Annual Instructional Dashboard: Program Trends s1

ANNUAL INSTRUCTIONAL DASHBOARD: PROGRAM TRENDS TRANSFER PROGRAMS 2010-2011

Discipline /Dept.: Humanities/Music Transfer Date: 8/30/11

Is this program / department reviewed by any other agency? Yes No X

1. Enrollment: (Core Theme 1: Access & Diversity) 2007-08 2008-09 2009-10 All aFTEs by discipline 141.31 FTEs 144.66 FTEs 153.63 FTEs Enrollment target for next year 160 FTEs

Comments/Analysis of Enrollment Trends: Headcounts and FTE across the program have remained fairly constant for the last three years. This can be attributed to the infrastructure the college has established for both the Music and Music Technology programs. Classrooms are essentially full from early in the morning into the evening. If the infrastructure could support more student demand for the program, a small advertising campaign would undoubtedly fill all available spaces. It should be noted here that in Fall of 2011 alone, there were 122 students enrolled in Music 147 Small Ensembles, a course taught entirely by part-time faculty at a total load level of just under 120%. With most music theory courses enrolled well above capacity, our student/faculty ratio numbers should improve markedly during academic year 2011-2012. In addition, a plan to move one of our piano labs into a larger room during Winter break will allow class caps in piano courses to be raised to 20 instead of 16. This should provide additional efficiency in the department.

Additional Note by Joe D: Above FTES come from Institutional Efficiency Model workbook. When dashboard report (Annualized FTES by Discipline) is used, the numbers come out slightly higher, (147,153,157). We will need to standardize which report to use when setting things up for next year.

2. Staffing: (Core Theme 2: Program Excellence) 2007-08 2008-09 2009-10 Average student : faculty ratio for transfer 15.63 15.22 17.08 Student: Faculty Ratio per discipline FT faculty :PT faculty ratio 5.30 5.57 3.90 Technical Support (e.g., the number of lab assistants, technicians, etc.)

Comments/Analysis of Staffing Trends: In the past five years, the Music Transfer faculty has dropped from 5 full-time professors and 5-to-6 part-time, to 3 full-time and 4-to-6 part-time. With the expected retirement of one of our tenured professors at the end of this year, we will be down to 2 full-time people with 5-to-6 part-time instructors. One professor who is counted on the Music Technology RIF list is now teaching guitar, Sibelius (an online course required for all Music Tech students and recommended for all transfer students) and Pop and Commercial Theory, which while a requirement for Technology students is not, strictly speaking, a technology course. At the same time, enrollments have remained the same or trended slightly higher. Our core courses in music theory are enrolled well over capacity as are many of our associated piano classes. With fewer tenured faculty, administrative workloads continue to increase and it is unfair and unreasonable to expect part-time staff to perform more free service when they are already teaching at a reduced rate of compensation. Loss of our full-time secretary position several years ago added to this workload problem.

While the Music and Music Technology programs have long enjoyed small student /teacher ratios due to limited space in labs, this is changing with a reconfiguration of our building this winter. This will allow higher class capacities in piano classes as well as a dedicated space for ProTools classes, where students will no longer be required to share equipment. In the interest of serving the greatest number of students possible, class capacities in core courses such as Music Theory have in effect been waived this quarter with the Music and Music Technology programs accepting 56 overloads for fall of 2011 alone. While this is not necessarily pedagogically ideal, it is presumably helping the institution’s bottom line.

3. Financial Status: (Core Theme 5: College Stewardship) 2007-08 2008-09 2009-10 3- year cost per aFTE per discipline (Note by discipline and not program; also $ 941.57 $ 967.34 $ 864.97 includes tech support) Piano lab 1D43 $8847 $10,345 $12,755 Tuning/Acc Program revenue (fees, other) 1D42 $19,154 $21,257 $23,286 Performance 1D39 0 0 $5,416

Comments/Analysis of Discipline Financial Trends: Piano tuning fees, collected from all students who take classes in which a piano is used (mainly the music theory courses but also voice classes and various other courses such as the Piano Pedagogy, Collaborative Piano and Keyboard Literature) allow the department to maintain our instruments in a self-sustaining manner. The program owns all of its own instruments now and it is essential to maintain high quality instruments at a level fitting for a first class academic operation. Piano Lab fees allow us to maintain the electronic pianos and headphones in the two piano labs, facilities that all music and music technology students use on a daily basis. A small Music Performance fee allows the department to employ limited secretarial help on an hourly basis. This fee became necessary when we lost our full-time music secretary several years ago to the first round of budget cuts.

In addition to student fees, the music department puts on several fundraising concerts every year benefitting student scholarships. The PRISM concert, which showcases all of the student ensembles, raises money for the Peggy O’Coyne Music Scholarship. An annual all-faculty concert was inaugurated last year to raise additional funds for Music Scholarships. The SCC Piano Series raises money for scholarships for students studying piano privately. Recently, two music faculty members played for an event in a private home that raised nearly $5,000 for the Piano Scholarship fund.

4. Student Success by discipline: (Core Theme 1: Educational Attainment and Student Success) For face-to-Face 2007-08 2008-09 2009-10 instruction Class completion rate by discipline by each Qtr (% starters finishing with 2.0) % starts receiving a W, V, I 3.8 9.1 7.2 5.6 4.7 3.2 5.9 4.0 3.6 7.6 5.3 4.9 or Z grade % starts who achieve a >0.7 0 6.8 5.5 2.4 0 4.0 2.2 3.2 3.6 3.2 4.4 4.4 grade % starts who achieve a >2.0 84. 85. 90.6 78.2 77.0 90.7 82.3 84.6 83.5 77.8 81.4 79.8 grade 2 7

For online instruction 2007-08 2008-09 2009-10 Class completion rate by discipline by each Qtr (% starters finishing with 2.0) % starts receiving a W, V, I or 0.0 8.6 11.8 9.1 7.8 7.6 3.7 8.5 1.8 8.6 1.5 0 Z grade % starts who achieve a >0.7 3.13 7.1 3.9 5.5 7.8 9.1 1.9 6.4 8.9 6.5 10.6 10.3 grade % starts who achieve a >2.0 76. 80. 89.1 72.9 76.5 65.5 60.6 79.6 57.5 79 75.8 84.6 grade (P=2.0) 5 4

For hybrid instruction 2007-08 2008-09 2009-10 Class completion rate by discipline by each Qtr (% starters finishing with 2.0) % starts receiving a W, V, I or Z grade 0 % starts who achieve a >0.7 grade 0 % starts who achieve a >2.0 grade (P=2.0) 90. 0

Comments/Analysis of Student Success by discipline: Music theory and performance courses such as piano, choir, concert band, small ensembles, improvisation, songwriting are all disciplines that do not lend themselves to online instruction. They depend on interpersonal interaction, spontaneous critique and on-the-spot exemplification. The two courses that we do offer online are Music Appreciation and Jazz History that are both “content driven.” These courses, especially Appreciation, tend to fill well, and have completion rates comparable to the face to face offerings. It is our observation as a faculty that, typically, the successful students are the ones who show up to class. The students who never bother to come to class or do their homework tend to be less successful. It would not be surprising to find that this phenomenon is true across all disciplines.

All of this being said, it should be noted that the Music Program does offer two online courses: Music Appreciation (MUSC 105) and Jazz History (MUSC 206). These courses have traditionally filled quite well, especially the Appreciation course which often enrolls 50 students in any given quarter. There are no enrollment data available at this time for these two online courses.

It is interesting that there is no question concerning degree completion in this document. This may be an oversight, but as a faculty we notice student trends on a daily basis and “completion rates” would probably not be the most accurate measure of departmental success anyway. The first two quarters of music theory and piano classes are populated by both transfer and technology students. This mixing of student goals in the same classrooms is advantageous to both groups and makes for a wonderful cross-pollenization of ideas. Our students’ goals are as varied as they are themselves. Many of our transfer students move on to four-year institutions before completing their associate’s degrees. Often, students take music courses for personal enrichment and/or professional development and are not necessarily degree seekers. In other words, “completion” is a variously defined term, depending on each individual student’s goals and desires; a term that resists rigid codification.

5. Discipline Excellence: (Core Theme 2: Program Excellence) Comments Music faculty: -attend and present (perform) concerts -read music theory and instrumental music journals - maintain an ongoing interchange of ideas with colleagues in Describe how the discipline is kept up to music as well other disciplines within the fine and date. performing arts concerning best practices and pedagogy -review new textbooks annually -edit and update course materials, including one SCC faculty- written text Within the past three years, the music department has finally acquired enough pianos to be completely self-sufficient, i.e., no longer dependent on loaner pianos from piano dealers. Classroom space, always a juggling act in the building due to the presence of two large programs (music and music technology) in Describe the adequacy of facilities, including the single space, should become less of a challenge with the classrooms spaces, labs, equipment, etc. moving of one piano lab into a larger room; thus creating a dedicated space for the ProTools classes as well as making higher class caps in piano classes possible. Classrooms themselves are adequate, although updated audio playback equipment might be needed in the somewhat near future.

The music transfer faculty consist at present of three full-time professors, six associates and several adjunct instructors whose main function is to provide students with private lessons. Of the tenured faculty, one has a Ph.D. in Music Theory and Describe the level and breadth of staffing, Composition and the other two have M.A. degrees in Vocal and including faculty qualifications and key Instrumental Music respectively. The instrumental music professional development activities. professor is also a nationally recognized authority in the area of online teaching. Several of the adjunct faculty also hold Ph.Ds or are ABD. The music theory professor has written a textbook for the first-year theory course which has been successfully used for the past two years. Nearly all of the faculty has concertized locally and some have done so nationally and internationally. During the summer of 2011, one of our associate piano faculty performed the world External recognition of faculty and/or premiere of a new work for piano and orchestra in Shanghai, discipline? China. Other faculty members have performed in such far flung venues as Lithuania, Brazil, Canada and Boise, Idaho. One of our music technology faculty members is an internationally known saxophonist who still is an active and sought-after performer. What are the strengths of the discipline? Although the college considers Music and Music Technology as separate disciplines, the fact is that our programs continue to become increasingly integrated. Education in music fundamentals and theory have long been hallmarks and points of excellence for our Music Technology program. For our transfer students, the ready availability of recording technology and students eager for recording experience is becoming an essential part of their education as well. There is a plan in the works for audio portfolios to become a requirement for all music transfer students. The strengths of these “individual” programs serve to strengthen each other. Shoreline students receive the bulk of their theory instruction from a professor holding a Ph.D in theory and composition who wrote their textbook. All of the private piano instructors either hold doctorates or are ABD. Virtually every instructor in the building, whether they teach piano, improvisation, theory, MIDI applications or music appreciation, is a professional performing musician. This continuing professional connection to the musical world is the key to the strength and effectiveness of our faculty.

The pianos in all of the practice rooms are relatively new as are the instruments in the classrooms.

Graduates of the SCC Music Program are able to: -Demonstrate an understanding of the principles of music performance. -Explain and apply the fundamental principles of music theory. -Demonstrate proficiency in some area of musical performance List the discipline’s student learning either vocal or instrumental. outcomes (if established). -Demonstrate keyboard proficiency at a level appropriate for a junior level student at a four-year music school. -Create and adapt music for performance. -Relate to others and communicate effectively in the workplace.

Since the learning outcomes for the courses in the music program vary widely, there are several modalities for assessment utilized, depending on the specific course content. Music theory instructors, for example, administer written exams as well as sightsinging and aural training tests. In second year theory, at least one and sometimes two analytical papers are required. Describe how the discipline assesses Class piano students are assessed several times throughout the student learning. quarter with performance exams (playing assigned material at the keyboard. All piano, instrumental and vocal students are required to perform “juries” at the end of each quarter. They also receive written assessments of their quarterly progress from their respective private instructors. How has the discipline used the results of its program assessments for program Data not available. improvement?

Comments/Analysis of discipline excellence: 6. Partnerships and External Relations: (Core Theme 3: Community Engagement)

Comments The core music requirements at Shoreline are the same as those Relationship to transfer institutions, at the state’s four-year institutions. Graduates of the SCC music including articulation agreements, etc. program have historically enjoyed an easy transition to colleges and universities nationwide. Although Edmonds and Bellevue both have Music programs, neither is comparable to the SCC offerings, especially taking into account the unique opportunities offered to student performers What are the ‘like’ disciplines at nearby by the proximity and availability of the Music Technology colleges? program.

For nearly two decades, the Shoreline Community College Music program has hosted the annual auditions for the National Association of Teachers of Singing. This adjudicated event draws over 300 vocal students and their teachers to the SCC campus every year, providing an invaluable opportunity for the Music Department to showcase its offerings and facilities to prospective students. Shoreline performing ensembles, including Funkngroove, Jazz Discipline support potential from partners? Ensemble and the Jazz Improvisation class have established partnerships with and have showcased student work at such local venues as: The Ould Triangle, Club Hollywood Casino, Tula’s, Chop Suey and El Corazon. Recently, two faculty members performed at a highly successful event in a private home in Woodway to raise money for student scholarships. This event was so successful that it promises to become an annual event. Discipline’s connections at SCC or other Faculty maintain face-to-face relationships and share pedagogical colleges? Linkages to the Five Star data with music programs and located in: Consortium?  Berklee School of Music in Boston, Massachusetts  Guilford Technical Community College in Jamestown, North Carolina  St. Petersburg College, St. Petersburg, Florida  College of the Arts, Tampa, Florida  Valencia College, Orlando, Florida  Belmont University, Nashville, Tennessee  University of Miami, Miami, Florida  University of Nebraska, Lincoln, Nebraska  Foothill-DeAnza College, Cupertino, California  Portland State University, Portland, Oregon  University of Washington, Seattle, Washington

Based upon our reputation for excellence, Evergreen State College approached our program and initiated an ‘upside-down’ degree articulation with a Music Technology focus.

Based upon our reputation for excellence, administrators from the Art Institute of Seattle approached our program requesting articulation arrangements for our graduates. Specifically, they wanted our students to direct their focus on audio for the gaming industry since our students’ complete 6 consecutive quarters of study in music theory as part of their graduation requirement. The program at The Art Institute only requires one quarter of music theory instruction and they have found it to be inefficient for game audio specialization. The fact that our program offers a full 6 quarters of music theory, comparable to any four-year music school, makes our graduates highly competitive in both the academic and commercial worlds.

Every year students enter our program and inform us that another four-year degree college in the state recommended us. This recommendation is usually accompanied by comments suggesting we are the only place around doing what we are doing. At the very least, we are the only place around doing it this well.

Traditionally, music departments, like athletic departments, have understood the vital recruitment process required in the K-12 sector to be successful. Sharing concert stages with concert bands, jazz bands, and vocal choirs, along with participation in convention sites like MENC and NAJE are critical components of this ongoing process. We have K-12 linkages? successfully solicited grant funding for K-12 school visitations to enhance gender balance in the Music Technology Program. By integrating closely with the Music Technology program in developing curriculum for transfer, we work together to continue to develop program awareness in both sides of the music department.

7. Contribution to the College Mission (Core Theme 4: Access & Diversity) 2007-08 2008-09 2009-10

Unknown 109 Unknown 142 Unknown 139 AFAM 30 AFAM 38 AFAM 31 AlaskNat 1 AlaskNAt 0 AlaskNat 2 Asian 147 Asian 117 Asian 94 Hisp 6 Hisp 6 Hisp 15 What is the ethnic diversity in the MR 52 MR 64 MR 69 discipline? Haw 2 Haw 6 Haw 4 NatAm 4 NatAm 3 NatAm 8 Other 24 Other 20 Other 23 PacIsl 1 PacIsl 5 PacIsl 1 White 430 White 480 White 447 8. Summary of Curriculum Changes in the past year: (Core Theme 2: Program Excellence)

Activity List Explanation for Activities Undertaken Collaborative Piano All three of these courses were developed in order Piano Pedagogy support the new Associate of Music in Piano degree. Courses Added Survey of Keyboard Literature Courses Deleted Courses Modified Planning Sheets Revisions Preliminary planning is Other Development under way for offering at Activities least the first quarter of music theory online. Introduction to Sibelius Sibelius is a state-of-the-art music notation program, the Introduction to Music use of which is becoming necessary for all music students. Theory This course is now required for all music technology students and should soon be a requirement for transfer Non-Traditional Acoustics of Music students as well. Delivery Courses The Acoustics class is also a requirement for music technology, but also highly useful for all musicians as well as being a general interest course marketable to students from diverse backgrounds. New building, more full- PLAN: Unmet Needs time faculty and full-time support staff.

Analysis of curriculum change in the past year: Though they have not been added in the past year, three new Associate of Music degrees have been added recently and should be noted: In Piano Performance, Instrumental Performance and Vocal Performance. New courses were developed to support the AM in Piano Performance: Piano Pedagogy, Keyboard Literature and Collaborative Piano. It should be noted that all three of these courses were developed and are taught by associate faculty.

9. Other Influencing internal and external factors: (Core Theme 2: Program Excellence) Describe any non-college-related (external) factors that have significantly influenced your discipline during the last year:

Budget cuts have precipitated the loss of two full-time instructors, and we will lose a third to retirement at the end of this school year. While we have been fortunate in the quality and dedication of our associate faculty, the fact is that the absence of fully supported, dedicated faculty is slowly eroding student access to individual help outside the classroom, crowding in existing sections (the music program accepted 56 overloads this quarter alone) and will eventually lead to a loss of the high esteem the program enjoys amongst its students and the stellar reputation the department enjoys statewide as the best music department in the Washington CTC system. Describe any college-related (internal) factors that have significantly influenced your discipline / department during the last year: A bit of good news for the Music/Music Tech consortium this past year is ironically linked to an incident of vandalism that occurred in the middle of last year. That event, the last straw in a long line of significant thefts and damage in the building led to the installation of a greatly enhanced security system including security cameras in both the upper and lower levels of the building. This new security system is providing much improved safety to our students as well as presumably lower costs as we move into the future.

10. Summary of Goal Attainment in past year: (Core Theme 2: Program Excellence)

Discipline Objectives from last year Accomplished/ Still in progress? Modified?

Establish tuition and fee structure for After several years of working toward this goal, a solution was private instruction. reached and implemented last year.

Provide a number of performance There is at least one public student recital every quarter. The opportunities for student musicians as Opera Workshop in the winter and the Spring Musical are well as outreach to the public. presented every year. The Shoreline Piano Series presents high quality faculty performances at least once per quarter.

Raise funds to provide music Last year, the entire faculty mounted a festive concert in the scholarships. campus theater. All proceeds from the Piano Series go toward scholarships. Two faculty members presented an invitational concert in a private home this fall to raise funds for the Shoreline Piano Scholarship.

Maintain a rich environment for Perhaps the most exciting new “product” this year is the online associate faculty to develop new version of “Introduction to Music Technology,” developed by two curriculum in their areas of expertise. associate faculty members. Also, we now have a brand new updated series of “Sound Design” courses for our MIDI students, also created by associate faculty.

Comments/Analysis of goal attainment in past year:

11: Online learning by discipline: (Core Theme 4: Access & Diversity) 2007-2008 2008-2009 2009-2010 # of totally online courses developed Online headcount 64+72+53+56 52+68+52+48 56+62+67+38 Online annualized FTEs

Comments/Analysis of online learning by discipline: NOTE that the ‘headcount’ is really an enrollment count. FTES by modality not available at present

12. Hybrid learning by discipline: (Hybrid = some displaced class time with web-based learning.) 2007-2008 2008-2009 2009-2010 # of hybrid courses developed Hybrid headcount Hybrid annualized FTEs

Comments/Analysis of hybrid learning by discipline: See comments pertaining to item #4

GENERAL COMMENTS: The Music/Music Technology program at SCC is unique in the state of Washington. The integrated approach to both disciplines found here is unavailable anywhere else. Students wishing to pursue the study of audio engineering, MIDI, sound recording are all required to learn the fundamentals of the art of music as a significant portion of their training. The Art Institute of Seattle, for example, does not require such training for their students. In fact, such musical training is not even available to the students at the Art Institute. This grounding in the art renders SCC graduates much more desirable in the job market, as any musician will tell you that working with a “musical” engineer is preferable to a mere technician any time. The ready availability of performing musicians on the premises makes the opportunities for real world experience for the technology students extremely accessible.

By the same token, our music transfer students have any number of opportunities to record their performances and profit from the feedback of listening to themselves and making the changes they need to, constantly refining their art. There is a plan to make the MusTc 274 Portfolio course mandatory for all music students, so that they will all graduate with a digital portfolio of their work as students at SCC. This is an item that has become necessary in all facets of the music industry in this day and age and the new requirement will give our graduates an additional advantage in the market. The real and unique strength of the Music Program at Shoreline Community College is the intertwining of the disciplines of Audio Engineering and Music, giving the students specializing in both fields a significant advantage when they leave this institution.