Monroe Community College Visual & Performing Arts Department Music

Monroe Community College

Visual & Performing Arts Department Music Area Music Performance MU01 A.S. Degree in the College of Liberal Arts and Sciences

Program Evaluation Report

Fall 2012-Spring 2013

Prepared By: John Nyerges MCC Contributors: Dr. David Shaw Dr. Roland Fisher Dr. Matthew Robey Michael Heel Office for Institutional Research External Board Members: Dr. Mario Martinez, Nazareth College Kristen Shiner-McGuire, Nazareth College William Tiberio, U.R. Ithaca, FHS

! 1! Table of Contents

Executive Summary Page 3

Introduction/Overview Page 4 Section 1: Program Mission, Goals, Objectives and Outcomes Page 5 Section 2: Program Design Page 7 Section 3: The Program Faculty Page 11 Section 4: The Students Page 16 Section 5: Assessment of Student Learning Outcomes Page 25 Section 6: Support Services Page 44 Section 7: Administrative Support Page 45 Section 8: External Review Summary, Meeting notes Page 47 Section 9: Recommendations and Action Plan Page 57 Section 10: Concluding Remarks Page 59 Appendices • Appendix A: Course CLO’S Page 60 • Appendix B: Assessment Tools Page 63 • Appendix C: Faculty Accomplishments Page 85 • Appendix D: Program Description (Catalog) Page 95 • Appendix E: CLO’s, PLO’s / Grid how they relate Page 96 • Appendix F: Faculty Demographics/Work Load Page 98 • Appendix G: Enrollment Trends Page 99 • Appendix H: Student Demographics Page 105 • Appendix I: Program Completion/Time to graduate Page 106 • Appendix J: Student Transfer and Placement Page 108 • Appendix K: Student Satisfaction Questionnaires Page 109 • Appendix L: External Advisory Letters Page 113 External Advisory Members Resumes Page 115 • Appendix M: Resume of Outstanding MCC Graduate Page 136 Music Composer Nicholas S. Omiccioli • Appendix N: Library Titles Page 141 • Appendix O: List of all Music Courses Page 144 • Appendix P: Facilities and Inventory Page 151 • Appendix Q: General Educational Course Table Page 153

! 2! EXECUTIVE SUMMARY

The Music major program a Monroe Community College evolved from a Liberal Arts Degree with a Concentration in Music. In the last twelve years after the hiring of Music Theory and Music History (and Classical Composer) specialist Dr. David Shaw and Performance specialist John Nyerges working along side with veteran Professor Thomas Fittipaldi, the program went through a major revision to bring the program up to a level to increase the skills and chances of success for students who successfully completed the required coursework to gain access to a four year program and even qualify for performance scholarships.

The Program revision included not only course revisions and course additions, but also upgraded the facilities: the practice room and classroom pianos, the recording studio, the Piano/MIDI Lab and associated software, and dedicated classroom smart room (LCD projector) and audio capabilities. The Music faculty has made it a goal since 2001 to totally modernize the program and improve it by meeting weekly every Monday for several hours to discuss what should be done regarding day-to-day issues, student issues, retention, recruitment and graduation rates, and increase the quality of student experience in performance opportunities.

The Program Assessment in 2006 showed that there were still issues to be resolved and some facilities to be improved (primarily the practice rooms), and in fact this report will show that these are still outstanding issues that are unresolved.

Student satisfaction is generally high, even stating that they know the “excellent faculty” gives extra help outside of class but is constrained by limited resources (practice rooms, music recital hall, better/additional ensemble space, number of fulltime instructors, and the lack of lessons available on campus). We do have an excellent Lab. The program at MCC occupies an unique niche because of it’s affordability and the fact that we accept students who are generally behind in their aural skills, theory knowledge, performance skills since they may not have had as many lessons or opportunities as other freshman going to four years college Music programs. Yet there are many stories of student success: graduates go on to SUNY colleges, Buff State, Roberts-Wesleyan, Eastman School of Music/U.R., Berklee School of Music in Boston, Florida State University, Nazareth, Ithaca College and others to major in one of the many optional tracks in Music. Several fine examples of graduates’ success are mentioned later on in this report that include Kristen Butler, Joe Pompili, Steven Georger , Rob Linton, Chaun Horton , Jerome Flood III , and Nicholas S. Omiccioli.

The CLO’s and the PLO’s for virtually ALL courses have been updated (more CLO’s per course and more specific goals) jus this past fall of 2012 as a result of the Assessment process.

! 3! The Music faculty has taken many students on trips to NYC to perform at homeless shelters and most recently 20 vocal students traveled with DR. Fisher to sing at Carnegie Hall the last two years for the first time ever in MCC’s history. Professor Nyerges will be taking several students to perform at Fairport Canal Days and earned a spot for the first time ever at the Rochester International Jazz Fest this June of 2013.

He overall program improvements has inspired a higher level of performance skills in the recent years. Assessment of the selected courses contained in this report shows that the majority of the students are being served well by course content and dedicated instruction by the faculty. In fact, only 1 student in all the courses assessed here failed to meet expectations (in MUS 109 Theory I, which contains Music and non-Music majors). The overwhelming majority of the students in these assessed courses met or exceeded expectations, while very few fell into the “approach” category. This is in courses that are comparable to four-year college Music programs. We have updated these courses to prepare the students for successful transfer to a four-year music program.

The Music faculty must recruit (and has a plan already in motion) more students as some fourth semester courses can become low-enrolled such as Applied Piano Minor IV and Aural Skills IV. Graduation rates are problematic as this is a very tough program of study, especially since most students come to MCC under-prepared for this level of musicianship. Part of what is looked at is toning down the piano courses since auditions to get into four-year colleges are not always at a fourth semester (MCC) level but more at the end of a semester II level as is discussed later on in this report.

The Music program at MCC rounds out a very strong Visual & Performing Arts Department that serves the Rochester community in a very positive way, creating success stories one at a time. The Music Area hopes to continue this program and grow it in the future in quality and quantity. Some of that depends on the continued support of the Administration and improvements that could be implemented as funds become available.

INTRODUCTION

Music was once offered as a Concentration as a part of a Liberal Arts Degree. It became a Major program of study and is now designated as MU01: Music Performance. It has gone through several changes, most notable the revision in 1999, where three independent tracks were created to cater to specific music interests. In addition to the new tracks, more emphasis was placed on music courses by shifting nine credit hours from general education requirements to music requirements.

The Music Performance Degree serves many students who have the talent and desire to start on a path towards a career in music but in many cases lack the level of performance skills and theory background necessary to gain entrance right away to a more competitive four-year university music program. We have a program that can bring them up to the level they need to transfer to another college. However, if they complete the degree requirements at MCC, they are prepared to go on to other college music programs as many have and succeed in earning a Bachelors, Masters and in some cases, a Doctorate in Music.

! 4! SECTION 1: MISSION, GOALS, OBJECTIVES AND OUTCOMES

How the Program’s Mission Relates to the College Mission

The mission of Monroe Community College is to provide access to high quality education and training programs to a diverse community. Student success is the College’s highest priority.

In fulfilling its mission, the College is committed to excellence in teaching, comprehensiveness, lifelong learning and citizenship. The College embraces its role as a stimulus for economic development and values partnerships, innovation and educational leadership.

The mission of the Music Area at Monroe Community College provides students from diverse backgrounds with a cost-effective two-year program to prepare the student for successful transfer to a four-year college or university music program. While a student gets a degree in Performance here, a student graduating from MCC can continue to study music with an emphasis in performance, or can go on to various concentrations within Music or Arts, such as Education, Theory, Composition, Arranging, Conducting, Arts Management, Arts Administration, or the Music Industry.

Program Goals and Objectives

During the first part of the assessment process, the Program Course Learning Outcomes and all Music Course Learning Outcomes of the Music Performance program were evaluated and revised because as assessment began, time was needed to update them. Without this revision of both the POL’s and CLO’s, this assessment would have had little meaning. Much reflection went into revising the program learning outcomes more accurate and relevant to what is currently being taught and experienced in the program.

Music Program Goals

• Prepare students to transfer and earn the baccalaureate degree with a major in music. • Students will gain valuable ensemble experience in recitals and concert public performances. • Students will take private lessons each semester to develop skills on a primary instrument. • Students will be able to, upon completion of a baccalaureate degree, continue on to advanced degrees and find employment in a variety of areas in the field of Music Arts such as, but not limited to, Public School teaching K-12, performance, teaching Theory, Composition, Arranging, Music Appreciation in a college or university, and other music industry jobs in the private sector.

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Music Program Objectives

The Performing Arts: Music program aims to develop and nurture the necessary musical aptitude and theoretical knowledge in students for them to succeed. It also strives to provide outlets for personal expression and emotional growth, which are the foundation for lifelong enjoyment of music. We foster the growth of essential interpersonal and intrapersonal skills including commitment, cooperation, and respect.

The music program is both academic and applied, with the goal of providing instruction that will develop the theoretical and practical competencies necessary to prepare graduates for transfer.

The program has four, four-course sequences that are typical of the first two years in a baccalaureate music program. These sequences not only prepare students for transfer, but also give them a solid foundation in the fundamental elements of music.

The Music Theory sequence advances the student’s knowledge of the music language (reading and writing). These courses examine the fundamental elements of music and aid the instruction of all other music classes.

The Applied Music sequence consists of weekly, one-hour, private instrumental or vocal instruction (aka the student’s primary instrument) and is comparable to, and in some cases exceeds, the lesson time requirements of music programs at four-year schools.

The Major Performing Organization sequence, along with the recital and jury elements of Applied Music, give the student extensive public performance experience.

The Applied Piano Minor sequence develops the student’s keyboard skills and is a typical requirement of virtually all college music programs.

The full-time faculty provides comprehensive academic advisement and mentoring to all music majors and assists in directing them to appropriate music programs at four-year institutions.

Music Program Learning Outcomes (1999-Fall 2012) 1. Students will demonstrate and ability to improve playing an instrument proficiently. 2. Students will demonstrate an understanding of the theoretical structures of music. 3. Students will show ability to play piano and show progress by the end of the program.

Music Program Learning Outcomes (Revised Fall 2012) Upon graduation from MCC’s A.S. degree program in Music Performance, a student will be able to:

1. Analyze theoretical structures of written music. 2. Explain theoretical structures of aural music.

! 6! 3. Perform with proficiency on their primary instrument (which may include voice) 4. Perform with functional proficiency selected musical techniques and compositions on piano. 5. Sight sing or sight read on an instrument accurately from printed music with respect to pitch and rhythm. 6. Transcribe music accurately with respect to pitch and rhythm through repeated hearings. 7. Perform collaboratively in an ensemble. 8. Describe selected styles of music for form and/or content and/or instrumentation as it developed throughout the history of written music.

Mapping Course Learning Objectives and Their Outcomes to Program Goals

See grid in Appendix A: MUSIC Program Learning Outcomes vs. CLO's

SECTION 2: PROGRAM DESIGN

Overview

The Performing Arts: Music program at Monroe Community College is recommended for students who plan to transfer and earn the baccalaureate degree with a major in music. It provides basic preparation for a career in music. In the program, a balance is maintained between courses dealing with general musical knowledge such as Theory (4 semesters) and classical / traditional Music History (2 semesters) and those courses designed to develop a particular music skill such as solo performance on the students’ primary instrument (main area of study), participation in a performance ensemble (4), aural skills (4 semesters), and piano skills ((4 semesters) which all students must pass to graduate. Several music history courses satisfying the Social Science requirements (6 elective credits) in specifics genres are offered to further increase the students’ overall knowledge in music, such as history of Rock & Roll, Jazz in American Society, Music in World Cultures (ethnomusicology), and African-American Music in America. A variety of performing organizations provide students with ensemble experience and with opportunities for public performances that include Vocal and Instrumental Ensembles covering a wide range of musical styles.

We do not offer a (a) concert band, string orchestra, or (b) smaller chamber ensembles as in four-year universities as we would not be able to (a) fill enough seats or (b) financially justify the smaller size for those ensembles. Students will also be required to take a minimum of 15 one-hour lessons each semester. (The cost of lessons is not included in MCC tuition.)

This college level of study in Music is designed as a basic two-year preparation to go into many specialized subdivisions of Music at a four-year institution such as Classical or Jazz Performance (vocal or any instrument), Music Education, Theory, Composition, Musicology, Arranging, Therapy, and Music Industry (record labels, arts management, radio, recording studios). These can spread out into being a radio musical director. Some examples are:

! 7! Rob Linton, Musical Director (MD) of WGMC 90.1 was a former MCC student who while not a music major, took several music courses with professor Nyerges). Kristen Butler, who took voice classes and chorus, auditioned to become a music major while at MCC, went on to be an intern at the Rochester Philharmonic Orchestra for a year and went in Arts management. Joe Pompili, erroneously was designated as an Education Major, took all our Music courses, transferred to Roberts Wesleyan College, majored in Music, and is now teaching in Kendall NY at the high school. Steven Georger was a Music major who played trumpet and piano, then transferred to Syracuse University, continued to major in Music, and has been teaching in the Rochester City School District.

Innovation in the Program

Our multi-media approach and comprehensive courses in Theory, Performance class, Ear Training including Sight-Singing, flexibility in having a variety of vocal and instrumental ensembles, and our state-of-the-art Lab serve to help the students succeed in gaining the skills necessary to successfully transfer to a four-year college or university. We have web pages for history class utilizing multi-directional links. In Theory class, Dr. Shaw uses game theory. Dr. Roland Fisher employs individual weekly sight-singing assessments with the instructor and the latest sight-singing software (in the Lab) is used to assist the students outside of regular class times. Professor Nyerges implemented ‘mock’ recitals by students and brings in professional guest lecturers/performers each semester in MUS 151 Performance and Applied Music so that students get more experience in solo performance recitals and are inspired by the guest artists in class and in scheduled concerts in the Theater. Also, many opportunities are used to send instrumental and vocal students to college events and out to their former high schools each year.

Admissions Requirements to the Program

Students should have experience in vocal or instrumental performance and reading music. Entering students must pass a musical performance audition on their primary instrument (sax, voice, piano, etc.) for the music faculty by successfully performing two contrasting pieces at a level commensurate of entering a college music program. A primary instrument is one that the student will concentrate on in private studies, and perform in recital and juries (musical exams) and will be what they audition on to enter into a four year program after transfer.

Prerequisites and Co-requisites Specific to the Program Performing Arts: Music (A.S.) Algebra (1year high school math or placement into Level 4 Math at MCC). Experience in vocal or instrumental performance and reading music is recommended. Rarely can a student show up without high school ensemble experience along with classroom or private music lessons to gain the necessary skill level to pass ta college-level music audition.

! 8! They must take and pass MTH 150 and English 101 for the MU01 program. If they do not qualify to take these, they must take and pass Transitional Studies courses until they can register for these required courses. The successful MU01 candidate must past the musical audition adjudicated by the Music Area faculty.

Distribution Requirements to Complete the Degree

Distribution Requirements Credit Hours FIRST SEMESTER: 17 Credit Hours ENG 101 College Composition OR 3 ENG 200 Advanced Composition

MUS 109 Music Theory I 4 MUS 126 Applied Piano Minor I 1 MUS 151 Private Lessons/Perform Class 2 Major Performing Organization** 1 MUS 159 Aural Skills I 1 Physical/Health Education 2 SOCIAL SCIENCE ELECTIVE+ 3 Total 17

SECOND SEMESTER: 18-19 Credit Hours MUS 110 Music Theory II 4 MUS 127 Applied Piano Minor II 1 MUS 151 Private Lessons/Perform Class 2 Major Performing Organization** 1 MUS 160 Aural Skills II 1 MUS 129 MIDI Recording Techniques *** APPROVED TO BE DROPPED IN FALL 2013 *** (3***) MATHEMATICS ELECTIVE (MTH 150 or higher) 3-4 SOCIAL SCIENCE ELECTIVE++ 3 Total 18-19 ***15-16***

THIRD SEMESTER: 18-19 Credit Hours ENGLISH LITERATURE ELECTIVE+ 3 MUS 201 History of Music I 3 MUS 151 Private Lessons/Perform Class 2 MUS 226 Applied Piano Minor III 1 MUS 209 Music Theory III 4 NATURAL SCIENCE ELECTIVES+ 3-4 MUS 259 Aural Skills III 1 Major Performing Organization** 1 Total 18-19

FOURTH SEMESTER: 15-16 Credit Hours NATURAL SCIENCE ELECTIVE+ 3-4 MUS 151 Private Lessons/Perform Class 2

! 9! Major Performing Organization** 1 MUS 210 Music Theory IV 4 MUS 202 History of Music II 3 MUS 227 Applied Piano Minor IV 1 MUS 260 Aural Skills IV 1 Total 15-16 TOTAL CREDITS 65-68 !

A minimum of 15 lessons are required per semester. Cost of lessons is not included in MCC tuition. ** Major Performing Organizations include: MUS 108, MUS 140, MUS 142, MUS 145, MUS 146, MUS 161, plus newer Ensembles such as MUS104 Men’s Glee, MUS 105 Women’s Glee, MUS 114 Contemporary A Cappella, MUS 115 Community Chorus. ***MUS 129 MIDI Recording techniques is being dropped for lack of PLO content during pre- assessment and earlier talks of reducing the program by 3 credits that can be taken at a four-year program. +Courses to be selected from SUNY General Education course plan for students transferring to SUNY institutions. ++Course should be selected from SUNY General Education course plan (American history or Other World civilizations) for students transferring to SUNY institutions.

SUNY and MCC General Education Requirements in the Program Math MTH 150 -3 cr. Natural Science BIO 116 -3 cr. CHE 100 -3 cr. Western Civilization MUS 201 -3 cr. MUS 202 -3 cr. Humanities ENG 101 -3cr. MUS 119 -3cr. (or in the Arts) The Arts MUS 119 -3cr. (or in the Humanities) MUS 151 - 4 cr. MUS 126 -1 cr. Basic Communications ENG 101 -3cr. ENG 200 -3cr. Total = 32 Liberal Arts credits

Course Scheduling If a student is in good standing, he/she can take all the courses necessary to graduate with a Music Degree in 4 semesters as long as they start in the Fall. If a student wants to start in the Spring, they can take academic required courses and end up with a lighter load the following two years, but music courses such as Theory, Applied Piano Minor, and Aural Skills are set up in a four-semester sequence where Theory 1, for example, is not offered in the Spring, so the student will still have to register for four consecutive semesters starting in the Fall.

! 10! Some issues arise then if a student fails a course in the subjects mentioned above. If they fail Theory II in the Spring of their first year, they will not be able to take it again until the following Spring, so now they must stay here (at least part time) for a third year. One other issue has come up twice since the last Assessment in 2006. If an upper-level class such as Theory IV or Applied Piano Minot IV or Aural Skills IV becomes low-enrolled due to students either (a) transferring out (2-3 after their first year this Spring, (b) having a baby and leaving temporarily (2 students this last Spring) or (c) failing the lower level class, the class can not run. In that case, once before Professor Nyerges and Dr. Shaw taught the students in Applied Piano Minor IV outside of their work load and then Professor Nyerges administered a credit by Examination test for the course’s content. This Spring semester, Dr. Fisher is doing the same for the students in Aural Skills IV. His creates a tough situation for those students wishing to finish on time. It obviously affects graduation/completion rates in a negative direction, as this is more difficult to get done this way versus a regular class, for both the faculty and the students.

Almost all the courses are offered during the daytime, Monday through Friday. There have been some elective music courses consistently offered in the evening such as one section of MUS 101 Music Appreciation, that run, and also one section of MUS 150 History of Rock and Roll. In the past an Electric Guitar and Bass class was offered but there has been a decline in that class after an Adjunct left that specialized in that course combined with lower interest. There is a Saturday morning History of Rock and Roll section offered occasionally, usually running once per academic year.

Co-Curricular Activities of Students in the Program Students in the Music major program may participate in the Student Music Association, which is an established Student center club on campus. The officers attend Student Government meetings, and will participate in city parades, college talent competitions, and perform for many campus events each semester and is often requested. Performances enhance the college as students perform at the Gold Star Gala, Commencement exercises, Alumni events at the college, SUNY high school guidance counselor days, English and Poetry slams, The Presidents’ Circle events on and off campus, and annual events associated with the Madrigal Singers ensemble (regular course, FALL only) that concludes with the madrigal dinner. Many students are out performing in bands around town that directly enhances their talent and experience, and therefore supports their studies in music at the college.

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SECTION 3: THE PROGRAM FACULTY

Faculty Credentials, Qualifications, and Professional Activities

See Table of Degrees, Accomplishments for full time and Adjunct Faculty in Appendix C

Full Time faculty

John Nyerges

Dr. David Shaw

!!Dr. Roland Fisher!

! 12! Part Time Faculty

Dr. Matthew Robey

Dr. Anton Machleder ! ! !

Dr. Matthew Witten ! ! !

! 13! Anthony Falzano! ! !

!!Don!Brown! ! !

! !!Dennis!Mariano! ! !

!!Matthew!Brazofsky!!! ! Not!pictured:!!Clifton!Manhertz!!!

! 14! Technical Assistant / Piano Accompanist!

! Pi

Demographic Characteristics of the Program Faculty

The Music Faculty is mostly White/Caucasian in their late 20’s to 50’s. the Full Time group is a balanced faculty. There is currently one African-American (PT) faculty, and when counting the technical Assistant, who is an integral part of the Program and here 5 days/week, minorities represent 16.67% and females represent 8.33%. This may be somewhat misleading since one other faculty is from South America and I am not sure of his status as a minority, nor am I sure of the official listing for this faculty at the college. In previous years, there were two other female faculty members that left for other jobs (Siu-Yan Luk- moved with her husband who got a teaching position at Ithaca College this past Fall of 2012, and Meg Ruby for Boston, MA a few years ago to pursue a piano performance career) and one Hispanic (David Olsen, who left to teach FT in Atlanta Georgia)

See table in Appendix F

Assessment of Faculty Workload Distribution

See table in Appendix F

! 15! SECTION 4: THE STUDENTS

Enrollment: Trends and Patterns

The Music Program has undergone some changes since 1993. Student enrollment was at a low when the Program was on hold for a year, and almost cancelled. It went up very rapidly until a highpoint of 2003-2005 at around 90 (FT red line), but this is somewhat misleading as I have taught MUS 151 Performance and Applied Music for all those years in which all MU01 students must attend for four semesters and remember that 62 was the maximum ever registering for that course. About 50 students actually showed up. The class has leveled off at around 45-50 students from that high point and since has been at around 35-45 for the last 5-6 years. The Red Line shows a drop-off from 90 to about 70 from 2005 until 2012. There are MU01 students that are counted in recent years that left the school and yet still showed up on my advising lists as current students. The graph does however, show a decline at about the same rate as actual active students, though the graph is has a more steep curve then I have observed.

If one drew a line horizontally across at around the 1.25% mark on the Music Share of FTE’s Table, the Music FTE’s at this percentage mark would intersect at approximately 1981, 1990, 1996, and 2009. The Music FTE Share since 2000 until 2009 is on average higher than any comparable nine-year time period from 1980 until the present, especially from 2001 until 2007. Numbers drop off some for 2010 and 2011. In conclusion, the numbers of Music FTE’s vs. the college are fairly consistent for the last 11 years.

See Appendix G

Student Demographics

The student body is a mix from the Rochester City School District’s School of the Arts (SOTA) plus some other high schools and suburb school districts and with a few students coming from surrounding counties. Minorities have ranged from just around 30% in two different years to a high of about 39% in 2009-10, the overall average from 2006-07 to 2011-12 coming out to 35.06%. Females constitute and average of 26.78% over the same period of time (from the previous assessment until last Spring). Non-traditional students, those 25 years of age and over, have averaged 13% over the same period of time.

See Appendix H

Program Recruitment and Retention Strategies

The Music Area faculty sends students to perform (on occasion) and convey our college activities back to area high school to advertise our Program. We email and/or phone area high school music program teachers to let them know of our concerts. We advertise our program by inviting the general public to our MCC Theater concerts MCC’s Public Relations office, through

! 16! newspapers and posters, speaking about it on live Jazz radio segments on WGMC 90.1 FM, Rochester Philharmonic Orchestra concerts and Xerox Rochester International Jazz Festival appearances (Professor Nyerges), acting as an MC at high school music event (Dr. Fisher, with Dr. Shaw attending) this year in Pittsford schools, and participating in Spencerport and Kendall High School Music evenings with MCC students (Professor Nyerges) in the recent past.

We have invited many well-known musical guest artists through The Student Center’s Creative Arts Committee including world-class performers coming to perform with our students such as Wycliffe Gordon (trombonist with Lincoln Center Jazz orchestra and more) in 2012 and Bob Sheppard (saxophonist with Steely Dan, Peter Erskine, & Herbie Hancock) so that students practice on their instrument(s) and have outstanding attendance in class focused on the final concert of the year in May.

We have the Student Music Association’s (SMA) officers and other music students in their second year in the Music Area Program work in our Computer/Keyboard Lab and also volunteer many hours each week to offer peer mentoring in Theory to first year students. Many hours of peer mentoring and advanced help outside of classes and office hours are used to help students succeed in their classes and perform and/or record their audition videos and/or audio CD’s in 12-126 as needed.

The Music Faculty has offered assistance in finding a suitable private instructor by developing close ties with Nazareth’s College of Music, Hochstein Community School, Eastman Community School and Roberts-Wesleyan College faculty by announcing, calling, emailing teachers and posting the contact information on our hallway bulletin board and in our MUS 151 Performance and Applied Music Course Information Sheet (CIS).

The Music Area faculty meets every Monday during each semester to discuss problems and issues with our students and our classes, (and other Area items such as scheduling adjuncts, equipment repair, budgets) in addition to Visual and Performing Arts Department meetings.

Dr. Fisher was invited to be the guest Master of Ceremonies at Pittsford Mendon High School. This event was the main fund raiser for the district. Dr. Shaw was in attendance.

Dr. Shaw, who judges piano!students!in!both!the!Eastern!and!Western!divisions!of!the!county!for!the! National Federation of Music Clubs (NFMC), recruited a student from that event to come to MCC as a Music Major for Fall 2013.

We offer many scholarships that we use for either recruitment or retention when the students make it to the fourth semester of Theory/completing the program.

On May 9th, 2013, 20 students along with Dr. Rollo Fisher will be traveling to New York City to perform at Carnegie Hall in Manhattan Concert Production’s Festivalworks (sic) Series. Since January, the students have been preparing Brahm’s Requiem, a substantial musical work. By invitation only, they will join several other choirs from around the country to perform on stage at Carnegie Hall alongside professional soloists and full orchestra. Last year, seven students sang in the Festivalworks (sic) Series with choirs from California, Long Island, Michigan, and Arkansas.

! 17!

Orientation and Advisement

The Music Area faculty participates at Enrollment Days and PAR’s on a regular basis. We advise/remind the Music major hopefuls there of the need for an music audition before the Music Area faculty consisting of performing two pieces and being able to read music. We advise and remind all students in the program at the beginning of the semester in MUS 151 classes of what they need to do for classes, private musical instruction, recitals, and juries. We know all of our students very well by discussing their progress at our weekly meetings, advise them during advisement periods and actually all semester long on how they’re doing, what they have to work on (aural as well as written comments on their recital and jury performances) or finish in the way of classes needed to graduate (computerized ‘report cards’ of their progress updated each semester). We open our Music Major recitals to the Public each semester.

Addressing the Diverse Learning Styles of Students

We take some music students that would not get into any other music program if they show promise and talent, even if their classical technique, repertoire, and music sight-reading ability is fairly low. Many students that come to audition at MCC are minorities and come from the Rochester City School District’s (RCSD) School of The Arts (SOTA), Edison Tech, and East High School (my Alma Mater!) where they are typically several years behind and therefore the number of lessons they should have received as a good background to studying music at the college level. We assist these students by assessing their skills, starting with what they show at their audition and subsequent recitals and juries each semester, tracking their progress their academic abilities (Theory and History) and skill level (Performance & Applied Music) so that they can gain entrance to a four-year Music Program after successfully completing all our required courses. This is done by assessing what they can already do technically on their instrument when they arrive, and then keeping track of them in academic classes and their progress in performance recitals, juries and ensemble concerts.

The students from School Of The Arts (SOTA), East High School, & Edison Tech do not typically have all the training they should have by the time they come to MCC as the students that come from more affluent suburban schools do, yet still have talent. They could be considered more ‘ear’ or ‘street’ players that sometimes result in having a difficult time finishing all the requirements in our academic program. Sometimes the students will not be able to compensate for the background that they do not have before coming to MCC and therefore not pass all the academic courses required, such as Music History, Theory or piano class as well as having difficulty in Math 150 and the two English requirements without taking some TRS courses first (this can extend their time at MCC it takes to finish). Yet they can go on to meaningful careers such as the following example of two (of

! 18! many) MU01 Music Major students did since the last Assessment –many others are probably not known to MCC.

Chaun Horton – Shaun did not graduate from our program, which was disappointing since he was so talented, but he was lazy academically. He entered and won the Guitar center Drum Off competition. After MCC, he went to the LA Music Academy in Los Angeles ( a players school, certificate program) with a friend, not really planning to apply there, but when he sat and played he was offered a full scholarship by the faculty to study there for a year. Then was picked up by a major performing artist, Macy Gray to be the drummer of her touring band. I’ve seen him on TV shows. He has since moved on to other major touring groups – Natasha Beddingfield and Toni Braxton.

Jerome Flood III – Jerome also did not graduate from our program, was self-taught on drums except for some lessons, and was not academically minded to finish all our course requirements. After MCC, Jerome moved to Atlanta. In 2008 Jerome won the Guitar Center national Drum-Off title as the best new drummer in America. I trained him to be a better musician and he succeeded in performing at a high level, if not academically. He came back to Rochester and was presented an Award by Rochester’s Mayor.

Nicholas S. Omiccioli http://nicholasomiccioli.com/ started out at MCC and is an award- winning composer already.

See Appendix L, page 130

Program Completion: Graduation Rates and Time Needed to Graduate

The average student enrollment in MU01 from 2007 until 2010 was 95, going down about 10% from 105 to 89. The average percentage of students persisting until the next Fall over the same time period was 35%. About 10% transferred to a different program for various reasons. Of 168 students who left MCC from 2007 until 2010, and average of 7 students transferred to another college without graduating and an average of 35 students left MCC without graduating or transferring.

Among First-time and Full-time students, graduation rates from 2003 until 2006 within 2 years averaged at 10% (not including 2007 – the year the program was put on hold during reorganization) which is very similar to First-time and Full-time students who graduated from any program at MCC within 2 years in the same time period, not including the year the program was put on hold (11.05%).

Graduation rates of students jumped in the third year, as expected, since students come to MCC less prepared in music than a typical entering Freshman at a four-year college program, needing the extra year to finish the program’s academic (TRS possibly, English, Math, Science) as well as the demanding required music classes (skill-based lessons, Music Theory and History). Graduation rates increased to as high as 25% with an average of 17.58% over those four years. By the fourth year in the program, the average rose to 19.54%.

! 19!

The total number of graduates fell slightly from 2006-07 until 2012-11, from a high of 10 to 7, probably somewhat a result of the program becoming more comprehensive with the addition of Aural Skills (difficult ear-training course) and the ‘ramping up’ of the more stringent requirements that were imposed as a result of the last assessment and program reorganization to increase the success of those student who do graduate from MCC increase their success rate at successfully passing an audition at a four-year college.

Transfer and Job Placement: Process and Results

The MU01 Music major Performance Program is a transfer program and is not intended to place graduates in a job. It does happen that every year some students leave MCC and get a job in a local recording studio, house of worship, or teach privately in a music store or at their home. Students sometimes apply to go to a four-year college after a few years off, as is the case with Melvin Soler, who left MCC to direct a worship music group in a local church after passing the jazz audition at Eastman (but not the Classical piano audition), then applied to Roberts Wesleyan College’s Music Program - this is not usually reflected in the numbers MCC has access to.

Of 10 students receiving degrees in 2008, 6 responded, 5 of which continued on in education full-time (1 with a part-time job), and 1 was employed full-time. Of 10 students receiving degrees in 2009, 5 responded, 3 of which continued on in education full-time and 2 were employed full-time.

Of 3 students receiving degrees (a low) in 2010, 1 responded, who continued on in education full-time and was employed part-time.

Of 8 students receiving degrees in 2011, 4 responded, 3 of which continued on in education full- time and 1 of which was employed full-time.

Measuring Student Satisfaction

SMA officers and music students are encouraged to bring their ideas to the Music Area faculty. Student surveys are read and discussed in Music Area Faculty meetings. Students are asked to come back to speak and/or perform in our MUS 151 Performance and Applied Music class. These former students speak on how they fared at their new colleges. We keep in contact with recent graduates (and news from their private teachers in the area which we also maintain a close working relationship with) and have had feedback from students at the University of Buffalo, Buff State, and SUNY Fredonia and Potsdam.

! 20! Email from March 26, 2013 from Martin Lofaso, guitarist, class of 2012 at SUNY Fredonia, came back along with vocal major Katie Halligan (SUNY Fredonia, also MCC class of 2012) to speak to our MUS 151 Music majors class on Tuesday this Spring.

Hey Dr. Shaw,

Wanted to check in with you, we're almost done with our second week of classes and everything is going very well. Kate is settling in to her music classes, she likes being a composition major, despite all the extra-curricular activities and classes that don't count for credit. I've already switched my major from History to American Studies, its a great change for me because it allows me to basically design my own ethnomusicology undergrad, so I'm quite happy with the change. We've come to agreement that the weather here is even worse than in Rochester, as we get way more wind and snow than Rochester does. So we basically live inside boots and Columbia jackets but its worth it because we really like it here. Academically its a bit more intense than MCC but its not a completely different world, just a step-up. Certainly not missing MCC parking. So we hope you had a great holiday and the semester is going well for you so far, I'm planning on emailing some other faculty to say thanks. I don't know about Kate but I can certainly say that I would not be here without MCC and specifically without the support from the music faculty, with you being at the top of the list. I can't think of many people who've been as instrumental in getting me to where I am now as you, and I'll never be able to thank you enough. But I can still say thanks, thank you, and I'll never take for granted the time I spent at Monroe and the advice and teachings you passed on. Take care, I'll be in touch, and I'm always willing to come back and visit.

Thanks again, Marty

Another email from March 25, 2013 from Martin Lofaso, guitarist, class of 2012

Hello Professor Nyerges,

I just wanted to get in touch with you and let you know Kate and I are doing great here in Fredonia, we've really settled in and we're having a lot of fun. I've actually decided to self- design an Ethnomusicology undergraduate degree, so I'm technically an American Studies major, but because all of my music classes from MCC transferred to Fredonia, I already have a Music minor, without even having to take anything else! Kate is enjoy her program, she's a Music Comp major, and so not only did her classes all transfer but she was able to test into upper levels of Theory and Aural Skills. As a result I think I can say we both really feel like MCC prepared us a lot for the next step, made us ready to transfer to a University-level program. I certainly feel as though my time spent at MCC was absolutely crucial to my development as a musician and as a student, and I think MCC was fundamental in helping me get to where I am now and where I'll continue to go. I really want to thank you for everything you did for me while I was there, the education, the program, the performance opportunities, it was a great ride and I'd do it all over again in a heartbeat. I hope the Spring Semester has been going well for you, we're on our

! 21! Spring Break currently so I'll be stopping in to say hi at some point this week. So thank you again and I will see you soon!

Cheers, Marty

An email, from Nicholas Lippa, saxophonist at Buff State, MCC class of 2012, very satisfied with his education at MCC:

Professor Nyerges,

I will be back in town next week for my spring break. I remember a couple of students coming back and sharing their experiences transferring. If you would like I could come in next Tuesday for applied class. I miss you guys a ton and even if you have scheduled plans it would be nice to stop in and see you and Dr. Shaw and everyone else. Hope to hear back soon!

Sincerely, Nick Lippa

Some other graduate success stories since the last assessment period: Joe Pompili went on to Roberts Wesleyan and is the Kendall School District Band teacher

Jared Tinkham, Nicholas Lippa (email above), and 4 other recent MCC MU01 students are doing very well at Buff State.

Nicholas S. Omiccioli http://nicholasomiccioli.com/ started out at MCC and is an award- winning composer now. See appendices*

See Current Student Music Area Questionnaire from Spring 2013 in Appendices

SECTION 5: ASSESSMENT OF STUDENT LEARNING OUTCOMES

Revisiting the Findings of the Last Program Evaluation

Last findings (2006) and current responses: Our program didn’t have an aural skills sequence (ear- training and sight-singing). This prevented our students from transferring well to four- year programs. Since some schools group their theory and aural skills classes together, our students, who have taken the theory sequence but not an aural skills sequence, have had to retake the theory classes that align with these aural skills classes. We now have an aural skills sequence that started several years ago.

Another area to improve is our facilities. We need a larger recital room that is more conducive to music, additional dedicated classroom and storage space, a new grand piano in the auditorium, and, most

! 22! importantly, more practice rooms. Lack of an adequate number of practice rooms is what we feel predominately leads to student attrition since students lack sufficient space to perform all the preparation that we encourage. No change/improvement here in a more appropriate recital room/hall or better/more practice rooms. Our practice rooms are in fairly bad shape as several room fans to not work and can’t be fixed without completely taking them apart after facilities’ inspection. We have a donated Steinway grand piano that we wheel down f to the MCC Theater for all concerts. We are currently looking at selling the lesser- quality Baldwin piano stored in a box in the Theater through the college to a local church.

Additional improvements to the Music Area include increasing promotion of our program to area high schools, better educating the Counseling Center of our requirements, and perhaps expanding our offerings during evenings and summers. We have developed a poster for high school music teachers and increased our communication and involvement with them. With the drop in MCC’s enrollment, we have not increase, rather decreased music course offerings during evenings and summer sessions.

It is difficult to compete with so many local four-year music programs (Eastman and the University of Rochester, Nazareth, and Roberts Wesleyan). Though we do not compete directly with these schools, we often have students leave our program early to transfer into them. Likewise, we also have students leave our program after realizing how demanding the Music Program is. Many opt to only take only the music courses they want to by enrolling in the general Liberal Arts program (LA04). These actions greatly affect our graduation statistics. Our retention is up since our program has improved. More students seem to stay longer than the two-year program could be completed in to finish, even if they are here for three years (6 or more semesters).

In terms of staffing, our senior full-time faculty member will retire in the near future. This will create a need for not one, but two additional faculty to replace his dual roll here as a guitarist and choir instructor. We are please by the addition of an excellent Vocal/ Choral Ensemble specialist in Dr. Roland Fisher. An adjunct now teaches the guitar classes and while doing an excellent job with those elective classes and Guitar Ensemble, the lack of connection to the students with an adjunct’s limited interaction or presence has contributed in losing our Guitar Ensemble by a drop in numbers.

In addition to this, we need other new full-time lines to help lower our high faculty to adjunct ratio. No change/improvement here.

More urgent that this, perhaps, is our need is for a full-time technical assistant (piano accompanist). With our increased lesson length, class sizes, and quality of student performances, far more strain has been placed on our now part-time accompanist, whose limited scheduling cannot cover all the rehearsals, performances, juries, and recitals that we require. No change/improvement here.

Assessing Student Learning: The Process

To assess the student learning, as mentioned before, the results would have been meaningless if we had not revised the Course Learning outcomes for the courses and the program learning outcomes to see how everything works.

Some courses were updated for content and assessment tools were better developed to insure the course learning outcomes were more successful for the students.

! 23!

Results from the Most Current Assessment of Student Learning Outcomes

(See next pages)

See Appendix B for Assessment Tools used for Courses assessed in this report

! 24!

Course Assessment: MUS 108 COLLEGE CHORUS

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed:

CLO#1: Demonstrate proper vocal production, including breath control and stylistically appropriate tone. CLO#2: Participate in ensemble rehearsals.

PLO#7: Perform collaboratively in an ensemble

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets):

Break down larger ensemble into smaller parts, i.e. one section such as sopranos, to listen to accuracy of each singer to his or her cohorts in a section. Each section would sing a given exercise or melodic line. With about 5-8 people per section, it is easier to identify any issues with each individual. Combine parts and recheck for rhythmic accuracy, correct notes and intonation of correct notes. By concert time, there is 100% accuracy in knowledge of what the students are supposed to play. Furthermore, some of these aspects of playing correctly are checked one by one and a rubric is scored for each individual.

All the students in this type of course are constantly assessed in class rehearsals. It is the nature of the course to take small sections, rehearse that section, and then provide immediate feedback from aural evaluation. There were 35 students in the population.

Any qualified choral director should be able to identify correct notes, rhythms, and intonation at least by sections Knowing the score and then playing the part from a piano by itself is a method used to check accuracy. The director can audiate, or hear the music in his or her head, to corroborate the accurate notes.

Indicate your discipline/department’s standard or benchmark for student success below:

80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations

Total number of students in the class: 41 Exceeded Expectations: 31 Met Expectations: 2 Approached Expectations: 3 Failed Expectations: 0 Did not assess due to lack of attendance: 5

In my experience, nearly 100% of the students who attend class regularly and participate fully in the rehearsal process achieve success in vocal technique, both individually and collaboratively. There are a few students who do not participate fully in the rehearsal. For example, the student may be disengaged physically in the act of proper breath control, which then leads to improper vocal production. In a rare case, a student may not be able to hear the

! 25! difference between proper vocal technique and improper technique.

I realize that sometimes I do not single a student out in the ensemble for improper vocal technique during rehearsal. I will comment generally about what technique needs improvement without giving names of the student. I will use a more specific approach by giving more individual feedback when necessary in rehearsal. The curriculum of the course varies every semester, with new music programmed for that specific ensemble. I will assess the students differently in the future, with students singing in groups of eight instead of sections of up to twelve.

Please attach: a) a blank student assignment; b) the assessment scoring instrument (how you differentiated success among the assignments – typically a rubric, scorecard, or scoring key), and c) samples of each level of student success.

See Appendix B for MUS 108 TOOL. (Scored) Student Examples on file with Michael Heel.

! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 26! Course Assessment: MUS 151 Performance and Applied Music (Fall 2012)

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed: CLO #1: Perform technical studies, etudes, and compositions assigned by private teacher on your primary instrument by analyzing individual components in a piece of music (melody, harmony, rhythm, phrasing, diction, articulation, pitch, tone) resulting in a performance in a recital in class.

PLO #1: Perform with proficiency on their primary instrument (which may include voice)

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets): A Tool containing the important parts done with skill necessary for a successful musical performance is graded by the 3 Full Time Music faculty while studying the score the performer provides. The performance is also recorded to a digital audio program for further review. The parameters looked at for each performance include accuracy of notes, articulation of notes, use of dynamics (variations in softer to louder notes, phrases, or over the period of a theme), singing or playing in good tune with the piano (when used as a reference) or with a correct intervallic note respect to their own instrument, correct recreation of the rhythm of the piece, correct style and appropriate tempo (many times marked in the score), pleasing tone (not harsh, breathy, thin-unless specifically notated and asked for in the score), wearing appropriate attire/’dressed better than the audience’ as a rule, and demonstrating phrasing (correct use of breath, connection of note groups and where logical, breaks) and use of correct diction in English, German, French or Italian (or other) if sung by a vocalist.

Indicate whether the population (all students taking the course) or a sample was used in assessment; if a sample of students was assessed, a) describe how the sample was taken, and b) indicate what number of students was sampled, along with the number of students in the population. All 40 students currently in good standing in the second half of the semester had to perform in a recital and were assessed. (42 started the semester, 2 of which dropped out before the Recital Assessment)

Describe how you ensured that the assessment process would provide results that were as “reliable” and “valid” as possible. What shortcomings in reliability or validity might there have been that may need correcting next time? (Please consult your faculty assessment leader, or the Coordinator of Academic Assessment, if you are unsure about the content of this section). All three Music Faculty listen together as they look at the musical score provided by the student as required and discuss the performance immediately afterwards. They can also refer to the recording when there is any question. The ‘perfect pitch’ and/or excellent relative pitch and rhythmic skills and reading and of the faculty are extremely accurate in this type of situation. Even the student in most cases has a very good idea as to how they performed since they work on their piece with a private lesson Instructor for weeks refining their performance.

Indicate your discipline/department’s standard or benchmark for student success below: 80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations

Summarize below your assessment results (Number of students exceeding, meeting, approaching, and not meeting expectations). Comment briefly on what you perceive to be the

! 27! most notable successes/challenges about student learning that these results seem to indicate, according to your own perspective. 30 Students Exceeded Expectations 10 Students Met Expectations 0 Students Approached Expectations (the one 60% student has since transferred out of MU01) 0 Students Failed Expectations

The change we are working on as a result of the meeting with the External Board Reviewers is to offer private lessons for any instrument on campus if it can worked out to the administration’s approval. Quality control for private lessons including the consistency of the number of lessons and regularity and an affordable flat fee for students worked in as a lab fee for MUS 151 could be the biggest step forward for our Program.

We can also increase the number of ‘mock’ recitals earlier in the semester in a ‘master class’ atmosphere before the grade recitals start later in the semester. We have some of these already and some master classes given by visiting lecturers but our students need more practice performing solos.

! 28! Course Assessed: MUS$126$Applied$Piano$Minor$I

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed: CLO # 4: Perform selected piano solos in a variety of styles

PLO #4: Perform with functional proficiency selected musical techniques and compositions on piano

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets): The students were assessed during their semester Final Examination. The entirety of the exam entailed performing for the people in the classroom where all students played the same piece. Each student was judged on pitch & rhythmic accuracy as well as how dutifully they obeyed the composer’s markings of musical expression (e.g. dynamics/volume, tempo, articulation, and pedaling when applicable). In addition, students were also evaluated in how they internalized or interpreted what is on the printed page and subsequently how they enhanced it by infusing their own understanding of nuance, phrase, and rubato to the piece. In other words, a student who can communicate the composer’s wishes while adding their own artistry is one who shows a more complete understanding of what music performance is versus those who cannot.

Describe how you ensured that the assessment process would provide results that were as “reliable” and “valid” as possible. What shortcomings in reliability or validity might there have been that may need correcting next time? (Please consult your faculty assessment leader, or the Coordinator of Academic Assessment, if you are unsure about the content of this section). As the assessor in this process it would be deemed necessary that I could perform the piece in question at the standard to which the students should aspire. It is also worth noting that during the classes leading to the assessment date that I had demonstrated certain practice techniques that focused on the more challenging moments of the piece. As a result of my personal training and education it is already understood that I would be able to accurately determine whether or not my students had made mistakes during their performance. The varying degrees of accuracy each student had achieved during the assessment are outlined in the attached rubric.

Indicate your discipline/department’s standard or benchmark for student success below: 80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations

Based on the test results 6 of the 7 students tested, according to department standards, had exceeded

! 29! expectations and had earned “outstanding” marks. The remaining student received poor marks displaying a lack of preparation and the inability to physically replicate the piano techniques that were expected. In general, the typical student in this course would already have received perhaps years of instruction on their “primary” preferred instrument. Instruction on the piano in this case is a curricular requirement and represents, at the very least, a second instrument to learn in addition to the one in which they are already proficient. That being stated, a student would already have a basic understanding of some of the criteria being assessed (e.g. rhythmic reading, pitch reading, the notation of articulations and dynamics, etc.). As expected, the students were most successful in demonstrating their grasp of concepts already learned. However, the physical manipulation of the fingers to play the piano requires yet another layer of ability beyond the understanding of how to read the notes on the written page. Where one could easily say aloud the notes that they are to play, they may not have the same mastery when it comes to playing. It is with this criterion, pitch accuracy, that the class received its lowest marks.

Describe what you have learned from the assessment that will result in changes to your teaching or the design of your course. These changes can be small or significant; you might recommend no change, a change in textbook or testing, or even a complete modification of the course’s curriculum, for example. This section is important – please be as complete as possible, and elaborate so that others unfamiliar with your particular discipline might understand what you intend to do differently, given the results of this process. This piano course is the first of a four-semester piano requirement whose focus remains primarily on learning physical technique at the instrument. As mentioned above, this assessment revealed that when the student tends to make mistakes they are pitch related most of the time (i.e. “wrong notes”). Still, the average score of this particular criterion in this class wide assessment landed in the “above average and shows promise” range. It is understood that even an experienced musician would struggle when learning a new instrument. Yet when the lowest marks of the assessment “show promise” I am confident that we as a department are doing the right thing. I would recommend no change at this time.

! 30! Course Assessed: MUS 140 Jazz Ensemble (Fall 2012)

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed: CLO#1: Reproduce melodic and rhythmic note patterns in published musical arrangements by repeated rehearsal in class towards a goal of a successful performance in concert. CLO#2: Recognize how to balance one's sound and tuning against others in a small section (brass, woodwinds, rhythm section) and then the larger group by active listening and following director's conducting and visual cues.

PLO#3: Perform with proficiency on their primary instrument

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets): Break down larger ensemble into smaller parts, i.e. saxes only, trombones only, trumpets only, rhythm section only, to listen to accuracy of 4-5 parts playing together (sometimes in harmonic movement. Identify sections where notes and/or melodies are missed, then further break down these sections to individual melodic parts to fix incorrect notes, tuning or intonation of the notes played and/or rhythms played. Combine parts and recheck for rhythmic sync, correct notes and intonation of correct notes. By concert time, there is 100% accuracy in knowledge of what the students are supposed to play. There may of course be mistakes in the concert but the goal is to perform all notes and rhythms accurately. Furthermore, some of these aspects of playing correctly are checked one by one and a rubric is scored for each individual.

Indicate whether the population (all students taking the course) or a sample was used in assessment; if a sample of students was assessed, a) describe how the sample was taken, and b) indicate what number of students was sampled, along with the number of students in the population. All the students in this type of course are constantly assessed in class rehearsals. It is the nature of the course to take small sections, even where one note is checked. This depends on the focused hearing ability ‘in the moment’ of the director and his/her knowledge of the chart studied.

Describe how you ensured that the assessment process would provide results that were as “reliable” and “valid” as possible. What shortcomings in reliability or validity might there have been that may need correcting next time? (Please consult your faculty assessment leader, or the Coordinator of Academic Assessment, if you are unsure about the content of this section). As any qualified band director should be able to identify correct notes, rhythms, and intonation at least by sections, this should always become more evident when sampling an individual line. Knowing the score and then playing the part from a piano by itself ands then with the sections or individual is also other ways used to check accuracy. Then comparing the bands’ performance to professional recordings played on the room’s sound system is appropriate for an overall check.

Indicate your discipline/department’s standard or benchmark for student success below: 80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations

Summarize below your assessment results (Number of students exceeding, meeting, approaching, and not meeting expectations). Comment briefly on what you perceive to be the most notable successes/challenges about student learning that these results seem to indicate, according to your own perspective. While most students exceeded expectations, all students at least met expectations. This is not unusual as when they were assessed at the end of the semester, since the constant practice of scales, melodic and rhythmic lines played in warm up and in dress rehearsals and finally the concerts prepared them for a high level of success. The students typically in this course had to audition and have experience in this type of ensemble before they come into this course.

Total number of students in the class: 17 * Exceeded Expectations: 15 Met Expectations: 2 Approached Expectations: 0 Failed Expectations: 0 * The 2 students that “Met expectations” dropped out later after this mid-semester assessment. Did not assess due to lack of attendance: 0

! 31! Describe what you have learned from the assessment that will result in changes to your teaching or the design of your course. These changes can be small or significant; you might recommend no change, a change in textbook or testing, or even a complete modification of the course’s curriculum, for example. This section is important – please be as complete as possible, and elaborate so that others unfamiliar with your particular discipline might understand what you intend to do differently, given the results of this process. In general, no change is necessary as the concerts are proof that the Ensemble members are meeting the challenges in the material and meeting or exceeding my expectations as a group if not individually. However, one change that I may implement is to check individuals on scales and note passages a little more often. There has to be a balance between group, section and individual practice and this class has a good balance. Please attach: a) a blank student assignment; b) the assessment scoring instrument (how you differentiated success among the assignments – typically a rubric, scorecard, or scoring key), and c) samples of each level of student success. See Appendix B for MUS 140 TOOL. (Scored) Student Examples on file with Michael Heel.

! 32! Course Assessed: MUS$159$Aural$Skills$I !

! ! ! ! ! ! ! ! !

! 33! MUS$159$Aural$Skills$I$(continued$below)! ! ! ! !

! ! See Appendix B for MUS 159 TOOL. (Scored) Student Examples on file with Michael Heel.! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 34!

! 35!

See Appendix B for MUS 109 TOOL. (Scored) Student Examples on file with Michael Heel.!

! 36!

! 37!

See Appendix B for MUS 202 TOOL. (Scored) Student Examples on file with Michael Heel.!

! 38! MCC ASSESSMENT TEMPLATE FOR PROGRAM EVALUATION PROJECTS

Discipline/Department: Music Area, Visual & Performing Arts Semester/Year: Spring 2013

Course Assessed: MUS 110, Music Theory II

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed:

CLO #1: Read non-harmonic tones.

PLO #1: Analyze theoretical structures of written music.

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets):

Embedded questions from a final exam.

All students in the course were assessed (29 total).

This section of the final exam evaluates the reading of non-harmonic tone patterns. Each question in this section has only one correct response. Any music teacher would know the correct answers and be able to consistently grade all questions.

Indicate your discipline/department’s standard or benchmark for student success below:

Our benchmark for all MUS courses is for 70% of students to meet or exceed expectations. If results fall below 70%, we look more critically at the learning process to try to determine if there are adjustments that we can make to try to boost student success in the future. Score Level of Achievement 80% to 100% Exceeds expectations 60% to 79.9% Meets expectation 40% to 59.9% Approaches expectations Below 40% Does not meet expectations

Total number of students: 29 Exceeded Expectations: 23 Met Expectations: 4 Approached Expectations: 1 Did Not Meet Expectations: 1 Students not assessed due to attendance: 0

! 39!

As indicated, 23 students exceeded expectations, 4 met expectations, 1 approached expectations, and 1 did not meet expectations. This means that altogether, 93.1% of students met or exceeded expectations, which is above our 70% benchmark.

I recommend no change.

M# # correct (out of 25) M00795865 22 M00786317 24 M00777488 21 M00740360 22 M00737215 25 M00782997 24 M00759600 25 M00791389 24 M00782277 7 M00788495 23 M00782090 20 M00339639 18 M00784645 17 M00773455 19 M00715382 23 M00737941 21 M00784373 21 M00796563 24 M00790614 23 M00773930 23 M00786167 17 M00788372 12 M00794308 23 M00785765 24 M00775040 23 M00807332 22 M00529650 22 M00778948 23 M00796270 23

Section 1 from Theory II Final Exam was used for assessment.

Updated 07/22/2011! M. Heel 40! MCC ASSESSMENT TEMPLATE FOR PROGRAM EVALUATION PROJECTS

Discipline/Department: Music Area, Visual & Performing Arts Semester/Year: Spring 2013

Course Assessed: MUS 210, Music Theory IV

List below the course learning outcome(s) and the corresponding program learning outcome(s) assessed:

CLO #9: Write Impressionistic Music.

PLO #1: Analyze theoretical structures of written music.

Describe briefly your assessment methods/measures utilized and assignment/assessment tool applied (for example: quiz; subsection of final exam; take-home essay; portfolio; rubrics; scoring sheets):

Embedded questions from a final exam.

All students in the course were assessed (11 total).

This section of the final exam evaluates seven compositional elements that were often used in the Impressionist Era. For this assignment, students only have to use six of the seven elements. Although evaluating creative work can be subjective, the evaluation criteria consist of four choices per method: labeling the technique (Approaches Expectations), correctly using the technique (Meets Expectations), and correctly analyzing, using, and labeling the technique (Exceeds expectations). Any music theory teacher should be able to consistently and accurately evaluate this assignment.

Indicate your discipline/department’s standard or benchmark for student success below:

! 41! Summarize below your assessment results (Number of students exceeding, meeting, approaching, and not meeting expectations). Comment briefly on what you perceive to be the most notable successes/challenges about student learning that these results seem to indicate, according to your own perspective.

Total number of students: 11 Exceeded Expectations: 9 Met Expectations: 1 Approached Expectations: 1 Did Not Meet Expectations: 0 Students not assessed due to attendance: 0

As indicated, out of 11 students, 9 exceeded expectations, 1 met expectations, 1 approached expectations, and 0 did not meet expectations. This means that altogether, 90.9% of students met or exceeded expectations, which is above our 70% benchmark.

I recommend no change.

See Appendix B for MUS 110 & 210 TOOL. (Scored) Student Examples on file with Michael Heel.

! 42! Summary of Major Findings

1. We found through initial Assessment meetings that our Course Learning Outcomes and Program Learning Outcomes (PLO’s) had to be revised since they did not accurately reflect what was going on in the classroom as the courses were updated and refined and had to be expanded in number (PLO’s went from three to nine and many courses went from two or three CLO’s to six or more)

2. We found that we wanted to reduce the credit hours in the program if possible and after referencing the updated Course Learning Outcomes to the updated Program learning outcomes that we were not serving the student by requiring them to take MUS 129 MIDI recording techniques in a two-year basic program. While it is a popular and appropriate course to study music composition and arranging with sophisticated technology (advanced software, computers, and piano keyboards), the student could take this type of course later on in a four-year school. We have since made a curriculum change to drop this as a required course for the MU01 major.

3. Students are generally satisfied with the program with exceptions of wanting more practice rooms and more choices for Ensembles (most often request was a classical instrumental ensemble)

4. Our program is very comprehensive after the last major Program Revision and prepares the students who works at it and passes all the courses, finds themselves well prepared for the next level in a music program.

Lessons Learned: Changes/Improvements Suggested Based on Assessment Results

The 4 semesters of Applied Piano Minor (sequence of piano class for all music majors) may have to be adjusted to a slightly slower pace as retention is problematic in that class. Learning piano skills for some students that never played piano before can be an intimidating and daunting task. The students that have a piano background did not think the class was too difficult but mentioned that the other students who are having difficulty in those classes just need to practice more. Also, regarding time of the day, we have dropped the 8AM class for the Fall of 2013 as the 9AM class seemed to do better on the whole in the Fall of 2012.

The Aural Skills classes are working well but retention going into the fourth (last) semester had to be taught by Dr. Fisher as independent study outside of a cancelled class as it was low enrolled so the students could graduate.

! 43!

We have to advertise/recruit more for ensembles (for non-music majors to join) and for the Music major program in general. We have already ramped up our efforts this semester. We developed a poster and are working on closer relationships with area high schools to spread the word of our program. Many schools where we know the music teachers personally do recommend our program to their students but there are others that are not as aware of what we offer at MCC.

SECTION 6: SUPPORT SERVICES

The Most Commonly Utilized College Support Services

Unknown / not assessed at this time

Physical Facilities Necessary to the Program MCC Theater – Building 4 Practice Rooms 12-130 *Main Ensemble Room 12-126 Storage Room 12-126 A/B Recording Control Room 12-124 MIDI/Keyboard/Theory/Piano Lab 12-122 Class or vocal Ensemble - in 12-101

*12-126 also serves as the Tracking Room for recording, as well as our Recital Hall and Jury Room for solo/small group performances

Faculty Assessment of Student Support Services

Not assessed at this time.

Student Satisfaction with Support Services and Physical Facilities

A Questionnaire was handed out to 32 students in MUS 151 (all music majors). 19 Anonymous responses were returned and summarized in this report.

4 main SWOT Questions were asked and 8 classes were rated on a scale from 1-10. Destinations of students for next year were also asked.

Sample: Question 1: Greatest Strengths of the current program? Top answer: Extra help from ‘Master/Great’ Faculty (& Staff and students)

! 44! And /or extra help for advanced students outside class

Question 2: Greatest Weaknesses of current program? Top Answer: More /larger/updated practice rooms / Music Area facilities in general

Question 3: Greatest Opportunities going forward-your suggestions? Top Answer: Implement diverse / larger / variety instrumental ensembles / MCC Concert band / Wind / Chamber or Classical Orchestra

See Appendix J for Complete Form with all responses summarized

SECTION 7: ADMINISTRATIVE SUPPORT

Assessment of Support for the Program at the College, Department, and Program Levels

The College of Liberal Arts and the Visual and Performing Arts Department is very supportive with course scheduling and resources (Area budget) so the Music Area can purchase some new music for the choirs and instrumental ensembles as well as repair and maintain equipment were already have (guitars amps, replace drum heads, piano tunings).

Regarding larger issues, it is understood that items such as updating/building new/more practice rooms and a small recital hall are very expensive and are not likely to be updated any time soon but that as MCC’s budget allows, they may happen someday.

Current Unmet Needs of the Program • Ventilated, larger practice rooms. Our practice rooms are very old Wenger modules with non-functioning ventilation fans. They smell and are very small. Requests to fix have gone unheeded probably due to the complexity of having to have to take them apart to get at the utilities. • Appropriate “live” small recital hall/classroom. • Timpani set is very old and in need of replacement or at least expensive repair. • Very limited Public Address/FOH (front of house) sound system in the MCC Theater. It is very dead in the theater due to the many bass traps in the walls that deaden the sound. This is fine for spoken word but needs reverb and sound reinforcement to compensate with musical events. While the theater has the mixing board and reverb EFX unit needed, the main sound system high up on the front wall (and in the wall) of the theater is very inadequate by today’s standards. • We currently move a very expensive piano from 12-126 to the Theater for our concerts. Almost any high school and college surveyed will have a high-quality piano in their theater or auditorium.

! 45! • Medium-sized rehearsal room that 5-10 students can access to for practicing together in and that can be signed-out versus a small practice room that can only be used by one to two persons. • Choral & Instrumental library system storage • Choir uniforms, and space to store the uniform cabinets, as suggested by our President, Dr. Kress. • Madrigal costumes, and space to store them.

Bullets Number 1, 2, and 5 above were mentioned in: SECTION 5: ASSESSMENT OF STUDENT LEARNING OUTCOMES and still have not been addressed.

Revisiting the Findings of the Last Program Evaluation

(2006@07)!“Our!program’s!greatest!weakness!is!that!we!don’t!have!an!aural!skills!sequence!(ear@! training!and!sight@singing).!This!can!prevent!our!students!from!transferring!well!to!four@!year! programs.!Since!some!schools!group!their!theory!and!aural!skills!classes!together,!our!students,! who!have!taken!the!theory!sequence!but!not!an!aural!skills!sequence,!have!had!to!retake!the! theory!classes!that!align!with!these!aural!skills!classes.!We!plan!to!integrate!an!aural!skills! sequence!next!year.”! ! We$have$implemented$these$courses.$The$result$is$our$students$are$better$prepared$for$a$ fourFyear$music$program.$ $ “Another!area!to!improve!is!our!facilities.!We!need!a!larger!recital!room!(no$change)!that!is! more!conducive!to!music,!additional!dedicated!classroom!and!storage!space!(no$change),!a!new! grand!piano!in!the!auditorium!(no$change$although$we$have$a$donated$Steinway$in$the$ ensemble$room$12F126,$and$move$it$to$the$Theater$for$concerts),!and,!most!importantly,!more! practice!rooms!(no$change).!Lack!of!an!adequate!number!of!practice!rooms!is!what!we!feel! predominately!leads!to!student!attrition!since!students!lack!sufficient!space!to!perform!all!the! preparation!that!we!encourage.! Additional!improvements!to!the!Music!Area!include!increasing!promotion!of!our!program!to! area!high!schools!(we$have$been$working$on$this$for$two$years),!better!educating!the! Counseling!Center!of!our!requirements!(also$at$the$top$of$our$Plan$of$Action),$and!perhaps! expanding!our!offerings!during!evenings!and!summers!(not$likely$as$we$tried$this$and$the$ classes$did$not$run).!These!are!all!areas!we!plan!to!address!next!year.”!

We still need to improve these areas, but it takes rooms and finances that don’t seem to be available or budgeted for.

Future Needs of the Program • Ventilated, larger / additional practice rooms. Some ventilation fans are NOT functioning and repairs are not possible without totally taking them apart. • Medium-sized rehearsal room (in addition to 12-126) • Newer Timpani set (they’re old and do not function very well)

! 46! • Improved sound system in MCC Theater for concerts and musicals (the mixing board acquired in recently years is very good but the speaker system is not very good) • Appropriate “live” small recital hall/classroom. The configuration of the room and door locations and acoustics of 12-126 does not make for a good recital room and the Theater is too big and acoustically ‘dead’, always needing amplification and reverb EFX to sound pleasing which improves one’s performance technically and sonically. • Improved recruitment (in the works) • Improved web presence/ video clips of performances on campus (in the works)

SECTION 8: EXTERNAL REVIEW

Ongoing Review: Input and Impact of Advisory Board

Kristen Shiner-McGuire, Instrumental Professor at Nazareth

Dr. Mario Martinez, Vocal Professor at Nazareth

William Tiberio, University Of Rochester, Ithaca College Instrumental Ensemble Director, Fairport High School Instrumental Ensemble Director, Eastman Jazz Camp Ensemble Director

After review discussions, many ideas were exchanged with the Music Area faculty, VaPA’s Chair and the External review members.

Sending out flyers to MCC incoming freshman to invite incoming students to join ensembles are going to be implemented on a regular basis. We have done this before but not every year.

Send out posters for high school Music Area bulletin boards. Stay connected with high school area teachers.

Tour with small groups to showcase MCC performers. Dr. Fisher is taking a group of 20 students to Carnegie Hall to perform with a large choir and orchestra for the second year. Professor Nyerges successfully booked selected students in an MCC instrumental group ion this year’s Rochester International Jazz Festival and the Fairport Canal Days event in June for the first year.

Attach a fixed lesson cost to students bill by having a voucher they must purchase in the bookstore. (Having a fixed fee agreed upon by private lesson teachers in the area from different

! 47! schools including Nazareth, Eastman, Hochstein and Roberts-Wesleyan would be difficult to do though)

Change minimum degree requirements of our students’ private lesson teachers from a Bachelors to a Masters in Music. (most are holders of Masters degrees except for a few)

Some changes are not anticipated because of budgetary concerns. Practice room issues, and having lessons taught on campus are no expected to change because it is financially out of reach for the Music Area to act upon. These are large-scale changes we cannot do by ourselves.

See Advisory Board Members’ Resumes in Appendix K

Periodic Review: The Most Recent External Review Visit

March 25, 2013 External$Review$NOTES Discussed!facilities!(practice!rooms,!lab),!ensembles,!courses,!private!lessons.! ! Weaknesses!include!smaller!offerings!in!band!(edit%note:%instrumental%ensembles%–%Orchestra,%Concert% Band)%due!to!smaller!enrollment.!No!suggestion.% ! Suggest:!Change!from!Bachelors!to!Masters!degree!for!private!lessons!(private%instructor)! ! Kristen:!How!do!you!control!grading!of!private!lessons?!! ! John:!Can’t!control,!but!encourage!go!study!at!4!year!college,!Hochstein! ! Kristen:!Do!they!have!to!prove!they!take!lessons?! ! Lori:!Form!is!filled!out! John:!Form!by!email! ! Kristen:!Does!the!private!teacher!(Matthew)!get!paid!to!come!in!to!judge!jury?!(no,%but%private% instructors%are%invited)! ! Dave:!Only!(the)!3!full!time!faculty!judge!the!jury!(of%the%students)! ! Kristen:!How!do!you!monitor!practice,!going!to!lessons?! ! John:!Tuesday!class!every!week,!mock!recitals! ! Mario:!I!have!taught!several!(MCC)!students!(Ed)!@!Ed!wasn’t!sure!of!number!of!lessons! Is!it!15!or!12?! !

! 48! John:!Minimum!@!12!in!the!Fall,!15!in!Spring.!We!used!to!do!30!min,!now!60!min!lessons.!This!compares! to!45!minutes/week!at!FLCC.!The!point!at!the!last!revision!was!to!have!more!than!7.5!total! hours/semester.! ! Mario:!Do!you!think!it!prohibitive!to!go!out!to!get!lessons!(more!expensive!than!going!through!the! college)?! ! John:!We!attempting!to!go!through!the!school!(MCC)!a!few!years!ago,!but!we!were!told!it!would!be!too! complicated.!It’s!done!at!FLCC!–we!could!see!if!can!be!modified.!We!also!were!thinking!about!partnering! with!one!or!more!institutions!(Nazareth,%Hochstein@there%were%talks%just%3%years%ago%with%a%voucher% through%the%bookstore%the%students%would%buy,%Roberts,%Eastman%Community%School)!with!a!coupon! from!our!bookstore!added!to!the!students’!bill.!Currently!there!is!one!student!not!getting!better!even! though!he!is!getting!lessons!at!Hochstein.!Not!being!served.!Though!this!is!rare.! ! Lori:!They!can!get!Financial!Aide?! ! John:!They!can!take!the!CIS!to!Financial!Aid!to!have!it!added.! ! Lori:!It!is!listed!in!the!catalogue!to!pay!extra!for!lessons! ! Bill:!It!sounds!like!they!wrestled!with!private!lessons.!It!puts!a!lot!on!the!student!to!get!good!teachers.!! ! Kristen:!Can!you!have!adjuncts!teach?! ! Rollo:!Florida!schools!have!adjuncts!paid!by!small!contact!hour!or!hourly!rate!instead!of!by!a!class! ! Kristen:!Maybe!add!woodwind!specialist,!brass,!percussion,!string!adjuncts!to!the!rolls?! ! Bill:!Where!can!they!teach?! ! John:!For!equity!(ALL%students%ability%to%have%a%lesson%on%campus%vs.%off@campus)!can’t!teach!lessons!on! campus.!We!were!trying!to!get!a!mix!of!adjuncts!to!teach!courses!that!can!also!teach!lessons!private! lessons!(Matt!Whitten)!having!specialization!on!different!instruments.! ! Bill:!Any!advisory!would!ask:!Do!you!have!space?”!But!it!may!not!be!worth!continuing!to!bring!it!up! (facilities)!if!you!don’t!have!the!teaching!space!needed.!You!have!to!ask!them:!What’s!the!best!for!our! students?! ! Lori:!!There’s!been!a!lot!of!changes,!but!in!the!last!week!there!has!been!some!evidence!about!why!this!is! not!working.!(some%evidence%in%the%past%also)! ! John:!We!felt!that!if!someone!was!lucky!enough!to!take!from!someone!here,!then!it!could!work,!but!the! administration!said!no!unless!everyone!could!take!their!lessons!here.! ! Kristen:!Is!this!a!time!to!offer!suggestions?! ! John:!I!think!we!(you,%the%advisory%members)!have!nailed!the!major!issues!and!some!of!the!minor!issues.! !

! 49! Kristen:!Chamber!music@IF!met!with!faculty!and!discussed!who!you!have!then!somebody!could!have! dedicated!time,!then!you!could!have!a!chamber!music!group!since!can’t!have!a!large!ensemble! (orchestra).!If!a!violin,!then!can!join!the!jazz!ensemble.!IF!you!want!better!players,!have!more!chamber! music.!I!don’t!know!how!you!could!do!it,!but!some!faculty!could!work!with!a!set!of!students.!! ! John:!We!had!a!five@piece!chamber!group!volunteer,!I!was!a!volunteer!coach,!and!they!rehearsed!one! night!a!week.!Right!now!we!have!a!chamber!group!that!was!formed!by!the!SMA!president,!a! percussionist,!she!formed!it!on!her!own.!She!gave!material!to!give!the!college,!but!it!would!need!certain! number!of!students!to!make!a!class!run.!(we%don’t%have%the%numbers%of%string%players%to%make%this%a% class,%at%least%not%that%show%up%in%the%music%area)! ! Kristen:!Shows!some!students!have!initiative!to!form!chamber!group.!Some!can!come!to!a!composer’s! forum.!! ! John:!We!do!spend!extra!time.!Rollo!is!doing!sight!reading!outside!of!class,!and!this!year!Aural!skills!4! students!to!get!them!through!the!course.!A!number!of!years!ago,!Dave!and!I!did!it!for!Piano!Skills!4!class.! We!just!didn’t!have!the!proper!amount!of!class!time!to!dedicate!to!this,!but!most!of!them!passed.!The! last!major!issue!is!not!having!enough!students!stay.!Some!go!on!to!other!schools!after!the!first!year!that! are!good!enough!to!transfer,!and!others!do!not!stay!for!various!reasons.!Graduation!rates!have! improved!from!0@1,!high!of!3(?)!to!14@17!for!a!few!years.!We!have!a!recruitment!plan.! ! Lori:!It!shows!a!tight!schedule!to!go!through.!It!is!tough!to!retain!with!only!two!years.! ! Kristen:!You!want!quality!(learning)!as!well.! ! John:!The!major!sequence!runs!fall!to!spring.! ! Dave:!That!frustrates!them!and!makes!them!not!want!to!continue.!(if%they%fail%a%class)! ! Mario:!Audition!requirement.!Do!you!have!a!rubric?! ! John:!We!do!have!a!model!(jury!rubric).!Auditions!are!a!less!formal!assessment!than!in!recital!and!jury.!I! can!print!it,!send!it!to!you.! ! Mario:!What!are!the!recital!requirements?!(MUS%151%semester%total%performance%requirements)! ! John:!One!recital,!one!jury,!4!pieces!total.!They!provide!a!musical!score.!We!look!at!the!score!while! they’re!playing.! ! Mario:!Is!the!recital!memorized?! ! John:!Usually!memorized,!unless!a!very!long!piece,!depending!on!their!instruments.! ! Mario:!So!basically!2!pieces!memorized!for!the!semester?! ! John:!Yes.!! !

! 50! Bill:!One!question:!For!students!at!MCC!that!are!not!in!music,!wouldn’t!there!be!a!concert!band!in! students!in!MCC!that!aren’t!majors?!Can!a!student!be!in!the!band!and!knock!out!a!credit!for!ensemble! as!an!elective?! ! John:!Yes.!But!most!take!a!Piano!class,!guitar!class,!percussion!class@!they!don’t!have!the!skills!for!a! typical!ensemble.! ! Bill:!Have!you!canvased?! ! John:!Hard!to!do,!but!we!have!sent!flyers!to!freshmen!orientation.!I!have!sent!out!2500!notices!some! summers,!advertised!on!the!radio!and!the!Plasma!screens,!put!up!posters,!around!school!and!in!the! advisor’s!office.!!! ! Rollo:!We!are!putting!together!a!promotional!video.! ! Lori:!Auditions!can!be!uploaded!digitally.! ! Bill:!Do!you!network!with!local!high!schools!(for!recruitment)?! ! John:!Jazz!Fest!nights!in!local!schools,!have!taken!MCC!students!to!Spencerport,!and!I!have!gone!to! Penfield!HS!and!other!schools!to!play!for!students!there.! ! Bill:!That’s!huge.!I!tell!my!students!to!come.!Your!reputation!helps.!Stay!connected!with!local!people.! There!are!kids!like!that.!Maybe!something!can!be!done!on!a!more!formal!level,!like!a!flyer!(for%the%HS% music%halls)! ! Rollo:!We’re!putting!together!a!flyer,!video.! ! Lori:!MCC!is!building!relationships,!face!to!face,!guidance!counselors,!come!see!our!facilities.!When! students!come!here!and!see!our!facilities,!they!actually!come!here!instead!of!going!to!other!colleges.!It’s! the!relationship!that!will!do!it.!! ! Bill:!Nazareth’s!strength!is!that!it’s!an!inclusive!atmosphere.!It!is!about!the!relationships.! ! Mario:!Also!musical!productions.!Invite!students!to!join!musical!programs,!summer!program!with!faculty! at!MCC.! ! John:!That’s!another!great!idea,!and!it!was!tried!years!ago.!There!was!a!Jazz!camp!and!vocal!festival,! spending!two!weeks!long.!I!used!to!run!a!Jazz!fest,!but!then!attendance!fell!off!because!of!schedules!at! the!high!schools!and!bussing/money!issues.!Schools!loved!it!but!it!became!harder!to!come!for!an!entire! day.!Now!I!bring!in!guest!artist!to!front!our!jazz!band!as!in!most!four!year!programs.!We!also!have!sent! students!out!from!our!program!to!their!high!schools,!but!that!doesn’t!always!work!if!the!current!group! of!students!aren’t!motivated!to!do!that!on!top!of!their!regular!schedule.!! ! Bill:!Do!you!have!honors!combo?! ! John:!It!would!be!volunteer!(@ary).!In!fact,!I!have!been!working!with!some!students!outside!classes!that! are!more!skilled!and!want!to!play!more,!for!the!last!several!years.!These!are!the!same!that!play!for!

! 51! various!MCC!events!and!will!be!in!this!summer’s!Rochester!International!Jazz!fest!on!the!outdoor!Gibbs! St.!stage.! ! Bill:!John!is!bringing!a!jazz!group!to!International!Jazz!Fest,!so!great!exposure.! ! Mario:!Can!you!tour!with!that!group?! ! Lori:!We’ve!not!been!strong!at!marketing!individual!programs,!was!very!vague.!We!have!a!new! marketing!firm!and!director.!If!we!can!handle!some!of!these!in!our!way,!then!that!can!help.!We!are! meeting!with!the!dean!two!weeks!from!now.!! ! Mario:!Can!the!choir!tour?! ! Rollo:!It’s!possible!with!a!smaller!group.! ! John:!These!are!all!great!suggestions.!I!think!we!should!walk!downstairs.!Go!talk!to!students.! ! Mario:!You!need!bigger!and!more!practice!rooms.! ! John:!Originally!the!school!had!music!in!Bldg!4!(brick%wall%practice%rooms,%near%the%Theater,%more%square% rehearsal%ensemble%room),!when!bldg..!12!was!built!with!not!much!input!(thought%consideration%for%the% music%program%specifically?)!for!this!new!building.!! ! Lori:!FTE!communications!help!support!more!expensive!programs! Lori:!People!don’t!know!ho!much!individual!time!you!spend!with!students.! ! All:!Yes.! ! Mario:!Our!week!starts!when!most!teachers’!week!ends!on!Friday!afternoon.!Our!work!never!ends.!Most! people!don’t!realize!how!much!prep!there!is.! ! Kristen:!I’d!like!to!see!a!stipend!for!adjuncts!to!take!care!of!all!the!percussion!and!other!equipment!you! have.!Give!students!stipends!more!of!an!incentive!to!take!care!of!things.! ! John:!Matt!is!installing!first!new!timpani!heads!in14!years.!They’re!expensive!and!we!didn’t!have!a!big! enough!budget!to!hire!someone!from!the!outside!to!order!the!correct!heads!and!install!them,!adjusting! the!mechanism!as!well.!Very!complicated.! ! Kristen:!People%(this%board)!from!the!outside!are!making!these!recommendations!–!hopefully!that!this! may!help.! ! Mario:!The!computer!lab!is!wonderful.! ! John:!Technology!is!big!here.!Took!a!few!years!to!get!the!Boston!(piano%that%replaced%the%very%old,% terrible%Baldwin%in%12@126).%We!wouldn’t!have!the!Steinway!except!for!a!generous!donation.!The!price! tag!was!not!understood.!If!you!talk!about!$60000!with!technology,!they’ll!understand!that.! ! Lori:!I!had!to!fight!for!the!technology.!

! 52! ! John:!Technology!is!more!understood!here.! ! Lori:!It!depends!on!if!it’s!going!to!give!a!return!on!investment,!and!FTEs.! ! John:!You!can’t!quantify!the!level!of!performance!that!went!up!with!the!Boston,!and!then!Steinway.! ! Mario:!Music!related!business!degrees!in!4year!colleges!are!booming.!If!you!can!support!that,!and!use! the!Ensemble!room!for!recording!students,!and!then!build!another!rehearsal!hall,!that!will!bring!a!lot!of! students.! ! Lori:!Studio!production?! ! Mario:!Yes! ! Kristen!and!Mario:!You!need!a!better!rehearsal!rooms.! ! Mario:!Are!the!studio!production!classes!to!expand?! ! Lori:!Administration!sees!the!Area!as!a!musical!production,!not!a!performance!program.! ! Kristen:!Create!a!DVD!of!successful!music!performance/teaching!things!that!would!give!the! administration!a!better!impression!of!the!program!as!is!–a!music!performance!program.! ! Lori:!We!can!do!that.!In!looking!at!the!program,!is!there!anything!that!needs!to!be!adjusted,!removed?! How!does!it!meet!for!your!first!two!years?! ! Mario:!Can!you!put!the!lessons!in@house,!and!make!a!curricular!connection!with!the!4!year!programs!ex.! Repertoire.!When!you!go!to!the!four!year!program,!it!may!solve!problems!with!repertoire!and! standards.! ! John:!I!understand.! ! Kristen:!At!least!in!Rochester,!there!are!many!teachers!who!graduated!from!Eastman,!and!they!will! know!what!is!required!to!go!to!a!junior!level!at!a!4!year!college.!The!background!on!paper!looks!good.! ! John:!Can!you!see!anything!we!can!cut?!Credits!are!still!too!high,!65.! ! Kristen:!Why!are!there!4!credits!for!theory?! ! Dave:!Because!it’s!necessary.! ! Mario:!Why!are!there!2!hours!for!MUS!151?! ! John:!One!hour!in!lesson,!and!one@hour!studio!class.!I’ve!brought!in!several!artists!(master%classes,%as%in% most%colleges)!at!the!beginning!of!the!semester,!and!then!recitals!later!in!the!semester.! !

! 53! Mario:!Other!programs!(Fredonia)!have!only!1!credit,!and!they!meet!in!studio!for!one!hour,!and!one! hour!for!lessons.!Are!there!musical!theater!majors?! ! Rollo:!There!are!students!in!the!musicals!in!the!Fall,!and!every!other!Spring.! ! Lori:!There’s!a!brand!new!theater!program.! ! Mario:!That!will!bring!more!students!in.! ! Lori:!Do!students!at!Nazareth!need!2!Natural!Sciences?! ! Kristen:!There!are!many!students!who!take!60!credits!of!liberal!arts.! ! Lori:!We!need!to!find!out!where!students!go,!and!what!are!the!requirements!(different!for!SUNY!than! private!colleges).! ! Mario:!You!could!cut!one!of!the!social!sciences.! ! Lori:!If!you!already!have!30!credits!of!SUNY!general!education,!then!you!can!cut!!(a!natural!science!or! social!science).!We!have!a!flyer!for!music!performance!(shown!to!review!board).!Anything!you!can!add?! ! Mario:!Can!you!show!more!instruments?%(on%the%poster)! ! Lori:!I!had!to!approve!through!branding.!In!your!programs,!is!it!as!tight!as!this!(if!you!fail!a!class!you!will! have!to!wait!a!year)?! ! Kristen:!It’s!different!at!a!4@year!college!to!have!latitude,!with!more!sections.!! ! Mario:!We!are!progressively!moving!more!to!single!semester!offerings!(course!only!offered!in!the!fall!or! spring)!for!the!methods!classes.! ! Kristen:!It!could!use!faded!pictures!of!various!instruments!in!the!back.!It’s!laid!out!very!clearly.! ! Mario:!If!you!are!branding!it!as!a!performance!degree,!the!applied!lessons!are!huge.! ! John:!Everything!you!said!today,!the!emphasis!you’re!given!to!the!lessons,!it’s!is!an!eye!opener.!It!is!a! good!point.! ! Lori:!What!do!you!do!with!a!student!who!is!not!accepted!as!a!music!major?! ! Mario:!We!let!them!re@audition,!and!encourage!them!to!take!music!lessons.! ! John:!Do!you!give!them!credit?! ! Mario:!If!they!take!in!the!community!area!(not%college%level%credit),!then!no.!They!can!take!30!minutes! for!1!credit,!and!anyone!can!take!them.!Most!go!through!community!programs.! !

! 54! Kristen:!They!may!be!accepted!into!the!college,!but!they!can!still!take!ensembles.!There!is!a!kid!from! Zimbabwe!who!is!not!a!major!that!brought!3!Zimbabwe!marimbas.!! ! Lori:!So!if!they!don’t!pass,!when!can!they!re@audition?! ! Mario:!They!have!to!take!one!of!the!regular!auditions!dates,!or!if!they!are!enrolled!in!credit!lessons,!they! can!petition!to!audition!at!the!end!of!the!semester!juries.!There!are!some!courses!that!they!can!still! take,!that!may!serve!other!degrees.!They!would!sign!a!contract!in!those!cases,!but!they’re!not!assured! that!they!would!be!accepted.!! ! John:!We!have!MUE1…students!still!have!to!pass!an!audition!in!MUS!151!to!become!MU01.! ! Mario:!Once!applied!lessons!are!set!up,!it!has!ramifications!for!the!studio,!separating!by!instrument.!You! can!control!the!product!more,!and!be!better!equipped!when!auditioning!for!a!4@year!school.!(smaller% groups%of%MUS%151%split%up%by%like@instruments)% % John:!Thank!you!for!coming.!! ! Kristen!and!Mario:!It!was!nice!to!be!here.! Conclusions and Recommendations & Analysis of Input from Advisory Board and the External Review Team

We have an excellent faculty who has the expertise and cares about their students.

We have an excellent lab.

Our students who finish and go on to pursue a career in music seems to have very high success rate as

performers, teachers and in other areas.

We don’t offer on campus offered lessons - a disadvantage and contributes to a lack of quality

control.

We lack enough practice rooms and ensemble rehearsal spaces with percussion equipment.

We don’t have a large (classical band or orchestra) instrumental ensemble.

We should hire adjunct instrumental teaching faculty in the areas of brass, woodwinds, strings, and

percussion.

We should canvass incoming and current students across campus to find those with interest in

participating in a performing ensemble (for example, enough people/useful instrumentation to create a

concert band or wind ensemble or orchestra).

! 55! We should allocation a small stipend to pay an adjunct Percussion Teacher to maintain percussion

equipment quality and organization on a regular basis.

We should advertise the accomplishments of past students via electronic and other media.

There may be a lack of recognition by the College and administration of the value and success so far

of the Music Department; inherently leading to lack of support for Music Department growth.

The mission of the College that mandates certain types of accessibility for all students; exceptions

may be needed in order to raise the level of experience, excellence and opportunity for music

students.

They see budget as well as space limitations (mentioned above).

The Music Area needs to improve our visibility to the Administration and of the value and quality of

the current Music Program (ex. video clips on the web of past and current student successes).

(we’re working on interviews with students and faculty and music performance clips currently)

and of the contributions of the Music program and students to the College experience for others (ex.

Music Department groups performing for college-wide functions). (we currently contribute to 3-5

functions per semester)

A Music Area has specific needs that are different from other departments (ex. elements that

significantly impact rehearsals, performances and morale, like adequate rehearsal and practice space;

large enough doors; enough mobile equipment).

We need to be more competitive with other community colleges in offering on campus lessons

(FLCC). We need to meet incoming music students’ expectations that lessons will be offered on

campus on all instruments.

We should maintain a focus on improving the quality of performance by all music students.

MCC should develop funding for an inviting, useful, and acoustically excellent performance hall for

all music students, faculty and ensembles.

! 56! SECTION 9: RECOMMENDATIONS AND ACTION PLAN

Major Findings of the Program Evaluation Project: Strengths and Weaknesses of the Program

Strengths The implementation of our Aural Skills courses has helped our program become more comprehensive regarding ear training skills that our students acquire. This has led to feedback that the students that audition at other colleges feeling better prepared. Our students also commented that the sight reading audition requirements regarding their piano skills were equal with the end of our second semester course.

Our courses have a good balance of music academic classes (history, theory) and performance- based classes (Ensembles, Applied performance class, Piano Class, Aural Skills)

Our faculty is well respected by the students when looking at the survey satisfaction ratings of the faculty. The External Board Members agreed.

Our lab (esp.) and (quality of, though not the size of the control room) recording studio is excellent.

The assessment of the courses this time around show that almost all students assessed in all the classes meet or exceed expectations. The students are learning what they need to learn. Graduates are successful in gaining entrance to music programs in other colleges.

We have many graduates that are currently studying or have completed studies at SUNY Fredonia, SUNY Potsdam (Crane School of Music), SUNY Purchase, Buff State, Roberts- Wesleyan, Eastman School of Music/U.R., Berklee School of Music in Boston, Florida State University, Nazareth, Ithaca College.

One such example of success of our former student: http://nicholasomiccioli.com/ His biography and awards are listed in the Appendices. Professor Nyerges coached him with his first jazz composition and performance in ensembles and Dr. Shaw helped him with his theory, classical arranging and composition.

Weaknesses Mostly, weaknesses are facilities related.

We don’t have adequate (large enough nor the number of) practice rooms we should have for the students to practice.

The students struggle with having to take TRS courses if not prepared to take ENG 101 and/or MTH150, which then make graduating in two years very difficult.

Our four semester sequenced courses run starting in the Fall, so a student who fails Theory I or Applied Piano Minor I, for example, must wait until the following Fall to take Theory I or Applied Piano Minor I again. We do not offer courses lie these in the intersession or summer

! 57! because of several reasons-numbers of students needing this, and the fact that these courses need to be taking over a longer period of time (15 weeks) to be most efficient for the learning process.

We have very old timpani with mechanical problems (tuning pedal mechanism)

We have to move the grand piano in 12-126 to the theater every time we have a concert.

The Recording Control Room, 12-124, which is adjacent to the Ensemble Room 12-126, is adequate for recording recitals since the students are sitting in 12-126, but not nearly large enough holding class with the 25 students in MUS 131 Studio Production Techniques. It is too crowded and all the students can’t see the screens, so recording classes or related technology classes will not be able to draw in more students as they do at FLCC (120 freshman/year) and as recommended by the External Board Members. But FLCC has spent more than $400k about 10 years ago and several $100k again just recently upgrading all their equipment and have 2 high- end studios there now. That is a major investment. RIT and UR have jumped in on setting up studios in just the past few years.

Proposals for Maintaining and Improving Upon Current Strengths

Keep the computers and software in the Lab up-to-date and on a rotating basis.

Keep up maintenance (and repair when needed) on the guitar, bass amps and drum and timpani heads.

Keep standardized course content in place between sections taught by full-time and part-time faculty.

Offer more chances for part-time faculty to give small recitals for the students to showcase their performance skills.

Recommendations for Addressing Program Weaknesses

Our four-semester sequence of Applied Piano Class may be more fast-paced than it needs to be (see strengths) so these courses should be adjusted slightly by slowing the pace down..

Recruit more from the high schools for the Music Major program and the MCC general population for filling existing or newer proposed ensembles.

Purchase better microphones for the studio.

Purchase new/newer timpani.

Have drop-down mounting structure installed in the ceiling by college in 12-126 so a LCD projector and iMac we already currently have can be utilized in ensemble classes.

! 58! SECTION 10: CONCLUDING REMARKS

The MCC Music Program offers many survey courses and electives for the MCC general population that serves many students.

The MU01 Music Major Program, while it only serves around 50 students per year, is an important part of keeping excellent faculty around and serving the population in the area to have an affordable option to study music in a comprehensive way to act as a stepping-stone to a career in music performance (the 2 drummers mentioned earlier that are out on tour with big-name acts and won national drum-off competitions) or to transfer to four-year college music programs and far beyond earning masters degrees or a DMA, such as award-winning composer Nick Omiccioli.

This assessment period has reaffirmed that the faculty is doing an excellent job teaching a comprehensive set of courses with some limited resources where as other colleges have much superior facilities in every category of recital halls, number, quality and size of practice rooms,

There are many things that the MCC faculty do which is carried out in other colleges by stage crews, dedicated recording studio employees, full-time piano tuner-technicians, and have full- time piano accompanists on staff. The Music Area has met on a regular basis on Mondays for 2.5 hours for the last 15 years discussing new courses, student issues, lab issues, performance concerts, and more to try to advance the Music Area for Music majors and those students seeking to take an elective course in Guitar or Piano for example.

The graduates are generally very satisfied with the faculty and course offerings with exception of not having a classical instrumental ensemble, courses not offered every semester but only Fall or Spring, and the lack of more/larger Practice Rooms and a dedicated Music Recital Hall.

The faculty would like to see these issues resolved along with issues regarding the private lesson situation. The Music Area faculty would also like to see a much better speaker system in the Theater, better microphones in the recording studio’s locker, and a full-time technical assistant: piano accompanist to better serve the Music Program.

Music Programs are expensive but serve the needs of not only students but a city and culture in which the Arts is often looked down upon as something less than it really is. The Arts are very important. Rochester is very rich in the Arts for the size of this community. Without the Arts, society has no soul. Many people underestimate the contribution that he Arts has and how important it is to a community and to individual students.

MCC’s Music program has done much for many students over time that is sometimes hard to quantify. But it is an important option for many and should be supported as much as is needed to maintain and improve it’s course offerings and facilities.

! 59! APPENDICES

APPENDIX A: Course Learning Outcomes

The following Music Area courses are being assessed for this review.

MUS108 College Chorus 1. Demonstrate proper vocal production, including breath control and stylistically appropriate tone. 2. Identify the musical genres of the programmed music for the course. 3. Produce proper vocal diction. 4. Participate in ensemble rehearsals. 5. Perform in public concerts

MUS109 Music Theory I 1. Read scales 2. Read key signatures 3. Read triads 4. Read intervals 5. Properly beam rhythms based on simple or compound time signatures 6. Analyze simple melodies 7. Analyze simple harmonies 8. Write scales 9. Write key signatures 10. Write triads 11. Write intervals

MUS110 Music Theory II 1. Read modal music 2. Read nonfunctional music. 3. Read impressionistic music. 4. Read serial music. 5. Read music using advanced (higher-numbered) chords. 6. Analyze music of the 20th century. 7. Write modal music. 8. Write nonfunctional music. 9. Write impressionistic music. 10. Write serial music. 11. Write music using advanced (higher-numbered) chords.

! 60! MUS126 Applied Piano Minor 1 1. Perform major scales with correct fingering with the right hand two octaves up and down. 2. Perform major scales with correct fingering with the left hand two octaves up and down. 3. Perform major scales with correct fingering with the both hands together one octave up and down. 4. Perform selected piano solos in a variety of styles.

MUS140 Jazz Ensemble 1. Reproduce melodic and rhythmic note patterns in published musical arrangements by repeated rehearsal in class towards a goal of a successful performance in concert. 2. Recognize how to balance one's sound and tuning against others in a small section (brass, woodwinds, rhythm section) and then the larger group by active listening and following director's conducting and visual cues. 3. Analyze and critique recorded student performances by listening to professional recordings and then comparing them to the recordings of student performances. 4. Perform selected big band arrangements in a variety of styles in public concert.

MUS151 Performance and Applied Music 1. Study and demonstrate knowledge of technical studies, etudes, and compositions assigned by private teacher on your primary instrument by analyzing individual components in a piece of music (melody, harmony, rhythm, phrasing, diction, articulation, pitch, tone) resulting in a performance in a recital in class. 2. Memorize at least one composition to be performed as one of three contrasting pieces to be performed in a jury in a formal music exam at the end of the semester. 3. Listen, critique, and evaluate recording of recital with private teacher to show what has been accomplished and where there is need for improvement. Read and comprehend written critiques from music faculty of recital performance. 4. Interpret musical phrases with respect to dynamics, tempo, intensity, and other artistic as well as technical parameters of a musical performance by adding one's own individual stylistic ideas. 5. Communicate individual expression and feelings by thorough examination and practice of a piece of music, adding emotional content resulting in a refined technically accurate and spiritually moving performance culminating in a complete experience for the listener.

MUS159 Aural Skills 1 1. Transfer and apply knowledge from Music Theory I to the development of Aural Skills. 2. Sight read rhythms separate from melodies. 3. Sight sing intervals and diatonic melodies in tune with solfege and numbers. 4. Transcribe music in regards to intervals, rhythms, and diatonic melodies. 5. Transcribe and apply key signatures from Music Theory I to sight sing melodies.

! 61! MUS202 History of Music II 1. Discuss musical examples from the Classical period to the 20th Century. 2. Analyze one or more musical examples for form and content from the Classical period to the 20th Century. 3. Identify features of musical works by composers from the Classical period to the 20th Century. 4. Discuss the historical context for the major developments in Western music. 5. Analyze for the four musical textures in Western music from the Classical period to the 20th Century. 6. Discuss the role of technology in the development of music halls, instruments, and audio recording.

MUS210 Theory IV 1. Read non-harmonic tones. 2. Read triads in a four-voice texture. 3. Read diatonic 7th chords in a four-voice texture. 4. Notate dictated chromatic melodies. 5. Operate music notation programs at a basic level. 6. Analyze intermediate melodies. 7. Analyze intermediate harmonies. 8. Write non-harmonic tones. 9. Write triads in a four-voice texture. 10. Write diatonic 7th chords in a four-voice texture. !

MUS227 Applied Piano Minor 1V 1. Demonstrate four part SATB (soprano, alto, tenor, bass) score reading with advanced intermediate piano technique. 2. Produce instrumental accompaniment, creating harmonization, modulation and improvisation based on simple melodies and chord symbol analysis. !

MUS260 Aural Skills 1V 1. Transfer and apply advanced chord structures of Music Theory IV into the development of Aural Skills. 2. Demonstrate the ability to sight sing modal, chromatic, and modulating melodies. 3. Demonstrate the ability to accurately take music dictation of modal, chromatic, and modulating progressions. 4. Sight sing advanced melodic and harmonic progressions. 5. Transcribe 4 part harmonies in simple and intermediate harmonic progressions.

! 62! APPENDIX B: Assessment$Data$(for$Section$5) ! MUS$151$Performance$and$Applied$Music$ Each student is scored in the following categories in their performance. Five (5) or ten (10) points are typically subtracted by the faculty for deficiencies in a specific category from a possible 100 points. Less than 5 points are meaningless. Sometimes extra points are subtracted for particularly poor performance in one or more categories and are discussed by the faculty members. Recitals are also recorded if the faculty should want to review any performances that they heard and/or discuss this with the student. He student is supplied with this scoring sheet as well as any comments that the faculty should want to add regarding specific ways in which the student was deficient and typically includes specific comments on how they should improve their performance in the future. 38 individual students’ scores run horizontally across the grid. Numbers in categories are amounts subtracted from a possible 10 points which is then computed to give them their Final Resulting Score. Note$ NotesF Intensity/Dynamics Intonation Rhythm Style Tempo Tone Attire/Stage$ Phrasing/ Final Resulting Accuracy Articulation Deportment Diction Score 100 100 100 100 100 100 100 95 95 5 95 5 95 5 95 5 95 5 5 95 5 95 7.5 5 92.5 10 90 5 5 90 5 5 90 5 5 90 5 5 90 5 5 90 5 5 90 10 90 5 5 5 85 10 5 85 5 5 5 85 5 5 5 85 10 5 85 10 5 85 80 20 5 75 10 10 10 70 25 5 70 20 10 10 60 40 10 50 20 20 20 40 10 10 50 30

! 63!

Totals of MUS 151 Students who 38 Students performing / How they were scored in a Jury in Fall of 2012 exceeded, met, approached or failed expectations 80-100 = Exceeds Expectations 31

60-80 = Meets Expectations 4

40-60 = Approaches Expectaions 2

0-40 = Fails Expectations 1

! 64! MUS 151 Assessment Tool for Recital & Jury

JURY!Evaluation! ! A!“+”!!=!!all!10!points;!met!or!exceeded!expectations!in!this!category! A!“checkmark”!=!5!points;!approached!expectations!in!this!category! A!minus!=!0!points;!!failed!to!meet!expectations!in!this!category! ! Notes

Notes:!articulation! !

Intensity/Dynamics! !

Intonation! !

Rhythm! !

Style! !

Tempo! !

Tone! !

Attire/Stage!Deportment! !

Phrasing!/!Diction! !

! Assessment!Total!! ______! ! Grading Key:

80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations

! 65!

! 66! Total Scores in MUS 126

! 67!

! Music 140 Jazz Ensemble Assessment $ Student!Evaluation______Instrument______! ! ! Notes:!accuracy! !

Notes:!articulation! !

Intensity/Dynamics! !

Intonation! !

Rhythm! !

Style! !

Tempo! !

Tone! !

Swing!Feel! !

Phrasing!! !

! Assessment!Total!! ______! ! Grading Key:

80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations !

ASSESMENT TOOLS FOR MUS 140 JAZZ ENSEMBLE (NEXT!3!PAGES)

! 68! Sample of Chart performed by an Alto Saxophone student in MUS 140 Jazz Ensemble

! 69! Sample of Chart performed by a trombone student in MUS 140 Jazz Ensemble

! 70! Sample of Chart performed by a trumpet student in MUS 140 Jazz Ensemble

! 71! Rubric for MUS 159 Aural Skills I Sight Reading Midterm

(10 points) Major Scale: 1 point off for each note missed

(10 points) Major Scale, leave out Sol: 1 point off for each note missed

(20 points) Interval 1 and 2: Full credit if sung correctly first time

2 points off each interval if sung incorrectly first time

2 points off each interval if sung incorrectly second time

6 points off each interval if sung incorrectly third time

(10 points) Sight reading example: 1 point off each missed note or rhythm, 5 points off if restarted from the beginning

ASSESMENT TOOL FOR MUS 109 MUSIC THEORY (NEXT 3 PAGES)

! 72! MUS 109 NAME: ______Music Theory I Final

1) Write these intervals next to the given notes:

w #w w & bw #w P4! m6" M3" M2! A4"

? #w ? ? ? ? bw bw w w P5! m7" A4! A2" M7"

2) Provide these key signatures:

& Gb major C minor B Major G minor

? ? ? ?

Ab major Eb minor E major B minor

3) Write these scales using accidentals, not key signatures: ?

E melodic minor G natural minor

A major Bb melodic minor (Over--->)

! 73! NAME: ______4) (continued) Write these scales using accidentals, not key signatures: ?

C harmonic minor G major Theory & History course b rubrics here

5) Write the requested triads (without key signatures):

& G# minor D augmented Bb diminished E major Eb diminished

& G minor Eb major B# major E minor E# major

6) Using capital or lower-case Roman numerals 1-7, list the triads formed from each scale degree of a major scale:

7) Identify the following major key signatures:

b # # # # # & b b bb # ## # ## ______Major ______Major ______Major ______Major ______Minor ______Minor ______Minor ______Minor

(Over--->)

! 74! -2- 8) Rewrite these rhythms correctly: (Dot) | 4 r & 4 œ œœ œœœ œ œ œ œ œœ œœœ œ œ œœœ œ œ œ œ œ œœœœœœ. œ œ œ œ œ œ J J J J J

& 4

(Dot) | 6 & 4 œ œ œ œ œœ œ œ œ ˙ œ œ œ ˙ œ œ œ ˙ ˙ œ œ œ ˙. œ

6 & 4

9) Analyze these triads for root and type (i.e., A major, D minor, etc.)

w w bw & #w bw bbw ! bw w bb w b w w

bw w 10) Usingb wcapital or lower-casew Roman numeralsbw 1-7, list the triads bformedw from each# w scale& degreew of a major scale: bb w bbbw # w

10) We covered a lot of material this semester. I enjoyed teaching this class and hope that you enjoyed it as well. Have a safe and relaxing vacation! (Peace out?) ! 75! -3- Assessment$Tool$F$Student$Vocal$Assessment$Grid$for$MUS$108$ ! Song:! ! Student!M!Number:! ! A!“+”!!=!!all!10!points;!met!or!exceeded!expectations!in!this!category! A!“!”!=!5!points;!approached!expectations!in!this!category! A!“@“!=!0!points;!!failed!to!meet!expectations!in!this!category! ! Notes

Notes:!articulation! !

Intensity/Dynamics! !

Intonation! !

Rhythm! !

Style! !

Tempo! !

Tone! !

Attire/Stage!Deportment! !

Phrasing!/!Diction! ! ! Assessment!Total!! ______! ! Grading Key:

80-100 = Exceeds Expectations 60-80 = Meets Expectations 40-60 = Approaches Expect. 0-40 = Fails Expectations ! ! ! ! ! ! ! ! ! !

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! 82! Assessment Tool for MUS 110 Theory I

MUS 110: Music Theory II NAME ______Final Exam PART I

PLEASE WRITE NEATLY!

1) Label the key and chords for each measure. Circle and label all non-harmonic tones. Mistakes should be labeled with an 'X.' Each measure is a new example.

b j # œ ˙ n b S b c œ. œ ˙ # œ n œ b ˙ ˙ A & ˙ #˙ ˙ ˙ œ œ ˙ ˙ ˙ T ˙ B ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ? b c ˙ ## ˙ nn ˙ ˙ b œ ˙ b ˙ ˙ b œ. J

! 83! Assessment Tool for MUS 210 Theory IV

! 84! APPENDIX C: FACULTY ACCOMPLISHMENTS • List(s) of Full-time, Part-time and Adjunct Faculty (for Section 3) • Professional Development Activities of Faculty Members Summarized (for Section 3) ! The Full-time and Adjunct Music Faculty is very active in a variety of ways that shows versatile and extensive experience as educators and performers. Faculty have been invited to lecture at the League for Innovation and other conferences, performance clinics, performance groups such as musical pit orchestras, alternative bands, major symphony orchestras, jazz groups, jazz festival appearances, and touring groups. Many prestigious performance awards in music competitions and grants for composing and performing have been awarded to most of the faculty. • Faculty!Name! Starting!Date! Rank! Highest!degree! School! Nyerges, John 9/1/00 Assistant M.M. Eastman School Professor of Music Shaw, David 9/1/00 Associate D.A. University of Professor Northern Colorado Fisher, Roland 9/1/09 Instructor Phd Florida State University

John Nyerges • Fellowship, Teaching Assistantship 1995-1997. • Member, as a publisher/composer: BMI (Broadcast Music, Inc.) • Pianist and Classroom teacher in Rochester City School District at Jefferson, Charlotte, Franklin Jr-Sr. High Schools and #17 and #43 schools 1980-1985. Awarded “Outstanding teacher” • New York State Council of the Arts, Grant Award for composing and recording original music • Former private lesson teacher, Hochstein Music School (national accreditation) • Owner, Artistic producer, composer, pianist - NBRJazz Recordings with national magazine reviews in JazzTimes, Cadence, Jazziz, and various websites All About Jazz.com and local newspapers. TV appearances in Rochester (WXXI On Stage) & Syracuse. Live radio shows in Rochester (WGMC) and Syracuse, NY. National recording credits with MCA/Zebra Records, and Amherst records. • Freelance musician since 1976, American Federation of Musicians AFL-CIO in good standing with special appearances at The Caravan of Dreams in Ft. Worth, TX, Blues Alley in Washington (Georgetown) DC, Coconut Grove, Miami, FL, and Town Hall in NYC. • Rochester Philharmonic Orchestra Jazz pianist and selected recordings with Jeff Tyzik since 1992 • Buffalo Philharmonic Orchestra jazz pianist with Doc Severinson 1990-1992 • Performances with Syracuse, and Utica, NY / Hartford and Stamford, CT / Northeastern Pennsylvania & Erie PA / and Wilmington, DE Symphony Orchestras. • Recordings and/or extensive ongoing performances with world-renown musicians such as Joe Henderson, Wycliffe Gordon, Maria Schneider, Steve Gadd, Benny Carter, Bob Brookmeyer, Peter Erskine, Doc Severinson, Linda Hopkins, Clay Jenkins, Mike Karn, Rich Thompson, Jeff Campbell, Dave Rivello, Don Potter, Dave Mancini, Eddie Daniels, Arturo Sandoval, Gerry Niewood, Chris Vadala, Steve Lipia, Tony DiPaulo, Mark Kellogg, Ray Ricker, Nancy Kelly, Dave Glasser, Rick Holland/Evan Dobbins, Herb Smith, Pat & Joe Labarbera, Bruce Johnstone, Eastman Jazz Ensemble, the NEJO (New Energy Jazz Orchestra), Victoria Corrigan & Vince Ercolamento. • Guest clinician/performer at Music programs at area high schools and colleges in Western New York at Buff State, Penfield High School, SUNY Geneseo, Syracuse University, West Irondequoite • Jazz recordings reviewer for JR247 (Internet Jazz Radio based in Florida) • Multiple appearances in Rochester International Jazz Fest, Syracuse, Oswego Harborfest, Erie Jazz Festivals, and Time Warner Music Fest, and faculty recitals in Kilbourn Hall. • Summer Jazz Faculty - Eastman’s Jazz Camp, Community Education Division since 1980.

! 85! • National credit as Mix and Mastering Engineer for a CD on Origin records (multiple Grammy-Award Label – 2012 release)

Dr. David Shaw • Doctoral Dissertation quoted by Walter Simmons by Scarecrow Press (2011) on the Music of William Schuman, Vincent Persichetti, and Peter Mennin: Voices of Stone and Steel • Member/Judge in 13th year for piano students in both the Eastern and Western divisions of the county for the National Federation of Music Clubs (NFMC) The NFMC is chartered by the United States Congress and is the only music organization member of the United Nations. Founded in 1898, it is one of the world's largest music organizations with club and individual members of all ages. 1999-present. • Awarded Educational Technology Services Internal Development grant 2008: “Second Life in the Classroom”, to explore the viability of using virtual worlds as a teaching tool in my courses and created a virtual "Synchronized Walking Tour of Sonata Form.” • Presentation for SUNY's Conversations in the Discipline: “Researching Traditions After the Second Revival: Does Celtic Music Have an Identity?” (2009) to identify cultural elements common to definitions of traditional Celtic music, including similarities uniting cultural practitioners across time and geography, and differences reflecting the migration and assimilation of Celtic peoples to new regions. • Presentation “Second Life: A Collaborative Model of Discovery and Learning” (2008) for the League for Innovation, with Terry Keys (ETS) and Larry Dugan (FLCC) in Denver, CO, on engaging students in Second Life through projects, activities, and experiences. We discussed the strengths and weaknesses of a variety of topics including student support, orientation, and lessons learned. • Invited to present at the Faculty of the Future at Bucks County Community College, PA ( 2008) along with Terry Keys (ETS) and Larry Dugan (FLCC). • Member: New Product Development Board at Applied Research and Technology. In his 13th year, Dr. Shaw serves on the New Product Development Board for Applied Research and Technology (ART), a manufacturer of advanced sound-processing equipment. Dr, Shaw also beta-tests their prototypes keeping him current in engineering (a previous education and profession) and in contact with colleagues from that field. • Movie Composer: “No Down Payment”, for the Rochester Institute of Technology. To help develop collaboration between MCC and RIT, working with RIT students. Dr. Shaw also enlisted one of MCC’s Music students, Jared Tinkham, to perform on this very well received project. • Movie Composer: “Pincushion Man”, by Jim Downer (VaPA), an animated project, collaborating with faculty member Jim Downer and MCC Music student Valerie Paris. For other projects, Dr. Shaw and Jim Downer won the "Best Soundtrack" award at the Red Stick International Animation Festival, Baton Rouge, LA. and were invited to the Tel Aviv Animation Festival. ! ! !Dr. Roland Fisher! • 2009-present Monroe Community College Teaching duties include vocal ensembles, Broadway musicals, Aural Skills, Music and World Cultures, and voice classes • 2006-2009 Florida State University Teaching duties included Vocal Jazz ensemble, Teaching Assistant for Choral conducting, Women's Glee, and University Singers. • 2002-2006 George Jenkins High School • Teaching duties included all vocal ensembles, musical theater, and drama classes. • Choral Music Teacher in the Indiana University Overseas Teaching program, Bloomington, Indiana, and Clonmel, Ireland. September 1997-July 1999. • Participated in research on the educational system of Ireland for two years, then taught in Clonmel, Ireland, both at secondary and primary schools for two months. • Awarded Who's Who in Collegiate Faculty, 2009

! 86! • Awarded Who's Who of American Teachers, 2006 • Achieved National Board Certification, 2005 • Presenter: League for Innovations Conference, Philadelphia, PA, February 2011 League for Innovations Conference, San Diego, CA, February 2010 • Florida Music Educators Conference on Composing Music in the Choral Classroom for Middle School and High School. January 2009 • Published arranger: Dulaman, for SATB chorus, piano, and Irish folk ensemble. Published with Hinshaw Music, 2013 Emerald Green Grass, for SATB chorus a cappella. Published with Walton Music January, 2009 • Adjudicator for A Cappella competitions, 2006-2009 Adjunct!Name! Highest!Degree! School! Robey, Matthew D.A. Eastman School of Music Machleder, Anton D.A. Eastman School of Music Witten, Matthew M.M., Doctoral Studies Eastman School of Music Dobbins, Evan M.M. Eastman School of Music Brazofsky, Matthew M.M. Bowling Green University Brown, Donald M.M. Ithaca College Dobbins, Evan M.M. Eastman School of Music Falzano, Anthony B.A. SUNY Geneseo Mariano, Dennis B.M. Heidelberg College Manhertz, Clifton

Formally!at!MCC!within!last!6!years! Highest!Degree School Olsen, David D.M.A. University of Nevada-Las Vegas Wise, Herbert M.M., Doctoral Studies Eastman School of Music Fittipaldi, Tom (former FT Fac) M.M. Montclair Sate University Fittipaldi, Michael M.M. Ithaca College Rosenberg, Maury B.A. Berklee College of Music Luk, Siu-Yan D.M.A. Eastman School of Music Resumes for above table not listed here

Dr. Matthew Robey • Piano Faculty, The Eastman Community Music School (2005-present) • Faculty, Rocky Ridge Music Center, Estes Park, CO (2002-2003) • Summer Faculty, The Eastman School of Music (1997-1999, 2001) • Summer Faculty, Western Michigan University (1994, 1996-1999) • Radio Broadcasts WBFO Buffalo, NY • Collaborated/performed with The Ying Quartet, Jens Lindemann • 1st Prize Jesse Kneisel Lieder Competition • Barbara M.H. Koeng Award winner • Eastman Excellence in Accompanying Award winner • Finalist, Jerald C. Graue Memorial Award (Musicology) • Guest artist, Oklahoma State University, Texas A&M University, Texas State University, Bucknell University • Music Director for various musical productions at Western Michigan University (1995) • Master Class instructors include Malcolm Bilson, Renee Fleming, Martin Katz, Edward Tarr, Barry Tuckwell, Rolf Smedvig • Former member College Music Society

Dr. Anton Machleder PUBLICATIONS:

! 87! • Ex tempore - Summer 1998, Vol. IX/1 “Serialism & Poetry in Reginald Smith Brindle’s El Polifemo de Oro” • Soundboard - Fall 1999, Vol. XXVI, No. 2 “Six Maidens Dance” • Soundboard - Summer 1999, Vol. XXVI, No.1 “20th Century Cuban Music for Guitar” • American String Teacher – 1999, Volume 49, Number 1 “Chamber Music for Bowed Strings and Guitar” INVITED LECTURES: • Oberlin College Conservatory of Music- Contemporary Improvisation Workshop • Brooklyn College, Lecture/Performance - “Cuban Music for Guitar” • The College Music Society, Northeast Chapter Annual Meeting, The University at Albany Lecture Recital - “The Music of Manuel Ponce” • The College Music Society, Northeast Chapter Conference, Trinity College, Hartford CT “Twentieth Century Cuban Music for Guitar” • DMA Lecture Recital, Eastman School of Music - “Cuban Music for Guitar” COMPETITIONS / AWARDS / GRANTS: • 2004 – New York State Council of the Arts, Grant for multimedia performance September 21-November 4, Ortlip Gallery – Center for the Arts • Music & Musicians Competition (Management for the 1994-95 season) • California Arts Council Touring Artists Roster, 1993 CAC/NEA performance grant (1994-96) • Eastman School of Music Graduate Award - Awarded April 19, 1993 • Yale School of Music, Summer Fellow: Ellen Battell Stoeckel Fellowship Award, The Norfolk Chamber Music Festival, 1993 • D’Addario Foundation Fellowship: “Awarded annually to a guitarist of exceptional artistic promise” Bowdoin Summer Music Festival, 1992 • Five Towns Music and Art Foundation, Prize winner, 20th annual string competition, Hewlette, Long Island, NY, 1992 • Artists International’s Young Musicians Auditions, First Prize Winner, New York City, 1991 Performance at Weil Hall, Carnegie Hall N.Y,C, • Artistic Merit Scholarship, Manhattan School of Music, 1988 • ASTA, California State Solo Guitar Competition Finals Top Prize Winner, Los Angeles, California, 1985

PERFORMING EXPERIENCE: Highlights: • Society of Composes, Inc. Region VII Conference California State University Northridge, CA • Ortlip Gallery, MultiMedia Presentation of Abstract Art and Musical Composition New York State Council of Arts Grant • Millennium Collective – Improvised Music from the 21st Century Warner Concert Hall, Oberlin College, OH • The Discovery Players – celebrating the 75th Birthday of Aurelio de la Vega Music Recital Hall – CSUN, Northridge, CA • The North/South Consonance Ensemble - Latin Carnival, NY World Premiere of Bifloreo, by Aurelio de la Vega • The North/South Consonance Ensemble - Parallel Worlds, NY World Premieres of Entropies, by Harold Oliver and Figments of Imagination, by Joyellen O’brien • “Ciudad Hermana” Task Force, Benefit Concert, 1st Universalist Church Rochester (with Nan Gullo-Harp, and Alejandro Sabre-Guitar • Norfolk Summer Music Festival, Connecticut - Performance with Eliot Fisk. • Lincoln Center Classical Guitar Series, Bruno Walter Auditorium • California State University Northridge, Alumni Concert Series • Soundboard, Radio Station KPFK (90.7 FM) Los Angeles, CA. Live from Studio D, Featured guitarist: interview and commentary by John Schneider. • Bowdoin Summer Music Festival, Maine - Performance with David Leisner • Weill Hall at Carnegie Hall, New York City (New York Debut) MAJOR ENSEMBLE PERFORMANCES:

! 88! • Abstract Art and Musical Compositions, a MultiMedia PresentationOrtlip Gallery, Houghton New York (Composer and Conductor) • Geatbatch School of Music Concert Series, Houghton College, Recital Hall ( with Mark Hartman-Violin, Peter Silberman-Keyboard, Robin Kindig-bassoon, Elena Dunegan-Clarinet) Houghton College, A Recital Of Music By Mark Hijleh • Oberlin College Conservatory of Music, Warner Concert Hall “Music and Dance Improvisation” The Millennium Collective • Baldwin Wallace College, Gamble Auditorium “Guest Recital” The Millenium Collective • Oberlin College Conservatory of Music, Kulas Recital Hall “Improvised Music From The 21st Century” The Millennium Collective • California State University Northridge, The Discovery Players • Houghton College, The Millennium Collective • Oberlin College, Contemporary Improvisation Concert, Kulas Recital Hall The Millennium Collective (two concerts) • Houghton Chamber Players - Wesley Chapel, Houghton College • Latin Carnival, Presented by North South Consonance Inc. St. Stephen’s Church, NYC • “Ciudad Hermana” Benefit Concert, 1st Universalist Church, Rochester (with Nan Gullo-Harp and Alejandro Sabre-Piano) • Parallel Worlds, North/South Consonance Ensemble, St. Stephen’s Church, NYC • Eastman at Dickinson Series, Dickinson College PA - PRISM Ensemble Collegium Musicum (baroque guitar) - Paul Odette, Director • Alfred University, Contemporary Music Series • Yale-Norfolk Summer Music Festival, Norfolk CT • Performances with Eliot Fisk & with the Dakota String Quartet • The New Music Consort, with Nicholas Goluses, Claire Heldrich Director Borden Auditorium, New York • New York Vocal Arts Ensemble, Community Concert Series, 28 city tour of The United States, January - March, 1990, Columbia Artists Management Inc MAJOR SOLO PERFORMANCES: • Society of Composers, Region VII Conference, Northridge California • Eastman Guitar Festival Concerts, “Eastman Rising Stars” • John Andrews Memorial Scholarship Concert, Houghton College School of Music • Celebration for Aurelio De La Vega, Distinguished Professor of Composition California State University Northridge • Oberlin College Conservatory of Music, Improv Series Concert 6, Kulas Recital Hall Faculty/Guest Artist (with Peter Silberman-Piano) Brooklyn College - NY • Houghton Chamber Players - Wesley Chapel, Houghton College • Department Faculty Recital - Houghton College, NY • Benefit concert, First Universalist Church - Rochester, NY • Howell Hall “Guest Artist Recital Series” (With Mark Hartman-Violin) • 1st Wednesdays at Redeemer, Redeemer Lutheran Church, Rochester N.Y. • The College Music Society – The University at Albany, Performing Arts Center • Keuka College, Norton Chapel “Guest Recital” • Rochester Memorial Art Gallery (with Pedro Binol, Violin) • Eastman School of Music - DMA degree recitals, Rochester NY • Third Annual Finger Lakes Gala, Canandaigua NY • George Eastman House, Rochester NY • Eastman School of Music, Rochester NY • American Guitar Society, Northridge CA • Mid-Day Musicales Westfield, New Jersey • Donnell Library Center, New York Public Library Series • St. Bartholomew’s, Tuesday Chapel Concerts • Donnell Library Center, New York Public Library • American Guitar Society Concert, Northridge California • Bruno Walter Auditorium, Lincoln Center, Library and Museum of the Performing Arts

! 89! • Hubbard Hall, Manhattan School of Music, Masters Recital Saint Peter’s Church Concert Series, NYC (Three recitals) • American Landmark Festival Concerts (Metropolitan New York Area): Jefferson Market Library, Theodore Roosevelt Birthplace Green Auditorium, Federal Hall National Memorial ! Dr. Matthew Witten TEACHING!POSITIONS! • Adjunct Faculty, University of Rochester Fall 2008-present • Adjunct Faculty, Monroe Community College, Fall 2010-present • Interim Professor of Percussion, Penn State University, November 2011 • Adjunct Faculty, Nazareth College, Fall 2011-present • Adjunct Faculty, Rowan University, Fall 2000 -2007 • Interim Professor of Percussion, Rowan University, Fall 2002 • Head of Percussion Studies, Camden (NJ) School of Musical Arts Fall 2000 - 2003 • Instructor of Percussion, Pennsville School District 2002-03 • Assistant Band Director, Mainland Regional High School (Lynwood, NJ) 2001 - 03 • Faculty, University of Delaware Community Education Division, 2000 – 01,Wind Ensemble Camp • Assistant Band Director, Glassboro High School, 2000 - 01 • Assistant Band Director, Lyons Regional High School (Lyons, NY) 1998 - 2000 • Private Studio Teaching, 1996 – present PROFESSIONAL!PERFORMANCES! • Faculty Recital Nazareth College, Percussionist with Kristen Shiner McGuire • Rowan University Percussion Ensemble Percussionist Alumni All-stars, Gerard Grisey’s Le Noir de L’Etoile • Premiere of Gordon Stout’s New York Triptych at PASIC, November 11, 2011 • Fracas, new music quartet • Garth Fagan Dance Co. (Rochester, NY) Edge/Joy • Garth Fagan Dance Co. (Joyce Theatre, NYC) • SUNY Brockport Dance Co. (Brockport, NY) • Melanie Stewart Dance Theater (Philadelphia, PA) • Pulse Percussion Ensemble (New York, NY) • JAM Marimba Duo Founding Member BROADWAY!! • A Catered Affair The Musical, Broadway, NYC • Little Women The Musical, 1st National Tour • Little Women The Musical, Broadway, NYC • The Light In The Piazza, Broadway, NYC • Dracula The Musical, Broadway, NYC • Beauty and The Beast, Broadway, NYC • Phantom of The Opera, Broadway, NYC • Baz Luhrmann’s Production of Puccini’s La Boheme on Broadway at the Ahmonson Center Los Angeles, CA • Newsical, a review off-Broadway • Pippin, AIDS Benefit Concert (New York, NY) ORCHESTRAL! • The Erie Philharmonic (Erie, PA) • Queens Symphony (Queens, NY) • Greece Chamber Symphony (Greece, NY) • Chatham Opera (Chatham, NJ) • Princeton Symphony (Princeton, NJ) • -Philadelphia Virtuosi Chamber Orchestra • Metropolitan Greek Chorale (New York, NY)

! 90! • The Stamford Opera Company (Stamford, CT) • Dicapo Opera Theater (New York, NY) • Bel Canto Opera Company (Philadelphia, PA) • New York Virtuosi (New York, NY) • Randy Newman Orchestra (Philadelphia, PA) • Ocean City Pops (NJ) • New Jersey Pops • Philadelphia Chamber Chorus • Haddonfield Symphony Orchestra (NJ) • Haddonfield Symphony Orchestra • Bridgeton Symphony Orchestra (NJ) • Bay-Atlantic Symphony Orchestra (NJ) • Eastman-Rochester Oratorio Society (NY) RECORDINGS! • Michael Tenzer’s Let Others Name You with Ossia • Soundtrack for Second Story Man with music by Eric Zabriskie REGIONAL!THEATRE! • Rochester Children’s Theatre (Rochester, NY) • The Ritz Theatre (Oaklyn, NJ) • Weston Playhouse Theatre Company (VT) • Westmont (NJ) Theater Company • Forestburg (NY) Playhouse Summer Theater AWARDS • Nominated Eastman School of Music Lecture Recital Prize • Winner - The Eastern Frontier Society’s Norton Island Residency Program (ME) • Winner - Naomi Music Production’s Artists of the New Millennium Soloist Competition • National Winner - Music Teachers National Association (MTNA) Collegiate Percussion Soloist Competition • First Place - Crane School of Music’s New Music Festival/Soloist Competition • First Place - Midland-Odessa (TX) Symphony National Young Artist Concerto Competition • Second Place - South Orange (NJ) Symphony Concerto Competition • Winner - Rowan University Orchestra Concerto Soloist Competition • Winner - Yamaha Young Performing Artist Competition • Winner - Eastman School of Music Performer’s Certificate • Winner - Avedis Zildjian Scholarship • Winner - Aspen Music Festival Percussion Soloist Competition SOLO!PERFORMANCES! • Solo Faculty Recital Monroe Community College Theatre • Soloist with University of Rochester Percussion Ensemble • Guest Artist with the Rowan University Percussion Ensemble • Guest Artist solo marimba recital Rowan University • Guest Artist lecture recital, Rowan University • Art Awake Alliance Building, Rochester, NY • Faculty Artist solo marimba recital, University of Rochester, Interfaith Chapel • Solo Marimba with the Eastman Chamber Percussion Ensemble, Kilbourn Hall • DMA recital, Eastman School of Music • Art Awake, solo marimba performance Station 55,Rochester, NY • Faculty Spotlight Recital, Rowan University (Glassboro, NJ), Pfleeger Concert Hall • Faculty Spotlight Recital, Rowan University, Boyd Recital Hall Mallery Music Series, Rutgers University (Camden, NJ), Mallery Music Room • NYC Day of Percussion at Queens College, Soloist in Schwantner Concerto for Percussion with Rowan University Wind Ensemble, LeFrak Hall

! 91! • Soloist in Schwantner Percussion Concerto with Rowan Wind Ensemble, Rowan University, Pfleeger Concert Hall • Rowan University Community Orchestra Soloist Competition Concert, Prism Rhapsody for Marimba and Orchestra, Pfleeger Concert Hall • Master’s Degree Recital, Rowan University, Boyd Recital Hall • Yamaha Young Performing Artist Awards Concert, Illinois State University (Bloomington, IL), Braden Auditorium • Guest Artist Recital, Rowan University, Boyd Recital Hall • Bachelor Degree and Performer’s Certificate Recital • Aspen Music Festival, Percussion Solo Competition Winner, Solo Performance on the Aspen Percussion Ensemble Concert, Harris Concert COMMISSIONED!WORKS/WORLD!PREMIERES! • Heat: Remix for Percussion Ensemble - Jennifer Bellor University of Rochester Percussion Ensemble • Quantum Foam for solo marimba - Harold Oliver • In a Space Between Time Remix for Two Vibraphones - Caleb Burhans • At a Moments Notice for Marimba and String Quartet - Caleb Burhans • G-Force for Snare Drum Trio - John Beck • Mechanical Toccata - Jung Sun Kang • Fracas - Elizabeth Kelly • Rise Up - Ross Lafleur • The Garden of Forking Paths - Andrew Allen PERCUSSION!TECHNICIAN!!Carroll Music (New York, NY) !

Matthew!Brazofsky! PROFESSIONAL!PERFORMANCES! • The Twentieth Annual Heidelberg College New Music Festival, April 11 – 13, 2008 – Tiffin, Ohio. Jacob Wrestles for alto saxophone solo. • Saxophone Recital, April 29, 2007 – Eastman School of Music. Jacob Wrestles for alto saxophone solo. • Equinox Symphony Orchestra, April 21, 2007 – St. Louis Catholic Church, Pittsford, New York. Jacob’s Dream for string orchestra. • Scenes, Sounds, and Silences, May 23, 2006 – Downtown United Presbyterian Church, Rochester, New York. • A concert of works by Matthew Brazofsky. 2004 North American Saxophone Alliance Biennial Conference, April 28 – May 1 – University of North Carolina, Greensboro. Postcard from the Dolomites • World Saxophone Congress XIII, July 11, 2003 –Minneapolis, Minnesota. Prediction for alto saxophone and piano. • Musica Artista Workshop 2003, May 30, 2003 – Arco, Italy. Christus factus est arr. saxophone quartet. • MERGE (X,Y), March 8, 2003 – The University of Iowa. Organum for violin and piano. COMPETITIONS / AWARDS / GRANTS • MidAmerican Center for Contemporary Music Grant • Pro Musica Grant • Pepsi Fund Research Grant • Pepsi Fund Research Grant • Dean’s Student Service Award, BGSU • Second prize in the composition category of the 36th Competition in Music Performance and Composition, BGSU • Tau Mu Sigma (music honorary), Heidelberg College • Alpha Lambda Delta (academic honorary), Heidelberg College • Private Piano Students Selected for the National Federation of Music Club’s Honors Recital COMMISSIONS • Equinox Symphony Orchestra, Paul Stuart, Director of Music • James Flowers, saxophonist

! 92! • Michael Holmes, saxophonist • Chih-Huan Wu, saxophonist MEMBERSHIPS • National Federation of Music Clubs • Rochester Piano Teachers’ Guild • Present, American College of Musicians

Anthony Falzano! • Member American Federation of Musicians, AFL-CIO • Recording and Mixing Engineer • Performer with Philharmonic Orchestras • Performer in Jazz Festivals • Former Hochstein Instructor • Graduate Teaching Assistantship Award • Graduate Fellowship Award • National Recording Labels credits • Nationally reviewed performer • Member of American Society of Composers, Authors and Publishers (ASCAP) • Member – Songwriters Hall of Fame • Owner – Music Company with Publishing Entity • Author of published music book and numerous articles on music and health • Award winning songwriter • Current instructor at Hochstein, Writers & Books, and local cont. ed. Organizations • Composed, produced and marketed nationally released music CDs • Speaker/presenter at regional health organizations

! !!Don!Brown! • Member, National Association for Music Education • Member, New York State School Music Association • Member, Mu Phi Epsilon (Lambda Chapter) • Celia W. Slocum Award for excellence in musicianship and scholarship • Artistic Director, Stageworks (Rochester, NY) • Private Voice Instructor and Performance Coach • Clinician for various Workshops and Masterclasses • Music Copyist/Editor/Arranger for various published stage musicals ! !!Dennis!Mariano! • RIJF East and Alexander stage (Thunder Body) • Kennedy Center Millennium Stage percussionist for dance concert • Recorded two albums and two EP's with Thunder Body • Recorded two albums and one EP with Tiger Cried Beef • Lilac festival main stage performance • Toured the Northwest U.S. as well as frequent performances in the East. (Boston, NYC) • WXXI onstage performance and broadcast with Hinkley • percussionist for SUNY Brockport Danscore • Assistant to director of Fountain of Stars 2-day reggae festival in NH • Actively performing in and around the Northeast U.S. • Adjunct Prof of History of Rock and Pop at RIT !! ! !

! 93! ! Technical!Assistant! Highest!Degree! School! Ni, Pi-Lin Doctor of Music - Piano Florida State University Performance !! Pi

! 94! APPENDIX D: Program Description

• Copy of Program Description from College Catalog (for Section 2) $ Program of Study: MUSIC PERFORMANCE Degree: A.S. DEGREE

Description: This course of study is recommended for students who plan to transfer and earn the baccalaureate degree with a major in music. It provides basic preparation for a career in music. In the program, a balance is maintained between courses dealing with general musical knowledge and those courses designed to develop a particular music skill. A variety of performing organizations provide students with ensemble experience and with opportunities for public performances. Students will also be required to take a minimum of 15 one-hour lessons each semester. The cost of lessons is not included in MCC tuition. Recommended Preparation: Students who plan to complete this course of study in two years should have experience in vocal or instrumental performance and reading music. Entering students must prepare two contrasting pieces for a music area audition. To find out about audition dates, please contact the department secretary at 292-2047. $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

! 95! APPENDIX E: Music Program Goals and Objectives Grid of CLO’s as they coincide with PLO’s $ • List(s) of Program Goals and Learning Objectives (for Sections 1 & 5) $ Music Program Goals

! Prepare students to transfer and earn the baccalaureate degree with a major in music. ! Students will gain valuable ensemble experience in recitals and concert public performances. ! Students will take private lessons each semester to develop skills on a primary instrument. ! Students will be able to, upon completion of a baccalaureate degree, continue on to advanced degrees and find employment in a variety of areas in the field of Music Arts such as, but not limited to, Public School teaching K-12, performance, teaching Theory, Composition, Arranging, Music Appreciation in a college or university, and other music industry jobs in the private sector. $ $ $ $ Music Program Learning Outcomes Upon graduation from MCC’s A.S. degree program in Music Performance, a student will be able to:

1. Analyze theoretical structures of written music. 2. Explain theoretical structures of aural music. 3. Perform with proficiency on their primary instrument (which may include voice) 4. Perform with functional proficiency selected musical techniques and compositions on piano. 5. Sight sing or sight read on an instrument accurately from printed music with respect to pitch and rhythm. 6. Transcribe music accurately with respect to pitch and rhythm through repeated hearings. 7. Perform collaboratively in an ensemble. 8. Describe selected styles of music for form and/or content and/or instrumentation as it developed throughout the history of written music. $ $ $ $ $ $ $

! 96! $ Grid$of$Program$Learning$Outcomes$vs.$Course$Learning$Outcomes$ !

PLO MUS COURSE # 1 2 3 4 5 6 7 8 109 Music Theory I M M m m 110 Music Theory II M M m m m 201 History of Music I M M M 202 History of Music II M M M 209 Music Theory III M M m m M 210 Music Theory IV M M m m M 108 College Chorus M m M 140 Jazz Ensemble m M m M 141 Madrigal Singers M m M 145 Jazz Combo m m m M 146 Vocal Jazz/Show Choir M m M 151 Perform & Applied Mus I m M m M 126 Applied Piano Minor I M M 127 Applied Piano Minor II M M 226 Applied Piano Minor III M M m 227 Applied Piano Minor IV M M m 159 Aural Skills I M M M M 160 Aural Skills II M m M M 259 Aural Skills III m M M M 260 Aural Skills IV m M M M ! !!M=!major!content!of!PLO!in!Course!(assessed!here)!!! !!m=!minor!content!of!PLO!in!course!study! ! ! ! ! ! ! ! ! ! !

! 97! APPENDIX F: Faculty Demographics ! • Demographics of Faculty (for Section 3) ! For all intents and purposes, our Technical Assistant/Piano Accompanist is involved in many classes and concerts and therefore is included in the following table Year! %!Minority! %!Female! AGE! 2012@2013! 16.67!! 8.33! NA! (Asian,!African@ American)! ! ! ! ! • Course Loads of Faculty Members (for Section 3) YEAR PT.OVER- OVER- PART ADJUNCT RELEASE ON- SLN DUAL FALL LOAD & LOAD -TIME FCOH TIME LOAD COURSE COURSE GRADES CROSS- FCCH FCOH FTE SCHC OFFERED OFFERED % C OR OVER FAC. BETTER FTE IN FTE VaPA 2006- 5.9 26.9 0.0 150.5 0.0 0.03 1 4 75.0% 07 2007- 6.1 34.1 0.0 149.5 0.0 0.00 1 2 75.4% 08 2008- 5.6 23.5 0.0 143.5 0.0 0.00 1 0 71.9% 09 2009- 6.1 11.7 0.0 170.0 0.0 0.08 1 0 73.1% 10 2010- 5.2 8.0 0.0 148.5 0.03 0.07 1 0 67.1% 11 2011- 6.3 10.5 0.0 177.5 0.20 0.02 1 0 71.1% 12 ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 98! APPENDIX G: Student Enrollment Trends and Other Statistics ! • Student Enrollment Summary (for Section 4)

! !

! 99! ! !

! ! Move!In/Out!

Fall% Total%#%in% #%Moved%Into%Program%From% #%Moved%Out%of%Program%Into% Semester! Program% Another%MCC%Program% Another%MCC%Program%

2007! 105! ! 11! 2008! 90! 13! 13! 2009! 97! 10! 16! 2010! 89! 11! 13! 2011! 66! 7! !

! 100! ! Top!Programs! ! How!to!interpret!Table!3:!for!example,!fall!2008!(the!focus!term),!had!5!students!who!were!in!Liberal! Arts!in!fall!2007!that!program!changed!by!fall!2008!into!MU01.! ! Program$changed$into$MU01$from$the$following$Program$Areas$in$the$previous$fall$term$ Fall%% % % % % % Liberal!Arts! Non@Matric! Comm!Media!Arts! Photo@TV! 4!programs!tied! 2008! (5)! (2)! (1)! (1)! for!N!=!1! Liberal!Arts! Massage!Thpy! Elect!Eng!Tech! Non@Matric! 2009! ! (7)! (1)! (1)! (1)! Liberal!Arts! Photo@TV! Comm!Media!Arts! Interior!Design! Non@Matric! 2010! (6)! (1)! (1)! (1)! (2)! Liberal!Arts! Teacher!Ed! Photo@TV! Bus!Admin! Non@Matric! 2011! (2)! (2)! (1)! (1)! (1)! ! ! 6!MU01!students!who!left!MU01!and!by!fall!2008!were!in!Liberal!Arts.! ! ! Program$changed$out$of$MU01$into$the$following$Program$Areas$ Fall%% % % % % % 2007! Liberal!Arts! Computer! Liberal!Arts! Teacher!Ed! Bus!Admin! Science!! Science! (6)! (1)! (1)! (2)! (1)! 2008! Liberal!Arts! Human! Liberal!Arts! Bus!Admin! Hospitality! Science!! Services! (9)! (1)! (1)! (1)! (1)! 2009! Liberal!Arts! Bus!Admin! Comm!Media!Arts! Photo@TV! 3!programs! (10)! (1)! (1)! (1)! tied!for!N!=!1! 2010! Liberal!Arts! Liberal!Arts! Bus!Admin! Accounting! Phys!Ed! Science!! (9)! (1)! (1)! (1)! (1)! !

(Contributed: Andreu, A. May, 2012 Assessment of MU01Program from 2007 to 2011 IR, pp. 12) ! ! ! ! ! ! ! !

! 101! Final$Grades$in$previously$Assessed$courses$

Fall%2007% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!109! 69! 42! 60.9%! 15! 21.7%! 12! 17.4%! ! ! MUS!201! 32! 30! 93.8%! 2! 6.3%! ! ! ! ! MUS!209! 17! 16! 94.1%! 1! 5.9%! ! ! ! ! ! Spring%2008% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!109! 8! 8! 100%! ! ! ! ! ! ! MUS!110! 41! 26! 63.4%! 2! 4.9%! 13! 31.7%! ! ! MUS!202! 19! 17! 89.5%! 2! 10.5%! ! ! ! ! MUS!210! 20! 17! 85.0%! 2! 10.0%! 1! 5.0%! ! ! !! !

Fall%2008% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!109! 69! 54! 78.3%! 5! 7.2%! 10! 14.5%! ! ! MUS!159! 38! 24! 63.2%! 2! 5.3%! 12! 31.6%! ! ! MUS!201! 22! 16! 72.7%! 3! 13.6%! 3! 13.6%! ! ! MUS!209! 13! 11! 84.6%! 2! 15.4%! ! ! ! ! ! Spring%2009% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!110! 43! 28! 61.5%! 6! 14.0%! 9! 20.9%! ! ! MUS!160! 16! 15! 93.8%! 1! 6.3%! ! ! ! ! MUS!202! 11! 11! 100%! ! ! ! ! ! ! MUS!210! 12! 8! 66.7%! 1! 8.3%! 3! 25.0%! ! ! !

! 102! Final$Grades$in$previously$Assessed$courses$(cont)$ $ $ $ Fall%2009% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other% N! N! %! N! %! N! %! N! %!

MUS!109! 77! 40! 51.9%! 16! 20.8%! 21! 27.3%! ! ! MUS!159! 37! 28! 75.7%! 4! 10.8%! 5! 13.5%! ! ! MUS!201! 37! 30! 81.1%! 3! 8.1%! 4! 10.8%! ! ! MUS!209! 21! 16! 76.2%! 4! 19.0%! 1! 4.8%! ! ! MUS!259! 13! 13! 100%! ! ! ! ! ! ! ! Spring%2010% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other% N! N! %! N! %! N! %! N! %!

MUS!110! 40! 23! 57.5%! 7! 17.5%! 10! 25.0%! ! ! MUS!160! 29! 27! 93.1%! 2! 6.9%! ! ! ! ! MUS!202! 21! 15! 71.4%! 4! 19.0%! 2! 9.5%! ! ! MUS!210! 21! 16! 76.2%! 2! 9.5%! 3! 14.3%! ! ! MUS!260! 13! 9! 69.2%! 2! 15.4%! 2! 15.4%! ! ! $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $

! 103! Final$Grades$in$previously$Assessed$courses$(cont)$ $ Fall%2010% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!109! 89! 44! 49.4%! 14! 15.7%! 31! 34.8%! ! ! MUS!159! 39! 24! 61.5%! 4! 10.3%! 11! 28.2%! ! ! MUS!201! 32! 25! 78.1%! 3! 9.4%! 4! 12.5%! ! ! MUS!209! 27! 16! 59.3%! 6! 22.2%! 5! 18.5%! ! ! MUS!259! 23! 19! 82.6%! 3! 13.0%! 1! 4.3%! ! ! ! Spring%2011% Course% #% Final%Grades% Enrolled% C%or%Better% C@%through%D% F%&%W% Other%

N! N! %! N! %! N! %! N! %! MUS!110! 50! 27! 54.0%! 9! 18.0%! 14! 28.0%! ! ! MUS!160! 22! 20! 90.9%! 2! 9.1%! ! ! ! ! MUS!202! 24! 24! 100%! ! ! ! ! ! ! MUS!210! 19! 13! 68.4%! 2! 10.5%! 4! 21.1%! ! ! MUS!260! 22! 18! 81.8%! 3! 13.6%! 1! 4.5%! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 104! APPENDIX H: Student Demographics ! ! • Student Demographics (for Section 4)

YEAR MINORITY FEMALE 25 & OVER 2006-07 35.6% 29.8% 16.3% 2007-08 29.5% 27.6% 13 2008-09 37.8% 25.6% 3% 2009-10 38.9% 18.6% 12.2% 2010-11 36.9% 25.8% 15.5% 2011-12 31.7% 33.3% 18.0%

(Taken from: Institutional Research Web page) ! ! • Student Retention/Attrition (for Section 4) ! YEAR NEW READMIT IN OUT GRADS 2006-07! 48 4 14 16 8 2007-08! 52 7 14 16 10 2008-09! 32 12 11 11 9 2009-10! 45 9 10 16 9 2010-11! 34 6 11 14 9 2011-12! 24 5 7 (?) 12 ! There!are!three!categories!titled!“Graduated!by!Next!Fall,”!“Persisted!to!Next!Fall,”!and!“Left!MCC.”!! That!shows!the!following:! 1. The number of students who graduated from the applicable program vs. from the department, vs. a different program/department, 2. The number of students who persisted in the applicable program vs. in the department vs. in a different program/department, and 3. The persistence rate in the program vs. in the department vs. a different program/department. ! The!following!is!the!hierarchy!used!to!define!persistence:! ! 1. Graduated by next fall in program 2. Persisted to next fall in program 3. Graduated by next fall in department 4. Persisted to next fall in department 5. Graduated by next fall in different program/department 6. Persisted to next fall in different program/department 7. Transferred to other college without graduating 8. Left MCC without transferring or graduating ! ! ! !

! 105! APPENDIX I: Program Completion: Graduation Rates and Time Needed to Graduate ! %Graduated%by%Next%Fall% Persisted%to%the%Next%Fall% Left%MCC% Without% Fall% %Enrolled% % % Transferred% Transferring% Semester% In% In% In%Diff%% % In%Diff%% Out%without% or% Program% Dept.% Program% In%Program% In%Dept.% Program% Graduation% Graduating% (A)% (B)% (C)% (D)% (E)% (F)% (G)% (H)% ! ! N! N! N! N! %! N! N! N! N! 2007! 105! 9! 0! 2! 33! 34%! 0! 11! 6! 44! 2008! 90! 8! 0! 3! 22! 27%! 0! 13! 7! 37! 2009! 97! 3! 0! 3! 38! 40%! 2! 14! 9! 28! 2010! 89! 7! 0! 2! 30! 37%! 0! 13! 6! 31! Enrolled!=!A!+!B!+!C!+!D!+!E!+!F!+!G!+!H! Persistence! Rate! =! number! of! students! who! persisted! ÷! (number! enrolled! –! number! graduated! in! program)!

! ! ! ! Graduation!Rates:!by!First@time@Full@time!or!Gateway!Courses! Proportion!of!4@F!students!(i.e.,!fall,!first@semester,!first@time,!full@time)!who!graduate!within!two,! three,!and!four!years1!! ! ! ! ! FirstFtime$&$FullFtime$Students$ In% Graduated%Within%% Graduated%Within%% Graduated%Within%% Fall% Program% 2%Years% 3%Years% 4%Years% Semester% (Cohort)% P%% C%% M%% P%% C%% M%% P%% C%% M%% 2003! 32! 12.5%! 3.1%! 12.0%! 25%! 3.1%! 25.8%! 25%! 6.2%! 30.7%! 2004! 31! 6.5%! 6.5%! 12.0%! 12.9%! 19.4%! 25.8%! 16.1%! 19.4%! 30.9%! 2005! 22! 9.1%! 4.5%! 9.8%! 13.6%! 9.1%! 22.7%! 18.2%! 13.6%! 28.3%! 2006! 32! 12.5%! 3.1%! 10.4%! 18.8%! 6.2%! 23.6%! 18.8%! 9.4%! 29.6%! 2007! 37! 0%! 5.4%! 10.7%! 5.4%! 10.8%! 23.2%! 5.4%! 13.5%! 28.6%! P!=!Graduated!from!Program! C!=!Graduated!from!Program!Cohort,!but!not!from!the!Program! M!=!First@time!&!Full@time!who!graduated!in!any!program!from!MCC!!

!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

! 106!

1!The!numbers!and!percents!are!cumulative!(e.g.,!the!number!and!percent!who!graduated!within!four! years!includes!the!students!who!graduated!within!two!and!three!years).!

Average!Time!taken!in!the!Program!to!Graduate!! ! Mean%#%of%Terms%to%Graduate%–% Mean%#%of%Terms%to% “Pure”% Grad%Year% #%Graduates% Graduate%–%“General”% First@Timers%% Transfers% N! Mean! N! Mean! 2006@07! 10! 5.8! 5! 6.4! 2! 4! 2007@08! 10! 7.5! 7! 6.14! 0! 0! 2008@09! 8! 8.5! 3! 7.33! 1! 8! 2009@10! 4! 6.8! 2! 5.50! 0! 0! 2010@11! 7! 6.1! 4! 2.25! 1! 1.0!

Contributed: Andreu, A. (May, 2012) Assessment of MU01Program from 2007 to 2011 IR) ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 107! APPENDIX$J:$Student$Transfer$and$Placement$(for$Section$4)$

! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 108! • APPENDIX K Student Satisfaction Surveys and Results (for$Sections$4$&$6)$ ! QUESTIONNAIRE (SWOT) FOR CURRENT MCC MUSIC MAJORS: 32 Students in MUS 151 class 19 Anonymous responses Spring 2013

Question 1: Greatest Strengths of the current program? Small!classes!!!!! Instructor!interaction!!!!!!! Low!Cost!of!education!!!! ! ! ! 2$$$(total$number$of$answers$from$all$surveys)! Performance!Opportunities!!/!!getting!more!experience!!!!3!! Extra!help!from!‘Master/Great’!Faculty!(&!Staff!and!students)! And!/or!extra!help!for!advanced!students!outside!class!!!!!!! !6!!!!! Accompanist!Pi@Lin!!!!! ! ! ! ! 2! Applied!Piano!!!!! ! ! ! ! 2! Jazz!Ensemble!!!!! ! ! ! ! 2! Theory!Class!/!Aural!Skills!important!! ! ! 1! Friendly!&!informative!atmosphere!!!!! Outstanding!/!knowledgeable!professors!/!class!purpose!clear!/!understandable!!!!!7! Student!Music!Assoc.!(SMA)!activities! High!Expectations!for!students!for!the!Limited!resources! MUS!151!Applied!performance!‘Master!Class’!guest!artists! Staff!Diversity! Theory!4!days!/week!!! Variety!of!Vocal!Ensembles! Open!Music!Lab!/Quality!of!!! Practice!Rooms! Learned!to!play!multiple!instruments!!!! Comprehensive!Music!classes!offered!in!program/for!small!Area!!!!!!2! Fac!recommendations/help!to!get!to!next!school!

Question 2: Greatest Weaknesses of current program? Lack!of!instrumental!ensemble!variety!(concert!band/!classical!chamber!or!Gospel)!!!!!4! Private!lessons!not!incl.!in!tuition!!! MORE!focus!on!main!instrument!/!Applied!Music!class!(expand?)!!! More!practice!rooms!!/!!Music!Area!facilities!in!general!!!!!!!6! Better!Recital!Area!!! ! ! ! ! ! 2! ! ! !!! Theory!Classes!!/!!Aural!Skills! ! ! ! 2! Incorporate!Studio!/!other!Tech!class!into!Program!!!!!! 2! Announce!music!events!on!MCC!website!(meaning!all!concerts!on!main!page?)! Lessons!Off!Campus!!! 4!days!of!Theory!Class!/week!@!rather!have!3!days!/week! More!help!/!Students!struggling!in!Theory!Class!/!Aural!Skills!!!!!!3! ‘Many’!(not!specified)! card!reader!/!scan!system!to!gain!Practice!Room!access!

! 109! Aural!Skills!should!be!more!than!1ce!/!week! Create!Beginning!Jazz!class!(ensembles!require!much!skill)! Having!enough!piano!skills!!! Lack!of!Courses!available!when!needed!/!more!sections!!!!!2! Business!class!not!required! Lack!of!security!cameras!in!Practice!rooms!

Question 3: Greatest Opportunities going forward-your suggestions? Implement!diverse!/!larger!/!variety instrumental!ensembles!!/!!MCC!Concert!band!!/!Wind!/!Chamber!or! Classical!Orchestra!!!!8! Specific!Applied!class!(ex!vocals,!woodwinds@only!studio!class!(mentioned!by!Review!Board)!!!!! Having!more!students!enter!in!the!MU01!Program!!!!! Have!lessons!ON!Campus!!!!!! ! 3! More!‘Master!Class’!guest!artists!in!MUS!151!Applied!Music! Help!Students!struggling!in!Theory!Class!/!Aural!Skills!!(new!student!@we!have!in!place)! Not!enough!individual!practice!time!!!!2! Not!all!classes!Available!in!BOTH!Fall!AND!Spring!(Theory!AS,!Piano!1@2@3@4)!!!3! Lack!of!average!performance!skills!of!students!in!program! Enforce!dress!codes!at!concerts!(MCC!Fac!baffled!by!this;!not!true)! Build!more!Practice!Rooms!!! ! 5$ Easier!assignments!in!classes! ! ! ! ! RATE$Your$Classroom$Experience$$F$$2!students!did!not!respond!to!ANY!questions!below! Category!with!level!of!highest!numerical!response!in!BOLD! ! ENSEMBLE!/!CONCERT!EXPERIENCE!!!NA$–$1$(NA$=$DID$NOT$Take$Class$Yet)! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! 1! ! 1! 1! ! 1! 4! 3! 5$ ! ! THEORY! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! ! ! 2! ! 3! 1! 3! 8$ ! ! ! PERFORMANCE!&!APPLIED!LESSONS! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! ! ! 1! 2! 4! 3! 1! 6$ ! !

! 110! ! ! AURAL!SKILLS!!!!NA$–$1$$$! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! ! ! 1! 3! 3! 4$ 1! 4$ ! ! APPLIED!PIANO!MINOR!!!!!!NA$–$1$$! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! 1! ! 3! ! 1! 3! 2! 6$ ! ! CLASSICAL!MUSIC!HISTORY!!!!NAF$8$$! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! ! ! 2! ! 2! ! 2! 3$ ! ! SOC!SCI!MUS!HISTORY@!MUS!150!(R&R)!,120!(JAZZ)!119!(WORLD)!155!(AFR@AMER)!!!NA$F4$! 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! 1! ! 3! 1! 1! 3$ 1! 3$ ! ! OVERALL$SATISFACTION$WITH$THE$MU01$PROGRAM$AT$MCC$ 1! 2! 3! 4! 5! 6! 7! 8! 9! 10!(Exc)! (poor)! (neutral)! ! ! ! ! ! 1! 4! 1! 6$ 4! ! ! ! ! ! ! COLLEGE!!or!OTHER!DESTINATION!YOU!ARE! MUSIC!PROGRAM!OR!OTHER!YOU! GOING!TO!NEXT!YEAR! WILL!BE!ENROLLED!IN! ! ! Returning!to!MCC!–!11! Music!Program!–!11! Possibly!returning!@!1! Audio!Engineer!@!1! Unknown!@!1! Unknown!@!! No!response!@!2! No!response!@!2! Boston!Conservatory! Musical!Theater! Possibly!Berklee!(Boston)! ! !

! 111! • List and Summary of Related Library Holdings (for Section 6) ! The Leroy V. Good library provides excellent service to the music program by purchasing and loaning music texts, videos, CDs, trade publications, and periodicals. The collection development librarian continually reviews the current collection and solicits requests from the departments either directly or through the department library liaison. The library will also hold on reserve any faculty requested text for students use.

The library has vast music resources, including subscriptions to Dance Magazine, Down Beat, Rolling Stone, Sound and Vision, and Vibe. The library holds 1813 other materials on music, including 962 books, 62 scores, 732 CDs, 41 videos, 15 serials, and one computer file. Furthermore, their subscription to the Expanded Academic Index contains twenty-three titles, including Early Music, the Computer Music Journal, Journal of Music Teacher Education, Music and Letters, and Perspectives of New Music and their Ingenta subscription contains seventeen titles, including Contemporary Music Review, Music Analysis, Journal of Popular Music Studies, Journal of New Music Research, and Contemporary Music Review. See the Appendix for a complete listing of these journals.

Another learning resource available to music students is through the availability of the Computer Music Lab. The lab has state of the art software for composing, learning, practicing, researching, and recording music. Some of this software was developed by faculty member David Shaw to assist the Theory and History classes. The lab employs student aides on a part-time basis to allow students to access technology resources for computer-aided-instruction and development of classroom assignments. Each year, the Visual and Performing Arts Department provides money for the hiring of student aids, though even more are hired through work-study awards.

The Student Music Association Club (SMA) and Computer Music Lab Aids also provide tutoring and music software instruction and Academic Support Services provide tutoring, academic and financial aid advisement, college-survival workshops, and other services to aid in student success.

! ! ! ! ! ! ! ! ! ! ! ! ! !

! 112! APPENDIX$L:$Letter$from$External$Reviewers$(for$Section$8)! $ $ $ (Resumes$on$following$pages)$ !

MCC EXTERNAL REVIEW For Music Area Assessment Monday March 25, 2013 Comments from Kristen Shiner McGuire, Coordinator of Percussion Studies, Nazareth College

Question 1: Greatest Strengths of the current program? • Expertise and dedication of Music Faculty is very high! • On campus courses present a good balance of content that generates student interest and motivation in new things; along with making courses available to all – consistent with the mission of a community college. • Excellent technological facilities. • For those students who go on to pursue a career in music, there seems to be a good number who have very high professional success as performers; and many who do well in teaching and other areas.

Question 2: Greatest Weaknesses of current program? • Lack of on campus offered lessons. • Lack of individual practice spaces. • Lack of enough practice rooms and ensemble rehearsal spaces with percussion equipment. • Lack of a large instrumental ensemble opportunity on campus.

Question 3: Greatest Opportunities going forward? • Hiring of instrumental teaching faculty in the areas of brass, woodwinds, strings, and percussion. • Utilizing canvassing of incoming and current students across campus to find those with interest in participating in a performing ensemble (for example, enough people/useful instrumentation to create a concert band or wind ensemble). • Allocation of a small stipend to pay the Percussion Teacher to maintain percussion equipment quality and organization on a regular basis. • Advertising the accomplishments of past students via electronic and other media.

Question 4: Greatest Threats to the success of the program? ! The lack of recognition by the College and administration of the value and success so far of the Music Department; inherently leading to lack of support for Music Department growth. ! The mission of the College that mandates certain types of accessibility for all students; exceptions may be needed in order to raise the level of experience, excellence and opportunity for music students. ! Budget and space limitations. ! Not thinking outside the box to make changes and solve problems.

Question 5: Advice and recommendations for improvements? ! Devise strategies for improving visibility to the Administration • of the value and quality of the current Music Program (ex. video clips on the web of past and current student successes).

! 113! • of the contributions of the Music program and students to the College experience for others (ex. Music Department groups performing for college wide functions). • of the specific needs of music area that are different from other departments (ex. elements that significantly impact rehearsals, performances and morale, like adequate rehearsal and practice space; large enough doors; enough mobile equipment). • of the need to be more competitive with other community colleges in offering on campus lessons. • of meeting incoming music students’ expectations that lessons will be offered on campus. ! Focus on improving the quality of performance by all music students. ! Offer on campus lessons on all instruments. ! Develop funding for an inviting, useful, and acoustically excellent performance hall for all music students, faculty and ensembles.

Notes: I was delighted to be invited to participate in this process. I came away thinking that so many of us involved in music and education are equally dedicated to excellence in our art form and our teaching - whether we teach at a conservatory, university or community college. The trick seems to get others to grasp and support our value and mission. You have started an excellent process, and we are here to cheer you on.

Sincerely, KSM ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 114! APPENDIX$K:$(cont.)$List!of!Advisory!Board!Members!and!resumes!(for!Section!8)$ ! 1-Kristen Shiner-McGuire, Nazareth College, Instrumental Music Director 2-Dr. Mario Martinez, Nazareth College, Vocal Music Professor 3-William Tiberio, University of Rochester & Ithaca College Instrumental Music Professor (adjunct), Fairport High School instrumental Music Director ! Kristen$Shiner$McGuire$ $ $ $ $ 106!Lanark!Crescent! Rochester,!NY!14609! Phone!585@482@7365! [email protected]! !!!!www.kristenshinermcguire.com! ! Experience$$$$$$ Thirty!!Five!years!experience!teaching!music!(with!award!winning!students!at!all! Summary$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$levels)! $ Solo!percussionist!and!marimbist;!orchestral!percussionist;!drum!set!artist!and! lead!singer;!composer;!recording!artist;!author;!leadership!positions!with! national!and!regional!professional!associations! ! Education$ Eastman!School!of!Music,!M.M.,!Performer’s!Certificate!1983! Marimba!student!of!Keiko!Abe,!Tokyo,!Japan!1980@81! University!of!Illinois,!B.M.,!Highest!Honors!1980! ! Additional$Study$ Jazz!pedagogy!and!vibraphone!2003@present! Sibelius!music!software!!2011!@!present! ! Teaching$ Coordinator%of%Percussion%Studies%1984@present! Nazareth!College!of!Rochester!! Faculty,!Tritone!Fantasy!Jazz!Camp!2002!–!present! Adjudicator,!New!York!State!School!Music!Association!1994!–!present! All%State%Adjudicator,!NYSSMA!2012!@!! Performing%and%Teaching%Artist!1985@1999! Aesthetic!Education!Institute!! Private%Percussion%Teacher!1983@present! ! Professional$ 6. Rochester!Philharmonic!Orchestra! Performing$ 7. RPO!Marimba!Band! $ 8. Kind!of!Blue!jazz!trio! 9. The!Pop!Tarts! 10. Pan!Gaia!Steel!Band! 11. Rochester!Gay!Men’s!Chorus! 12. Rochester!Oratorio!Society! 13. Bach!Children’s!Choir! 14. GEVA!Theatre! 15. Jon!Seiger!and!The!All!Stars:!A!Tribute!to!Louis!Armstrong! 16. Elle!Jazz!Trio! 17. Maelstrom!Percussion!Ensemble!

! 115! 18. Nazareth!College!Orchestra!(soloist)! 19. Greece!Symphony!(soloist)! 20. Greater!Rochester!Music!Educator's!Wind!Band!(soloist)! 21. Greater!Rochester!Women’s!Philharmonic! 22. Women’s!Percussion!Project!2002! 23. Merry!Go!Round!Playhouse! 24. Solo!Faculty!Recitals,!Nazareth!College!!(1985@present)! 25. Xerox!Rochester!International!Jazz!Festival! 26. Bossa!Nova!in!Portuguese!featuring!Dr.!Hilda!Chacon! 27. Nazareth!College!Faculty!Jazz!Quartet! ! ! Shows/Artists+ !!Ice!Capades!!!!!!!!!!!!!!!!!!Les!Miserables! !!Shrine!Circus!!!!!!!!!!!!!!!High!School!Musical! !!Mickey!Rooney!!!!!!!!!!!The!Drowsy!Chaperone! !!Johnny!Mathis!!!!!!!!!!!!!West!Side!Story! !!Clark!Terry!!!!!!!!!!!!!!!!!!The!Irish!Tenors! ! Web$Presence$ Shiner$McGuire$professional$performances$and$student$performances:$$ ! NCRPERCENS!Youtube!Channel!(26)!! http://www.youtube.com/user/NCRPERCENS/videos! ! Nazareth!College!Youtube!Channel!(7)!! http://www.youtube.com/user/NazarethCollege/videos?query=kristen+shiner+ mcguire! ! Nazareth!College!Music!Department!Youtube!Channel!(9)!! http://www.youtube.com/NazMusicDept! ! Shinermcguire!Youtube!Channel!including!NCR!senior!recitals!and!Music!Therapy! composition!!(9)! http://www.youtube.com/user/shinermcguire?feature=watch! ! Personal!website!www.kristenshinermcguire.com! FaceBook!page!www.facebook.com/kristenshinermcguire!! ! Community$Service$ ! Established!Raymond!Shiner!Jazz!Award,!Nazareth!College,!2000! ! Established!In!Service!teaching!program!for!Nazareth!College!percussion! students!at!Penfield!Village!Nursery!School,!2001@2003! ! NYS!Chapter!President,!international!Percussive!Arts!Society!(PAS)!1990@ 1999.!Hosted/coordinated!annual!Days!of!Percussion!throughout!NY! State.! ! NYS!PAS!Chapter!Advisor,!1999@2008! ! PAS/NYSSMA!Liaison,!1991@2008!Host/Coordinator!of!annual!PAS!clinics! at!Winter!NYSSMA!Conference.! ! Columnist!for!“Rappings,”!percussion!review!column!in!School!Music!

! 116! News,!1996@present! ! All!State!Band!Percussion!Section!Coach,!2002@2004! ! Rochester!Arts!Walk!selection!panel,!2004! ! Board!of!Directors,!international!Percussive!Arts!Society,!1994@2006! ! Percussion!Ensemble!Editor!for!NYSSMA!Manual!2004@present! ! Compositions$ Published$by$Kendor$Music,$for$young$–$advanced$percussionists:$ $ ! Please%Pass%The%Beats!!for!percussion!quintet!(written!for!the!Nazareth!!!!!!!!!! College!Percussion!Ensemble),!1999! ! Juniper!for!solo!marimba,!2003!! ! Mixolydia,!2003! ! Blue%Lagoon,!!2004! ! Re@Action!for!percussion!quartet,!2004! ! Two!By!Two:!9!duets!for!two!mallet!percussion!2008! ! $ $ $ $ $ $ Other$compositions:$ • Celestial%Welcome!(Alfred!Pub)!for!NCR!President!Daan!Braveman!2005! • Declaration,%Song,%and%Dance!for!solo!timpani!(Ludwig!Music),!1992! • ‘Dis%Is%How%Her%Songo!for!drum!set!quartet,!2002!(commissioned!by!the! Women’s!Percussion!Project)! • Three%Pieces%for%Bass%Clarinet%and%Marimba%(Media%Press)1982/2011! • Narayama!for!percussion!and!voice,!1982! • Colors%of%Earth%and%Sea!for!solo!marimba!(Media!Press)!1982/2010! ! ! Publications$ Articles!published!in!School%Music%News,%Percussive%Notes,%The%Instrumentalist% 1990@present! ! First!draft!of!Mallet!Percussion!Workout!!completed!April!2012.!To!be!self! published;!then!distributed!by!Alfred!Publishing,!Fall!2012! ! Press$ Electronic!Press!Kit!!November!2011! http://epresskitz.com/index.php?u=35253634!! ! City!Newspaper!CD!!Review!February!2012!!!!!!!!! http://www.rochestercitynewspaper.com/music/articles/2012/02/MUSIC@ PROFILE@Kristen@Shiner@McGuire/! ! Regular!radio!play!of!selections!from!Kristen%Sings%and%Plays%and%Rings!WGMC! 90.1!FM!January@April!2012;!WXXI;!WRUR! !

! 117! Honors$ Who’s!Who!of!American!Teachers,!2007! Excellence!in!Undergraduate!Teaching!Award,!Nazareth!College,!1998! Who’s!Who!of!American!Women,!1998! Percussive!Arts!Society!Outstanding!Chapter!President!Award!(out!of!65! Chapters,!world@wide),!1993! Eastman!School!of!Music!Performer’s!Certificate,!1983! Edgard!Varese!Percussion!Award,!1980! ! Professional$ Rochester!Musician’s!Association! memberships$ NYSSMA! NYSBDA! Arts!Reach! Percussive!Arts!Society! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !

! 118! !

! 119! ! ! ! !

! 120! !

! 121! ! ! ! !

! 122! !

! ! !

! 123! ! ! ! !

! 124! ! ! ! ! !

! 125! ! ! ! ! !

! 126! !

! ! ! !

! 127! ! ! ! !

! 128! ! ! ! !

! 129! ! !

! !

! 130! ! !

! !

! 131! !

! ! ! ! !

! 132! ! !

! ! !

! 133! William&S.&Tiberio& 1650!East!Avenue,!Apt.!7B! !Rochester,!NY!14610! 585<781<4701! [email protected]! [email protected]! !

Teaching&and&Conducting&Experience&

Fairport&High&School,&1988?&present&

" Director!of!Bands,!!Assistant!to!Orchestra!Director,!Winds,!Brass,!and!Percussion!Coach!for!Orchestra,! Director!of!Pit!Orchestras!for!20+!Broadway!musicals,!Woodwind!Instructor!

University&of&Rochester,&2004?&present&

" Wind!Symphony!and!Jazz!Ensemble!Director!

Ithaca&College&School&of&Music,&2010?&present&

• Thursday!Night!Jazz!Lab!Director!

• Campus!Jazz!Lab!Band,!Founder!and!Director!

Auburn&High&School,&1984?1988&

" Concert!Band!and!Jazz!Band!Director,!Assistant!Marching!Band!Director,!Woodwind!Instructor!

Education&

• Ithaca!College,!1984!BS!in!Music!Education!

" SUNY!Fredonia,!1990!MS!in!Music!Education!

Achievements/Awards&

" Rochester!Philharmonic!Music!Educators!Award,!2002!

" Fairport!High!School!Teacher!of!the!Year,!!1995!

" University!of!Rochester!Excellence!in!Secondary!Teaching!Award,!1994!

" Fairport!High!School!Graduation!Speaker,!1993!

" Fairport!High!School!Yearbook!Dedication!recipient,!2000!

" 7!consecutive!Gold!with!Distinction!NYSSMA!Major!Organization!in!Level!6!at!Fairport!High!School,! Concert!Band!

Additional&Musical&Activities&

" Summer!Staff,!Hochstein!School!of!Music,!High!School!Jazz!Camp!(10!years)!

! 134! " Summer!staff,!Eastman!Community!Music!School:!!High!School!Jazz!Camp,!Middle!School!Jazz!Camp,! High!School!Wind!Ensemble!Camp,!Adult!Education!for!Rochester!Jazz!Fest!Improvisation!Class!

" Founder,! Eastman! Community! Music! School! Middle! School! Jazz! Ensemble,! ECMS! Wind! Ensemble,! ECMS! Music! Educators! Jazz! Ensemble! (and! current! director),! and! ECMS! Educators! Wind! Ensemble! (and!current!director)!

" Former!president,!New!York!State!Chapter!of!International!Association!of!Jazz!Educators.!NYSSMA!All< State!Woodwind!Adjudicator!

" Tritone!Jazz!Camp!Instructor!for!adult!jazz!musicians!

" Guest!conductor!for!Area!All

" Performer!in!the!Rochester!Music!scene,!inclusive!of!Jazz,!Classical,!Rock,!Latin,!Commercial!music.!! Recorded!artist!on!9!CD’s!

" Adjudicator,!Concert!Band!and!Jazz!Ensemble!pageants!and!festivals!(average,!3!per!year!for!the!last! 20!years)!

References&

" Dr.!Mark!Scatterday,!Eastman!School!of!Music;[email protected];!!!585<261<6504!

" Dr.!Peter!Boonshaft,!Hofstra!University;[email protected];!!516<528<8658!

" Brian!Story,!Canandaigua!Schools,!retired;!Hochstein!Finger!Lakes!Concert!Band;[email protected];!! 585<396<1715!

" Jim!Doser,!Penfield!High!School;[email protected];!!585<249<6700!

! ! ! ! ! ! ! ! ! ! ! ! !

! 135! APPENDIX M: Outstanding MCC Graduate! !

$STUDENT$SUCCESS,$MCC$GRADUATE,$BIO$AND$AWARDS$

Nicholas!S.!Omiccioli!(b.!1982)!is!currently!a!preparing!future!faculty!fellow!at!the!University!of!Missouri@ Kansas!City!and!production!coordinator!of!newEar!Contemporary!Chamber!Ensemble.!His!works!have!been! performed!throughout!the!United!States,!Canada,!Italy,!Austria,!Lithuania,!Thailand,!New!Zealand,!and!China!by! the!Jasper!String!Quartet,!Curious!Chamber!Players,!DuoSolo,!Ensemble!Platypus,!le!Nouvel!Ensemble!Moderne,! l’Orchestre!de!la!francophonie,!Society!for!New!Music,!Brave!New!Works,!Contemporaneous,!Wild!Rumpus!New! Music!Collective,!Kansas!City!Chorale,!and!the!Simon!Carrington!Chamber!Singers,!among!others.!

Nick’s!research!interests!include!vertical!harmonic!construction!and!prolongation!of!fixed!pitches!in!acoustic! chamber!music!and!large!ensemble!settings.!His!music!has!been!described!as!dark!yet!colorful,!dramatic,!gestural,! and!full!of!emotion.!Drawing!upon!many!styles!and!techniques,!Nick’s!musical!aesthetic!blends!both!the!traditional! and!experimental!in!his!own!unique!sound!world!in!which!melody,!harmony,!extended!techniques,!sound!effects,! and!noise!hold!equal!weight.!

Nick!has!been!commissioned!by!the!Wellesley!Composers!Conference,!Shouse!Institute!at!the!Great!Lakes! Chamber!Music!Festival,!National!Arts!Centre!in!Canada,!Third!Angle!Ensemble,!and!Animus!Ensemble.!Some! of!his!honors!include!two!nominations!for!awards!by!the!American!Academy!of!Arts!and!Letters,!an!ASCAP! Foundation!Morton!Gould!Young!Composer!Award,!MACRO!Composition!Award,!two!Beijing!Modern!Music! Festival!Young!Composer!Awards!(2011!and!2012),!first!place!in!the!2010!Thailand!International!Composition! Festival,!2009!DuoSolo!Emerging!Composer!Award,!2007!Brian!M.!Israel!Prize,!and!multiple!awards!and!grants! through!Mu!Phi!Epsilon!and!the!College!Music!Society.!Recently,!Nick!was!announced!as!a!finalist!in! representing!the!United!States!at!ISCM!2014!World!Music!Days!in!Warsaw,!Poland.!His!primary!composition! teachers!include!James!Mobberley,!Chen!Yi,!Brian!Bevelander,!Paul!Rudy,!and!Zhou!Long.!He!has!also!had! additional!study!with!João!Pedro!Oliveira!and!Stephen!Hartke.!Nick!holds!degrees!from!the!University!of! Missouri@Kansas!City!and!Heidelberg!University.!When!not!composing,!Nick!enjoys!watching!cartoons.! $ 2013!|Aspen!Chamber!Music!Project!|!Aspen!Contemporary!Ensemble!(Aspen,!CO)!Ruth!Carver,!mezzo!soprano!+! Brendan!Bondurant,!guitar!(Denver,!CO)!Third!Angle!Ensemble!(Portland,!OR)!Vision!of!Sound!(Syracuse,!NY)!

2012!|National!Arts!Centre!Summer!Music!Institute!for!l’Orchestre!de!la!Francophonie!(Ottawa,!Ontario,! CANADA)!MMTA/MNTA!Commissioned!Composer!(Kansas!City,!MO)!Animus!Ensemble!(Cambridge,!MA)!

2011!|Great!Lakes!Chamber!Music!Festival!Shouse!Institute!|!Jasper!String!Quartet!(Bloomfield!Hills,!MI)!Trio! Kinsella!(Kansas!City,!MO)!

2010!|66th!Annual!Wellesley!Composers!Conference!Commissioned!Composer!(Wellesley,!MA)!

2009!|James!Keel!Williams,!bassoon!(Kansas!City,!MO)!

! 136! awards$

2013!|Third!Angle/Russell!New!Ideas!in!Music!Composition!Competition!(Portland,!OR)!!New!Music!Miami!ISCM! Festival!Call!for!Scores!(Miami,!FL)!!East!Carolina!New!Music!Festival!Orchestra!Composition!Competition! (Greenville,!NC)!!Truman!State!MACRO!Composition!Competition!(Kirksville,!MO)!!8th!Annual!Chengdu,!China!Sun! River!Prize!second!place!(Chengdu,!CHINA)!!Missouri!Composers!Orchestra!Project!honorable!mention!(Columbia,! MO)!!RED!NOTE!New!Music!Festival!Composition!Competition!runner!up!(Normal,!IL)!MATA!Festival!Call!for!Scores! finalist!(New!York!City,!NY)!

2012!|Beijing!Modern!Music!Festival!Young!Composer!Award!(Beijing,!CHINA)!!Ensemble!Platypus!Call!for!Scores! (Vienna,!AUSTRIA)!!Random!Access!Music!Call!for!Scores!(New!York!City,!NY)!ASCAP/Society!of!Composers,!Inc.! Student!Composition!Commission!Region!VI!Award!(USA)!Society!of!Composers,!Inc.!University!of!Iowa!Student! Chapter!Call!for!Scores!(Iowa!City,!IA)!Sioux!City!Symphony!Orchestra!Composer!of!the!Year!Competition!honorable! mention!(Sioux!City,!IA)!Miami!ISCM!Section!2014!World!Music!Days!finalist!(Warsaw,!POLAND)!Thailand! International!Composition!Festival!finalist!(Bangkok,!THAILAND)!KANTER/MIVOS!String!Quartet!Composition!Prize! finalist!(New!York!City,!NY)!

2011!|Beijing!Modern!Music!Festival!Young!Composer!Award!(Beijing,!CHINA)!!College!Music!Society!Great!Plains! Regional!Conference!Student!Composition!Prize!(Lincoln,!NE)!!College!Music!Society!Northeast!Regional! Conference!Student!Composition!Prize!(Allentown,!PA)!!College!Music!Society!Mid@Atlantic!Regional!Conference! Student!Composition!Prize!(Greensboro,!NC)!!Wild!Rumpus!New!Music!Collective!Call!for!Scores!(San!Francisco,! CA)!!ASCAP/Society!of!Composers,!Inc.!Student!Composition!Commission!Region!VI!Award!(USA)!!National! Association!of!Composers,!USA!Young!Composer!Award!second!place!(Los!Angeles,!CA)!+++++++ASCAP!Foundation! Morton!Gould!2011!Young!Composer!Award!finalist!(USA)!

2010!|Thailand!International!Composition!Festival!Award!(Bangkok,!THAILAND)!!ASCAP!Foundation!Morton!Gould! 2010!Young!Composer!Award!(USA)!!UMKC!Chamber!Music!Composition!Competition!(Kansas!City,!MO)!!Earplay! Donald!Aird!Memorial!Composers!Competition!finalist!(San!Francisco,!CA)!

2009!|DuoSolo!Emerging!Composer!Competition!(USA)!!UMKC!Chamber!Music!Composition!Competition!(Kansas! City,!MO)!

2008!|UMKC!Conservatory!Crescendo!Competition!(Kansas!City,!MO)!!UMKC!Chamber!Music!Composition! Competition!(Kansas!City,!MO)!

2007!|Society!for!New!Music!Brian!M.!Israel!Composition!Prize!(Syracuse,!NY)!!UMKC!Chamber!Music!Composition! Competition!(Kansas!City,!MO)!

2005!|Dance!Rochester!!Composer/Choreographer!Competition!Award!(Rochester,!NY)!!Heidelberg!University!Ars! Nova!Composition!Award!(Tiffin,!OH)! fellowships,$grants$+$scholarships$

2013!|Aspen!Music!Festival!and!School!Composition!Fellowship!full!session!(Aspen,!CO)!!American!Academy!in! Rome!Fellowship!finalist!(New!York,!NY)!

2012!|National!Arts!Centre!Summer!Music!Institute!Composition!Scholarship!(Ottawa,!Ontario,!CANADA)!!Le!

! 137! Domaine!Forget!Composition!Scholarship!(St.!Irénée,!Quebec,!CANADA)!!Mu!Phi!Epsilon!Foundation!Ellen!Jane! Lorenz!Porter!Grant!for!Graduate!Work!in!Composition!Mu!Phi!Epsilon!Foundation!Mabel!Henderson!Memorial! Grant!for!International!Study!Mu!Phi!Epsilon!Foundation!Eleanor!Hale!Wilson!Summer!Scholarships!UMKC!Travel! Grant!

2011!|Mu!Phi!Epsilon!Foundation!International!Scholarship!UMKC!Travel!Grant!

2010!|UMKC!Preparing!Future!Faculty!Fellowship!(2010–2013)!!Mu!Phi!Epsilon!Foundation!International! Scholarship!Mu!Phi!Epsilon!Foundation!Lillian!Harlan!Ramage!Composition!Grant!

2009!|UMKC!Chancellor’s!Non@Resident!Scholarship!(2009–2012)!!UMKC!Barr!Fellow!(2009–2013)!!UMKC! Composition!Scholarship!

2007!|UMKC!Composition!Scholarship!(2007–2009)!!UMKC!Travel!Grant!

2006!|UMKC!Chancellor’s!Non@Resident!Scholarship!(2006–2009)!!Heidelberg!University!Travel!Grant!

2003!|Heidelberg!University!Brenneman!Music!Scholarship!(2003–2006)! special!honors!+!invitations!

2013!|East!Carolina!New!Music!Festival!Guest!Composer!(Greenville,!NC)!!GAMMA!University!of!Texas@Austin! Conference!Invited!Fellow!(declined)!(Austin,!TX)!

2012!|Festivalis!Druskomanija!Guest!Composer!(Vilnius,!LITHUANIA)!!Nomination!by!the!American!Academy!of! Arts!and!Letters!(USA)!!University!of!Iowa!Center!for!New!Music!Guest!Composer!+!Lecturer!(Iowa!City,!IA)!

2011!|Heidelberg!New!Music!Festival!Guest!Composer!Lecturer!(Tiffin,!OH)!

2010!|Nomination!by!the!American!Academy!of!Arts!and!Letters!(USA)!!Heidelberg!New!Music!Festival!Guest! Composer!!Lecturer!(Tiffin,!OH)!

2009!|Nomination!to!be!the!MMTA/MNTA!Commissioned!Composer!(Kansas!City,!MO)!!Guest!Lecturer!at! Oklahoma!State!University!(Stillwater,!OK)!

2008!|Heidelberg!New!Music!Festival!Guest!Composer!(Tiffin,!OH)!

2006!|Who’s!Who!Among!College!Students!in!American!Universities!and!Colleges! workshops$

2013!|Aspen!Music!Festival!and!School!(Aspen,!CO)!!+UCDavis!“Worlds!of!Discovery!and!Loss:!The!Art!of! Migration”!Composition!Participant!(Davis,!CA)!

! 138! 2012!|East!Coast!Contemporary!Live!Workshop!Composition!Participant!(Boston,!MA)!!Le!Domaine!Forget! Académie!Internationale!Composition!Fellow!(Saint@Irénée,!Québec,!CANADA)!!National!Arts!Center!(NAC)!Summer! Music!Institute!Composition!Fellow!(Ottawa,!Ontario,!CANADA)!

2011!|Beijing!INternational!Composition!Workshop!(BICW)!Composition!Fellow!(Beijing,!CHINA)!!highSCORE!Music! Festival!Composition!Fellow!(Pavia,!ITALY)!

2013!|66th!Annual!Wellesley!Composers!Conference!Commissioned!Composer!(Wellesley,!MA)!!Cortona!Sessions! for!New!Music!Composition!Fellow!(Cortona,!ITALY)!

2009!|65th!Annual!Wellesley!Composers!Conference!Composition!Fellow!(Wellesley,!MA)!publications!+! recordings!

2013!|Recording!TBA!by!the!Cosmos!Trio:!hommage!à!claude!debussy!

2012!|Aftermath,!a!highSCORE!New!Music!Center!album!recorded!by!Omar!Fassa,!guitarist:!danza!di!fuoco!(track! 8)!!Juxtapositions,!an!independent!album!recorded!by!Simon!Carrington!Chamber!Singers:!a!song!of!joys!(track!1)!

2011!|insights!no.!1!(2009)!for!solo!bassoon!published!by!TrevCo@Varner!

2010!|SCI!Journal!of!Music!Scores,!Vol.!45;!pub.!by!Schott!Music,!New!York,!NY:!gestures! $ PRESS$

Nick%and%his%string%quartet!reach!featured(on(Composers(Circle,"a"website"dedicated"to"presenting"one"work"by"one" new$composer$every$day.$(13$February$2013)!

Mention&in!The$Davis$Enterprise!(Davis,(CA)(for(performance(of!reach&by&the&Calder&Quartet&on&3&February&2013.& (28$January'2013)!

Click&here&to&read&an&interview!with%Nick%in%the%Kansas%City%Star‘s%“Classical%Beat”%column%by%Patrick#Neas.!(August' 2012)!

Click&here&to&read&an&interview!with%Nick%on%KCMetropolis.org’s!Movers,(Shakers,(Stalwarts!series.&(April&2012)!

“The%absence$of$the$familiar$through$[invisible$worlds]$is$keenly$representative$of$the$composer’s$inspiration—the$ unknown#world#of#the#deep#ocean.”—Kansas%City%Star!(February)2012)!

“Nicholas*S.*Omiccioli’s!Invisible)Worlds!displayed)a)depth)and)density)of)sound,)evoking'the'ocean’s'murky'deeps' …"which"utilized"extended"techniques"for"a"dramatic%and%mysterious%effect.”—KCMetropolis.org!(February)2012)!

“Nicholas*S.*Omiccioli%offered%his%own%modern%setting%of%a%classic%text%in!A"Song"of"Joys,"based"on"a"poem"by"Walt" Whitman.)A)spirited)opening)gave)way)to)a)beautiful)slow)middle)section.)Harmonies)were)lush)…)with)a) particularly*lovely*cluster*in*the*women’s*voices.*The*piece%built%up%momentum%again%for%a%joyous"end.”— KCMetropolis.org!(June&2011)!

! 139! “Launching*into*a*short*trio*[...from*within]*by*…*Omiccioli,*the*three*players"moved"into"a"new"world:"the" agonizing'bursts'of'Omiccioli’s'…'rant'against'a'life@threatening)disease)came)out)in)fighting)string)lines)and) tumultuous'piano'chords'…'producing!some%very%scary%harmonics.”—The$News$Tribune!(March'2011)!

Click&here&to&listen&to&an&interview!with%Nick%on!No#Extra#Notes.!(October)2009)!

“Nicholas*Omiccioli’s!A"Song"of"Joys!showcased)lovely)imitative)melodies)that)often)cadenced)with) complicated+chords.”—Present'Magazine!(March'2009)! $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ !

! 140! APPENDIX N: LIBRARY TITLES

Expanded Academic Index Titles at the Leroy V. Good Library 19th Century Music ISSN: 0148-2076 Publisher: University of California Press Issues/Year: 3 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Jun 22 1989 - current

American Music ISSN: 0734-4392 Publisher: University of Illinois Press Issues/Year: 4 Audience: Academic, General Format: Magazine/Journal, Refereed Index coverage: Mar 22 1989 - current Full-text coverage: Sep 22 1992 - Mar 22 2000

American Music Teacher ISSN: 0003-0112 Publisher: Music Teachers National Association, Inc. Issues/Year: 6 Audience: Academic Format: Magazine/Journal Index coverage: Feb 1 1992 - current Full-text coverage: Dec 1 2001 - current

Black Music Research Journal ISSN: 0276-3605 Publisher: Center for Black Music Research Issues/Year: 2 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Mar 22 1996 - current Full-text coverage: Mar 22 1997 - current

Black Perspective in Music ISSN: 0090-7790 Publisher: Foundation for Research in the Afro-American Creative Arts Issues/Year: 1

Audience: Academic Format: Magazine/Journal Index coverage: Sep 22 1989 - Sep 22 1989

Computer Music Journal ISSN: 0148-9267 Publisher: MIT Press Journals Issues/Year: 4

Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Sep 22 1999 - current Full-text coverage: Sep 22 1999 - Mar 22 2001

Contemporary Music Review ISSN: 0749-4467 Publisher: Harwood Academic Publishers Issues/Year: 3 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Jan 1 1996 - current

Czech Music ISSN: 1211-0264 Publisher: Czech Music Information Issues/Year: 6 Audience: Academic, General Format: Magazine/Journal Index coverage: Sep 1 2002 - current Full-text coverage: Sep 1 2002 - current

Early Music ISSN: 0306-1078 Publisher: Oxford University Press Issues/Year: 4 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Feb 1 1989 - current Full-text coverage: Feb 1 1993 - Nov 1 1998

Folk Music Journal ISSN: 0531-9684 Publisher: English Folk Dance and Song Society Issues/Year: 1 Audience: Academic, General Format: Magazine/Journal, Refereed Index coverage: Jan 1 1996 - current

General Music Today ISSN: 1048-3713 Publisher: Menc - the National Association for Music Education Issues/Year: 3 Audience: Academic, Professional Format: Magazine/Journal, Refereed Index coverage: Mar 22 2000 - current Full-text coverage: Mar 22 2000 - current

Journal of Music Teacher Education ISSN: 1057-0837 Publisher: Menc - the National Association for Music Education Issues/Year: 2 Audience: Academic, Professional Format: Magazine/Journal, Refereed Index coverage: Sep 22 1999 - current Full-text coverage: Sep 22 1999 - current

Journal of Research in Music Education ISSN: 0022-4294 Publisher: Menc - the National Association for Music Education Issues/Year: 4 Audience: Academic, Professional Format: Magazine/Journal, Refereed Index coverage: Dec 22 1999 - current Full-text coverage: Dec 22 1999 - current

! 141! Latin American Music Review ISSN: 0163-0350 Publisher: University of Texas at Austin (University of Texas Press) Issues/Year: 2 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Mar 22 1996 - current Full-text coverage: Mar 22 1996 - current

Leonardo Music Journal ISSN: 0961-1215 Publisher: MIT Press Journals Issues/Year: 1 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Jan 1 1999 - current

Music & Letters ISSN: 0027-4224 Publisher: Oxford University Press Issues/Year: 4 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Feb 1 1989 - current Full-text coverage: Aug 1 1994 - Nov 1 1998

Music Perception ISSN: 0730-7829 Publisher: University of California Press Issues/Year: 4 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Sep 22 2000 - current

Music Review ISSN: 0027-4445 Publisher: Black Bear Press Ltd. Issues/Year: 4 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Feb 1 1989 - Aug 1 1993

Music Week ISSN: 0265-1548 Publisher: Cmp Information Ltd. Issues/Year: 51 Audience: General, Trade Format: Magazine/Journal Index coverage: Jan 16 1999 - current Full-text coverage: Jan 16 1999 - current

Perspectives of New Music ISSN: 0031-6016 Publisher: University of Washington Issues/Year: 2 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Jan 1 1989 - current Full-text coverage: Jun 22 1992 - Jan 1 2003

Popular Music ISSN: 0261-1430 Publisher: Cambridge University Press Issues/Year: 3 Audience: General Format: Magazine/Journal, Refereed Index coverage: Jan 1 1992 - current

Popular Music and Society ISSN: 0300-7766 Publisher: Taylor & Francis Ltd. Issues/Year: 4 Audience: General Format: Magazine/Journal, Refereed Index coverage: Mar 22 1992 - current Full-text coverage: Mar 22 1994 - current

Update: Applications of Research in Music Education ISSN: 8755-1233 Publisher: Menc - the National Association for Music Education Issues/Year: 2 Audience: Professional Format: Magazine/Journal, Refereed Index coverage: Mar 22 2000 - current Full-text coverage: Mar 22 2000 - current

Women & Music ISSN: 1090-7505 Publisher: University of Nebraska Press Issues/Year: 1 Audience: Academic Format: Magazine/Journal, Refereed Index coverage: Jan 1 1999 - current Full-text coverage: Jan 1 1999 – current

Ingenta Music Titles at the Leroy V. Good Library Computer Music Journal MIT Press

Contemporary Music Review Routledge, part of the Taylor & Francis Group

Early Music Oxford University Press

Ethnomusicology Forum Routledge, part of the Taylor & Francis Group

! 142! International Journal of Music Education SAGE Publications

Journal of Musicological Research Taylor and Francis Ltd

Journal of New Music Research Routledge, part of the Taylor & Francis Group

Journal of Popular Music Studies Taylor and Francis Ltd

Journal of the Royal Musical Association Oxford University Press

Leonardo Music Journal MIT Press

Music Analysis Blackwell Publishing

Music and Letters Oxford University Press

Music Education Research Carfax Publishing, part of the Taylor & Francis Group

Musical Quarterly, The Oxford University Press

Popular Music & Society Routledge, part of the Taylor & Francis Group

Psychology of Music SAGE Publications

Word and Music Studies Rodopi

! 143! APPENDIX O: List of All Music Courses Offered at Monroe Community College

MUS 101 -- Music Appreciation Interest, taste and discrimination in music and its relationship to other art forms; survey of style periods of Western Music; Medieval, Renaissance, Baroque, Classical, Romantic and Twentieth Century; survey of musical forms, instruments of the orchestra, and music in national cultures; biographical sketches of composers; listening to records essential. Three class hours. (SUNY-H) 3 Credits.

MUS 102 – Basic Musicianship Skills This course offers an introduction to four basic skills of music: music theory, aural skills, piano skills, and solo performance in voice or another instrument. This course is open to both music majors and non-majors. One class hour, two lab hours

MUS 103 – Basic Musicianship Skills II This course offers further instruction after Basic Musicianship skills I on the four basic skills of music: music theory, aural skills, piano skills, and solo performance in voice or another instrument. This course is open to music majors and non-majors. One class hour, two lab hours

MUS 104 – Men's Glee Club The Men's Glee Club is a performance organization which will focus on choral arrangements of both patriotic and popular music genres of the past 150 years. The student will learn to transfer musical concepts between genres of music. The student will also learn the rudiments of vocal performance in conjunction with a male ensemble. May be repeated for additional credit. Three class hours

MUS 105 – Women's Glee Club The Women's Glee Club is a performance organization which will focus on choral arrangements of patriotic, contemporary choral works, and popular music genres of the past 100 years. The student will learn to transfer musical concepts between genres of music. The student will also learn the rudiments of vocal performance in conjunction with a female ensemble. May be repeated for additional credit. Three class hours.

MUS 108 -- College Chorus Performance of a wide variety of choral music. Musical selections range from traditional to contemporary and include such diverse styles as madrigals, songs, chorales, folk music, jazz and rock. Three class hours. (May be repeated for additional credit.) (SUNY-A) 1 Credit.

MUS 109 -- Music Theory I Instruction in music theory, ear-training, and sight-singing based on the techniques of the Common Practice Period. Activities include: sight-singing of diatonic melodies, melodic, harmonic and rhythmic dictation, study of intervals, scales, triads, the dominant seventh chord and non-harmonic tones in analysis, and the connection of triads in four-voice writing. Computer software is incorporated to reinforce music theory concepts and for ear training practice. Four class hours. (SUNY-A) 4 Credits.

MUS 110 -- Music Theory II This course is a continuation of the ear training, sight singing and written materials of MUS 109 in greater depth and detail. Instruction is based on the techniques of the Common Practice Period. Principles of harmonic progression, diatonic common chord modulation, non-harmonic tones, the Classic Period, developmental techniques and small homophonic forms. Computer software is incorporated to reinforce music theory concepts, for ear training practice, and to typeset homework assignments. Four class hours. Prerequisite: MUS 109 or permission of the instructor. 4 Credits.

MUS 111 -- Music Composition I A creative music writing course geared to each student's interests, experience and ability. Summer only. Three class hours. Prerequisite: MUS 109 or practical knowledge of music reading and notating. 3 Credits.

MUS 112 -- Music Composition II Continuation of MUS 111. Three class hours. Prerequisite: MUS 111. 3 Credits.

MUS 113 -- Song Writing The study of successful song forms and creative imitation of student's own experience into original

! 144! parodies and songs. Three class hours. (SUNY-A) 3 Credits.

MUS 114 – Contemporary A Cappella Ensemble Performance of the genre of contemporary a cappella music. Musical selections will range from a variety of contemporary popular genres such as Rhythm and Blues, Rock, Alternative, Soul, Fusion, and Hip Hop. Three class hours (May be repeated for additional credit.)

MUS 115 – Community Chorus Performance of extended choral works from a variety of time periods. Examples of extended works include Requiems, Masses, Oratorios, and multi-movement choral works. This course will consist of a collaboration between students and community members. (May be repeated for additional credit.) Three class hours.

MUS 118 -- Broadway Musicals A survey of musicals, revues and Broadway shows which represent the growth and development of American musical theatre as an art form. Students will learn to recognize and identify the characters, plot, best-known show tunes and other important facets of musical theatre. Three class hours. 3 Credits.

MUS 119 – Music In World Cultures A diverse overview of classical, popular, and folk music traditions comprising all of the major world cultures. The objectives of the course are to look closely at how we define what music is and what social and cultural roles it serves in our lives. Students will listen to music from other cultures and discuss how the music reflects differences in the way that another society defines music and its role in their lives. This process will also show how diverse and global our own musical traditions already are. The course will also explore the role of music as ritual, mode of communication, work accompaniment and artistic expression. Three class hours, two experiential hours. Offered both Fall and Spring Semesters. This course satisfies the requirement for a social science elective. (SUNY-ARTS and SUNY-HUMANITIES)

MUS 120 -- Jazz in American Society A survey course in the evolution of jazz in America. Historical significances are identified and traced from rhythmic worksongs and spirituals of the late 1800s through avant-garde jazz of the 1970s. Specific concentration as to personalities and musical styles occurs for the major eras and trends in jazz; e.g., Ragtime, Dixieland, Swing, Bebop, Progressive, Modern, Third Stream, Rock, Jazz. Can be used as a Social Science elective for music majors. Three class hours. (SUNY-A) 3 Credits.

MUS 121 -- Voice Class Group instruction in the mastery of vocal techniques, the study of common vocal problems, the development of basic musicianship and the cultivation of expressive singing ability. Students will perform songs covering a wide variety of moods, styles, and textual subjects. Three class hours. (SUNY-A) 3 Credits.

MUS 122 -- Piano Class I Group instruction in fundamental piano technique designed for the beginner. Pupils learn to read music, improvise chordal accompaniments, and develop technical proficiency through performance of elementary piano music. Two class hours, one laboratory hour. (SUNY-A) 3 Credits.

MUS 123 -- Piano Class II A continuation of MUS 122. Group instruction designed to develop piano proficiency at the advanced beginner level. Includes further development of technical and music reading skills including improvisation. Two class hours, one laboratory hour. Prerequisite: MUS 122 or performance equivalent to MUS 122, or permission of instructor. 3 Credits.

MUS 124 -- Guitar Class I An introductory course in the fundamentals of guitar playing, designed for the beginning student. A dual approach to the instrument will be taught: 1) as an accompaniment for singing; the student will learn chords, progressions, strums, and finger-picking; 2) as a solo instrument; the student will learn the fundamentals of reading music, as applied to the guitar; e.g. staff-notation, meters, rhythms, scales, positions with emphasis on developing dexterity. Three class hours. Students must provide their guitars. (SUNY-A) 3 Credits.

MUS 125 -- Guitar Class II An intermediate course in guitar playing designed for the student with more than an elementary knowledge of

! 145! guitar technique. Emphasis on the guitar as a solo instrument - including scales in all positions, technical reading studies, solo playing, with emphasis on the development of right hand dexterity. Spring semester only. Three class hours. Students must provide their own guitars. (SUNY- A) Prerequisite: MUS 124 or permission of the instructor. 3 Credits.

MUS 126 -- Applied Piano Minor I A practical course in piano skills (scales, arpeggios, improvisation and accompanying) designed for students currently studying a major applied instrument or major vocal applied. Students should possess skills in music theory and be able to read music. Fall semester only. One and one-half laboratory hours. (SUNY-A) Prerequisite: Permission of instructor. 1 Credit.

MUS 127 -- Applied Piano Minor II A continuation of MUS 126 for students currently studying voice or an instrument. Spring semester only. One and one-half laboratory hours. Prerequisite: Permission of instructor. 1 Credit.

MUS 129 -- MIDI Recording Techniques An introductory course in computer-assisted music production. Students will learn the fundamentals of the Musical Instrument Digital Interface (MIDI) as they pertain to MCC's own MIDI studio. Using the synthesizer, drum machine and tone generator, students will produce high quality demo tapes of the music of their choice. Three class hours. (SUNY-A) Prerequisite: Basic keyboard proficiency or permission of instructor. 3 Credits.

MUS 131 -- Studio Production Designed to give the students practical experience in recording live music using digital multi-track recorders. The students will understand the use of microphones, mixers, multi-effects units and MIDI (Musical Instruments Digitally Interfaced) applications. Students will be given an overview of how past, present and future technological changes in the music industry impact recording techniques. Three class hours. Prerequisite: MUS 129 is strongly recommended. 3 Credits.

MUS 132 -- Percussion Class Group instruction in basic percussion techniques. Includes learning the rudiments (rolls, flams, ruffs, paradiddies, etc.) of reading drum music. Two, three, and four part ensemble experience in various styles. Developing four-limb coordination for drum-set playing and learning basic rock, Latin, and jazz rhythms on the set. Correct playing techniques for some of the secondary percussion instruments: hand cymbals, bass drum, triangle, tambourine, maracas, claves, cowbells, guiro, cabasa, and conga. Three class hours. (SUNY-A) 3 Credits.

MUS 140 -- Jazz Ensemble Rehearsal and performance of jazz, Latin, and pop instrumental, music for big band (piano, bass, drums, saxophones, trumpets, trombones, and guitar). Rehearsals include study of playing with good time, intonation, jazz inflections, articulations, and correct interpretation of classic jazz literature to modern styles. Concert performances include major concerts twice each semester in MCC's Theatre, and there is the potential for additional on-campus or off-campus performances. (This course may be repeated for credit.) Three laboratory hours, 10+ experiential hours. Prerequisite: Prior experience in a jazz band or permission of instructor. Recommended corequisites: MUS 143/144 is highly recommended . 1 Credit.

MUS 141 -- Madrigal Singers A select group of singers rehearsing and performing vocal music from the Medieval and Renaissance time periods. Emphasis will be on developing musicianship and ensemble singing with the goal of understanding these musical styles and experiencing the joy of public performance. Fall Semester only. Three class hours. Prerequisite: Audition or permission of instructor. 1 Credit.

MUS 142 -- Musical Production A select group of actor/singers and musicians whose main goal is to rehearse and perform a Broadway musical production. Students will learn the vocal and dance portion of performing in a full scale musical production. Students will experience costumed and staged live performances. Fall Semester only. Three class hours. Prerequisite: Audition or permission of instructor. 3 Credits.

MUS 143 -- Jazz Improvisation I An introductory level course that explores the theory of jazz. This class will use standard jazz tunes as vehicles

! 146! to explore harmony, melody, rhythm, improvisational concepts, basic keyboarding skills, and composition in a functional way. Modes of the major scale, ii-V-I's, and the blues scale will be discussed as well as major, minor, and diminished chord structures with sevenths. Theory discussions and written assignments will be combined with ear training, listening examples, and playing standards in class so as to increase the student's ability to improvise in an instrumental jazz group. Three class hours. Prerequisite: MUS 109 or permission of instructor. 3 Credits.

MUS 144 -- Jazz Improvisation II A continuation of MUS 143 that examines the theory of jazz. This class will use standard jazz tunes as vehicles to explore harmony, melody, rhythm, improvisational concepts, basic keyboarding skills, and composition in a functional way. In addition to modes of the major scale, ii-V-I's, blues scale, and seventh chords being reviewed, extensions 9, 11, 13, modes of the melodic minor, and the diminished scale will be introduced. Theory discussions and transcription/composition assignments will be combined with ear training, listening examples, and playing standards in class so as to increase the student's ability to improvise in an instrumental jazz group. Three class hours. Prerequisite: MUS 143 or permission of instructor. 3 Credits.

MUS 146 – Jazz Combo Rehearsal and performance of traditional jazz standards, Latin, avant-garde and pop instrumental, music for small combo (piano, bass, drums, guitar, and some horns such as saxophone and trumpet ). Rehearsals include study of playing compositions with an emphasis on improvising in a small group format. Correct interpretation of classic jazz literature to modern styles is studied in this context of a small combo. Concert performances include major concerts twice each semester in MCC's Theatre, Atrium, or Student Center and there is the potential for additional on-campus or off-campus performances. (This course may be repeated for credit.) Three laboratory hours, 10+ experiential hours. Prerequisite: Prior experience improvising in a jazz band or permission of instructor; corequisite: MUS 143/MUS 144 is highly recommended

MUS 146 -- Vocal Jazz/Show Choir A select group of singers and instrumentalists rehearsing and performing vocal music from the jazz and show choir repertoire. Emphasis will be on developing musicianship and ensemble singing with the goal of understanding these musical styles and experiencing the joy of public performance. Spring Semester only. Three class hours. Prerequisite: Audition or permission of instructor. 1 Credit.

MUS 147Jamming in Jazz, Funk, Pop and Rhythm and Blues Styles This course practices how to solo effectively melodically and rhythmically on an instrument in several different styles such as Jazz, Funk, Pop and Rhythm & Blues using mostly one's ear. Appropriate music theory will be studied. Ear training will also be accomplished by “call and response” drills and listening to various recordings of these music styles. Students should have some basic music theory knowledge and will be expected to perform on an instrument (including voice). Students will practice active listening to examples of recordings in class. The class will practice performing complex polyrhythms and hemiolas by clapping and singing. Students will transcribe short phrases by repeated listenings and apply these memorized or notated phrases to similar harmonic progression forms or vamps in other compositions. Performing together in a group setting will be discussed and practiced as well. One class hour (SUNY-A).

MUS 150 -- History of Rock 'n Roll A survey course that traces the roots of rock 'n roll from its origins in blues and rock 'a billy through to present day styles. In addition to the musical styles, the course will also look at the cultural, economic and social influences that shaped this American musical pheonmena. Three class hours. 3 Credits.

MUS 151 -- Performance and Applied Music I Provides students with an opportunity to develop their music abilities at this freshman level through solo or ensemble performances before college audiences, or through individualized and private study of instrumental or vocal music under the supervision of qualified teachers. A minimum of 15 lessons is required per semester. Cost of lessons is not included in MCC tuition. One class hour, two laboratory hours. (SUNY-A) Prerequisite: Music Department audition. 2 Credits.

MUS 152 -- Performance and Applied Music II A continuation of MUS 151. For students developing their music abilities at the freshman II level through solo or ensemble performances. A minimum of 15 one-hour lessons is required per semester. Cost of lessons is not

! 147! included in MCC tuition. One class hour, two laboratory hours. Prerequisite: MUS 151 or Music Department audition. 2 Credits.

MUS 153 -- Electric Guitar and Electric Bass A study of the many aspects of playing the electric guitar and/or the electric bass. Students will learn music theory, guitar symbols, melodies, scales, and arpeggios. Emphasis is on the practical application of music fundamentals when playing by ear, imitation of styles (jazz, pop, rock, folk), and solo group improvisation. Students supply their own instruments and/or equipment. Three class hours. (SUNY-A) 3 Credits. Prerequisite: Student should have some knowledge of guitar playing.

MUS 154 -- Classical Guitar A study of classical guitar techniques and music literature, with emphasis on the execution of dexterity, a thorough understanding of music fundamentals and the performance of a wide variety of classical solo and ensemble music. Students provide their own guitar. Spring semester only. Three class hours. (SUNY-A) 3 Credits. Prerequisite: Student should have some knowledge of guitar playing.

MUS 155 -- African-American Music in America A comprehensive survey into the musical idiom that comprises the African-American musical landscape. This course will discuss the important contributions that led to the development of the Negro spiritual, ragtime, blues, jazz, and the hip-hop cultural phenomenon. A historical study of the relationship that African-American music has had on western composers including Igor Stravinsky, Darius Mihlaud, and Claude Debussy. This course satisfies the requirement for a social science elective.

MUS 161 -- Guitar Ensemble Rehearsal and performance of a wide variety of music literature composed and arranged for four or more guitars. Minimum requirements include reading and playing in first position, reading of basic rhythm pattern including eighth and sixteenth notes. (Course may be repeated for additional 1 credit.) Three class hours. Students must provide their own guitar.

MUS 190 -- Music Rehearsal and Performance Rehearsal and performance of specialized musical groups for significant musical events; i.e., Broadway musicals, instrumental and vocal ensembles organized to perform music in a specific style. 45 to 135 class hours. This course can be repeated for extra credit. (SUNY-A)

MUS 201 -- History of Music I Music from antiquity through 1750, covering Medieval, Renaissance and Baroque style periods; essential score reading and listening to records outside of class. Fall semester only. Three class hours. This course satisfies the requirement of humanities or social science credit. (SUNY-WC) 3 Credits. Prerequisites: Completion of a music theory course or music appreciation, and elementary skill in music reading or permission of the instructor.

MUS 202 -- History of Music II Music from 1750 through the present covering Classical, Romantic and Twentieth Century style periods; essential score reading and listening to records outside of class. Spring semester only. Three class hours. This course satisfies the requirement of humanities or social science credit. (SUNY-WC) 3 Credits. Prerequisite: MUS 201 or permission of the instructor.

MUS 209 -- Music Theory III A study of diatonic seventh chords, borrowed chords, secondary dominants, augmented sixth chords, chromatic and in harmonic modulation and musical forms of the Classic and Romantic Periods, sight- singing and harmonic and melodic dictation related to chromatic harmony, early 20th century techniques. Computer software is incorporated to reinforce music theory concepts, for ear training practice, and to typeset homework assignments. Four class hours. 4 Credits. Prerequisite: MUS 110 or permission of the instructor.

MUS 210 -- Music Theory IV Studies of 20th century techniques, with student compositions performed and evaluated in class. Computer software is incorporated to reinforce music theory concepts, for ear training practice, and to typeset homework assignments. Four class hours. 4 Credits. Prerequisite: MUS 209 or permission of the instructor.

! 148! MUS 221 -- Voice Class II Intermediate collegiate level study of vocal music with emphasis on developing diction, breath control, increasing vocal resonance, improving stage presence, and cultivating accuracy, artistry and musicianship. Students will study a wide variety of vocal materials; e.g., Elizabethian lute songs, classical and romantic art songs, as well as standards, "pop" styles, and Broadway show tunes. Three class hours. (SUNY-A) 3 Credits. Prerequisites: Music 121, prior vocal experience, or by audition.

MUS 222 -- Piano Class III Class piano instruction of intermediate difficulty. Improvement of piano technique and musical skills through performing progressively more difficult chords, scales, arpeggios, and creating basic improvisations in various keys. Three class hours. 3 Credits. Prerequisite: MUS 123 or permission of instructor.

MUS 226 -- Applied Piano Minor III A course designed to increase essential keyboard skills and score reading; improve technique through the study and performance of collegiate level intermediate difficulty piano studies; and provide instruction in proper methods of accompanying, melodic and harmonic improvisation, and transposition. Fall semester only. One and one-half laboratory hours. 1 Credit. Prerequisite: MUS 127 or equivalent, or permission of instructor.

MUS 227 -- Applied Piano Minor IV A continuation of practical keyboard studies at the advanced intermediate (collegiate) level of study. Continued development of keyboard skills including SATB vocal score reading, harmonization, improvisation, transposition, and modulation. Instrumental score reading and instrumental accompaniment. Spring semester only. One and one-half laboratory hours. 1 Credit. Prerequisite: MUS 226 or equivalent, or permission of instructor.

MUS 229 -- MIDI Recording Techniques II This course is a continuation of MUS 129 class and lab, using computer-based sequencing software connected to synthesizer keyboards and other related devices. Lecture and demonstration of more advanced parameters of software used will be studied and applied. Musical factors such as composition, arranging, and song forms will be discussed to further the overall finished production of students' projects. Basic keyboard/theory proficiency are required. Offered every other Spring Semester. Three class hours. 3 Credits. Prerequisite: MUS 129.

MUS 231 -- Studio Production II A continuation of MUS 131. This course offers more in-depth study and application of recording instruments and vocals using microphones, digital multi-track recorders, effects units, 24-channel recording console, DAT (digital audio tape) and CD-R (compact disk) recorders, computer hard disk recording and editing, and MIDI (Musical Instrument Digital Interface) synthesizers. Musical production techniques as well as technical concepts will be discussed to provide the student with an understanding of the entire recording and production process. Offered every other Spring Semester. Three class hours. 3 Credits. Prerequisite(s): MUS 129 and MUS 131.

MUS 251 -- Performance and Applied Music III A continuation of MUS 151 and MUS 152. This course provides students with an opportunity to develop their music abilities at the sophomore I level through solo or ensemble performances before college audiences, or through individualized and private study of instrumental or vocal music under the supervision of qualified teachers. A minimum of 15 one-hour lessons is required per semester. Cost of lessons is not included in MCC tuition. One class hour, two laboratory hours. 2 Credits. Prerequisite: MUS 152 or Music Department audition.

MUS 252 -- Performance and Applied Music IV A continuation of MUS 251. For students developing their music abilities at the sophomore II level through solo or ensemble performances. A minimum of 15 one-hour lessons is required per semester. Cost of lessons is not included in MCC tuition. One class hour, two laboratory hours. 2 Credits. Prerequisite: MUS 251 or Music Department audition.

MUS 253 -- Music Business This course will introduce the student to the different facets of the music business. The course will aim to increase the participant's knowledge of the inner workings of the business, as well as how they relate to one another. Areas of concentration are music publishing, income sources, recording studios, copyrights, recording

! 149! companies, and other related avenues. Whether the student wants a career in teaching or performing, this course will give an overview of some of the things to expect. Spring Semester only. Three class hours.

MUS 290 -- Independent Study See the Department Chairperson.

Some Key Courses in the MU01 Music Major Program assessed this time (MUS 109, 110, 159, 202, 210, & 260) are the same as some of the Key Courses assessed from Fall 2007 to Spring 2011 listed below (post 2006 assessment)

! 150! APPENDIX P: Facilities and Inventory

Monroe Community College provides the facilities for all music course lectures and labs as well as for extra-curricular student activities and clubs. The College has dedicated a 28 seat Computer Music Lab, with a teaching station, for instruction of music technology, theory, group piano, and guitar and bass classes. Open hours in the lab are also available to students when classes are not meeting. The recent Apple iMac computers in the lab are equipped with a variety of music notation, editing, and ear training software and are connected to recently-installed M-Audio “Oxygen 88” 88-note weighted action keyboards via a USB cord. The iMacs contain “Virtual instruments” which are superior and cost-wise more efficient than replacing/buying newer synthesizers with sounds built-in every time there would be an upgrade needed. The audio of all stations is routed through a Korg GEC3 Group Education Controller that is a sophisticated digital headphone system (Ethernet connections) used to communicate with one or all of the students during class. The sound from the Teacher Station or any of the Student stations can be auditioned on the 3-way room sound system via the headphone system. Additionally, the student screens on the iMacs can be controlled by the Teacher Station in many ways, such as being displayed on the room screen via an LCD projector, which is accomplished by using a second LAN (local area net) running Apple Desktop Remote (ARD) from the Teacher Station. The Teacher can also display their screen to one or all of the students’ screens to show how to use the software, making it a very useful and efficient learning environment. The College has provided a “Project” recording studio with reasonably good digital and analog equipment consisting of an Apple Mac Pro, preamps, a digital control surface and various outboard EFX devices (although the microphones are in need of upgrading). The a band rehearsal room (which doubles as a tracking room for recording ensembles, student recitals, and audition CD projects students use to transfer to another college) includes a donated 7-foot Steinway grand piano, drums and percussion equipment, a stereo with CD and video connected to a ceiling-mounted television, and a marimba, a small general storage room, and a larger storage room containing the printed jazz and classical music library. There is a partially dedicated room for teaching the core academic music classes. All classrooms contain the latest support equipment such as computers, LCD projectors, and CD and DVD players. Our facilities also include eight sound proof Wenger practice room modules with seven pianos and percussion equipment, a student locker room with a small storage room housing some vinyl record collection, and an office suite with one main office and four smaller ones. The table below shows the square footage of the Music Area’s dedicated rooms, excluding office space.

! 151! Music Area Dedicated Rooms in Building 12

Room Square Footage 12-122 1072 12-124 293 12-126 1333 12-126A 189 12-126B 103 12-128 158 12-128B 79 12-130 553 12-132 534 Total 4314

! 152! APPENDIX Q: General Education Requirements

! 153!