WSSU
Department of Music
Music Student Handbook
(Revised Spring 2014)
1
Table of Contents
Foreword ....................................................................................................................4
Overview of the Music Department ...........................................................................4
Mission Statement
Goals
Music Department Objectives....................................................................................5
Accreditations ............................................................................................................5
Memberships ..............................................................................................................5
Student Organizations ................................................................................................6
Office Hours...............................................................................................................6
Facilities and Instruments ..........................................................................................6
Bulletin Boards ..........................................................................................................7
Academic Advising ....................................................................................................7
Department of Music Faculty ...................................................................................8
Ensemble Conductors ................................................................................................8
Musculoskeletal, Hearing, and Vocal Health and Injury Prevention.........................9
Music Department Policies .......................................................................................10
Auditions
Applied Lessons
Recital/Performance Seminar Attendance
Juries
Ensembles
WSSU Accompanying Guidelines .............................................................................11
Scheduling
Music
Rehearsals and Lessons
Recital Dates
Seminar Performances
Piano Proficiency .......................................................................................................12
Applied Music Exit/Senior Recital/Project Requirements ........................................12
Class Attendance and Repertoire Requirements ........................................................12
Music Major ...............................................................................................................13
Departmental Entrance Requirements
Minimum Grade Requirement
Audition Requirements for Prospective Music Majors .............................................13
Applied Piano Audition Requirements
Applied Voice Audition Requirements
Applied Strings Audition Requirements
Applied Flute Audition Requirements
Applied Clarinet Audition Requirements
Applied Saxophone Audition Requirements
Applied Trumpet Audition Requirements
Applied Trombone, Euphonium, and Tuba Audition Requirements
Applied Percussion Audition Requirements
2
Programs of Study......................................................................................................22
Bachelor of Arts in Music
Bachelor of Arts in Music – Music Education Licensure
Bachelor of Arts in Music – Music Business Concentration
Concentration in Music
Music Business Minor
Minor in Music
Scholarships ...............................................................................................................25
Departmental Music Scholarships
Ensemble Scholarships ..............................................................................................26
Choral
Choral Scholarship Audition Requirements
Instrumental
Band Scholarship Audition Requirements
String Ensemble Audition Requirements
Appendix A: Recommendation for Admittance to Teacher Education Program ......30
Appendix B: Recommended Plans of Study for Music Programs .............................31
Appendix C: Applied Music Jury Forms ...................................................................35
Appendix D: Important University Contacts .............................................................46
3
FOREWORD
This handbook has been designed as a supplement to the university catalog to help music majors
better understand requirements, expectations, student rights and privileges, and departmental and
university policies and procedures. It is not to be used as a substitute for the university catalog.
Students are asked to keep this booklet, refer to it often, and follow the policies and procedures.
All questions should be directed towards the assigned academic advisor for clarification of any
part of this handbook.
OVERVIEW OF THE MUSIC DEPARTMENT
The Department of Music offers several different programs of study in music as well as general
education course offerings and performance opportunities for all students. Students who major in
music have options in music, music with a concentration in music business or with a
concentration in music education that leads to teacher education licensure. Graduates of these
programs are prepared to teach in grades K-12, work in the music industry and allied fields in
music, and pursue graduate study. The department also provides instruction in music to any
student as part of the university’s general education offerings and in an effort to promote the
study and enjoyment of music for healthy and enriched living. Instruction is provided by faculty
committed to teaching effectiveness, scholarship, and service toward the enhancement of the
artistic and cultural life of the university and the greater community.
Many events, performances, and seminars are provided for the university community and the
greater community of Winston-Salem and Forsyth County by faculty and students. Faculty
members are well-recognized professionally with diverse performance and educational training
which encourages students to investigate and appreciate various forms of music expression.
Mission Statement
The mission of the Music Department is to offer courses of study and opportunities for
performance in music to diverse and motivated students and to engage the campus and
community in the enjoyment of music through a variety of expressions. In addition, specialty
courses in music develop knowledge, musicianship, and skills needed to appreciate, teach and
direct music activities from early childhood through secondary school, and to pursue careers in
or related to the music business industry.
Goals
1. To provide major programs in the areas of music.
2. To provide courses in music as part of the general education curriculum and electives.
3. To provide students with skills and knowledge necessary to succeed in their chosen field
of study in music.
4. To prepare students to pursue graduate study in music and related disciplines.
5. To promote faculty production in the areas of scholarship and teaching effectiveness.
6. To provide a venue for student performance in music.
4
7. To extend the role of Winston Salem State University as a contributor to the music
industry and business community.
8. To contribute to the enrichment of the musical life of Winston Salem State University
and the community.
MUSIC DEPARTMENT OBJECTIVES
Upon successful completion of the program, students will be able to do the following:
1. Demonstrate effective verbal and written communication skills critical to the music
profession.
2. Utilize and create multimedia and relevant technology for music education and the music
industry.
3. Demonstrate musicianship and proficiency in both a major and minor performance area.
4. Demonstrate knowledge, understanding, and appreciation of music and related
philosophies from past and present cultures.
5. Demonstrate an understanding of the physical, intellectual, emotional, and social
development of children and adolescents and the implications of personal growth
upon music education.
6. Develop a standards-based music education program that meets the needs and interests of
learners in grades K-12, including exceptional learners.
7. Demonstrate a variety of teaching and evaluation methods, techniques, and strategies for
application in music education.
8. Demonstrate knowledge of music literature and repertoire to maintain a high level of
interest and involvement of students.
9. Demonstrate proficiency in behavioral management skills that promote self-discipline, a
positive learning climate, and self-concept that are conducive to successful
musicianship and teaching.
10. Participate effectively in a competitive music career market.
ACCREDITATIONS
Southern Association of Colleges and Schools; North Carolina Department of Public Instruction;
North Carolina Association of Colleges and Universities; National Council for Accreditation of
Teacher Education; National Association of Schools of Music.
MEMBERSHIPS
American Association of State Colleges and Universities; American Council on Education;
American Association of Colleges for Teacher Education; Intercollegiate Music Association, Inc.
5
STUDENT ORGANIZATIONS
The Collegiate National Association for Music Education (CNAfME) is a chartered, student-run
organization in the Music Education Area of the Department of Music. CNAfME collegiate
membership is a pre-professional unit of the National Association for Music Education. It
provides for student participation at the university level in the activities of the organization.
Membership benefits include: The Music Educators Journal; The North Carolina Music
Educators Journal; collegiate membership in the North Carolina Music Educators Association;
mentoring by professional music educators; discounts on NAfME publications and conference
registration fees, and a membership card. For more information and application forms, go to the
NAfME Website at http://www.nafme.org/ or contact the faculty advisor.
Greek music organizations are an important part of the collegiate experience within the
Department of Music. Members of Tau Beta Sigma, Kappa Kappa Psi, and Phi Mu Alpha
Sinfonia devote service to the department and serve as musical ambassadors throughout the
university. Students interested in membership should contact the appropriate officers within each
organization.
OFFICE HOURS
Administrative offices are open daily from 8:00 a.m. to 12:00 noon and 1:00 to 5:00 p.m.
Monday through Friday, except on official university holidays. Music faculty members will post
individual office hours on or near their office doors. The University’s telephone number is (336)
750-2000. The Music Department’s telephone number is (336) 750-2520. The fax number is
(336) 750-2522.
The Fine Arts Building is open on Monday – Friday from 7:00 a.m. – 7:00 p.m., 8:00 a.m. – 1:00
p.m. on Saturday, and is closed Sunday except as needed for special events, ensemble
rehearsals/performances, etc. The main entrance doors lock automatically at the times listed
above.
FACILITIES AND INSTRUMENTS
Practice rooms are available on a first-come, first-served basis during the building’s open hours
to students taking applied music or ensembles. To get a practice room key, students must see the
departmental administrative support associate.
Some university-owned instruments are available to ensemble participants. See each ensemble
conductor concerning the use of instruments. All instruments must be returned at the end of each
semester.
Lockers are available in the music area on the first floor of the Fine Arts Building and may be
requested through the Music Department’s office and departmental administrative support
associate.
6
BULLETIN BOARDS
The bulletin boards in the Fine Arts Building/Music Department are reserved for announcements
of interest to music students. The boards may contain messages from faculty to students,
announcements concerning upcoming recitals and concerts, free or discounted concert tickets,
advertisements from graduate schools or summer music programs, and other information.
Students should check the boards daily.
ACADEMIC ADVISING
Music Advisor:_________________________________ Office location:____________
Phone number: ______________ Email address: ______________________________
The Department of Music will assign an advisor who will oversee the major level course of
study, assist with (and approve) class scheduling each semester, and provide academic
counseling. In some cases, this individual may be the applied music teacher. Students may not
change advisors without permission from the department chair. The student is ultimately
responsible for meeting with his/her advisor each semester and making sure that all requirements
for graduation are met.
Department Chair: Dr. Michael Magruder
Phone: 336-750-2535, Email: magruderm@wssu.edu
The Department Chair (Fine Arts 112A) is responsible for the scope, content and quality of
courses and instructions of the department. The chair is responsible for cooperative planning
with members of the department, directing the work of the department, and cooperating with
heads of other departments on matters regarding policies of mutual interest. Additional
responsibilities include arranging courses, preparing the departmental budget, caring for
departmental property, and making library acquisitions. The chair maintains an open door policy.
Students should feel free to consult with advisors and/or the department chair if problems arise,
or to make suggestions which could benefit the department.
Administrative Support Associate: Ms. Evetter Culcleasure
Phone: 336-750-2520, Fax: 336-750-2522, Email: culcleasuree@wssu.edu
The administrative support associate (Fine Arts 112) assists the dean, department chair, faculty
and students. Duties include word processing, preparing requisitions, data entry, duplications,
scheduling work-study students, and receiving and routing communications coming into the
music unit.
7
FULL-TIME MUSIC FACULTY
Dr. James Armstrong – Lecturer of Music/Associate Director of Bands: Brass
Dr. Anthony Artimisi - Assistant Professor of Music: Music Business and Percussion
Dr. Myron Brown – Assistant Professor of Music: Piano
Mrs. D’Walla Simmons Burke – Lecturer of Music: Voice/Choral
Dr. Brent Harvey – Assistant Professor of Music: Low Brass and Music Theory
Dr. Tohm Judson – Associate Professor of Music: Music Theory and Low Strings
Dr. Lee David Legette – Professor of Music: Woodwinds/Jazz Band/Music Education
Dr. Michael Magruder – Professor of Music: Woodwinds/Director of Bands
Mr. Raymond Mietus – Instructor of Music/Assistant Director of Bands: Percussion
Ms. Deena Moore – Lecturer of Music: Voice
Dr. Debra O’Connell – Associate Professor of Music: Music Education
Dr. Christina Placilla – Associate Professor of Music: Strings and Music History/Chamber
Orchestra
Dr. Karen Rice – Assistant Professor of Music: Piano
Dr. Gregory Thompson – Associate Professor of Music: Piano and Music History
Dr. Donna Wiggins – Associate Professor of Music: Music Education
ENSEMBLE CONDUCTORS
Dr. James Armstrong – Brass Ensemble, Jazz Ensemble II
Mrs. D’Walla Simmons Burke – University Choir, Burke Singers, Schola Cantorum
Dr. Lee David Legette – Jazz Ensemble, Woodwind Ensemble
Dr. Michael Magruder – Marching Band, Wind Ensemble, Symphonic Band, Pep Band
Mr. Raymond Mietus – Percussion Ensemble
Dr. Christina Placilla – Chamber Orchestra
8
MUSCULOSKELETAL, HEARING, AND VOCAL HEALTH AND INJURY PREVENTION
The activities of music practice and performance increase the possibility of numerous types of
injury. The music faculty at Winston-Salem State University takes the education of preventative
measures very seriously in the interest of guiding students towards the goal of being healthy,
lifelong music consumers and performers.
One type of health risk is “Repetitive Strain Injury” (RSI) which is experienced by some
musicians as a result of, among other things, poor technique and/or posture, muscle overuse, lack
of rest, and/or stress. Researchers in this area have recommended some common methods to
reduce the likelihood of suffering a RSI including stretches, taking frequent practice breaks,
engaging in a warm-up routine prior to beginning difficult music, and stopping at the first sign of
pain.1 Students are advised to consult with the Applied Instructor if musculoskeletal pain is
experienced during musical practice or performance.
The maintenance of vocal health should be taken into consideration for student vocalists. Injury
to the vocal folds can occur through dehydration, smoking, prolonged singing without rest,
improper technique, and poor nutrition. Ignoring these considerations places the student at risk
for vocal fold damage which may require extended rehabilitation time or surgery to correct.2
Vocal students are encouraged to discuss these areas with their applied voice instructors as they
begin study at the university level.
All music students are at risk of Noise-Induced Hearing Loss (NIHL). NIHL can happen as a
result of “a one-time exposure to an intense “impulse” sound… or by continuous exposure to
loud sounds over an extended period of time.”3 Music students are routinely exposed to sound
levels above 85 decibels during individual practice times and ensemble rehearsals and
performances. Students are encouraged to use ear plugs as needed and have their hearing tested
yearly.
Works Cited
Emory Health Care. “Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory
Healthcare.” Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory
Healthcare. Accessed February 17, 2014. http://www.emoryhealthcare.org/voice-center/faqstips.html.
Marxhausen, Paul. “Musicians and Injuries,” n.d. http://rsi.unl.edu/music.html.
Mitchell, Tamara. “Microsoft Word - Musicians - Musicians.pdf,” n.d. http://www.workingwell.org/articles/pdf/Musicians.pdf.
NIDCD. “Noise-Induced Hearing Loss.” Noise-Induced Hearing Loss, October 2013.
http://www.nidcd.nih.gov/health/hearing/pages/noise.aspx.
Marxhausen, “Musicians and Injuries”; Mitchell, “Microsoft Word - Musicians Musicians.pdf.”
1
2
3
Emory Health Care, “Frequently Asked Questions Vocal Cord Damage | Atlanta, GA | Emory Healthcare.”
NIDCD, “Noise-Induced Hearing Loss.”
9
MUSIC DEPARTMENT POLICIES
Auditions
All incoming and transfer students must audition to be accepted into the music degree program.
The audition will consist of one to two prepared pieces and select technical exercises to be
performed for the music faculty as well as an interview. Five (5) copies of the selected pieces
must be provided for the faculty. Acceptance into the program will be based on faculty
consensus. If the department is given sufficient notice, an accompanist will be provided.
Auditions will be scheduled on specified dates and times throughout the year. A music theory
skills assessment examination must be taken on the day of the audition to determine proper
placement in the music theory and sight singing sequence of courses. A student may request
consideration for a scholarship at the end of the audition.
Applied Lessons
All music majors are required to complete 4 semesters of major applied lessons. Applied lesson
times are arranged in consultation with the applied instructor at the beginning of each semester.
Students are responsible for contacting the instructor before or during the first week of classes.
Recital/Performance Seminar Attendance
Student performance seminars, master classes, student meetings, and guest clinicians are
scheduled at 3:30 p.m. on Tuesdays and Thursdays during the school year. All music majors are
expected to perform at least once per semester. Some applied music teachers may require more
than one performance per semester. Music majors are required to attend all master classes,
recitals and department-sponsored concerts each semester, unless excused by their applied
teachers. A minimum attendance of 80% is required. A list of approved concerts will be posted
on the bulletin boards of the Music Area. Attendance will be taken at all of these events.
Students are responsible for their attendance at these events. Failure to comply with this policy
may result in the lowering of the applied music grade by one level. Concerts outside the
department may qualify for credit with prior approval by the applied music teacher.
Juries
All students enrolled in applied major lessons must perform before a music faculty jury at the
end of each semester, with exceptions granted for seniors giving recitals in that particular
semester. Failure to do so may negatively affect the final applied lesson grade. An unexcused
absence from a jury will result in failure in Applied Music. The jury grade will count as 10% of
the student’s final grade given by the applied teacher.
Juries will be announced prior to the end of the semester and will be held before the final
examination period. The performance will consist of appropriate repertoire for the instrument or
voice, to be selected by the applied music teacher. Music majors may also be requested to sightread and/or play scales in their principal performance medium. Juries are approximately 10
minutes long.
The departmental grading policy for juries states that the final grade given by the applied music
instructor cannot be more than one grade (higher or lower) than the jury grade. The applied
teacher is required to attend the jury, but will not grade the student for this performance.
Students who are performing for master classes, recitals, recital hearings, and juries are required
to dress appropriately. Dress attire should be business style. Causal dress such as jeans, baggy
pants, sneakers, t-shirts, midriff tops, etc. are not acceptable. For further instructions regarding
10
dress, contact the individual applied instructor. Students who dress inappropriately will not be
allowed to perform.
Ensembles
All music majors must perform with at least one ensemble each semester, except during that of
student teaching. Ensembles include the following: University Choir, University Singers (Burke
Singers), Schola Cantorum (University Men), Marching Band, Symphonic Band, Wind
Ensemble, Jazz Ensemble, Pep Band, String Ensemble, Woodwind Ensemble, Brass Ensemble,
Percussion Ensemble, and Guitar Ensemble. Participation is extended to non-majors as well.
Qualified students are urged to participate in more than one ensemble.
WSSU ACCOMPANYING GUIDELINES
Scheduling
 Students should schedule a weekly 30-minute rehearsal with their assigned accompanist
at the beginning of the semester. It is the student’s responsibility to contact the
accompanist.
 Students must inform the accompanist in advance any time they are unable to attend their
weekly accompanying sessions. They should only cancel due to illness or other
emergency.
 If an accompanist misses a rehearsal, the rehearsal will be made up at a time convenient
for both the accompanist and student. If a student misses a rehearsal with an excused
absence approved by private instructor, the accompanist will attempt to make up the
rehearsal if time permits.
Music
 All music should be given to the accompanist as soon as applied instructor assigns
repertoire for the semester.
 Accompanists should receive music at least two weeks prior to a rehearsal.
Rehearsals and Lessons
 There should be at least two rehearsals of any repertoire before it is performed.
 The applied instructor must hear the student and accompanist at least once before a
performance. This hearing will be scheduled based on time availability for all involved.
 Accompanists are authorized to dismiss unprepared students from rehearsals.
Accompanists may coach students but should not teach them.
 Accompanists must attend rehearsals and will attend lessons as agreed upon by written
contract at the beginning of the semester by instructor and accompanists.
Recital Dates
 Recital dates should be discussed with the studio instructor and accompanist prior to
setting a date. The accompanist should be aware of and agree to student’s recital date at
least one month in advance.
 Dress rehearsals should be scheduled in advance with the accompanist.
11
Seminar Performances
Accompanists will not perform with students on Performance Seminar under the following
conditions:
 If a student has not attended rehearsals/lessons on a regular basis.
 If an accompanist has not received music by deadlines stated above.
 If a student signs up for a performance without first notifying his or her accompanist.
PIANO PROFICIENCY
The student may attempt to pass the piano proficiency a maximum of three (3) times. Those
failing to pass will be expected to re-enroll in Music 2114 and take the proficiency again.
Students must attempt the piano proficiency during Music 2114. Students enrolled in the
Bachelor of Arts with Certification in Music Education degree program will take the proficiency
in MUS 2113.
APPLIED MUSIC EXIT/SENIOR RECITAL/PROJECT REQUIREMENTS
Music majors are encouraged and may be required to present a junior recital (20-30 minutes).
Students enrolled in the Bachelor of Arts with Certification in Music Education degree program
are required to present a 45-50 minute senior recital or project (in consultation with the applied
teacher) as a graduation requirement.
Students may not present a recital until authorized by the music faculty. Recitals may be
performed during the fall and spring semesters only. They may not be presented during final
exam week. Student attendance at these recitals counts towards recital-attendance requirements.
CLASS ATTENDACE AND REPERTOIRE REQUIREMENTS
Music instructors have the right to set attendance requirements for classes and applied lessons.
Instructors are responsible for the communication of these requirements to their students and
students should inquire about them at the beginning of each semester. All students will receive a
course syllabus which will outline the attendance requirements for those classes.
University attendance guidelines and the ensemble director determine the attendance policy for
ensembles. Since performance is a team effort and the musical result will be diminished for the
entire group if individuals are absent, no unexcused absences are allowed from either rehearsals
or performances. Unexcused absences or excessive absences, for any reason, can result in the
lowering of the grade for a course. Failure to attend a performance may result in a failing grade
for the class unless otherwise excused by the ensemble director.
Instructors will determine their own repertoire requirements. Students have the right to request
repertoire requirements in writing at the beginning of each semester.
12
MUSIC MAJOR
Departmental Entrance Requirements
In addition to the general requirements for admission to the university, pre-majors and transfer
students must meet the following requirements:
1. Submit a special supplementary application to the music area. This form is available on
the music website or a physical copy can be obtained from the administrative support
associate by calling (336) 750-2520 or via email: culcleasuree@wssu.edu.
2. Demonstrate performance proficiency in an applied area (voice, piano, flute, etc.) by
auditioning on campus or by video tape recording should distance prohibit a campus
audition. The audition should occur prior to the student’s actual matriculation at the
university. A sample list of appropriate literature will be sent with the supplementary
music area application. Students may select compositions other than those listed if they
are comparable in musical and technical difficulty.
3. Take a music theory skill assessment examination.
4. Take a keyboard skill assessment examination.
5. Complete a personal interview with music faculty.
Note: After being accepted, music majors failing to enroll in courses within the department for
one year or more will be required to re-audition for readmission into the department.
Minimum Grade Requirement
Music majors must earn a minimum grade of a “C” on each required course in their respective
content areas. Music education majors must maintain an overall minimum grade point average of
2.5 to be eligible for admission to the Teacher Education Program in the junior year.
AUDITION REQUIREMENTS FOR PROSPECTIVE MUSIC MAJORS
Music major auditions consist of three components: Repertoire, Technical Skills, and SightReading. Each area has submitted guidelines as the minimum requirements for acceptance into
the major. The repertoire lists are meant as suggestions and are not exhaustive. Please consult
with the appropriate applied instructor with questions regarding musical substitutions.
Note: All music to be accompanied must reach the Department of Music at least two (2) weeks
prior to the audition. Auditions are scheduled by the departmental administrative support
associate who can be contacted via 336-750-2520. No Walk-ins.
It is recommended that applicants have at least minimal keyboard or instrumental training before
auditioning as a vocal major. Winston-Salem State University does not currently offer a degree
in vocal performance/musical theatre. Although vocal training may touch on this genre, it will
focus on the classical repertoire as a foundation.
13
Applied Piano Audition Requirements
Repertoire
At least two (2) compositions at an intermediate level
 One Baroque or Classical composition
 One Romantic composition
 One 20th Century composition (optional)
 One composition of choice (optional)
Selected repertoire should exhibit the following features:
 Greater independence in hands
 Arpeggiated chords
 Sixteenth notes and rests
 Ornaments: appoggiatura and acciaccatura
 Continuous pedal technique
*Suggested audition repertoire is listed below
Technique
Major and Harmonic Minor Scales
 Keys with up to three sharps or three flats
 Hands separately or together
 Two octaves ascending and descending
Major and Minor Arpeggios
 Keys with up to three sharps or three flats
 Hands together
 Two octaves ascending and descending
Sight-Reading
A short piano piece at the early intermediate level.
Suggested Audition Repertoire
Baroque
 J. S. Bach
Two-Part Inventions, Three-Part Inventions, Little Preludes and
Fugues, Preludes and Fugues from Well-Tempered Clavier I and
II
Classical
 Clementi
 Kuhlau
 Haydn
 Mozart
 Beethoven
Sonatinas
Sonatinas
Sonatas (one movement)
Sonatas (one movement)
Sonatas (one movement)
Romantic
 Brahms
 Chopin
 Mendelssohn
 Schumann
 Rachmaninoff
Impromptus, Ballades
Preludes, Waltzes, Mazurkas, Nocturnes
Easier Songs without Words
Kinderszenen, Waldszenen, album for the Young
Preludes
14
Twentieth Century
 Bartok
 Kabalevsky
 Shostakovich
Easy Pieces, Selections from Mikrokosmos, Vol. 3-4
Preludes
Preludes
Applied Voice Audition Requirements
Repertoire
At least three (3) memorized selections at an intermediate level:



One (1) Art Song in English
One (1) Art Song in a language other than English (i.e. Italian; French; German)
One (1) song of the applicant’s choice (language is optional)
*Suggested audition repertoire is listed below
Technique
Selected repertoire should exhibit the following features:








A developing tone quality where the extremes in range are usually controlled.
Dynamic levels are discerned.
Phrasing is usually consistent and sensitive to the style of the music being performed.
Sometimes performs with nuance and style as indicated in the score
Entrances and articulation markings within the score are usually executed accurately.
Articulates diction somewhat clearly and text can be understood.
Rhythm is demonstrated closely to what is indicated within the music being performed.
Shows little tension in the throat, jaw and/or body while performing
Sight-Reading
A brief musical excerpt at the beginning/intermediate level.
Suggested Audition Repertoire
 Abt
Ave Maria
 Anon
L’amour de moi
 Arne
Blow, Blow, Thou Winter Wind
 Bach
Forget Me Not
 Bach
Jesus, Fount of Consolation
 Barber
Crucifixion, The
 Beethoven
Ich liebe dich
 Burleigh (arr.)
Deep River
 Burleigh (arr.)
Nobody Knows the Trouble I’ve Seen
 Burleigh (arr.)
Swing Low, Sweet Chariot
 Carpenter
Sleep That Flits on Baby’s Eyes, The
 Coates
Who is Sylvia?
 Delbruck
Un doux lien
 Delibes
Bonjour, Suzon!
 Fauré
Ici-bas!
15




























Franz
Handel
Handel
Handel
Haydn
Hopkinson
Irish (Traditional)
Johnson (arr.)
Liddle
Liszt
Malotte
Mendelssohn
Mozart
Mueller
Myers (arr.)
Myers (arr.)
Niles
Niles
Niles
Niles
Payne (arr.)
Saint-Saens
Schubert
Schubert
Schubert
Schumann
Speaks
Stölzel
Widmung
Oh Sleep, Why Dost Thou Leave Me?
Weep No More
Where’er You Walk
Mermaid’s Song, The
Beneath a Weeping Willow’s Shade
Danny Boy
My Lord, What a Mornin’
How Lovely Are Thy Dwellings
Du bist wie eine Blume
Beatitudes, The
O Rest in the Lord
Ave Verum
Create In Me a Clean Heart
Jesus Walked This Lonesome Valley
Let Us Break Bread Together
Black is the Color of My True Love’s Hair
Go ‘way from My Window
Rovin’ Gambler, The
Wayfaring Stranger
Crucifixion
Ave Maria
Ständchen
Wanderers Nachtlied
Was it Sylvia?
Du bist wie eine Blume
Lord is My Light, The
Bist du bei mir
Applied Strings Audition Requirements
Repertoire
Intermediate Level Student (American String Teachers Association- Certificate Advancement
Program Level 5 or higher):
1 Etude (choose from the following, or a representative work from ASTA-CAP level 5)
 Violin: The Doflein Method, Vol. 4 & 5; Dont 30 Progressive Exercises, Op. 38;
Wohlfahrt/Aiquoni Foundation Studies Vol. II
 Viola: Don’t 24 Studies Op. 37; Wohlfahrt Foundation Studies
 Cello: Dotzauer 113 Etudes Vol. 2; Grutzmacher 24 Etudes Vol. 1; Merk 20 Exercises
Op. 11; Schroeder 170 Foundation Studies Vol. 2
 Bass: Simandl Book I or 30 Etudes; Yorke Studies for Double Bass
16
1 Repertoire Piece (choose from the following, or a representative work from ASTA-CAP level
5)
 Violin: Albinoni Concerto in G Op. 4 No. 4; Barber Solos for the Violinist Vol. 2;
Borowski Adoration; Corelli Sonatas Op. 5 Book 2 No. 7-11; Dancla Air Varies Op. 89;
Reiding Concerto in G Op. 24; Reiding Concerto in A Minor Op. 21; Seitz First, Third
or Fourth Pupil’s Concerto; Sitt Concerto in A Minor Op. 70; Suzuki Violin School
Book 5; Vivaldi Concerto in A Fl 51; Vivaldi Concerto in A Minor Op. 9 No. 5
 Viola: Accolay Concerto No. 1; Haydn Divertimento; Klengel Album of Classical Pieces;
Marcello Sonatas in C, G and E Minor; Mozart Divertimento; Suzuki School of Viola
Book 5
 Cello: Bach Arioso; Breval Concerto 1 in G; Couperin-Bazelaire Pieces en Concert; Cui
Orientale; Gabriel-Marie La Cinquitaine; Glazunov Chanson Arabe; Goltermann EtudeCaprice; Goltermann Concertos 4 and 5; Romberg Sonatas Op. 41 No. 1-3; Saint-Saens
The Swan; Telemann Sonata in D; Suzuki School of Cello Book 5
 Bass: Saint-Saens The Elephant; Giovannino Sonata in A Minor (4th Mvt); Laska
Romanza; Rameau Dance; Holst The Perfect Fool op. 39
Technique
 1 Octave Chromatic Scale starting on the lowest note.
 3 Octave Scales (2 Major in the key of the student’s choosing; eighth notes, four to a
bow)
 2 Octave Scales (4 Minor in the key of the student’s choosing; eighth notes, four to a
bow)
Sight-Reading
A sight-reading example will be provided at the time of the audition. (American String Teachers
Association-Certificate Advancement Program Level 3)
Applied Flute Audition Requirements
Repertoire
Intermediate Level Student (Larry Krantz Flute Repertoire List Grade 3 or Above):
Etude (choose from the following, or a from a representative work)



Moyse, M. 24 Short and Melodious Studies Moyse: Leduc
Anderson, 18 Studies, op. 41:International or Southern
Anderson, 26 Caprices: International, Southern or Schirmer
1 Repertoire Piece (choose from the following, or a representative work from Larry Krantz Flute
Repertoire Grade 3 or above)





Bizet. Minuet from L’Arlesienne
Faure, Gabriel. Sicilienne
Handel, George Frederic. Sonata in F op.1, no. 11
Kuhlau, Friedrich. Sonatina
Telemann, George Philipp. Sonata in F
17
Technique
 Play all major scales in two octaves with their accompanying arpeggios when possible.
 Play two octave chromatic scale
Sight-Reading
A sight-reading example will be provided at the time of the audition.
Applied Clarinet Audition Requirements
Repertoire
Intermediate Level Student:
1 Etude – Choose one from the following list of etudes:
 Hite – Melodius and Progressive Studies, Book I
 Rubank – Intermediate Method for Clarinet
 Klose – Twenty Characteristic Studies
 Rose - Thirty-Two etudes
 Rose - Forty Studies, Book 1
 Uhl – 48 Studies for Clarinet
Solos – Choose among the following list:
 Cavallini – Adagio and Tarantella
 Stamitz – Concerto No. 3 in B-flat
 Saint Saens – Sonata for Clarinet and Piano
 Weber – Concertino
 Mozart – Concerto
Technique
 Chromatic Scale – 2 Octaves
 Major Scales – 2 Octaves
 Major Scales in Thirds – 1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition.
Applied Saxophone Audition Requirements
Repertoire
Two compositions minimum of your choosing at the intermediate or higher level of difficulty:
one of a slightly slow lyrical nature (for expression) and one on the faster side to demonstrate
articulation and other areas of technique.
The following is a sample list of repertoire or substitute others of comparable levels of difficulty:
 Sonata No. 6 (1st movement) flute transcription for Eb Alto Saxophone
 Solos for the Alto Saxophone Player (select any from this collection)
 Three Romances (alto saxophone transcriptions) Schumann-Hemke
 Aria by Eugene Bozza
 Chanson et Passapied – Rueff
18
Technique
 Play all major scales in two octaves with their accompanying arpeggios when possible
 Play the chromatic scale for the full practical range of their instrument
Sight-Reading
The ability to sight-read at an intermediate level
Applied Trumpet Audition Requirements
Repertoire
Intermediate Level Student
1 Etude (choose from the following, or a representative work)
 Werner
 Arban
2 Repertoire Pieces of contrasting styles (choose from the following, or a representative work)
 H. Voxman, Concert and Contest Collection
 Balay, Petite Piece Concertante
 Clarke, The Carnival of Venice
 Lamb, Classic Festival Solos
 Rubank, Soloist Folio
 Fisher, Solos for Trumpet
Technique
 Chromatic Scale starting on the lowest note -- 1 Octave
 Major Scales and Arpeggios --1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition.
Applied Trombone, Euphonium, and Tuba Audition Requirements
Repertoire
Intermediate Level Student (Developed from ITEA and ITA music repertoire level
advancement):
1 Etude (choose from the following, or a representative work from ITEA or ITA published
standard repertoire)
 Trombone: Bordner, G. First Book of Practical Studies and Second Book of Practical
Studies; Cimera, J. 170 Studies for Trombone; Gower, W.M./Voxman, H. Rubank
Advanced Method for Trombone; Hering, S. 40 Progressive Etudes
 Euphonium: Hering, S. 32 Etudes; Bordner, G. First Book of Practical Studies and
Second Book of Practical Studies; Voxman, Selected Studies; Vandercook, H.A.
Vandercook Etudes
19
 Tuba: Getchell, R.W. First Book of Practical Studies and Second Book of Practical
Studies; Kopprasch, C. 60 Selected Studies; Tyrell, H.W. 40 Advanced Studies;
Vandercook, H.A. Vandercook Etudes
1 Orchestral and/or Wind Band excerpt (choose from the following or a representative work
from ITEA or ITA published standard repertoire)
 Trombone: Alford, K. Army of the Nile; Dvorak, A. Symphony No. 9; Fillmore, H.
Lassus Trombone; Mozart, W.A. Requiem, Sousa, J.P. The Glory of the Yankee Navy
 Euphonium: Barber, S. Commando March; Fillmore, H. Rolling Thunder; Holst, G. First
Suite in Eb and Second Suite in F; Vaughan Williams, R. Toccata Marziale;
 Tuba: Gershwin, G. An American in Paris; Holst, G. First Suite in Eb and Second Suite
in F; Prokofiev, S. Symphony No. 5; Sousa, J.P. George Washington Bicentennial
1 Repertoire Piece (choose from the following or a representative work ITEA or ITA published
standard repertoire)
 Trombone: Clerisse, R./Smith, G. Idylle; Corelli, A./Powell, R. Prelude and Minuet;
Dubois, T./Voxman, H. Solo de Concert; Missa, E./Voxman, H. Morceau de Concours;
Ostransky, L./Voxman, H. Concerto Miniature
 Euphonium: Balay, G. Petite Piece Concertante; Barat, J.Ed./Voxman, H. Orientale;
Kopke, P./ Voxman, H. L’Allegro; Mead, S. New Concert Studies for Euphonium
(unaccompanied); Ostransky, L./Voxman, H. Concertino
 Tuba: Bach, J.S./Wekselblatt, H. Two Bourees; Handel, G.F./Voxman, H. Adagio and
Allegro; Koepke, P./ Voxman, H. Persiflage; Mozart, W.A./Voxman, H. First Movement;
Ostransky, L./Voxman, H. Serenade and Scherzo
Technique
 Chromatic Scale starting on the lowest note -- 1 Octave
 Major Scales and Arpeggios -- 1 Octave
Sight-Reading
A sight-reading example will be provided at the time of the audition (selected from ITEA or ITA
published standard repertoire)
Applied Percussion Audition Requirements
Repertoire
The student should be able to solos or etudes of similar difficulty on the following instruments:
Snare Drum (Concert/Rudimental)
 Portraits in Rhythm by Anthony Cirone
 Snare Drum Etude in 4/4 by Morris Goldenberg
 Etudes 1-120 by Charley Wilcoxon
 (Solos 1-14) 14 Modern Contest Solos by John S. Pratt
 40 PAS Rudiments played in the open-closed-open position
20
Mallets
 Sonatina by Heinrich Lichner arranged by Garwood Whaley
 Etude or exercises from method books such as Modern School for Xylophone, Marimba,
and Vibraphone by Morris Goldenberg
 12 Major Scales performed two octaves ascending and descending
Timpani
 Ability to tune multiple drums from a given pitch
 Excerpt, Etude or Solo from:
o Musical Studies for the Intermediate Timpanist by Garwood Whaley
o Modern Method for Timpani by Saul Goodman
o Exercises, Etudes, and Solos for the Timpani by Raynor Carroll
o The Solo Timpanist by Vic Firth
Technique
Snare Drum
 Demonstrate the 40 P.A.S. Rudiments (Rolls, Diddles, Flams, etc.) in an open-closedopen (slow-fast-slow) fashion.
 Perform a snare drum solo piece (Rudimental or Concert) or etude.
Mallets
 Demonstrate major scales (two octaves ascending and descending).
 Perform a chromatic scale at least two octaves ascending and descending).
 A two-mallet solo piece or etude.
Timpani
 Demonstrate the ability to tune pitches or intervals.
 Perform a solo piece or etude.
Sight-Reading
Demonstrate the ability to read at sight on a selected percussion instrument.
21
PROGRAMS OF STUDY
Bachelor of Arts in Music
The Bachelor of Arts in Music is a non-professional degree that provides valuable undergraduate
preparation for a variety of careers. The liberal arts degree affords the student the opportunity to
pursue the study of music at the collegiate level and also to combine the study of music with an
outside field. Additional undergraduate opportunities for study and a potential double major in
the arts, humanities, social sciences and natural sciences are especially rich. The music major
may include such diverse areas as cultural musicology, cognitive studies of music, and advanced
technology for music. Although this is a non-performance degree, an audition is required as part
of the application for admission.
General Education Studies (60 Credits)
Please see the University Catalogue for General Education requirements
Musicianship Core (24 credits)
MUS 3301
Music Theory I
MUS 3303
Music Theory II
MUS 4315
Music Theory III
MUS 4316
Music Theory IV
MUS 2390
Survey of Music Literature
MUS 3316
Music History I
MUS 3317
Music History II
Musicianship Elective
3
3
3
3
3
3
3
3
Musicianship Electives (Choose 3 credits from below list, not exclusive, consult with advisor):
MUS 1303 Music and the Movies
MUS 1304 Political Music
MUS 1305 Music and Poetry of Art Song
MUS 1306 Medieval to Modern Women in Music
MUS 1307 Psychology of Music
MUS 3305 Survey of Contemporary and Pop Music
MUS 3339 Afro-American Music
MUS 3226 Instrumentation and Orchestration
MUS 3340 Non-Western Music
Performance Core (12 credits)
4 Semesters of Applied Major Lessons
4 Semesters of Ensemble
4 Semesters Piano
Music Electives (24 credits)
Courses work must be at the 3000 level or above
Total number of hours:
22
4
4
4
120
Bachelor of Arts in Music – Music Education Licensure
General Education Studies (60 Credits)
Please see the University Catalogue for General Education requirements
Musicianship Core (24 Credits)
MUS 3301
Music Theory I
3
MUS 3303
Music Theory II
3
MUS 4315
Music Theory III
3
MUS 4316
Music Theory IV
3
MUS 3316
Music History I
3
MUS 3317
Music History II
3
Musicianship Electives
(*Music Education Licensure required courses)
*MUS 3342 Technology in Music Education (3)
*MUS 3323 Choral Literature with conducting practicum (3) or
*MUS 3344 Instrumental Literature with conducting practicum (3)
Performance Core (12)
4 Semesters of Applied Major Lessons
(4 @1 credit)
Prerequisite: 2 Semesters of lessons in the applied area*
*Music Education Major lessons will consist of a one hour lesson
4 Semesters of Ensemble
(4@1 credit)
3 Semesters Piano
(3 @ 1 credit)
Senior Recital/Lecture Recital/Project
(1 credit)
Music Education Methods (32)
5 Semesters of Instrumental Methods Classes
MUS 2104
Voice Methods (1)
MUS 2130
Strings Methods (1)
MUS 2140
Woodwind Methods (1)
MUS 2150
Brass Methods (1)
MUS 2160
Percussion Methods (1)
(5@ 1 credit)
Educational Methods Classes
MUS 3307
Principles and Methods of Teaching Music in the Elementary
School (3)
Prerequisite: EDU 2334 Education, Culture, and Society (3)*
Prerequisite: MUS 2304 Introduction to Music Education (3)*
MUS 3308
Principles and Methods of Teaching Music in the Secondary School
(3)
Prerequisite: EDU 2334 Education, Culture, and Society (3)*
Prerequisite: MUS 2304 Introduction to Music Education (3)*
MUS 3313
Music for Exceptional Children or SPE 3200 Exceptional Children
(3)
MUS 33xx
Literacy in the Music Classroom or RED 4364 Reading in the Content Area (3)
EDU 4333
Responsive Pedagogy (3)
EDU 4338
Psychological Foundations of Education (3)
EDU 4981
Observation, Student Teaching, and Practicum (9)
Total Number of Hours:
128
23
Bachelor of Arts in Music – Music Business Concentration
The concentration in Music Business is designed for music students desiring to specialize in
some aspect of the music industry. It prepares students for specific areas of the music industry
and allied fields (e.g., marketing, promotions, record sales, music production, etc.) Sufficient
preparation to pursue the study of music at the graduate school level is also provided. A
minimum of 40 semester hours is required in music courses. Additionally, students must choose
a minimum of 18 semester hours from within the Music Business area. This program's key
feature is the planning and execution of a senior project which is an ideal stepping stone to
further education or to any career in which the individual is deepened and enriched by
knowledge of music.
Optional Concentration in Music Business (18 Credits):
MUS 3302 Overview of the Music Industry
3
MUS 3310 Electronic Music
3
MUS 4312 Studio Recording Techniques I
3
MUS 4313 Studio Recording Techniques II
3
MUS 4330 Senior Project
3
Music Business Elective
(Choose 1 course from list below, not exclusive, consult with advisor)
ECO 2311 Principles of Microeconomics
3
MKT 3331 Principles of Marketing
3
MGM 3321 Principles of Management
3
Concentration in Music (19 Credits)
The music concentration is suggested for elementary or middle grades education majors. A
minimum of 18 semester hours is required.
MUS 3301
MUS 3303
MUS 2390
MUS 3211
Music Theory I
3
Music Theory II
3
Survey of Music Literature
3
Music Activities in Elementary Schools
2
Applied Music (Instrumental or Vocal)
4
Ensemble
4
*The student must complete the Music Proficiency Examination.
Music Business Minor (24 Credits)
This minor is open to any student in the university and is designed to enhance career
opportunities, to offer opportunities for literacy in the fields of music, business, and
communications, and to serve the interests of the students.
MUS
MUS
MUS
MGT
MKT
MCM
MUS
3305
3302
4310
3321
3331
2325
1320
Survey of Contemporary/Popular Music
Overview of the Music Industry
Legal Aspects of the Music Industry
Principles of Management
Principles of Marketing
Introduction to Mass Communications
Fundamentals of Music
Approved Music Elective
24
3
3
3
3
3
3
3
3
Minor in Music (25 Credits)
The minor in music is open to students following a non-teaching degree program. A minimum of
22 semester hours will be required.
MUS 3301
MUS 3303
MUS 2390
MUS 3342
Music Theory I
Music Theory II
Survey of Music Literature I
Technology in Music
Applied Music (Instrumental or Vocal)
Ensemble
Approved Music Electives
3
3
3
3
4
3
3
SCHOLARSHIPS
Departmental Scholarships (Available to Music Majors Only)
Davenport Scholarship
The James M. and Bernice Howard Davenport Music Scholarship was established by James M.
and Bernice Howard Davenport in 1985. Students selected for this award must be music majors
at Winston-Salem State University with a 3.00 GPA. Freshmen, Sophomores, Juniors and
Seniors are eligible to apply. Scholarship recipients will be selected by the Davenport Music
Scholarship committee. The James M. and Bernice Howard Davenport Music Scholarship is
offered every semester in the amount of $250
Criteria for applicants:
student must be in good academic standing
demonstrate commitment to a career in music
write a one-page essay expressing goals as a music major
submit 1-2 letters of recommendations
submit an unofficial university transcript
submit a completed Davenport Scholarship Application
James A. Dillard & Martha S. Atkins Scholarship
This scholarship was established by First Baptist Church (East) to aid academically promising
and financially deserving students to enter Winston-Salem State University and complete their
undergraduate education in music. Where it is feasible, the student must meet guidelines for
federal financial aid. The student should be an entering freshman who has no less than a 3.00
cumulative GPA from high school and an 800 composite SAT score or an equivalent ACT. In
addition, the student may be a rising sophomore with a 3.00 or above cumulative GPA at
Winston-Salem State University. This scholarship is not renewable, and is to be awarded during
commencement week.
Criteria for applicants:
student must be in good academic standing with the University and the Music
Department
demonstrate commitment to a career in music
write a one-page essay expressing goals as a music major
submit one letter of recommendation from applied instructor
submit an unofficial university transcript
submit a copy of SAT/ACT scores
submit a completed James A. Dillard & Martha S. Atkins Scholarship Application
25
For additional information contact: Ms. Deena Moore, Scholarship Chairperson
Department of Music
601 Martin Luther King, Jr. Drive
Winston-Salem, NC 27110
(336) 750-2524
mooredm@wssu.edu
ENSEMBLE SCHOLARSHIPS
Choral
Full or partial tuition (in-state) scholarships are available to all students having auditioned and
enrolled in the University Choir. The following criteria are required of all students auditioning
for the Choir Scholarship:
1. Official acceptance by the University Admissions Office.
2. Completion of the Federal Student Aid Application with results forwarded to
Winston-Salem State University.
3. Completion of the Winston-Salem State University Financial Aid Form every year
enrolled in Winston-Salem State University.
4. A 2.0 grade point average to qualify for the scholarship and at least a 2.5 cumulative
grade point average to keep the scholarship.
5. Letters (2) of recommendation forwarded to Winston-Salem State University Choir
Director (from high school or church choral director, private instructors, etc...). See
mailing address below.
6. Willingness to abide by the class syllabus given at the beginning of each semester.
Choral Scholarship Audition Requirements
1. Perform one (1) Foreign Language: Latin, Italian, French or German.
2. Perform one (1) English: Folk Song/Negro Spiritual, Broadway, and Art Song.
3. Perform one (1) piece of the student’s choosing that would best display vocal talent.
4. Sight-Singing.
5. Personal conference with auditioner (s).
6. Score at least 80 out of a 100 point score on the entire audition.
NOTE: All music to be accompanied must reach the Department of Music at least one
(1) day prior to audition. All auditions must be scheduled in advance.
Contact:
D’Walla Simmons Burke, Director of Choirs and Vocal Studies
Music/#116
Winston-Salem State University
Winston-Salem, NC 27110
Office: (336) 750-2525; 750-2522 (fax)
burkedw@wssu.edu
26
Instrumental
Full or partial tuition (in-state) scholarships are available to all qualified students who have
auditioned and been accepted by the University. The following criteria are required of all
students auditioning for the Marching Band, Symphonic Band, Wind Ensemble, Jazz Ensemble,
String Ensemble, and/or Pep Band Scholarships:
1.
Completion of the Federal Student Aid Application, with results forwarded to
Winston-Salem State University. Students must apply for this aid every year enrolled
in Winston-Salem State University.
2.
Completion of the Winston-Salem State University Financial Aid Form every year
enrolled in Winston-Salem State University.
3.
At least a C average must be maintained while on scholarship or the scholarship will
be jeopardized.
4.
All incoming freshmen and/or transfer students should have letters of
recommendation from high school band directors, orchestra directors, or private
instructors forwarded to the director of each ensemble.
5.
Willingness to abide by the class syllabus given at the beginning of each semester.
Band Scholarship Audition Requirements
Level I Priority, Minimum Expectations
 A letter of good standing from the high school director
 Grade point average of at least 3.00 (B average or better)
 Chromatic Scale: Practical range of the instrument
 Major Scales: C,F,G,Bb, D, Eb, A, Ab, E, B, Db, Gb
 Minor Scales: A, D, E, G, C (Natural Minor)
 Broken Chords and Thirds on the scales listed earlier
 Prepared Material: Etude (study) and /or Solo Grade 4 or higher
 Sight-reading
 All 26 basic rudiments (percussion)
Level II Priority, Minimum Expectations
 A letter of good standing from the high school director
 Grade point average of at least 2.5 (C+ average or better)
 Chromatic Scale
 Major Scales: C, F, G, Bb, D, Eb, A, Ab, E
 Prepared Material: Etude (study) and /or Solo. Standard band selections are acceptable.
(Pop tunes are unacceptable)
 Sight-reading
 All 26 basic rudiments (percussion only)
27
Level III Band Participation, Minimum Expectations (Ineligible for scholarship)







A letter of good standing from the high school director
Grade point average of at least 2.00 (C average or better)
Chromatic Scale
Major Scales: C, F, G, Bb, D, Eb, A, Ab
Prepared Material: Standard band selections are acceptable. (Pop tunes are unacceptable)
Sight-reading
All 26 basic rudiments (percussion only)
Important:





Level I Priority: Minimum tempo for scales, chords, and thirds, eighth note = 96.
Level II Priority: Minimum tempo for scales, chords, and thirds, eighth note = 88.
Level III Priority: Minimum tempo for scales, chords and thirds, eighth note = 60.
All scales must encompass the practical range of the instrument. Scales must be tongued
ascending and slurred descending.
Percussionist must demonstrate proficiency on a melodic percussion instrument.
Note:
Scholarships are competitive. The initial amount of the scholarship is determined by three
factors:
 The student’s audition results
 The needs of the program
 The availability of funds
In addition, only Levels I and II students will be considered for band scholarships.
Contact:
Telephone:
Dr. Michael Magruder
601 Martin Luther King, Jr., Drive
Winston-Salem State University
Winston-Salem, North Carolina 27110
(336) 750-2527 (Dr. Michael Magruder)
(336) 750-2520 (Music Department)
String Ensemble Audition Requirements
Level I Priority (Minimum Expectations)
 A letter of good standing from the high school director of orchestra or music program.
 Grade point average of at least 3.00 (B average or better).
 Chromatic scale ranging 2 octaves starting on lowest note (sixteenth notes eight to a
bow).
 Major scales: Choose 8 keys (3 octaves, sixteenth notes, eight to a bow).
 Minor scales (melodic and harmonic): Choose 8 keys (3 octaves, sixteenth notes, eight to
a bow).
 Arpeggios (major and minor): (3 octaves, eighth notes, four to a bow).
 Prepared Material: Etude (study) and a Solo Piece (sample repertoire to demonstrate
minimum level of difficulty is listed below).
 Sight-reading
 Ability to play scales in double-stops – one octave, half notes, detached bowing (octaves
and thirds) in the key of choice.
28
Sample Repertoire for Level I Priority Scholarship:
Pieces
 2 movements of a concerto (Bach, Vivaldi, Telemann Accolay)
 Bach Ariosto, Corelli or Handel Sonata
 Meditation from “Thais” by Massenet
 Kreisler’s Rondino (on a theme by Beethoven)
 Allegro Brilliant by Ten Have
 Vaughn Williams Suite for Viola and Piano: Group I, No. 1
 Faure (Casals) – Apres un Reve
Etudes
 Kreutzer Forty-two Studies: Nos. 5 – 30
 Mazas – Seventy-five Melodious and Progressive Studies, Op. 36: Nos. 9, 10, 20 – 30
 Dotzauer – One Hundred and Thirteen Exercises, Book 3: Nos. 63, 65, 66
 Bille – Eighteen Studies
Level II Priority, Minimum Expectations
 A letter of good standing from the high school director of orchestra or music program.
 Grade point average of at least 2.5 (C+ average or better).
Chromatic Scale ranging octaves (four to a bow, eighth notes).
 Major Scales in 3 octaves: choose 4 keys (four to a bow, eighth notes).
 Minor Scales (Harmonic and Melodic) in 2 octaves: choose 4 keys (four to a bow, eighth
notes).
 Prepared Material: Etude (study) and a Solo Piece of at least Grade 3 or 4 level.
 Sight-reading.
Level III String Ensemble Participation, Minimum Expectations (Ineligible for scholarship)
 A letter of good standing from the high school director of orchestra or music program.
 Grade point average of at least 2.00 (C average or better).
 Chromatic Scale ranging 2 octaves (quarter notes, one or two notes to a bow).
 Prepared Material: A Solo Piece and/or Etude (study) of at least Grade 2 level.
 Sight-reading.
29
APPENDIX A
RECOMMENDATION FOR
ADMITTANCE TO TEACHER EDUCATION PROGRAM
CHECK LIST (11/14/13)
Requirements/Documentation
Name of Candidate:
1. An overall GPA of at least 2.5 at WSSU.
Candidate’s GPA:
2. Completed teacher education application for Admission.
3. Copies of official scores for all the Praxis I tests taken or 1100+ on SAT
4. A total best score across the three Praxis I tests that matches or exceeds
the total of the minimum scores of each section (522)
Subject Area
Reading
Mathematics
Writing
Total
Minimum Score
176
173
173
522
Candidate’s Highest Score
5. Verification of 45 hours completion in General Studies (reviewed by
advisor)
6. Minimum Grade of “C” in all English Classes
7. Minimum Grade of “C” in all Mathematics Classes
8.
Minimum Grade of “C” in Speech Class
9. Minimum Grade of “C” in EDU 2334 Education, Culture, and Society
10. No Outstanding Disposition Referrals
11. Tuberculin Skin Testing Received
12. Character Reference Statements Acceptable (3)
13. ESSAY successfully Passed or EXEMPT
14. Virtual Introduction successfully PASSED
15. Candidate’s Professional PHOTO
16. Candidate’s Professional GOALS statement
Note: Praxis II is a requirement during preclinical/student teaching.
30
Yes
No
APPENDIX B
RECOMMENDED PLANS OF STUDY FOR MUSIC PROGRAMS
(Begin on next page)
31
Bachelor of Arts in Music Recommended Plan of Study
Freshman Year – Fall Semester (17 hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (15 hours)
Sophomore Year – Fall Semester (17
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (15 hours)
Junior Year – Fall Semester (14 hours)
MUS 31XX Applied Lesson
MUS 2111 Piano I
MUS 3301 Music Theory I
MUS 2390 Survey of Music Literature
*MUS 3339 Afro-American Music
*MUS 3302 Overview of the Music Industry
Senior Year – Fall Semester (13 hours)
MUS 31XX Applied Lesson
MUS 2113 Piano III
MUS 4315 Music Theory IIII
MUS 3317 Music History II
*MUS 4228 Commercial Music Arranging
*MUS 4312 Studio Recording Techniques I
Freshman Year – Spring Semester (17
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
MUS 1320 Fundamentals of Music
(recommended)
Gen. Ed. Courses (12 hours)
Sophomore Year – Spring Semester (14
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (12 hours)
Junior Year – Spring Semester (16 hours)
MUS 31XX Applied Lesson
MUS 2112 Piano II
MUS 3303 Music Theory II
MUS 3316 Music History I
*MUS 3340 Non-Western Music
*MUS 3305 Survey of Contemporary/Pop.
Music
*MUS 3226 Instrumentation & Orchestration
Senior Year – Spring Semester (13 hours)
MUS 31XX Applied Lesson
MUS 2114 Piano IV
MUS 4316 Music Theory IV
^MUS 1305 Music and Poetry of Art Song
*MUS 4231 Record Label Marketing
*MUS 4313 Studio Recording Techniques II
60 hours of General Education Curriculum in yellow
^ or 3 credits from list of approved Musicianship Elective(s)
* or 24 credits from list of approved coursework at the 3000 level or above
32
Bachelor of Arts in Music with a Concentration in Music Business
Recommended Plan of Study
Freshman Year – Fall Semester (17 hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (15 hours)
Sophomore Year – Fall Semester (14
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (12 hours)
Junior Year – Fall Semester (14 hours)
MUS 31XX Applied Lesson
MUS 2111 Piano I
MUS 3301 Music Theory I
MUS 2390 Survey of Music Literature
MUS 3302 Overview of the Music Industry
Gen. Ed. Courses (3 hours)
Senior Year – Fall Semester (16 hours)
MUS 31XX Applied Lesson
MUS 2113 Piano III
MUS 4315 Music Theory IIII
MUS 3317 Music History II
MUS 4312 Studio Recording Techniques I
*MGM 3321 Principles of Management
~MUS 4230 Artist Management
Freshman Year – Spring Semester (14
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (12 hours)
Sophomore Year – Spring Semester (14
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
MUS 1320 Fundamentals of Music
(recommended)
Gen. Ed. Courses (9 hours)
Junior Year – Spring Semester (16 hours)
MUS 31XX Applied Lesson
MUS 2112 Piano II
MUS 3303 Music Theory II
MUS 3316 Music History I
MUS 3310 Electronic Music
~MUS 3226 Instrumentation & Orchestration
Gen. Ed. Courses (3 hours)
Senior Year – Spring Semester (16 hours)
MUS 31XX Applied Lesson
MUS 2114 Piano IV
MUS 4316 Music Theory IV
^MUS 1305 Music and Poetry of Art Song
MUS 4313 Studio Recording Techniques II
MUS 4330 Senior Project
~MUS 4231 Record Label Marketing
60 hours of General Education Curriculum in yellow
^ or 3 credits from list of approved Musicianship Elective(s)
* or 3 credits from list of approved Music Business Electives
~ or 6 credits from list of approved coursework at the 3000 level or above
33
Bachelor of Arts in Music – Music Education Licensure Recommended Plan of Study
Freshman Year – Fall Semester (17 hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
Gen. Ed. Courses (15 hours)
Sophomore Year – Fall Semester (15
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
MUS 2111 Piano I
MUS 3301 Music Theory I
EDU 2334 Education, Culture, and Society
Gen. Ed. Courses (6 hours)
Junior Year – Fall Semester (18 hours)
MUS 31XX Applied Lesson
MUS 2113 Piano III
MUS 4315 Music Theory IIII
MUS 3317 Music History II
MUS 3323/3344 Literature with Conducting
MUS 2150 Brass Methods
MUS 2104 Voice Methods
MUS 2304 Introduction to Music Education
*Teacher Education Application
Senior Year – Fall Semester (17 hours)
MUS 31XX Applied Lesson
EDU 4338 Psychological Foundations
RED 4364 Reading in the Content Area
MUS 3308 Principles/Methods Secondary
School
MUS 3342 Technology in Music Education
MUS 2160 Percussion Methods
Gen. Ed. Courses (3 hours)
Freshman Year – Spring Semester (17
hours)
MUS XXXX Applied Lesson (recommended)
MUS XXXX Ensemble
MUS 1320 Fundamentals of Music
(recommended)
Gen. Ed. Courses (12 hours)
Sophomore Year – Spring Semester (18
hours)
MUS 31XX Applied Lesson
MUS XXXX Ensemble
MUS 2112 Piano II
MUS 3303 Music Theory II
Gen. Ed. Courses (12 hours)
Junior Year – Spring Semester (15 or 16
hours)
MUS 31XX Applied Lesson
MUS 2114 Piano IV (if needed)
MUS 4316 Music Theory IV
MUS 3316 Music History I
MUS 3307 Principles/Methods Elementary
School
MUS 2130 Strings Methods
MUS 2140 Woodwind Methods
MUS 3313 Exceptional Children
Senior Year – Spring Semester (13 hours)
MUS 4130 Senior Recital/Lecture
Recital/Project
EDU 4981 Student Teaching
EDU 4333 Responsive Pedagogy
60 hours of General Education Curriculum in yellow
34
APPENDIX C
APPLIED MUSIC JURY FORMS
(Begin on next page)
35
Department of Music
Winston-Salem State University
Winston-Salem, North Carolina
Brass/Woodwind
JURY EVALUATION SHEET
Name:
Instructor:
Date:
Course #:
Term: Fall [ ]
Spring [
]
Major: BA
[
MUE [
]
]
Literature studied during this semester:
TITLE
Class:
Fr.
Soph.
Jr.
Sr.
[
[
[
[
]
]
]
]
COMPOSER
Jury Selection
===============================================================
Scale:
1 = Poor
2 = Fair
3 = Average
4 = Good
5 = Superior
Dress
Stage Presence
Technique
Technical dexterity
Note Accuracy
Dynamics
Phrasing
Tempo
Musical Effect
Choice of Literature
Intonation
Articulation
[
[
[
[
[
[
[
[
[
[
[
[
Progress:
Juror: ______________________________
36
]
]
]
]
]
]
]
]
]
]
]
]
Brass/ Woodwind Jury Rubric
CATEGORY
5
4
3
2
1
Dress
Student is dress is
professional, business
attire appropriate for
concert performance
N/A
N/A
Student is not dressed
appropriately for
concert performance
Stage Presence
Student is
comfortable playing
in front of an
audience.
Student is relatively
comfortable playing in
front of an audience.
Student has made an
effort to dress
appropriately for
concert performance,
but lacking in some
area (shoes, slacks,
shirt, etc.).
Student has some
issues playing in front
of an audience.
Student has severe
issues playing in
front of an audience.
Student cannot
function playing in
front of an audience.
Tone Quality
Tone is consistently
focused, clear, and
centered throughout
the range of the
instrument.
Tone is focused, clear and
centered through the
normal playing range of
the instrument. Extremes
in range sometimes cause
tone to be less controlled.
Tone quality typically
does not detract from the
performance.
The tone is often not
focused, clear or
centered regardless
of the range being
played, significantly
detracting from the
overall performance.
The tone is rarely
focused, clear or
centered regardless of
the range being played
thus making it difficult
to discern pitch and/or
rhythm.
Tempo/Rhythm
The beat is secure and
the rhythms are
accurate for the style
of music being
played.
The beat is secure and the
rhythms are mostly
accurate. There are a few
duration errors, but these
do not detract from the
overall performance.
The beat is usually
erratic and rhythms
are seldom accurate
detracting
significantly from
the overall
performance.
The beat is usually
erratic and rhythms are
rarely accurate
detracting significantly
from the overall
performance.
Intonation/ Note
Accuracy
Virtually no errors.
Pitch is very accurate.
Very few accurate or
secure pitches.
Little to no accurate or
secure pitches.
Technical dexterity
Technical dexterity is
consistent with the
needs of musical
phrases and the
technique required for
the piece.
An occasional isolated
error, but most of the time
pitch is accurate and
secure.
Technical dexterity is
consistent the technique
required for the piece, but
is not often consistent
with the needs of musical
phrases.
Secure attacks.
Markings (staccato,
legato, accents, etc.)
are executed
accurately as directed
by the score.
Dynamic levels are
obvious, consistent,
and an accurate
interpretation of the
style of music.
Phrasing is always
consistent and
sensitive to the style
of music being
played.
The overall musical
effect is confident and
pleasing to the
listener based upon
the technical demands
of the work.
Attacks are usually
secure, though there
might be an isolated error.
Markings are executed
accurately as directed by
the score.
Dynamic levels are
typically accurate and
consistent.
Technical dexterity
is sometimes
consistent the
technique required
for the piece, but is
rarely with the needs
of musical phrases.
Few secure attacks.
Markings are
typically not
executed accurately.
Technical dexterity is
rarely consistent the
technique required for
the piece, and is rarely
with the needs of
musical phrases.
Articulation
Tone is often focused,
clear and centered,
but sometimes the
tone is uncontrolled in
the normal playing
range. Extremes in
range are usually
uncontrolled.
Occasionally the tone
quality detracts from
overall performance.
The beat is somewhat
erratic. Some rhythms
are accurate. Frequent
or repeated duration
errors. Rhythm
problems occasionally
detract from the
overall performance.
Some accurate
pitches, but there are
frequent and/or
repeated errors.
Technical dexterity is
sometimes consistent
the technique required
for the piece, but is
not often consistent
with the needs of
musical phrases.
Attacks are rarely
secure, but markings
are often executed
accurately as directed
by the score.
Dynamic levels
fluctuate but can be
discerned.
Attention to
dynamic levels is not
obvious.
Attention to dynamic
levels is not at all
apparent.
Phrasing is usually
consistent and
occasionally sensitive
to the style of music
being played.
The overall musical
effect is somewhat
pleasing to the
listener based upon
the technical demands
of the work.
Phrasing is
sometimes
consistent and/or
rarely sensitive to
musical style.
N/A
Phrasing is rarely
consistent and/or rarely
sensitive to musical
style.
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an
exceptional level.
The work chosen is suitable
and appropriate for the
level of the student and is
performed by the student to
a good level.
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an average
level
The work chosen may
not be suitable and
appropriate for the
level of the student
and is not performed
by the student at an
average level.
The work chosen is not
suitable and appropriate
for the level of the
student and is poorly
performed by the
student.
Dynamics
Phrasing
Musical Effect
Choice of Literature
Phrasing is usually
consistent and sensitive to
the style of music being
played.
N/A
37
Rare secure attacks.
Markings are rarely
executed accurately.
The overall musical
effect is not at all
pleasing to the listener
based upon the
technical demands of
the work.
Department of Music
Winston-Salem State University
Winston-Salem, North Carolina
PERCUSSION
JURY EVALUATION SHEET
Name:
Instructor:
Date:
Course #:
Term: Fall [ ]
Spring [
]
Major: BA
[
MUE [
]
]
Literature studied during this semester:
TITLE
Class:
Fr.
Soph.
Jr.
Sr.
[
[
[
[
]
]
]
]
COMPOSER
===============================================================
Scale:
1 = Poor
2 = Fair
3 = Average
4 = Good
5 = Superior
Dress
Stage Presence
Technique
Sticking
Note Accuracy
Dynamics
Phrasing____________________________________________________________
Tempo
Musical Effect
Choice of Literature
Intonation (Timpani)
Articulation (Timpani)
Progress
Juror: ______________________________
38
[
[
[
[
[
[
[
]
]
]
]
]
]
]
[ ]
[
[
[
[
]
]
]
]
Percussion Jury Rubric
CATEGORY
5
4
3
2
1
Dress
Student is dress is
professional, business
attire appropriate for
concert performance
N/A
N/A
Student is not dressed
appropriately for
concert performance
Stage Presence
Student is
comfortable playing
in front of an
audience.
Student is relatively
comfortable playing in
front of an audience.
Student has made an
effort to dress
appropriately for
concert performance,
but lacking in some
area (shoes, slacks,
shirt, etc.).
Student has some
issues playing in front
of an audience.
Student has severe
issues playing in
front of an audience.
Student cannot
function playing in
front of an audience.
Tone Quality
Tone is consistently
focused, clear, and
centered throughout
the range of the
instrument.
Tone is focused, clear and
centered through the
normal playing range of
the instrument. Extremes
in range sometimes cause
tone to be less controlled.
Tone quality typically
does not detract from the
performance.
The tone is often not
focused, clear or
centered regardless
of the range being
played, significantly
detracting from the
overall performance.
The tone is rarely
focused, clear or
centered regardless of
the range being played
thus making it difficult
to discern pitch and/or
rhythm.
Tempo/Rhythm
The beat is secure and
the rhythms are
accurate for the style
of music being
played.
The beat is secure and the
rhythms are mostly
accurate. There are a few
duration errors, but these
do not detract from the
overall performance.
The beat is usually
erratic and rhythms
are seldom accurate
detracting
significantly from
the overall
performance.
The beat is usually
erratic and rhythms are
rarely accurate
detracting significantly
from the overall
performance.
Intonation/ Note
Accuracy
Virtually no errors.
Pitch is very accurate.
Very few accurate or
secure pitches.
Little to no accurate or
secure pitches.
Sticking
Sticking is consistent
with the needs of
musical phrases and
the technique required
for the piece.
An occasional isolated
error, but most of the time
pitch is accurate and
secure.
Sticking is consistent the
technique required for the
piece, but is not often
consistent with the needs
of musical phrases.
Secure attacks.
Markings (staccato,
legato, accents, etc.)
are executed
accurately as directed
by the score.
Dynamic levels are
obvious, consistent,
and an accurate
interpretation of the
style of music.
Phrasing is always
consistent and
sensitive to the style
of music being
played.
The overall musical
effect is confident and
pleasing to the
listener based upon
the technical demands
of the work.
Attacks are usually
secure, though there
might be an isolated error.
Markings are executed
accurately as directed by
the score.
Dynamic levels are
typically accurate and
consistent.
Sticking is
sometimes
consistent the
technique required
for the piece, but is
rarely with the needs
of musical phrases.
Few secure attacks.
Markings are
typically not
executed accurately.
Sticking is rarely
consistent the
technique required for
the piece, and is rarely
with the needs of
musical phrases.
Articulation
Tone is often focused,
clear and centered,
but sometimes the
tone is uncontrolled in
the normal playing
range. Extremes in
range are usually
uncontrolled.
Occasionally the tone
quality detracts from
overall performance.
The beat is somewhat
erratic. Some rhythms
are accurate. Frequent
or repeated duration
errors. Rhythm
problems occasionally
detract from the
overall performance.
Some accurate
pitches, but there are
frequent and/or
repeated errors.
Sticking is sometimes
consistent the
technique required for
the piece, but is not
often consistent with
the needs of musical
phrases.
Attacks are rarely
secure, but markings
are often executed
accurately as directed
by the score.
Dynamic levels
fluctuate but can be
discerned.
Attention to
dynamic levels is not
obvious.
Attention to dynamic
levels is not at all
apparent.
Phrasing is usually
consistent and
occasionally sensitive
to the style of music
being played.
The overall musical
effect is somewhat
pleasing to the
listener based upon
the technical demands
of the work.
Phrasing is
sometimes
consistent and/or
rarely sensitive to
musical style.
N/A
Phrasing is rarely
consistent and/or rarely
sensitive to musical
style.
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an
exceptional level.
The work chosen is suitable
and appropriate for the
level of the student and is
performed by the student to
a good level.
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an average
level
The work chosen may
not be suitable and
appropriate for the
level of the student
and is not performed
by the student at an
average level.
The work chosen is not
suitable and appropriate
for the level of the
student and is poorly
performed by the
student.
Dynamics
Phrasing
Musical Effect
Choice of Literature
Phrasing is usually
consistent and sensitive to
the style of music being
played.
N/A
39
Rare secure attacks.
Markings are rarely
executed accurately.
The overall musical
effect is not at all
pleasing to the listener
based upon the
technical demands of
the work.
Department of Music
Winston Salem State University
Winston Salem, North Carolina
STRING
JURY EVALUATION SHEET
Name:
Date:
Instructor:
Course #:
Term: Fall [ ] Spring [
]
Major: BA
[
MUE [
]
]
Class: Fr.
Soph.
Jr.
Sr.
[
[
[
[
]
]
]
]
Literature studied during this semester:
TITLE
COMPOSER
==========================================================
Scale:
1 = Poor
2 = Fair
3 = Average 4 = Good
5 = Superior
Stage Presence
Tone Quality
Tempo/Rhythm
Intonation/ Note Accuracy
Bow Distribution
Articulation
Dynamics
Phrasing
Musical Effect
Choice of Literature
[
[
[
[
[
[
[
[
[
[
]
]
]
]
]
]
]
]
]
]
Progress:
__________________________________________________________________
__________________________________________________________________
__________________________________________________________________
Juror: ______________________________
40
String Jury Rubric
CATEGORY
5
4
3
2
1
Stage Presence
Student is comfortable
playing in front of an
audience.
Student is relatively
comfortable playing in
front of an audience.
Student has some
issues playing in front
of an audience.
Student has severe
issues playing in
front of an audience.
Student cannot function
playing in front of an
audience.
Tone Quality
Tone is consistently
focused, clear, and
centered throughout
the range of the
instrument.
Tone is focused, clear and
centered through the
normal playing range of
the instrument. Extremes
in range sometimes cause
tone to be less controlled.
Tone quality typically does
not detract from the
performance.
The tone is often not
focused, clear or
centered regardless of
the range being
played, significantly
detracting from the
overall performance.
The tone is rarely
focused, clear or
centered regardless of
the range being played
thus making it difficult
to discern pitch and/or
rhythm.
Tempo/Rhythm
The beat is secure and
the rhythms are
accurate for the style
of music being played.
The beat is secure and the
rhythms are mostly
accurate. There are a few
duration errors, but these
do not detract from the
overall performance.
The beat is usually
erratic and rhythms
are seldom accurate
detracting
significantly from the
overall performance.
The beat is usually
erratic and rhythms are
rarely accurate
detracting significantly
from the overall
performance.
Intonation/ Note
Accuracy
Virtually no errors.
Pitch is very accurate.
Very few accurate or
secure pitches.
Little to no accurate or
secure pitches.
Bow
Distribution
The usage of bow is
consistent with the
needs of musical
phrases and the
technique required for
the piece.
An occasional isolated
error, but most of the time
pitch is accurate and
secure.
The usage of bow is
consistent the technique
required for the piece, but
is not often consistent with
the needs of musical
phrases.
Tone is often focused,
clear and centered, but
sometimes the tone is
uncontrolled in the
normal playing range.
Extremes in range are
usually uncontrolled.
Occasionally the tone
quality detracts from
overall performance.
The beat is somewhat
erratic. Some rhythms
are accurate. Frequent
or repeated duration
errors. Rhythm
problems occasionally
detract from the
overall performance.
Some accurate pitches,
but there are frequent
and/or repeated errors.
Secure attacks.
Markings (staccato,
legato, slur, accents,
etc.) are executed
accurately as directed
by the score.
Dynamic levels are
obvious, consistent,
and an accurate
interpretation of the
style of music.
Phrasing is always
consistent and
sensitive to the style of
music being played.
Attacks are usually secure,
though there might be an
isolated error. Markings
are executed accurately as
directed by the score.
The usage of bow is
sometimes consistent
the technique
required for the
piece, but is rarely
with the needs of
musical phrases.
Few secure attacks.
Markings are
typically not
executed accurately.
The usage of bow is
rarely consistent the
technique required for
the piece, but is rarely
with the needs of
musical phrases.
Articulation
The usage of bow is
sometimes consistent
the technique required
for the piece, but is not
often consistent with
the needs of musical
phrases.
Attacks are rarely
secure, but markings
are often executed
accurately as directed
by the score.
Dynamic levels are
typically accurate and
consistent.
Dynamic levels
fluctuate but can be
discerned.
Attention to dynamic
levels is not obvious.
Attention to dynamic
levels is not at all
apparent.
Phrasing is usually
consistent and sensitive to
the style of music being
played.
The overall musical
effect is confident and
pleasing to the listener
based upon the
technical demands of
the work.
N/A
Phrasing is
sometimes consistent
and/or rarely
sensitive to musical
style.
N/A
Phrasing is rarely
consistent and/or rarely
sensitive to musical
style.
Musical Effect
Phrasing is usually
consistent and
occasionally sensitive
to the style of music
being played.
The overall musical
effect is somewhat
pleasing to the listener
based upon the
technical demands of
the work.
Choice of
Literature
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an
exceptional level.
The work chosen is
suitable and appropriate for
the level of the student and
is performed by the student
to a good level.
The work chosen is
suitable and
appropriate for the
level of the student and
is performed by the
student at an average
level
The work chosen
may not be suitable
and appropriate for
the level of the
student and is not
performed by the
student at an average
level.
The work chosen is not
suitable and appropriate
for the level of the
student and is poorly
performed by the
student.
Dynamics
Phrasing
41
Rare secure attacks.
Markings are rarely
executed accurately.
The overall musical
effect is not at all
pleasing to the listener
based upon the technical
demands of the work.
WSSU D EPARTMEN T OF MUSIC PIAN O JURY FORM
(Mu st be typ ed )
(Five typed copies should be given to the applied teacher no later than the last lesson along with seven copies of Jury selection, before the examination.)
Local Telephone:
Stud ent's N am e:
Local Ad d ress:
Degree program :
(Mark an “X”)
MUE
Proposed yr./ sem .
of junior recital :
Current Classification
Jury for (Mark an “X”)
BA
Fa
Sp
Cham ber Ensem ble this sem ester?
Year:
Proposed
Grad . Date:
Proposed Yr./ Sem ester of
senior recital:
N am e of applied teacher:
Average num ber of practice hours per w eek this sem ester:
I have stud ied d uring the semester the follow ing technical stud ies/ repertoire. An “M” before the com position ind icates it w as m em orized .
A “U” ind icates a new com position assigned yet unfinished .
(a)
Repertoire/Composer Studied
1.
2.
3.
4.
(b)
Seminars Performed (Repertoire/D ate)
1.
2.
(c)
Jury Composition/Composer
1.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (To be com pleted by Ap plied Teacher/ Juror) - - - - - - - - - - - - - - - - - - - - - - - - - - - General Com m ents:
Recom m end ed classification for next sem ester Course # __________ Sem ester __________
Mem bers of Jury:
Teacher grad e
Jury grad e
Final grad e
42
CATEGORY
4 = Exceptional
3 = Target
2 = Developing
1 = Unacceptable
Tone Quality
and Pedal (if
applicable)
The tone projects well, is
controlled, and has a
pleasing articulation that is
appropriate for the style.
Pedaling is clear and
enhances performance.
The tone usually projects, is
usually controlled, and has
articulation that is generally
appropriate. Pedaling is
usually clear.
Tone projection is
inconsistent and is
sometimes uncontrolled.
Articulation is not always
appropriate. Pedaling is
sometimes blurry or choppy
and somewhat detracts
from the performance.
Tone is very uncontrolled,
and articulation is seldom
appropriate for the style.
Pedaling is usually blurry or
choppy and significantly
detracts from the overall
performance.
Accuracy
(pitches and
rhythm)
Virtually no errors in notes. An occasional note error. A
Beat is steady and rhythms few rhythmic errors, but they
are accurate.
do not detract from the
overall performance.
Frequent repeated note
errors. Tempo is somewhat
unsteady and rhythm errors
occasionally detract from
the overall performance.
Very few accurate notes.
Tempo is usually unsteady
and rhythm errors
significantly detract from
the overall performance.
Technique is usually
relaxed and efficient.
Fingers are fairly agile,
wrists and arms are usually
loose, and body is generally
well-coordinated.
Technique is somewhat
relaxed and efficient.
Fingers are sometimes
agile, wrists and arms are
sometimes tense, and body
is sometimes wellcoordinated.
Technique is stiff and
inefficient. Fingers are tight,
wrists and arms are tense,
and body is generally
uncoordinated.
Dynamic levels fluctuate
but can be discerned.
Attention to dynamic levels
is not obvious.
Technique
Technique is relaxed and
efficient. Fingers are agile,
wrists and arms are loose,
and body is wellcoordinated.
Dynamics
Dynamic levels are obvious, Dynamic levels are
generally accurate and
consistent, and display an
accurate interpretation of consistent.
the style of music being
sung.
Interpretation
and Style
Stage Presence
Performs with a creative
nuance and style in
response to the score.
Shows thorough knowledge
of appropriate performance
practice.
Generally performs with
nuance and style that is
indicated in the score.
Interpretation shows some
knowledge of appropriate
performance practice.
Sometimes performs with
nuance and style that is
indicated in the score.
Shows little knowledge of
appropriate performance
practice.
Rarely demonstrates
expression and style. Shows
no knowledge of appropriate
performance practice.
Student has good posture,
appears confident and
relaxed, and demonstrates
pleasant and professional
deportment.
Student has fairly good
posture, appears somewhat
confident and relaxed, and
demonstrates reasonable
deportment.
Student has fairly poor
posture, appears somewhat
tense and uncomfortable,
and demonstrates
reasonable deportment.
Student has poor posture,
appears tense and
uncomfortable, and
demonstrates
unprofessional deportment.
SCORE
Total Score ______
Added score / 6 categories = Total Average Score ______
Comments:
43
WSSU D EPARTMEN T OF MUSIC VOICE JURY FORM
(Mu st be typ ed )
(Five typed copies should be given to the applied teacher no later than the last lesson along with five copies of Jury selection, before the examination.)
Stud ent's N am e:
Local Telephone:
Local Ad d ress:
Proposed
Grad . Date:
Degree/ Maj. Sought:
Current Classification
Cred it:
Jury for (Place an “X”)
Fa
Proposed yr./ sem .
of junior recital :
Sp
Perform ance instrum ent or voice:
Year:
Proposed Yr./ Sem ester of
senior recital:
N am e of applied teacher:
Average num ber of practice hours per w eek this sem ester:
I have stud ied d uring the semester the follow ing technical stud ies/ repertoire. An “M” before the com position ind icates it w as m em orized .
An “R” ind icates it w as perform ed in repertoire/ d iction class. An “S” ind icates it w as perform ed on sem inar. A “U” ind icates a new
com position assigned yet unfinished.
(a)
Repertoire/Composer Studied
2.
3.
4.
5.
(b)
Seminars Performed (Repertoire/D ate)
1.
2
3.
(c)
Jury Composition/Composer
1.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - (To be com pleted by Applied Teacher/ Juror) - - - - - - - - - - - - - - - - - - - - - - - - - - - (Includ e the follow ing item s in com m ents: tone; intonation; technique; interpretation; m usical effect and stage presence)
Com m ents:
Recom m end ed classification for next sem ester Course # __________ Sem ester __________ Cred its _________
Mem bers of Jury:
Teacher grad e
Jury grad e
Final grad e
44
CATEGORY
4 = Exceptional
3 = Target
2 = Developing
1 = Unacceptable
The tone is often not
focused, clear or centered
regardless of the range,
significantly detracting from
the overall performance.
Very few accurate or secure
pitches.
Tone Quality
The tone is
consistently
focused, clear, and
centered throughout
the range of the
voice.
Extremes in range
sometimes cause tone
to be less controlled.
Tone quality typically
does not detract from
the performance.
The tone is sometimes
uncontrolled. Extremes in
range are usually
uncontrolled &
occasionally the tone
quality detracts from overall
performance.
Accurate
Pitches
Virtually no errors.
Pitch is very
accurate.
An occasional isolated
error, but most of the
time pitch is accurate
and secure.
Some accurate pitches,
but there are frequent
repeated errors that
somewhat detract from
the overall performance.
Dynamics
Dynamic levels are
Dynamic levels fluctuate Attention to dynamic levels is
Dynamic levels are
obvious, consistent, and typically accurate and but can be discerned.
not obvious.
display an accurate
consistent.
interpretation of the
style of music being
sung.
Phrasing is usually
consistent and
sensitive to the style of
music being sung.
Phrasing is occasionally Phrasing is rarely consistent
consistent and sensitive and/or rarely sensitive to
to the style of music
musical style.
being sung.
style in response to
the score.
Typically performs
with nuance and style
that is indicated in the
score.
Sometimes performs
with nuance and style
that is indicated in the
score.
Entrances are secure.
Markings (staccato,
legato, slur, accents,
etc…) are executed
accurately.
Entrances are usually
secure, though there
might be an isolated error.
Markings are usually
executed accurately.
Entrances are rarely
Few secure entrances.
secure, but markings are Markings are typically not
sometimes executed
executed accurately.
accurately.
Breath
Support
Student breathes
properly and supports
the tone throughout
the end of each
phrase.
Student usually breathes
properly, but
occasionally does not
support the tone
throughout the end of
each phrase.
Student sometimes
breathes properly and only
occasionally supports the
tone throughout the end of
each phrase.
Student rarely breathes
correctly and never supports
the tone throughout the end of
each phrase.
Diction
Student articulates
clearly and the text of
the music is
understandable.
Student articulates
somewhat clearly and
the text can be
understood most of the
time.
Student sometimes
articulates the words but
the text is often not
discernable.
Student rarely articulates the
words and the text is not
discernable.
Student uses a proper
and relaxed singing
stance with no visible
tension in the throat,
jaw, and/or body.
Student uses a proper and
relaxed singing stance
most of the time with
limited tension visible in
the throat, jaw, and/or
body.
Student often shows
tension in the throat, jaw,
and/or body and
improper posture.
Student rarely demonstrates
proper posture or singing
stance and tension is highly
visible in the throat, jaw,
and/or body.
While singing, the
beat is secure and
the rhythms are
accurate.
While singing, there
are a few duration
errors, but they do not
detract from the overall
performance.
While singing, the beat is
somewhat erratic and there
are frequent duration errors
that occasionally detract
from the overall
performance.
While singing, the beat is usually
erratic and rhythms are seldom
accurate, detracting
significantly from the overall
performance.
Phrasing
Phrasing is always
consistent and
sensitive to the style
of music being sung.
Expression and Performs with a
creative nuance and
Style
Entrances and
articulation
markings
Posture and
Relaxation
Rhythm
SCORE
Rarely demonstrates
expression and style.
Total Score
Added score / 10 categories = Total Average Score
Comments:
45
APPENDIX D
UNIVERSITY CONTACTS
Academic Affairs ..........................................................................................750-2200
Music Department Chair ...............................................................................750-2535
Admissions ....................................................................................................750-2070
Registrar ........................................................................................................750-3330
Financial Aid .................................................................................................750-3280
Residence Life ..............................................................................................750-3400
School of Education ......................................................................................750-2370
Campus Police ..............................................................................................750-2900
Writing Center ..............................................................................................750-2185
Computer Help Desk .....................................................................................750-3431
46
PLEASE BRING THIS HANDBOOK TO ALL ADVISING
AND REGISTRATION SESSIONS.
Policies on admissions, retention, employment, and promotion at the University are applied
without discrimination on the basis of race, color, creed, religion, sex, or national origin.
Music Handbook Committee (2013-2014): Anthony Artimisi (Chair), Myron Brown, Lee David
Legette, Karen Rice
47