DOCSLIB.ORG

WPUNJ Music Department Faculty

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
WPUNJ Music Department Faculty 2018 – 2019 Handbook Music Department WPUNJ 2018 - 2019 DEPARTMENT OF MUSIC FACULTY AND STUDENT HANDBOOK THE WILLIAM PATERSON UNIVERSITY OF NEW JERSEY Phone: (973) 720-3128 Fax: (973) 720-2217 Website: http://www.wpunj.edu/coac/departments/music/ ii THE DEPARTMENT OF MUSIC MISSION STATEMENT The Department of Music at William Paterson University is a community of musician-educators committed to professionalism in performance, teaching, scholarship and creative activity, and community service. We collaborate to provide the foundations of comprehensive musicianship for all music majors at the undergraduate and graduate levels, and to create a thriving cultural life on the campus and in the community through challenging academic offerings and performances of the highest artistic level. We provide the resources, guidance, and diverse environment that motivate our students to seek excellence as they build and maintain careers in music, including classical and jazz performance and composition, sound engineering arts, music education, and Music and Entertainment Industries. Combining traditional teaching and learning with innovative approaches, the Department gives students the knowledge and skills to meet the challenges of the contemporary musical environment. Approved by Faculty April 9, 1991 Revised February 15, 2005 Goal 1: A high level of musical and technical competency. Goal 2: An understanding of the elements and organization of music, and ability to apply this knowledge to aural and visual analyses. Goal 3: A broad knowledge of music history and literature Goal 4: The aesthetic sense and skill to organize and communicate sound Goal 5: An ability to integrate technology into the study and practice of music. Goal 6: Specialization in an area of the profession. Goal 7: A successful career. iii iv TABLE OF CONTENTS Faculty and Staff ............................................................................................................................ vii Adjunct Faculty ............................................................................................................................. viii Faculty Department Responsibilities ............................................................................................... ix Department and College Committees ................................................................................................x General Information ..........................................................................................................................3 Academic Advisors ...........................................................................................................................3 Change of Major/Readmission ..........................................................................................................4 Health and Wellness ..........................................................................................................................6 Instrument rentals ..............................................................................................................................7 Lockers ..............................................................................................................................................7 Applied lessons .................................................................................................................................9 Change of Applied Instrument ........................................................................................................ 10 Accompanists .................................................................................................................................. 11 Juries ............................................................................................................................................... 11 Performance Proficiency Exam ....................................................................................................... 12 Jury Requirements ........................................................................................................................... 13 Change of Applied Teacher/Form ................................................................................................... 36 Ensembles ....................................................................................................................................... 37 Choral Program ............................................................................................................................... 37 Chamber Music ............................................................................................................................... 38 Percussion Studio Guidelines .......................................................................................................... 38 Midday Recital Hour ....................................................................................................................... 40 Recital Regulations ......................................................................................................................... 41 Midday Recital Program Information Form .................................................................................... 43 Junior and Senior Recitals ............................................................................................................... 44 Evening Recital Information ........................................................................................................... 45 Recital Recording Policy ................................................................................................................. 45 Recital Receptions ........................................................................................................................... 46 Voice Area Program requirements .................................................................................................. 47 Evening Recital Audition Application ............................................................................................ 51 Recital Printed Program Application ............................................................................................... 52 Degree Programs ............................................................................................................................. 53 Music Education program ............................................................................................................... 54 NAfME ............................................................................................................................................ 60 Music Education Control Sheets (classical) .................................................................................... 62 Music Education Control Sheets (jazz) ........................................................................................... 71 MM in Music Education.................................................................................................................. 75 Music and Entertainment Industries Program ................................................................................. 76 Professional Enrichment Initiative .................................................................................................. 76 Minor in Music and Entertainment Industries ................................................................................. 77 Music and Entertainment Industries Control Sheets ....................................................................... 78 Classical Performance program ....................................................................................................... 85 Classical Performance Control Sheets ............................................................................................. 86 Sound Engineering Arts program .................................................................................................... 92 Official Audio Survival Guide ........................................................................................................ 93 Sound Engineering Arts Control Sheets .......................................................................................... 99 Music Studies program .................................................................................................................. 104 Music Studies Control Sheets ........................................................................................................ 106 Popular Music ............................................................................................................................... 108 Popular Music Control Sheets ....................................................................................................... 110 Jazz Program ................................................................................................................................. 112 Jazz Juries ...................................................................................................................................... 117 Jazz Recitals .................................................................................................................................. 118 v Jazz Program Forms ...................................................................................................................... 120 Jazz Program Control Sheets ......................................................................................................... 125 Jazz/Classical Performance Program ...........................................................................................
Load more

Recommended publications
  • A3c7cf0f-1C32-444B-A63c-3F0cb5d3b3ca.Pdf
    2013 - 2014 DEPARTMENT OF MUSIC FACULTY AND STUDENT HANDBOOK THE WILLIAM PATERSON UNIVERSITY OF NEW JERSEY Phone: (973) 720-3128 Fax: (973) 720-2217 Website: http://www.wpunj.edu/coac/departments/music/ THE DEPARTMENT OF MUSIC MISSION STATEMENT The Department of Music at William Paterson University is a community of musician-educators committed to professionalism in performance, teaching, scholarship and creative activity, and community service. We collaborate to provide the foundations of comprehensive musicianship for all music majors at the undergraduate and graduate levels, and to create a thriving cultural life on the campus and in the community through challenging academic offerings and performances of the highest artistic level. We provide the resources, guidance, and diverse environment that motivate our students to seek excellence as they build and maintain careers in music, including classical and jazz performance and composition, sound engineering arts, music education, and music management. Combining traditional teaching and learning with innovative approaches, the Department gives students the knowledge and skills to meet the challenges of the contemporary musical environment. Approved by Faculty April 9, 1991 Revised February 15, 2005 Goal 1: A high level of musical and technical competency. Goal 2: An understanding of the elements and organization of music, and ability to apply this knowledge to aural and visual analyses. Goal 3: A broad knowledge of music history and literature Goal 4: The aesthetic sense and skill to organize and communicate sound Goal 5: An ability to integrate technology into the study and practice of music. Goal 6: Specialization in an area of the profession. Goal 7: A successful career.
    [Show full text]
  • American Square Dance Vol. 49, No. 8
    SQUARE DANCING: REMEMBER SQUARE DANCE MONTH IS SEPTEMBER AMERICAN Er) "The International Magazine With The Swinging Lines" S'QUAILE LIA/Ve'A' Magazine • SINGLE $2.00 AUGUST 1994 ANNUAL $20.00 SUPREME AUDIO, INC. The Professional Source for Callers & Cuers Supreme Audio has the Largest Selection of Professional Calling and Cueing equipment -- with continuing after-sale support! Call Supreme Audio before purchasing any equipment! • Hanhurst's Tape & Record Service • Calling & Cueing Sound Systems • Square Dance Tape Service - • Wireless Microphones 12 Tapes per year • Microphones • Round Dance Tape Service - • Record & Equipment Cases 6 Tapes per year • YAK STACK, DIRECTOR & •Publications SUPREME Sound Columns • 50,000 Quality Square & Round • Graduation Diplomas Dance Record Inventory - • Instructional Video Tapes All Labels in Stock •Competitive Prices • Toll Free Order Lines • Fast ... Professional Service! •Computerized Record Information • Shipped within 24 hours! Hanhurst's Square Dance Tape Service The "Original" monthly tape service. The Continuing Choices"' of more than 1,700 Callers! AN EXCELLENT GIFT IDEA FOR YOUR FAVORITE CALLER ! • • • TELEX & SAMSON • • WIRELESS MICROPHONE SYSTEMS • • New Low Prices! • • • • Lapel Systems now start at $234.00 • 1-800-445-7398 (USA & Canada) (Foreign: 603-876-3636) FREE (Fax: 603-876-4001) AUDIO SUPREME AUDIO, INC. CATALOG P.O. Box 50 Mariborouip, NH 03455-0050 = (Callers I Coors lily - otter' send $4.11) AMERICAN Fri soitiRE DANCE VOLUME 49, No 8 Magazine AUGUST 1994 THE INTERNATIONAL MAGAZINE
    [Show full text]
  • Prestige Label Discography
    Discography of the Prestige Labels Robert S. Weinstock started the New Jazz label in 1949 in New York City. The Prestige label was started shortly afterwards. Originaly the labels were located at 446 West 50th Street, in 1950 the company was moved to 782 Eighth Avenue. Prestige made a couple more moves in New York City but by 1958 it was located at its more familiar address of 203 South Washington Avenue in Bergenfield, New Jersey. Prestige recorded jazz, folk and rhythm and blues. The New Jazz label issued jazz and was used for a few 10 inch album releases in 1954 and then again for as series of 12 inch albums starting in 1958 and continuing until 1964. The artists on New Jazz were interchangeable with those on the Prestige label and after 1964 the New Jazz label name was dropped. Early on, Weinstock used various New York City recording studios including Nola and Beltone, but he soon started using the Rudy van Gelder studio in Hackensack New Jersey almost exclusively. Rudy van Gelder moved his studio to Englewood Cliffs New Jersey in 1959, which was close to the Prestige office in Bergenfield. Producers for the label, in addition to Weinstock, were Chris Albertson, Ozzie Cadena, Esmond Edwards, Ira Gitler, Cal Lampley Bob Porter and Don Schlitten. Rudy van Gelder engineered most of the Prestige recordings of the 1950’s and 60’s. The line-up of jazz artists on Prestige was impressive, including Gene Ammons, John Coltrane, Miles Davis, Eric Dolphy, Booker Ervin, Art Farmer, Red Garland, Wardell Gray, Richard “Groove” Holmes, Milt Jackson and the Modern Jazz Quartet, “Brother” Jack McDuff, Jackie McLean, Thelonious Monk, Don Patterson, Sonny Rollins, Shirley Scott, Sonny Stitt and Mal Waldron.
    [Show full text]
  • John Muir Writings a Thousand-Mile Walk to the Gulf by John Muir
    John Muir Writings A Thousand-Mile Walk to the Gulf by John Muir Contents • Illustrations • Introduction 1. Kentucky Forests and Caves 2. Crossing the Cumberland Mountains 3. Through the River Country of Georgia 4. Camping among the Tombs 5. Through Florida Swamps and Forests 6. Cedar Keys 7. A Sojourn in Cuba 8. By a Crooked Route to California 9. Twenty Hill Hollow A Thousand-Mile Walk to the Gulf By John Muir Edited By William Frederic Badè With Illustrations Boston And New York Houghton Mifflin Company The Riverside Press Cambridge 1916 Copyright, 1916, By Houghton Mifflin Company All Rights Reserved Published November 1916 Illustrations John Muir About 1870 Frontispiece From a photograph by Bradley & Rulofson, San Francisco, Cal. Map Showing Route Of Walk to the Gulf Kentucky Oaks From a photograph by Theodore Eitel Entrance To Mammoth Cave From a photograph. By courtesy of the Louisville and Nashville Railroad The Clinch River, Tennessee From a photograph. By courtesy of the Louisville and Nashville Railroad A Southern Pine From a photograph by Herbert W. Gleason Spanish Moss ( Tillandsia ) From a photograph by Herbert W. Gleason In Bonaventure Cemetery, Savannah From a photograph by Herbert W. Gleason By The St. John’s River In Eastern Florida From a photograph by Herbert W. Gleason A Florida Palmetto Hummocks Or “Hammock” From a photograph by Herbert K. Job Lime Key, Florida From Mr. Muir’s sketch in the original journal Morro Castle And Entrance To Havana Harbor From a photograph Twenty Hill Hollow, Merced County, California From a sketch by Mr. Muir The colored half-tone of a Florida-sunset which appears on the cover is from a water-color by Miss Amelia M.
    [Show full text]
  • Walter Bishop, Jr. Coral Keys Mp3, Flac, Wma
    Walter Bishop, Jr. Coral Keys mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Coral Keys Country: Spain Released: 1973 Style: Post Bop, Modal MP3 version RAR size: 1795 mb FLAC version RAR size: 1835 mb WMA version RAR size: 1687 mb Rating: 4.2 Votes: 647 Other Formats: TTA DMF MOD FLAC ASF AUD XM Tracklist A1 Coral Keys 6:20 A2 Waltz For Zweetie 5:08 A3 Track Down 4:51 A4 Soul Turn Around 7:18 B1 Our November 4:10 B2 Three Loves 5:00 B3 Freedom Suite 7:50 Companies, etc. Designed At – Ray Lawrence, Ltd. Distributed By – Zafiro, S.A. Printed By – Offset ALG, S.A. Credits Artwork [Cover Art], Photography By [Photo] – Dorothy Tanous Bass – Reggie Johnson Drums – Alan Shwaetz Benger (tracks: B1 to B3), Idris Muhammad (tracks: A1 to A4) Piano, Written-By, Arranged By – Walter Bishop, Jr. Producer, Engineer [Recording] – Gene Russell Soprano Saxophone, Flute – Harold Vic* (tracks: A1 to A4) Tenor Saxophone – Harold Vic* (tracks: B1 to B3) Trumpet – Wood Shaw* (tracks: B1 to B3) Other versions Category Artist Title (Format) Label Category Country Year Walter Coral Keys (LP, Black Jazz BJ/2 BJ/2 US 1971 Bishop Jr.* Album) Records Black Jazz Walter Coral Keys (LP, OPL-2002, BJ/2 Records, Black OPL-2002, BJ/2 Japan 1971 Bishop Jr.* Album) Jazz Records Walter Coral Keys (CD, Black Jazz BJ/2 BJ/2 US 1998 Bishop Jr.* Album, RE) Records Black Jazz BJ/2, Walter Coral Keys (CD, BJ/2, Records, Snow Japan 2012 SDGBJ1202 Bishop Jr.* Album, RE, RM) SDGBJ1202 Dog Records Walter Coral Keys (CD, PCD-22087 P-Vine Records PCD-22087 Japan 2005 Bishop Jr.* Album, RE, Pap) Related Music albums to Coral Keys by Walter Bishop, Jr.
    [Show full text]
  • Corporate Registry Registrar's Periodical Template
    Service Alberta ____________________ Corporate Registry ____________________ Registrar’s Periodical REGISTRAR’S PERIODICAL, MARCH 15, 2010 SERVICE ALBERTA Corporate Registrations, Incorporations, and Continuations (Business Corporations Act, Cemetery Companies Act, Companies Act, Cooperatives Act, Credit Union Act, Loan and Trust Corporations Act, Religious Societies’ Land Act, Rural Utilities Act, Societies Act, Partnership Act) 0872137 B.C. LTD. Other Prov/Territory Corps 1511829 ALBERTA LTD. Numbered Alberta Registered 2010 FEB 02 Registered Address: 15 Corporation Incorporated 2010 FEB 15 Registered COPPERFIELD RISE SE, CALGARY ALBERTA, T2Z Address: 250 EVEROAK DRIVE SW, CALGARY 4R6. No: 2115156669. ALBERTA, T2Y 0C4. No: 2015118298. 101066628 SASKATCHEWAN LTD. Other 1511841 ALBERTA INC. Numbered Alberta Prov/Territory Corps Registered 2010 FEB 04 Corporation Incorporated 2010 FEB 15 Registered Registered Address: 5009-47 STREET, Address: SUITE 107, 320 - 24TH AVENUE S.W., LLOYDMINSTER ALBERTA, T9V 0E8. No: CALGARY, ALBERTA ALBERTA, T2S 0K2. No: 2115162931. 2015118413. 101111934 SASKATCHEWAN LTD. Other 1512862 ALBERTA LTD. Numbered Alberta Prov/Territory Corps Registered 2010 FEB 10 Corporation Incorporated 2010 FEB 01 Registered Registered Address: 200, 10187-104 STREET, Address: #102, 221 - 18TH STREET SE, CALGARY EDMONTON ALBERTA, T5J 3S9. No: 2115175636. ALBERTA, T2E 6J5. No: 2015128628. 101135339 SASKATCHEWAN LTD. Other 1513503 ALBERTA LTD. Numbered Alberta Prov/Territory Corps Registered 2010 FEB 01 Corporation Incorporated 2010 FEB 05 Registered Registered Address: #310, 1212 - 31ST AVENUE NE, Address: 1A, 1306 BOW VALLEY TRAIL, CALGARY ALBERTA, T2E 7S8. No: 2115155455. CANMORE ALBERTA, T1W 1N6. No: 2015135037. 101150939 SASKATCHEWAN LTD. Other 1513504 ALBERTA LTD. Numbered Alberta Prov/Territory Corps Registered 2010 FEB 09 Corporation Incorporated 2010 FEB 09 Registered Registered Address: 2313 58A AVENUE, Address: 212, 20 SUNPARK PLAZA SE, CALGARY LLOYDMINSTER ALBERTA, T9V 2Y6.
    [Show full text]
  • California State University, Northridge Teaching Jazz
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE TEACHING JAZZ IMPROVISATION IN THE HIGH SCHOOL A project submitted in partial satisfaction of the requirements for the degree of Master of Arts ln Music by Allen Eugene Rogers August 1986 The Project of Allen Eugene Rogers ls approved: California State University, Northridge lL TABLE OF CONTENTS PAGE ABSTRACT . • . • . • • . • . • . • . • • . • . • . Vl CHAPTER I . THE PROBLElvi ...............................• 1 Genera 1 S ta temen t ...................... 1 Definition of Terms .................... 3 Delimitations of This Study ............ 9 II. THE NEED FOR THE STUDY .................... 10 III. RELATED LITERATURE ......................... 14 Introduction . 14 Textbooks .............................. 14 Method Books 22 IV. A BRIEF HISTORY OF JAZZ IMPROVISATION ..... 30 Introduction 30 Creation of Jazz ....................... 30 African Influence on Jazz .............. 31 European Influence on Jazz 32 Principal Elements of Jazz 32 Contribution of Religious Music to Jazz . 33 Contribution of Marching Bands to Jazz .. 35 The Blues as a Component of Jazz ........ 36 Improvisation and Jazz .. ................ 37 iii CHAPTER PAGE Developmental Stages of Jazz . ... ...... 38 Contribution of Jazz to Improvisation .... 39 V. THE PROJECT: TEACHING A HIGH SCHOOL COURSE IN JAZZ INPROVISATION ................... 41 Introduction ............................ 41 The Structure of the Course Using One Text 43 Lesson Plans for the Course 45 The Structure of the Course Using Other Texts ....· . 70 Concluding Recommendation ... .. ......... 82 BIBLIOGRAPHY ...................................... 84 ~PPENDIX A. CLASS TEXT .................................. 88 B. CLASS TEXT SUPPLEJ!lENT ...................... 130 C. CHORD CHAR.T • . • . • . • • . • . • . • • 163 lV ABSTRACT TEACHING JAZZ IMPROVISATION IN THE HIGH SCHOOL by Allen Eugene Rogers Master of Arts in Music Analysis of senlor high school Jazz bands over the last fifteen years has demonstrated excellent ensemble performance, yet, in striking contrast, poor improvisa­ tional soloing.
    [Show full text]
  • The Struggle for North Africa Between Almohads, Ayyubids, and Banū Ghāniya (Late Twelfth to Early Thirteenth Centuries A.D.)
    The Struggle for North Africa between Almohads, Ayyubids, and Banū Ghāniya (Late Twelfth to Early Thirteenth Centuries A.D.). by Amar Salem Baadj A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Near and Middle Eastern Civilizations University of Toronto © Copyright by Amar Salem Baadj (2013) The Struggle for North Africa between Almohads, Ayyubids, and Banū Ghāniya (Late Twelfth to Early Thirteenth Centuries A.D.). Amar Salem Baadj Doctor of Philosophy Department of Near and Middle Eastern Civilizations University of Toronto 2013 Abstract This thesis is concerned with the invasion of the Almohad Empire by the Banū Ghāniya of Majorca and the Ayyubid amir Sharaf al-Dīn Qarāqūsh in the late twelfth and early thirteenth centuries A.D. This long and destructive conflict, which sapped the strength of the Almohad state in North Africa, has received little attention from modern scholars, particularly in the west. It is our aim to contextualize the revolt of the Banū Ghāniya and Qarāqūsh’s expeditions within the wider African and Mediterranean worlds. In particular, we will shed light on the economic background of the great power rivalries that affected North Africa during this period. The Banū Ghāniya were descendants of the Almoravids who established a principality in the Balearic Islands after the fall of the Almoravid state in the mid-twelfth century. In 1184 they invaded North Africa and fought against the Almohads in a struggle which lasted until the 1230s and ranged from Tripoli to Sijilmāsa under the amirs ʿAlī (1184-1187) and Yaḥyā b.
    [Show full text]
  • Musician/Group Title Label # AAVV Americans in Europe Impulse 3857 7 12 18 AAVV Aldo Sandoval 4248 6 4 21 (Duplo) 4249 AAVV
    Musician/Group Title Label # AAVV Americans in Europe Impulse 3857 7 12 18 AAVV Antologia de jazz de la Universidad de Chile 2002{03 Aldo Sandoval 4248 6 4 21 (duplo) 4249 AAVV Art Ensemble of Chicago and Associated Ensembles ECM 3861 18 12 18 (21-plo) 3862 3863 3864 3865 3866 3867 3868 3869 3870 3871 3872 3873 3874 3875 3876 3877 3878 3879 3880 3881 AAVV The Atlantic New Orleans jazz sessions Mosaic 709 3 12 99 (quadruplo) 710 711 712 AAVV Birks works EMI/Blue Note 7 3 93 AAVV The Blue Note jazz profile series Blue Note 619 5 7 99 AAVV Classic Capitol jazz sessions Mosaic 734 7 1 00 (duod´ecuplo) 735 736 737 738 739 740 741 742 743 744 745 AAVV Classic Columbia Condon Mob sessions Mosaic 2338 1 3 07 (´octuplo) 2339 2340 2341 2342 2343 2344 2345 AAVV Classic Savoy be-bop sessions 1945-49 Mosaic 4075 2 6 20 (d´ecuplo) 4076 4077 4078 4079 4080 4081 4082 4083 1 Musician/Group Title Label # 4084 AAVV Commodore piano anthology Commodore 830 6 4 00 AAVV The complete Felsted mainstream collection Solar 4146 24 10 20 (qu´ıntuplo) 4147 4148 4149 4150 AAVV The complete H.R.S. sessions Mosaic 722 16 12 99 (sextuplo) 723 724 725 726 727 AAVV The complete Nocturne recordings, volume 1 Fresh Sound 519 27 2 99 (triplo) 520 521 AAVV The complete Norman Granz jam sessions Verve 1851 4 1 05 (qu´ıntuplo) 1852 1853 1854 1855 AAVV Early jazz 1917-1923 Fr´emaeux& Ass 836 26 4 00 (duplo) 837 AAVV Essential South African Jazz: the Jo'burg sessions African Cream 3661 16 4 16 AAVV Fet´en:rare jazz recordings from Spain 1961{74 Vampisoul 3452 28 4 13 AAVV Focus jazz: more modern jazz Wewerka Arch.
    [Show full text]
  • Jazz Diplomas Syllabus
    Jazz Diplomas Syllabus Piano, Flute, Clarinet, Saxophone, Trumpet, Cornet, Flugelhorn, Trombone 2011 - 2014 Jazz Diplomas Syllabus DipLCM, ALCM, LLCM and FLCM in Jazz Performance Piano Flute Clarinet Saxophone Trumpet, Cornet & Flugelhorn Trombone 2011-14 For information about Diplomas in Teaching, please refer to the Music Performance and Teaching Diplomas Syllabus. LCM Examinations Director of Examinations John Howard BA PhD Chief Examiner in Music Philip Aldred BEd FLCM University of West London LCM Examinations St Mary’s Road Ealing London W5 5RF tel: +44 (0)20 8231 2364 fax: +44 (0)20 8231 2433 email: [email protected] uwl.ac.uk/lcmexams © Copyright 2011 by the University of West London, LCM Examinations 2 Contents Page London College of Music Examiners ............................................................... 4 London College of Music / London College of Music Examinations ................. 5 1. Syllabus introduction 1.1 Validity of this syllabus ............................................................. 6 1.2 Rationale .................................................................................. 6 1.3 Syllabus aims ............................................................................ 6 1.4 Syllabus objectives .................................................................... 6 1.5 Availability of examinations and entry details ............................ 7 1.6 Duration of examinations .......................................................... 7 1.7 Target groups ..........................................................................
    [Show full text]
  • 2018 Department of Music Faculty and Student
    William Paterson University Music Department 2017-2018 Handbook 2017 - 2018 DEPARTMENT OF MUSIC FACULTY AND STUDENT HANDBOOK THE WILLIAM PATERSON UNIVERSITY OF NEW JERSEY Phone: (973) 720-3128 Fax: (973) 720-2217 Website: http://www.wpunj.edu/coac/departments/music/ ii THE DEPARTMENT OF MUSIC MISSION STATEMENT The Department of Music at William Paterson University is a community of musician-educators committed to professionalism in performance, teaching, scholarship and creative activity, and community service. We collaborate to provide the foundations of comprehensive musicianship for all music majors at the undergraduate and graduate levels, and to create a thriving cultural life on the campus and in the community through challenging academic offerings and performances of the highest artistic level. We provide the resources, guidance, and diverse environment that motivate our students to seek excellence as they build and maintain careers in music, including classical and jazz performance and composition, sound engineering arts, music education, and Music and Entertainment Industries. Combining traditional teaching and learning with innovative approaches, the Department gives students the knowledge and skills to meet the challenges of the contemporary musical environment. Approved by Faculty April 9, 1991 Revised February 15, 2005 Goal 1: A high level of musical and technical competency. Goal 2: An understanding of the elements and organization of music, and ability to apply this knowledge to aural and visual analyses. Goal 3: A broad knowledge of music history and literature Goal 4: The aesthetic sense and skill to organize and communicate sound Goal 5: An ability to integrate technology into the study and practice of music.
    [Show full text]
  • DOCTORAL DISSERTATION in Your Own Sweet Way: a Study Of
    DOCTORAL DISSERTATION DEPARTAMENT D’ART I DE MUSICOLOGIA UNIVERSITAT AUTÒNOMA DE BARCELONA FACULTAT DE FILOSOFIA I LLETRES In Your Own Sweet Way: A Study of Effective Habits of Practice for Jazz Pianists with Application to All Musicians Iñaki Sandoval Campillo Dissertation Director: Darla S. Hanley, PhD Dean, Professional Education Division Berklee College of Music, Boston, USA Barcelona, September 2013 In Your Own Sweet Way: A Study of Effective Habits of Practice for Jazz Pianists with Application to All Musicians by Iñaki Sandoval Campillo Doctoral Dissertation Departament d’Art i de Musicologia, Facultat de Filosofia i Lletres Universitat Autònoma de Barcelona Barcelona, September 2013 Author: Iñaki Sandoval Campillo ___________________________________ Dissertation Director: Darla S. Hanley, PhD Dean, Professional Education Division Berklee College of Music, Boston, USA ___________________________________ Dissertation Tutor: Jordi Ballester Gibert, PhD Director del Departament d’Art i de Musicologia Universitat Autònoma de Barcelona ___________________________________ © 2013 Iñaki Sandoval All Rights Reserved iv ABSTRACT With the intent of improving performance and creativity, the purpose of this research was to gain information about practice methods and techniques directed to develop a personal practice routine for the contemporary jazz pianist. This research is offered to provide jazz pianists (of all levels) with tools that allow them to develop individual practice routines that foster healthy and sustainable habits and advance artistry. The original information presented is based on the review of related literature published in the area of jazz performance; the experiences of respected jazz performers, students and pedagogues; and the synthesis of methods and approaches used in deliberate musical practice (classical and jazz styles), sports training, and selected other disciplines.
    [Show full text]