additional financial resources, complete the form below.

Type of Resource Requested Potential Funding Amount Source Personnel Andrew Morrill Is already hired but needs to work does not work in the in the area he capacity he was hired was hired for for. Facilities $40 000 one College Budget time for necessary structural improvements Equipment $20 000 / year CTE budget Supplies $ 3000 annually CTE Budget Computer Hardware $ 40 000 every ACT 3 years Computer Software $ 15 000 ACT annually Training $ 10 000 Staff Development annually Other $ 5000 initiative money for entrepreneurial activities or guest speakers. Total Requested $44 000 / year Amount or $ 132 000 every 3 years

Describe the resource request. In order to guarantee currency in production tools faculty teaching should be trained at least once every two years either due to updates on current tools or significant changes in pedagogy of delivering music technology in a more creativity catalyzing way. For all the equipment repairs and upkeep, we need to have a minimum budget of $ 10k a year as well as money for either faculty or staff to maintain the system, provide upgrade installs as well as organize and supervise repair and upkeep of equipment and facilities. Andrew Morrill was hired to assist the Music Technology area in maintaining computer software and hardware as well as all studio equipment and storage solutions. He needs to be reassigned to our area.

What program outcome(s) does the resource request address? Form Revision by Program Review Committee – Approved September 14, 2017 Page 24 of 52

If Andrew Morrill returns to the function he was hired for faculty can teach in an environment where they can focus on teaching without having to trouble shoot equipment. If software or hardware malfunctions Andrew will be the dedicated person there to fix the issue. Structural improvements allow us to create to control / monitor rooms that allow faculty and students to mix and teach in an acoustic ideal environment. Currently rooms are less then ideal.

What measurable outcome(s) will result from filling this resource request?

Quality of student portfolio works will sonically improve and hence raise their chances to be employable as well as their chances to gain access to scholarships for transfer institutions that have compatible programs. Teachers can focus on teaching and not to troubleshoot computers or clean the rooms (which does not mean, they don’t clean up after themselves but it

Music technology became the fastest changing segment in todays music industry. Traditional forms of music production have been replaced with music creators that work with digital media in order to create their music. The dividing line between musicians, composers, producers and recording engineer is slowly fading and today’s musical content creators have to essentially be able to wear different hats in order to stay competitive. Our music industry study program addresses a lot of the changes that have occurred in the last 3 years. We attract now non-traditional musicians as well as the traditional performer Fullerton College is known to foster in a unique way. We have increased our initial enrollment by over 200 % compared to 2012 and we are in the process to guide more of our students to become successful certificate graduates or transfer degree graduates (while changing the parameters of our degree in commercial music to reflect the changes that have occurred in the industry. If we would be afforded the units to grow we would grow even further. If all students would be encouraged (which they are not in the current environment) to become literate in Music Technology our enrollment would triple. We need to integrate the Music Technology and Recording Program into the other programs that address the Entertainment Industry changes like Video, Radio, TV, Journalism and Game Design. The College needs to put more human and financial resources into a program that has proven its effectiveness and demand within the student population of Fullerton College.

2.6.2.8 Music Theory The role of the music theory courses, both theory/harmony and musicianship, is to help train the music student into becoming a literate musician. This process is bipartite. One branch is the learning and application of musical symbols and conventions. This is begun in MUS 106 F: Introduction to Music Theory. From there, the student learns harmonic and linear concepts as applicable to common-practice harmony – both diatonic and then chromatic. This is done in MUS 107 F: Harmony I and MUS 109 F: Harmony II. From there the student can either move into MUS 203 F: Counterpoint and/or MUS 205 F: Pop/Commercial Music Theory. The other branch is the translating of symbols into sound (sight-singing) or sound into symbols (melodic and harmonic dictation). This is done in MUS 103 F: Beginning Musicianship, MUS 104 F: Intermediate Musicianship, and MUS 204 F: Advanced Musicianship and/or MUS 206 F: Pop/Commercial Musicianship. The two branches are

Form Revision by Program Review Committee – Approved September 14, 2017 Page 25 of 52 linked as corequisites so that there is a reinforcement of written materials with practical application (solfege and aural skills).

As the program has grown so have two concerns. First, the need to find instructors that can maintain the level required to have the student transfer successfully at a junior level theory standing. We have worked to retain faculty that have been able to demonstrate strong teaching skills, strong knowledge of the material, and academic rigor. Unfortunately, we have had difficulty with the level of teaching of some part-time faculty and those that have had limited experience teaching theory courses. This has been addressed recently and hopefully we will be able to maintain the quality needed for effective transfer.

There are nine different courses and approximately 34 sections of classes in an academic year. Two additional full-time faculty members teach two courses each per year. Approximately three years ago we had a full-time faculty member resign that was hired to teach several music theory courses. This position has remained unfilled. It is strongly encouraged that the music department consider hiring another full-time instructor to cover music theory courses.

The second concern, due to the growth of the music department, and with it the theory program, is the limitation to rooms available to teach the required theory courses. For some courses we have been able to offer more sections. For others there is limited space available. This has necessitated the offering of larger sections of classes up to double enrollment or offering sections very early in the morning or very late afternoon. At times this has impacted the ability to work with students in a manner that would be most beneficial to the student, e.g. half asleep students and tardiness in the early morning. This has led to some frustration by both the faculty and students. Faculty willing to take larger sections when allowed by the vice- president of instruction is addressing this. It has been difficult getting tutors (through tutoring services) to help out at times and unfortunately Tutoring Services is maintaining tutors that are not sufficiently competent at times. Should finances be available in the music department it would be helpful to have students tutor directly in the music department or be TAs to some of the classes at which they have excelled. In the long term, the ability to have the classrooms that facilitate the teaching of music theory courses (e.g. with a whiteboard, piano, and playback equipment) would be beneficial.

2.6.2.9 Piano Studies The piano studies program is structured around three areas of focus: Classical performance, jazz performance, and piano pedagogy. The piano courses offered are aimed to prepare students for AA degree in music, transfer to four-year universities as piano performance, piano pedagogy or education majors. The Piano Teaching Certificate prepares students to open a private studio or find jobs as piano teachers in local music schools or private institutions.

The keyboard skills program prepares all non-piano music majors for the proficiency examinations required of all music majors transferring to four-year universities. Some classes provide an opportunity to the general public to acquire a keyboard skills as a recreational activity or physical and mental therapy.

Goals and Strengths:  Many piano majors have successfully transferred or have been accepted to universities of their choices, including: Eastman School of Music, UC Berkeley, San Francisco Conservatory, USC, Cal State Fullerton, Cal State Long Beach and Juilliard School.  Some students established successful piano studio serving 20 to 40 piano students per week.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 26 of 52  Recently, a student was hired as an instructor for OLLI-CSUF who is teaching music and note reading.  We have recently Improved our piano and keyboard collections, although more improvement is still needed.  Over the years, students taking pedagogy classes have changed considerably. More students with bachelors or master’s degree in piano, and even a faculty member from a four-year-university are taking piano pedagogy classes offered at FC. Students from LA and Santa Monica attend Teaching of Piano classes to improve their teaching or to receive a certificate.  An increased number of local teachers have entered their students in the annual piano ensemble festival at FC and recommend our program to their students.

Needs and Weaknesses:

Full-time or Part-time Piano Technician  With over 30 rooms of pianos and regularly scheduled concerts and festivals, we really need to have a full-time or even a part-time piano technician. Most of the concerts are played without any tuning prior to the concert.

Facilities and Equipment  Sight reading courses have been added to the program. New innovative technology (software/apps/subscription services) is available to encourage our students, and we’d like to invest in appropriate programs to assist our students’ learning. Other potential investments include pre- programmed pianos, practice pianos and grand pianos are still needed.  Facilities and lab equipment are issues that hinder the student learning and progress. Pedagogy students need a pedagogy library and up-to-date studio where they can evaluate method books, research, and teach private lessons. This room should have a video and audio recorder, two grand pianos, a computer, and various programs that will allow for long-distance teaching.  A small keyboard lab and a piano library will allow for group lessons and upper level piano teaching and research.  Although some of the pianos and keyboards have been replaced, most of piano collection, especially stage and classroom grand pianos need to be rebuilt, repaired or replaced.  In order to teach advanced piano effectively, a functioning harpsichord is needed.  For private lessons, professional-level stereo equipment should be installed in some of the teaching rooms, especially in 1120.  The piano lab needs updated digital pianos.  Maintenance cost of pianos is minimal. Without regular tuning, voicing and repairs, purchasing quality pianos is useless to students and their learning progress. Regular funding is needed for piano tuning, repair and maintenance.  New concert pianos for student performances are needed, particularly to replace the aging Steinway in the concert hall.

2.6.2.10 Vocal Studies

Under the direction of Dr. Katharin Rundus, the Vocal Studies program is grounded in the teaching of vocal fundamentals, transfer education readiness for successful university auditions, and introductory courses for the non-voice major. Voice majors audition into the Applied Music private lesson program, where they receive one-on-one instruction from both their private study teacher and a collaborative Form Revision by Program Review Committee – Approved September 14, 2017 Page 27 of 52 artist. Voice majors attend a new student orientation at the start of fall semester, which provides education plans for the students based on their education goals.

Our reputation in preparing excellent voice students for transfer is very strong, and choral directors and voice teachers from all over the state send their students to us. We have a very strong presence in Orange County and the local high school conductors and vocal teachers trust us with their best students to prepare them well for local universities as well as nationally known music schools. The number of students coming to us has risen in the past four years, but more significantly is the talent and skill level of the students who have chosen to begin their college experience with us and to prepare for transfer. It is not unusual for our students to be referred to us from other college and university voice faculties because of the high standards we maintain. Our students transfer to top music schools in the country as well as the CSU’s nearby. Our CSU colleagues are begging us to send them our students because they are well prepared and already have a track record of academic and performance success. Last year our alumni sang leading roles at CSU Long Beach’s opera production (Cherubin by Massenet) and major solos in the main choral/orchestra concert (Elijah by Mendelssohn).

Our adjunct faculty is drawn from the ranks of outstanding performers who are fanatical about excellent teaching. We have added two new adjunct teachers, who we feel are a great addition to our department bringing our total to five adjuncts and three tenure or tenure-track voice teachers. Our collaborative keyboard artist, Dr. Clara Cheng, works weekly with our voice students preparing them for performance. We believe we are unique in offering this kind of student support. Additionally, our new full-time accompanist, Christopher Luthi, offers weekly coaching sessions to our Advanced-Voice and Opera students, which is of great benefit to them, both musically and artistically. Our students continue to be successful in their auditions and competitions.

We have excellent support from our Choral Department under the direction of Dr. Arian Khaefi and Nicola Bertoni. Our students learn musicianship and accountability, and the choral program, through its tours and competitions, provides performance and travel experiences that they would not get elsewhere.

Our Music Theory Department, under the direction of Dr. Bruce Miller provides support for our students so they can progress in their musical repertoire and general music understanding. Our students that have completed our theory sequence transfer seamlessly into junior level theory at the Universities.

We have enjoyed strong support and encouragement from the Dean of Fine Arts, John Tebay.

Our opera program, under the direction of Aram Barsamian, is thriving. Fullerton College Opera Theatre presents two staged, costumed productions per year: one in the winter and one in the summer. In our winter 2017 production we enjoyed wonderful collaborations with the Theatre and Dance Departments. The Theatre Department sent us two wonderful costume designers who, with the gracious assistance of Fullerton Civic Light Opera, did a fantastic job with the costumes. Lisa Anderson (from the Dance Department) recruited five marvelous ballet dancers who were an integral part of the production. The students performed three acts from two operas in two different languages (French and Italian) and in two different styles (Classical and Romantic). The summer 2017 opera production focused on Italian and American opera scenes by 19th- and 20th-century composers. Because of the success of our recent opera productions, many of our voice students are interested in being in the opera. Even students from other colleges and universities (Mt San Antonio College, CSU Fullerton & CSU Long Beach) have auditioned for our productions. Consequently, our 2017-2018 production has a cast of 31 (the class size is 25)! Many of our students who were featured in our recent opera productions are now starring in the opera productions at CSU Fullerton and CSU Long Beach. Through Los Angeles Opera’s Operawise! Program, Form Revision by Program Review Committee – Approved September 14, 2017 Page 28 of 52 our students have the opportunity to attend orchestra tech rehearsals and observe the process of putting an opera together in a professional setting. In 2016-2017 we attended four such rehearsals.

We have plans to inaugurate a Summer Opera Experience that will give students from many of the local community colleges an opportunity to gain some valuable experience in this art form and to better prepare them for the next step in their educational careers. We have done a lot of collaborative planning in this direction. Many community colleges do not have opera programs. This Summer Opera Experience would help supply the demand, so that when community-college students transfer to four-year institutions, they will be able to perform at the same level as junior-level students there. We are continuing to struggle with funding, staffing, facility use, and infrastructure before this will take the shape we envision. The greatest obstacle that is standing in our way is the lack of a suitable performing space. Our performing venue has been the Recital Hall, which does not have an orchestra pit, dressing rooms, sufficient backstage area, room for sets, props, costumes, etc. Having a suitable theater in which to mount our opera productions will be of great benefit to our students, will enable us to have a successful Summer Opera Experience, and thus become the place for opera among local community colleges.

Opportunities have never been more possible or exciting. We have plenty of students who are eager to improve and learn. Our students are not only successfully transferring to four-year colleges and universities, but once they are there, they become the department leaders and best performers. Our greatest opportunity is to continue to provide the learning and training to our students that we have developed over the past 20 years, and to figure out how to sustain that momentum and excellence.

2.6.2.11 Vocal Jazz Studies:

Under the direction of Jamie Shew, the Vocal Jazz Studies Program enjoys two connections: to Vocal Studies and to Jazz Studies at Fullerton College. Students enroll in four levels of jazz vocal styling and improvisation courses and audition for one of two vocal jazz ensembles.

The Fullerton College Vocal Jazz Program is considered to be one of the best in the country. Classes offered, sequential learning, high expectations, accountability, transfer success, and consistent monitoring by full-time faculty make this recognition possible.

Since 2015, students in the Advanced Vocal Styling course, MUSA 290-293, have been given the opportunity to have 30-minute one-on-one coaching sessions on the course’s current repertoire. From 2008-2015, this time was limited to 15 minutes. This weekly collaboration has improved their understanding of the repertoire and how to sing, phrase, and improvise expressively. The premiere vocal jazz ensemble, J-Train, records at a professional studio at least every other year. Along with concerts, festival, and national convention performances, this proves to be an extreme motivational tool to get students to sing and perform their very best.

The Vocal and Instrumental Jazz Programs contribute their talents, time, and efforts in making the Fullerton College Jazz Festival a continued success.

The Vocal Jazz Program brings in professional guest artists to sing with the students and give clinics. Past guests include: Sunny Wilkinson, Nancy King and Steve Christofferson (we were the first to bring them to Los Angeles), Kristin Korb, Sixth Wave, Michele Weir, Sara Gazarek, Inga Swearingen, Kurt Elling, Rebecca Paris, Jeremy Fox, and the New York Voices. Students have also had the opportunity to experience different jazz artists through our student concert trips. Throughout the last 15 years, many students have taken advantage of this and have seen such artists as: Kurt Elling, M-Pact, Phil Mattson, Voices Iowa, Don Form Revision by Program Review Committee – Approved September 14, 2017 Page 29 of 52 Shelton, Dee Daniels, Deborah Brown, Swingle Singers, Wayne Shorter, New York Voices, Jane Monheit, and many others. In recent years, Fullerton College vocal jazz students have gone on to study jazz voice with great success at Berklee College of Music, CSU Sacramento, CSU Northridge, CSU Fullerton, NYU, SUNY New Paltz, SUNY Purchase, University of New Orleans, University of the Arts (Philadelphia), University of North Texas, and CSU Long Beach.

The music building itself is perhaps the greatest weakness in all areas of the music department. Rooms, in general, are equipped with out-of-date stereos and computers (even after being “updated” a few years ago), which is imperative for music study. Carpets are dirty, stained, and pulling up. With so much attention to beautiful detail on the rest of the campus, its shame that this facility is so dated and worn.

There are not enough practice rooms for what we require students to accomplish – especially a place where student rhythm sections can get together and practice. The rooms that are currently available are no sound proof (neither are the lecture rooms), which is distracting to musicians trying to practice their craft and teachers trying to teach lessons. The Recital Hall, in particular, continues to be an embarrassing representation of the department. It should look like a professional facility and function that way as well. Currently, the vocal jazz ensembles rehearse in this ill-equipped room. We have to haul out a sound system during every rehearsal, and move around pianos and chairs. The sound system for the vocal jazz ensemble is a cumbersome task every day to set up. It would be ideal to have the sound system permanently mounted in the recital hall, so students and faculty don’t have to haul out heavy (and expensive) speakers, monitors, microphones, cables, and mixing board everyday. Such use takes a toll on this equipment, which some parts, like our main speakers, are 15 years old and are no longer working.

The Vocal Jazz program would benefit greatly from the construction of a new music building and consistent funding for a guest artist series.

It has been difficult getting vocal students to focus on vocal jazz, even for those that come to Fullerton College for vocal jazz. This is mainly because of all the other vocal requirements placed on them (in addition to other music major courses). Applied Traditional Voice, Concert Choir, Chamber Singers, Vocal Jazz Ensemble, Vocal Styling, etc. If students want to transfer to a four-year college or university, they no longer need to audition first with their traditional vocal piece – they now only audition to get into the jazz voice program. This is relatively new and it would be great if our students could follow the same path as the universities.

Currently, Fullerton College does not offer vocal jazz applied. Required repertoire is learned in a class setting, in one key signature, and with the same faculty member teaching the class and playing the piano at the same time. While it is advantageous to learn from others in this type of setting, it is also a detriment to creating true individualized artistry. A solution for those wanting to transfer as a jazz voice major could be for students to take applied traditional voice for 1 year, then take applied jazz voice for the remainder of their education at Fullerton College. During that first year, those students would also be in the vocal styling courses.

Students within the vocal jazz program are given many opportunities to: 1. Perform solo with a combo 2. Perform solo with a big band 3. Perform with an ensemble of singers at school concerts and festivals around the country 4. Record at a professional recording studio 5. Be competitively prepared as a vocal jazz major at the university level 6. Help organize and perform at the Fullerton College Jazz Festival Receive a scholarship award from Friends of Jazz Form Revision by Program Review Committee – Approved September 14, 2017 Page 30 of 52

2.6.3 Special programs:

2.6.12 Music Festivals

Each year Fullerton College sponsors a Choral Festival, Piano Ensemble Festival and Jazz Festival to attract young performers and introduce them to the Music program at Fullerton College. These events serve as major recruitment activities for the Music Department.

The Choral Festival, directed by Arian Khaefi and Nicola Bertoni, is an invitational festival that attracts 25-27 high schools with over 900 high school students in attendance. Each choir receives adjudication from professional choral judges, and all participants have the opportunity to hear the Concert Choir and Chamber Singers perform.

The Piano Ensemble Festival, directed by Dr. Monica Lee, is designed for young piano students, their private studio teachers, and piano majors at Fullerton College. Each year this festival attracts between 75 and 150 young performers and 20-30 area private teachers. A day of competition concludes in performances of the award-winning competitors and an award ceremony.

The Jazz Festival, directed by the Jazz faculty at Fullerton College, attracts 65 high schools and over 2,000 performers each year. A vocal jazz day of competition is followed by an instrumental jazz day of competition. Participants receive audio critique tapes and are invited to workshops on specific instruments and techniques. The cancellation of the Jazz Festival for spring 2015 due to scheduling conflicts for local high schools on spring break will hurt recruitment efforts for the future. It is the plan of the Jazz program to restore the Jazz Festival for 2015.

Fullerton College also serves as host to several music festival companies, and the two largest companies, Forum Music Festivals and Heritage Music festivals bring over 20,000 junior high and high school performers to the campus for 12 weekends in the spring. New facilities will create a more favorable opinion about the college in the minds of the participants in those festivals, which includes faculty, parent chaperones, and potential future students.

2.6.3.2 Guest Artist Program

The faculty of the performance groups invite their professional contacts to conduct workshops and perform with their individual groups. A nominal fee or the expectation of a favor to a friend is all the compensation available. The performance program would greatly benefit from consistent funding for a guest artist program. Students would benefit from the guest clinics and performances, because they will learn by example from the guest artist and be able to discuss real world strategies for creating a successful music career.

2.6.3.3 Berklee College of Music Transfer Agreement

Established by then Dean of Fine Arts Terry Blackley, the transfer agreement between the Berklee College of Music and Fullerton College is one of only two such agreements in the U.S., permitting students who qualify to spend two years at Fullerton College before transferring to Berklee College. The strong reputation of this program has attracted countless students to Fullerton College, many moving from other states to earn entry into this prestigious program. Jamie Shew has served as the faculty advisor to Berklee track students and answers questions from parents and students from all over the country.

2.6.4 Industry Analysis and Related Topics in Music Higher Education

Form Revision by Program Review Committee – Approved September 14, 2017 Page 31 of 52 The Music Industry and the Music World have undergone tremendous changes in the last ten years, and the speed with which change is taking place is often difficult to trace and fully comprehend or forecast.

The Music Department will strongly benefit from a strategic planning retreat to evaluate industry and higher education trends and their impact on the curriculum and programming for a music major at Fullerton College. Many industry critics and working professionals are engaging in dialogue about how best to encourage and develop young musicians, young producers, and young engineers. Like in other digital art arenas, young musicians are still encouraged to learn music fundamentals, especially music theory and to develop strong musicianship skills. Young musicians of today share with their other artist friend’s tremendous facility with digital technology and access cloud-sourced applications. One of the many challenges facing the Music Department at Fullerton College is the question of how best to prepare music majors for transfer requirements and give them the additional skills and proficiencies for the kind of business acumen and musical virtuosity that will be expected of them.

One example of the changes underway is seen in how on-line music downloads and streaming have caused the traditional ways of buying and listening to music to suffer.

A. The decline of the record store 1. Between 2000 and 2010, record store sales declined by more than 76% 2. By 2016 record store sales are expected to decline another 77.4% 3. In January 2012 digital music sales surpassed physical music sales for the first time ever. B. From MP3s to Streaming 1. Access to digital music was first confined to the computer and then moved to portable devices, making music portable, more affordable, and available in large libraries of musical selections. Users select only those songs to which they want to listen. 2. Instead of storing music on a hard drive or MP3 player, users can stream songs. 3. From1999 to 2009 sales of full albums dropped 55% to less than $ 400 million. 2013 was the first year that there was no platinum album. 4. Individual digital track sales over the same period of time went from 0 to 1.2 billion.

Even more radical changes are underway in the contemporary music business. Using data provided by the International Federation of the Phonographic Industry, the largest selling album of 2013 sold 4 million copies (including downloads). By comparison, the largest selling album overall, Michael Jackson’s Thriller sold 65 million copies, with dozens of albums charting in at over 30 million sold. Piracy of intellectual property has made it almost impossible for one to sustain a reasonable lifestyle through the release of recordings and the publication of music.

One problem in getting a clear picture of the changing musical landscape is a lack of agreement on the data surrounding employment as a musician. Since many musicians are self-employed, it is difficult to accurate track them in the context of employment statistics. The US Department of Labor, and the Recording Industry Association of America, paid employment for musicians has dropped by 41% from 1999 to present. Digital Music News claims the drop to be a more conservative, but still notable, 30%. Whatever data you choose to believe, one thing is true: the model of a professional musician that held true during the 1960’s 70’s and 80’s is changing and, economically, not for the better.

But, Paul Resnikoff, a former marketer for Epic Records, states in Digital Music News that: "There's more music being created than ever before, but paradoxically, musicians are making less." His reasoning behind this is that music is turning into an amateur endeavor, with fewer musicians defining themselves as “professional” and fewer musicians expecting to make a living as musicians. Young musicians are composing, recording and promoting music from their homes, using current technology, in many cases instead of conventional instruments, as their media. The interest in electronic media and music technology is supported by the popularity and growth of Fullerton College’s own Music Technology program.

An interesting view on the current music business data is provided by a study of Google Trend Searches. Between 2005 and 2013, the number of searches for phrases such as music career and learn music has decreased

Form Revision by Program Review Committee – Approved September 14, 2017 Page 32 of 52 radically. However, searches for how to remix, mashup, garageband, how to record and how to make music have radically increased. This google search study suggests young people are still interested in making music, very interested. But, they are less interested in the music business model of past generations. Again, on our own campus, this is borne out by the growth of our own Music Technology program.

This trend is redefining the needs of the current music student. The Fullerton College music faculty is actively engaged in conversations surrounding the efficacy of the music curriculum. The Music Department is pursuing open- mindedly the state of current music instruction. In November 2014, the College Music Society published the report of the Task Force on the Undergraduate Music Major (TFUMM) entitled Transforming Music Study from its Foundations. This document proposes several new approaches to preparing the “modern” undergraduate music student. This document has circulated among the Fullerton College Music Faculty garnering much interest and conversation.

The fundamental suggestion of the TFUMM is a paradigm shift from training interpretive artists (the conservatory model) to training more creative artists, described as improviser-composer-performers. It is interesting that the TFUMM proposes that the model of this new student actually represents the ideals of the classical heroes of the conservatory model. Bach, Mozart and Beethoven did not perform music of other composers; they played their own. They were all celebrated improvisers.

The TFUMM stresses the “three pillars” of creativity, diversity and integration as the fundamental core of change. One of their recommendations that bears impact upon Fullerton College is the offering of a more option-rich curriculum. While the TFUMM recognizes the importance of fundamental musical training, it proposes a curriculum that would allow more choice for the student. In recognition of this possibility, the Fullerton College Music Faculty have begun enthusiastic discussions of updating the Contemporary Music Curriculum. One possible scenario is to offer two curriculum paths, depending upon the student’s goals and interests. One path would be a traditional, classically based education, suitable for transfer to most four-year universities (at this time). The other would be a curriculum that would be more based upon the TFUMM model and would incorporate more technology, business, and marketing classes into the curriculum. These conversations are nascent but underway.

Beyond the report by the TFUMM, the Fullerton College Music Faculty is striving to find a constructive and collaborative way to integrate the courses offered by the Music Technology Department into the curriculum as a whole. Most of the Faculty believes that the “average” performance student needs at least a rudimentary knowledge of the state of music technology. Digital notation, the fundamentals of recording, and skills related to music business and self- promotion are skills needed by ALL music students. And, conversely, fundamental music skills such as theory, aural skills and some level of instrumental/vocal proficiency are needed by even the most technologically based musicians. A very important goal for the Music Faculty is to find a COLLABORATIVE platform upon which to build an integrated view of the Performance track and the Technology track at Fullerton College. Together with a revamp of the Commercial Music Degree and careful consideration of alternative educational approaches, as proposed by the TFUMM will help the Fullerton College Music Department keep in step with the times and become a leader in training the musicians of the 21st century.

2.6.6 Faculty Engagement and Collaboration

The Music faculty is composed of 18 full time faculty members and 38 adjunct faculty members, and three classified personnel. The majority of the full time faculty and classified personnel are fully engaged in the teaching and support activities of their specific assignments. Adjunct faculty who participate in the Applied Music program attend auditions and juries for their specific areas. Jury days are uncompensated 6 to 8 hour marathons.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 33 of 52 There is tremendous commitment by most of the full time faculty to full engagement in their respective teaching areas. The instructional program is distinguished by high performance standards among the applied music program, faculty group and individual advisement, and student performance group leadership.

Among the 18 full time faculty, there are uneven commitment to engaging in dialogue and collaboration within and across the specific music programs. Tension and controversy affect the desire of the full time faculty to meet regularly. After the initial start of semester meetings there are no regular meetings between the full time faculty. Meetings are held only when emergency timelines and issues demand immediate attention. For example, several key department meetings took place in fall 2012 in response to new state guidelines about course repeatability and arranged hours, and the results of those discussions, decisions, and action plan permitted the department to respond in a very expeditious and important way.

Markus Burger and his colleagues in Music technology have collaborated with the Dance and Television Departments on special projects. Dr. Tony Mazzaferro has served for many years as the Musical Director for the Theatre Department musical productions.

2.6.7 Faculty Advisement and Education Plans

The strongest examples of faculty advisement include:

1. Jamie Shew’s student advisement for the Berklee College Transfer program 2. The Voice Majors meetings, during which time education plans tied to academic goals are distributed and discussed. 3. One on one conferences between faculty advisor and student performer. 4. Distribution of music family of classes brochures 5. Guest artist clinics and question and answer time with the students. 6. Dr. Bruce Miller’s work with student composers.

3.0 Strengths, Weaknesses, Opportunities, Challenges (SWOC) Based on your analysis in 2.1 through 2.6, answer the following questions:

3.1 What are the strengths of your program?

3.1.1 Reputation: a. The Music Department benefits from a national reputation for excellence in music education. b. The Music Department has attracted outstanding teachers who are also accomplished musicians. Their musical virtuosity is complemented by a passion for developing young artists through rigorous, demanding study. c. Music Department performance groups have been invited to participate in regional, national, and international festivals, enhancing the reputation of the Music Department and the college.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 34 of 52 d. The Music Department enjoys the support of our local community who regularly attend our concerts and festivals. e. Increased enrollments in Music Technology are attributable to the growing reputation of the faculty, equipment, and designation of Fullerton College as an AVID training center.

3.1.2 Enrollment Strength a. The Music Department enjoys the distinction of being #1 in enrollment among 110 community colleges. b. The Music Department enjoys the distinction of being #3 in department enrollments at Fullerton College. Only the English and Math departments enroll more students. c. The Music Department enjoys the distinction of being #4 in department FTES generations at Fullerton College. Only the English, Math, and Art Departments generate more FTES.

3.1.2 Curriculum a. The Music Department offers more sections of more courses than any other community college in California. b. The Music Department responded to new state guidelines about course repeatability by strong collaborative and creative curriculum work that resulted in closer representation of the first two years of undergraduate study in the CSU system. c. The Music Department responded to new state guidelines about course repeatability by creating an extensive list of new curriculum, subdivided into families of courses, thus saving the skill development critical to the music major intent on a successful audition for university transfer purposes. d. The Music Department responded to new state guidelines about course arranged hours by eliminating those student contact hours now defined by the state as homework, suffering a loss in FTES generation, but gaining legal compliance with the new definitions.

3.1.3 Commitment to Transfer Education

The Music Department values the preparation of music majors for successful university transfer. Each program leader places strong emphasis on understanding and articulating transfer requirements with specific institutions and has cultivated relationships with transfer institution faculty. The Music major is required to enroll in Music Theory, Concert Hour, two performance groups, and Applied Music or advanced level training in their specific instrument. A rigorous music theory program is designed to result in junior level placement upon transfer. Rigorous standards in the Applied Music program and advanced applied classes are designed to increase student readiness for required transfer auditions.

3.1.4 Commitment to Vocational Education

The Music Department’s two CTE programs, Music Recording and Production and Piano Teaching, serve very different populations. Piano Teaching attracts candidates who are advanced piano majors and local piano teachers who already hold advanced degrees and are attempting to improve their teaching abilities and business acumen. The Music Recording program has undergone tremendous growth and equipment capabilities growth over the last nine years.

3.1.5 Performance Program

The Performance program, which consists of both large and small ensembles, provides performance opportunities for over 400 students per semester and represents a wide spectrum of musical performance repertoire. The quality of the performance groups is evidenced in invitations they receive to perform in regional, national, and international competitions and conventions. The performance program provides support to many campus and community organizations and events as well.

3.1.6 Outreach and Recruitment

Form Revision by Program Review Committee – Approved September 14, 2017 Page 35 of 52 Outreach and related recruitment includes (1) Fullerton College produced music festivals, which draw young musicians to the Fullerton College campus, (2) Fullerton College faculty visiting high school campuses, guest performing and conducting for high school groups, (3) clinics for high school students on their campuses, and (4) professional performances by our faculty, who identify themselves as instructors at Fullerton College.

3.1.7 Guest Artist Program

Through their personal contacts, the Music faculty invite guest performers and clinicians to visit Fullerton College and teach our students about their areas of music and perform with them in concert or clinics.

3.1.8 Equipment

The Music Department has worked hard to acquire current state of the art technologies and to start to replace old and damaged musical instruments. The equipment acquired for the Music Technology program reflects industry standards and is the envy of many area musicians and educators.

3.2. What are the weaknesses of your program?

3.2.1 Facilities

The Music Department desperately needs new facilities, including a Concert Hall, Recital Hall, state of the art recording studios, and a large variety of 21st century music classrooms, which are non-traditional.

3.2.2 Funding for Equipment Replacement

The Music Department would benefit from a consistently funded equipment replacement plan and suffers from its absence at Fullerton College.

3.2.3 Funding for Computer Technology and Software

The Music Department would benefit from a consistently funded computer equipment, software replacement plan, and funding for site licenses within our department.

3.2.4 Funding for Guest Artist Series

The Music Department would benefit from consistent funding for guest performers who would model contemporary music careers and provide clinics for specific music instruction and suffers from its absence at Fullerton College.

3.2.5 Promotion and Audience Development

The Music Department has suffered from not having a full time Fine Arts marketing representative for the last three years. Box Office sales have suffered because there has been no person tasked with audience development and public relations for the Music Department. The website needs a new upgrade and better navigation for students seeking information about programs, degrees, classes, and instructors. On-line ticket sales would improve customer service.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 36 of 52 3.2.6 Student Recruitment

Due to the smaller number of students choosing to take music as an elective in high school, the number of students continuing in music is a constant challenge for the department. Faculty recruiting of students is an ongoing concern.

3.2.8 Compensation for Adjunct Faculty--

Fullerton College’s adjunct faculty salary guide is not competitive, making it difficult to attract and retain outstanding faculty.

3.2.9 The absence of a 50% administrative assistant position means that the administrative and clerical duties of the Music department are addressed through adult hourly temporary employees.

3.2.10 Music Department performance groups seeking recording go off campus to record their music rather than record at Fullerton College in the recording program. This issue needs more investigation and discussion.

3.2.11 The Commercial Music Degree has not been revised in recent years to meet the tremendous changes in the music industry and how we should prepare students for commercial music degrees.

3.3 What opportunities exist for your program?

3.3.1 Possibility of new Music facilities funded by Measure J

3.3.1 Possibility of a new technology plan that has consistent funding

3.3.2 Possibility of continuing funding for instructional equipment replacement

3.3.3 Performance Program opportunities to attract new audience members and our general student body.

3.3.4 New AA Degree in Commercial Music must be developed in the next year.

3.3.5 An expanded guest artist program

3.3.6 Increased collaboration with theatre, art, dance, television, and radio

3.3.7 Greater participation in Music faculty in campus shared governance

3.3.8 Better collaborative planning among the Music full time faculty

3.3.8 The commitment to the department researching and discussing trends in the music industry and their impact on music higher education could result in a robust dialogue about the future of the Music Department.

3.3.9 The designation of the Music Department as an AVID training site will continue to attract serious-minded recording and production students to the CTE program at FC.

3.4 What challenges exist for your program? Form Revision by Program Review Committee – Approved September 14, 2017 Page 37 of 52

3.4.1 The new Music facilities, if funded, must advance the capabilities of the Music Department to successfully prepare students for transfer and for music careers.

3.4.2 The way the Music industry has changed and continues to change will challenge the imaginations of the faculty and the directions of the Music Department for the foreseeable future.

3.4.3 Funding equipment replacement

3.4.5 Funding computer technology and software upgrades

3.4.6 The limitations for enrollment in families of skills-based classes means that only advanced students who enter the program as such will receive the highest levels of instruction.

3.4.5 The replacement of retiring faculty.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 38 of 52 4.0 Student Learning Outcomes (SLO) Assessment 4.1 List your program level SLOs and complete the expandable table below.

Date(s) Data Program Student Learning Outcomes Date Number of Date(s) Data Used (PSLOs)sophomore Level Profeciency Assessment Cycles Analyzed For in Completed Completed Improvement 1. Demonstrate College Fall 2015 Fall 2015 Fall 2015 1 Sophmore level proficiency in ensemble rehearsal and performnce 2. Demonstrate College Fall 2015 Fall 2015 Fall 2015 1 Sophomore Level proficiency on instrument of chosen concentration 3. Demonstrate working Spring 2016 Spring 2016 Spring 2016 2 knowledge and successful execution of college sophomore level Music Theory and Musicianship

4.2 Assessment: Complete the expandable table below.

Program Student Learning Outcomes Assessment for Instructional Programs at Fullerton College Means of Assessment Summary of Data Intended Outcomes Use of Results & Criteria for Success Collected 1.

4.3 What percentage of your program level SLOs have ongoing assessment? Comment on progress/lack of progress.

Overall 33% . The department has been more concerned with individual class SLO’s than the program SLO’s

4.4 How has assessment of program level SLOs led to improvements in student learning and achievement? We have made some modifications and improvements in our instrumental instruction and our Music theory program.

4.5 How has assessment of program-level SLOs led to improvements in transfer or certificate/degree awards?

Form Revision by Program Review Committee – Approved September 14, 2017 Page 39 of 52

4.6 What challenges remain to make your program level SLOAs more effective?

Faculty need to be concerned with Program SLO’s as well as Individual class SLO’s

Form Revision by Program Review Committee – Approved September 14, 2017 Page 40 of 52

5.0 Evaluation of Progress Toward Previous Goals/SAP’s (Future program review templates for this section will identify “previous goals” as “previous strategic action plans”-- SAP’s.)

5.1 List the goals from your last self-study/program review.

Goal 5.1.1: To Align the Associate of Arts Degree Curriculum in Music and Commercial Music with the university transfer requirements for the Bachelor of Music Degree.

Goal 5.1.2: To hire two new full-time music faculty to replace retired positions: Voice/Choral and Piano.

Goal 5.1.3: To hire a 50% administrative assistant to replace the position lost due to budget cuts.

Goal 5.1.4: To hire a 50% laboratory technician for the five computer laboratories.

Goal 5.1.5: Establish a consistent computer technology replacement program.

Goal 5.1.6: To replace seating in the Recital Hall and the Wilshire Auditorium

Goal 5.1.7 To become an AVID Pro-tools training site.

Goal 5.1.8: Establish an ongoing equipment maintenance and replacement program. This would cover the ongoing need to replace orchestral instruments, performance sound systems, choral risers, choral shells, music stands.

5.2 Describe the level of success and/or progress achieved in the goals listed above.

5.1.1 We have not achieved the alignment of the Commercial Music degree with University Requirements.

5.1.2 Three new faculty members have been hired , two in the area of Voice and one in the area of Piano.

5.1.3 We have not hired a 50% Administrative Assistant.

5.1.4 We have hired a 100% Laboratory Technician

5.1.5 We are still working with the college to coordinate a Computer Replacement Program

5.1.6 The seating in the Recital Hall and Wilshire Auditorium have been replaced.

5.1.7 AS of January 2016 the Music Department is now an officially recognized AVID Pro-Tools Training site.

5.1.8 We have made great progress towards replacing aging instruments in our inventory.

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5.3 How did you measure the level of success and/or progress achieved in the goals listed above?

5.4 Provide examples of how the goals in the last cycle contributed to the continuous quality improvement of your program.

5.4.1. The alignment of the articulation of our courses with our target transfer institutions has increased the smoothness of transferring students to those institutions.

5.4.2. The improvement of seating facilities in our Recital Hall and Wilshire Auditorium has resurrected these rooms. Prior to the improvement, Wilshire had been marked as unsafe. Broken chairs were rife in the Recital Hall. This improvement has rendered these spaces usable again.

5.4.3 Fullerton College is now a Pro-Tools Avid training site, a tremendous acknowledgment of the reputation of the Music Recording and Production program at Fullerton College. Students are currently being trained towards successful passage of the Pro-Tools certification test. As more students earn the certification we will be able to evaluate the impact of industry certification on job placement and career advancement.

5.5 In cases where resources were allocated toward goals in the last cycle, how did the resources contribute to the improvement of the program?

5.5.1 The 2014 Program Review based Instructional Equipment funding has allowed the Music Technology program to replace 25 Digital Audio Workstations with new computers, software upgrades and peripherals. The six year old computers were failing, and the replacement plan allows a return to industry standards in training music recording and production students. The upgrades allow us to meet AVID ProTools Training Center requirements for the renewal of our agreement with AVID.

5.5.2 The improvements to Wilshire Auditorium and Recital Hall seating have reduced safety issues relating to broken and deteriorating seats and improved the comfort of our students and audience members. The decision was made to acquire used seating because the strong desire remains to replace both facilities.

5.5.3 The 2014 Program Review based Instructional Equipment funding allowed music instrument replacement for the Percussion, Woodwind, and Brass programs. As those new instruments arrived on campus, we saw improvements in instructional delivery.

5.6 If funds were not allocated in the last review cycle, how did it impact your program?

The biggest problem is lack of funding for a new facility. As stated in our SWOC analyses, outdated facilities continue to be our biggest weakness. Rooms are dilapidated and sound equipment in every room is far from adequate. It continues to be very difficult to teach and learn in every room in our building. The projections for a new Music building completion extend out over the life of Measure J project, making the current facility in dire need of remodeling. The greatest challenge exists in the computer technology of the Music Department which includes nearly 50 high capacity computers and 10 different music software programs.

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Form Revision by Program Review Committee – Approved September 14, 2017 Page 43 of 52 6.0 Strategic Action Plans (SAP) [formerly called Goals (6) and Requests for Resources (7)] Using the tables below, list the strategic action plans (SAPs) for your program. These plans should follow logically from the information provided in the self-study. Use a separate table for each SAP.

SAPs for this three-year cycle: STRATEGIC ACTION PLAN # 1 Describe Strategic Action Plan: Improve Music Department current facilities while the long range plans for new (formerly called short-term goal) facilities continue.

List College goal/objective the College Goal #: 1 plan meets: Objective #: 2-5 Describe the SAP: Although new Music facilities are promised for distant future, significant issues (Include persons responsible remain with the existing facilities. The most pressing needs are carpet repair, classroom painting, and sound baffling for 1110, 1110CR, 1123, 1124, 1125, 1126, and timeframe.) 1128, 1129. Lastly all of the Music building teacher stations require upgrades. The audio visual capabilities in those facilites are woefully inadequate. Recent requests for upgrades have been met with silence.

What Measurable Outcome is 1. Music instruction is continually interrupted by musical sounds emanating from anticipated for this SAP? adjacent rooms. 2. The learning environment suffers from worn, torn and carpet, torn carpet, and

What specific aspects of this None SAP can be accomplished

without additional financial resources?

If additional financial resources would be required to accomplish this SAP, please complete the section If additional financial resources would be required to accomplish this SAP, please complete the section below. Keep in mind below. Keep in mind that requests for resources must follow logically from the information provided in that requests for resources must follow logically from the information provided in this self-study. this self-study. Type of Resource Requested Dollar Amount Potential Funding Source Personnel Facilities $12,000 Carpeting and painting contracted services—Deferred Maintenance Equipment $10,000 Baffling panels—Deferred Maintenance Supplies $3,000 Carpet and paint- Deferred Maintence Computer Hardware $15,000 Campus Program Review 2014 Allocation Computer Software Training Other Total Requested Amount $40,000 Most from Deferred Maintenance Funds

STRATEGIC ACTION PLAN # 2

Form Revision by Program Review Committee – Approved September 14, 2017 Page 44 of 52 Describe Strategic Action Plan: (formerly called short-term goal) Develop a consistently funded Computer Technology Replacement Plan and Music Technology Equipment Replacement Plan List College goal/objective the College Goal #: 1 plan meets: Objective #: 2-5 Describe the SAP: 1. Develop a strategic plan for Music technology computer equipment (Include persons responsible replacement and augmentation and software upgrades. and timeframe.) 2. Review emerging music technologies with CTE advisory committees. 3. Lobby for campus funding consideration. 4. Submit annual instructional computer equipment requests as part of the funding cycle 5. Submit Perkins IV grant requests for new equipment

Markus Burger John Tomlinson Mario Gonzalez Fall 2018

What Measurable Outcome is Maintaining and replacing instructional equipment improves student success anticipated for this SAP? and job placement because proficiency in equipment usage and contemporary music recording practices utilizing new technologies are required of employees in the music entertainment industry.

What specific aspects of this The preparatory research and applications require no funding. The actual SAP can be accomplished purchases, when approved, are the additional financial resources are without additional financial required. resources?

Type of Resource Requested Dollar Amount Potential Funding Source Personnel Facilities Equipment $8,000 District/college/VTEA Supplies $7,000 District/college/VTEA Computer Hardware $20,000 District/college/VTEA Computer Software $15,000 District/college/VTEA Training Other Total Requested Amount $50,000

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STRATEGIC ACTION PLAN # 3 Describe Strategic Action Plan: The Music Department will revise the Commercial Music AA degree (formerly called short-term goal) List College goal/objective the College Goal #: 1 plan meets: Objective #: 2,3,4,5 Describe the SAP: The steering committee will conduct research into university commercial music (Include persons responsible programs, industry trends, and FC curriculum with the goal of revising the commercial music degree, and entering it into Curricunet no later than Feb 2015 for and timeframe.) implementation by Fall 2016. Timeline: June 1, 2017

Dr. Joe Jewell, Steering Committee Coordinator Markus Burger, Music Technology Coordinator Jamie Shew, Vocal Jazz Coordinator Bruce Babad, Jazz Studies Coordinator Mike Scott, Guitar Studies What Measurable Outcome is The revision of the Commercial Music degree will produce the following positive anticipated for this SAP? outcomes:

(1) Better connectivity to university commercial music programs (2) Increased student persistence and completion rates (3) Better connectivity to contemporary industry training standards

What specific aspects of this No funding requested SAP can be accomplished

without additional financial resources?

Type of Resource Requested Dollar Amount Potential Funding Source Personnel Facilities Equipment Supplies Computer Hardware Computer Software Training Other Total Requested Amount 0 0

Form Revision by Program Review Committee – Approved September 14, 2017 Page 46 of 52 7.0 Long Term Plans Describe the long term plans (four-six years) for your program. Please consider future trends in your narrative. (Identifying financial resources needed for these plans is optional.)

1. Construct new Music facilities, including a Concert Hall, Recital Hall, Recording Studio, state of art classrooms and practice rooms, and equip those facilities with current state of the art equipment and well qualified staff. It is imperative that the Music faculty and staff be included in all discussions about the new facilities.

2. Replace retiring faculty with distinguished teachers who understand the changes in the music industry and are interested in leading the program through dynamic and important changes without surrendering the department’s core values.

3. Attract the finest music students from around the nation to make Fullerton College their college of choice.

4. Continue the outstanding reputation of the Music Department at Fullerton as one of the state and nation’s leaders in Music Education.

5. Resolve inter-personal and programmatic challenges to effective collaboration among the full time faculty either through a commitment to work collaboratively without emphasis on personal agendas.

8.0 Self-Study Summary This section provides the reader with an overview of the highlights, themes, and key elements of this self- study. It should not include new information that is not mentioned in other sections of this document.

The Fullerton College Music Department continues to have a reputation for excellence in music education and is considered by many to be one of the finest among all community colleges across the nation. The Music Department is recognized for

(1) Its Applied Music program, which provides private lessons to approximately 100 music majors, (2) The quality and scale of its performance program, which includes 25 performance groups (3) The comprehensiveness of its music curriculum that serves three different populations: the university transfer music major, the vocationally oriented music major, and the general education student (4) The rigor of its Music theory program (5) Its legacy of outstanding jazz performance groups and instruction (6) The growth and sophistication of the music technology program (7) The commitment and professional performer examples of the teachers to the success of the students they serve. (8) #1 in enrollment in Music courses among all California community colleges (9) #3 in enrollment among all Fullerton College Departments (10)) #4 in FTES production among all Fullerton College Departments

Since the last self-study, the Music Department overcame significant challenges:

(1) Budget reductions to the extended day budget (2) An institutionally conservative approach to replacing faculty vacancies (the Music Department has not replaced any full time faculty vacancies since 2005.

Form Revision by Program Review Committee – Approved September 14, 2017 Page 47 of 52 (3) New state guidelines on course repeatability, which affected nearly the entire Music major curriculum (4) New state guidelines on arranged hours, which resulted in a tremendous loss of FTES production. (5) State auditor requests for much more detailed arranged hours record-keeping.

The Music Department responded to these significant challenges through extensive and highly productive collaborative and individual work. The particular accomplishments are as follows:

(1) Despite questions about the efficacy and expense of the Music program voiced by campus administration, the Department protected its most important enrollments for transfer Music majors and student offerings in its two vocational programs from budget cuts. (2) The Music Department created new curriculum and divided it into families of classes, protecting the skills-based classes required for successful transfer and professional placement (3) The Music Department re-defined arranged hours, reorganized arranged hours record keeping, and changed course syllabi to comply with the new definitions of arranged hours and homework requirements (4) Through the Six Year Curriculum Review and department responses to new state curriculum regulations, the Music Department brought its course offerings into great alignment with the first two years of university coursework through-out the CSU system (5) Revised its AA Degree, AA-T Degree, Recording Production, and Piano Teaching program requirements

The above accomplishments create confidence in meeting the next set of challenges facing the Music Department:

(1) New state guidelines on Carnegie unit calculations for the relationship between student contact hours and units earned. (2) Changes in the music industry that influence the training of music majors. (3) The Commercial Music degree must be changed to reflect department research into university transfer programs. (4) The Music Department must resolve inter-personal and programmatic obstacles to effective collaboration among the full time faculty either through retirements and resignations or a commitment to work collaboratively without emphasis on personal agendas.

A central theme of the self-studies done by Art, Theatre and Music is the compelling need to replace the 1300, 1100 and 2000 buildings with a new performing arts complex on the south side of Chapman Avenue and improve Art Department facilities. New Music facilities will allow the Music Department to attract the finest performing arts students, meet entertainment industry training requirements, address university transfer requirements, and serve as contemporary cultural center for the campus and city. Housed in a building that was constructed in 1968, the Music Department has no room to grow, and although there exists a strong commitment to providing current state-of-the art technologies, the facilities are woefully inadequate. This self- study details current facility inadequacies. It also emphasizes the importance of well-funded equipment and computer technology replacement plans, allowing our transfer and vocational student’s access to the latest industry technologies and practices. The growth and quality of the Music Technology program is one example of how the Music Department responds to current industry demands.

Recruitment has been a major goal of the Music program for the last 45 years. Our high school festivals and expos are designed to bring high school students to our campus, affirm their interest in becoming

Form Revision by Program Review Committee – Approved September 14, 2017 Page 48 of 52 Music major, and invite them to become part of our next generation of Music majors at Fullerton College. We are also committed to developing appreciative music audiences for the future and enjoy serving a large general education student population. We require the help of a new person in the Fine Arts Marketing Representative position to increase our exposure through web-based advertising, print media, and a presence at college fairs and general events for high school audiences. We need a new website and a new smart approach to attracting students and audiences.

Five of our eighteen full-time faculty are projected to retire from Fullerton College in the next five to seven years. The contributions that they currently make to the program should reinforce the reasons for their immediate replacement upon retirement. The expanding music technology program will also lead to an expansion of our teaching and classified ranks. The self- study advances arguments for the hiring of a Music Laboratory Technician to address the maintenance, repair, and replacement of extensive musical instrument and music technology equipment and software and the hiring of a 50% Administrative Assistant I to address the administrative needs to the department in terms of student arranged hours activities and the maintenance of an extensive music library of scores, compositions, and related materials.

We are excited to be able to hire two new full time faculty for fall 2015. We look forward to the future leadership of these new faculty and the emerging leadership of our younger full time faculty.

Most of the Music faculty at Fullerton College are equally and fully engaged in the Music program and its students. As working performers in the music industry, the faculty model the artistic standards and professionalism that they seek to develop in our students. Music majors recognize not only the talent of their teachers but they appreciate their commitment to student development and success.

Like many faculty at Fullerton College, we ask ourselves how we can better reach, encourage, equip, and challenge our students. We never take for granted the privilege it is to teach at Fullerton College, collaborate with our talented colleagues, and direct the learning of talented and gifted students. We celebrate the legacy of excellent music education at Fullerton College and we look forward to addressing the challenges of the future with imagination, hard work, and the tools of effective collaboration.

9.0 Publication Review Fullerton College is committed to assuring integrity in all representations of its mission, programs, and services. As such, during the program review self-study process programs are required to document their publications (websites, brochures, pamphlets, etc.), when they were last reviewed, and denote the publication is accurate in all representations of the College and program missions and services. In the far right column please provide the URL where the publication can be accessed. If it cannot be accessed via the Internet, please contact Lisa McPheron, Director of Campus Communications at [email protected].

Information on the college’s graphic standards is available here: http://news.fullcoll.edu/campus- communications/web-help/graphics/.

Please identify when the publication was last reviewed, and confirm that it is accurate in how it represents the college. In the far right column please provide the URL where the publication can be accessed. If it cannot be accessed via the Internet, please provide a sample of the publication with your program review self- study.

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For publications that you have identified as inaccurate, please provide the action plan for implementing corrections below.

AS mentioned above, the Music Department website is being updated and overhauled. Without a designated Director of Social Media, it will be difficult to keep our social media profile updated. We hope our public relations position will be restored soon.

Publication Date last Is the information URL of publication reviewed accurate? Music Currently No. We are http://music.fullcoll.edu/ department under review undergoing a full- website and revision scale overhaul of the Music Department website. Faculty lead is Nicola Bertoni. New/updated website will be uploaded during Spring 2018 Music unknown Accurate but not https://www.facebook.com/fullertoncollegemusicdepartment/ Department up-to-date. Since Facebook Page the loss of our PR position, no one is in charge of social media updates. Choir Facebook unknown Same as above https://www.facebook.com/FCChoirs/ page Fullerton College unknown The Music https://www.youtube.com/user/FCFineArts Youtube Department has a Channel strong presence on the FCFineArts channel, but no discrete channel. This should definitely be initiated. No plan in place.

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Routing & Response Page Originator  IMS  Appropriate President’s Staff Member  Program Review Chair

Originator Electronically submit completed Program Review to Division Dean/IMS for review.

Appropriate Immediate Management Supervisor (IMS) RESPONSE

Printed name of IMS Title Date Select one and provide response if necessary. Forward electronically to appropriate Vice President’s Office.

☐ I concur with the findings contained in this Program Review.

☐ I concur with the findings contained in this Program Review with the following exceptions (include a narrative explaining the basis for each exception):

Area of exception:

______

☐ I do not concur with the findings contained in this Program Review (include a narrative explanation):

______

Appropriate President’s Staff Member Acknowledging Receipt

Printed Name Signature Title Date Print Program Review, sign, and route both hard copy and electronic version to Program Review Chair.

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